TEXT: James Cambias & Steven S. Long
  
  STAR HERO • Science Fiction Roleplaying Using 
  The HERO SYSTEM 
  Authors:  James Cambias, Steven S. Long
  Editing & Development:  Steven S. Long
  Layout and Graphic Design:  Andy Mathews
  Cover: Jason Engle
  Interior Artwork:  Storn Cook, Andrew  
  Cremeans, Keith Curtis, Malcolm Harrison, Jeﬀ 
  Hebert, Bryce Nakawaga, Brad Nault, Klaus Sch-
  erwinski, Greg Smith, and Chris Stevens. Photos 
  courtesy NASA/JPL/Cal Tech.
  A WORD OR TWO  
  OF APPRECIATION
  Jim dedicates this book to Dr. Diane A. Kelly, his favorite 
  scientiﬁc advisor.
  The Hero staff dedicates this book to RJM Hughes, one of 
  our fans, who passed away in August 2002. His presence on 
  our message boards will be missed.
  Special Thanks:  We’d like to oﬀer our special thanks to the 
  Digital Hero playtesters and testreaders who reviewed the 
  Star Hero manuscript, spotted typos, checked the math, 
  oﬀered suggestions and ideas, and generally helped to 
  make this book even better than it would have been. Spe-
  cial thanks also goes to the fans who participated in mes-
  sage board and mailing list discussions of what Star Hero 
  should be, and what its contents should include; it’s always 
  great to have the help of enthusiastic fans!
  HERO SystemTM ® is DOJ, Inc.’s trademark for its roleplaying system.
  HERO System  © 1984, 1989, 2002 by DOJ, Inc. d/b/a Hero Games. All rights reserved.
  Conquerors, Killers, And Crooks © 2002 by DOJ, Inc. d/b/a Hero Games.  
  All rights reserved.
  Champions © 1984, 1989, 2002 by DOJ, Inc. d/b/a Hero Games. All rights reserved.
  Justice Inc., Danger International, Dark Champions, Fantasy Hero, Pulp Hero, and 
  Star Hero © 2002 by DOJ, Inc. d/b/a Hero Games. All rights reserved.
  No part of this book may be reproduced or transmitted in any form or by any means, 
  electronic or mechanical, including photocopying, recording, or computerization, or by 
  any information storage and retrieval system, without permission in writing from the 
  Publisher:  DOJ, Inc., 1 Haight Street, Suite A, San Francisco, California 94102.
  Printed in the U.S.A. First printing November 2002.
  Produced and distributed by DOJ, Inc. d/b/a Hero Games.
  Stock Number:  DOJHERO300
  ISBN Number:  1-58366-007-0
  http://www.herogames.com
  
  TABLE OF CONTENTS
  Introduction
  Introduction .....................................5
  The Genre
  Science Fiction Subgenres ..............8
  Apocalypse/Post-Apocalypse ..........8
  Cyberpunk ......................................8
  Earthbound Science Fiction ..............9
  Hard Science Fiction ........................9
  Low Science Fiction .......................10
  Military Science Fiction ..................10
  Planetary Romance ........................10
  Retro-SF .......................................11
  Space Opera .................................12
  Time Travel ....................................12
  Utopias and Dystopias ....................13
  Science Fiction Elements  
  and Features ...............................14
  Cross-Fertilization: Metagenres  
  in SF ............................................17
  Comedy ........................................17
  Horror ...........................................17
  Mystery .........................................18
  Romance ......................................18
  Satire and Social Commentary ........18
  Tragedy .........................................19
  Star Hero and Other Genres ...........20
  Champions .................................20
  Dark Champions ..........................20
  Fantasy Hero ...............................20
  Pulp Hero ....................................21
  Western Hero ..............................21
  Other Eras ..................................21
  Character Creation
  Racial Package Deals ....................23
  Species Package Deals ..................23
  Environmental Package Deals .........28
  Professional Package Deals ..........33
  Character Creation .........................39
  Characteristics ..............................39
  Skills .............................................39
  Perks ............................................48
  Talents ..........................................50
  Powers .........................................52
  Power Advantages .........................59
  Power Limitations ..........................61
  Disadvantages ...............................61
  The Universe, Part One
  Galaxies .........................................67
  The Milky Way ...............................67
  Other Galaxies ...............................69
  Globular Clusters ...........................69
  Star Sectors ...................................70
  Stellar Cartography ........................70
  Interstellar Phenomena  
  And Dangers ...............................71
  Stars ..............................................73
  Star System Types .........................73
  Orbital Separation ..........................73
  Star Types .....................................74
  Exotic Objects .............................75
  Sample Sector ...............................78
  The Universe, Part Two
  Planetary Systems .........................80
  Orbital Distance .............................80
  System Zones ...............................80
  System Anomalies .........................81
  Planets ...........................................82
  Orbital Effects ................................82
  Mass ............................................82
  Moons ..........................................84
  Planetary Rotation .........................85
  Atmosphere ..................................86
  Climate .........................................88
  Life .................................................90
  Exotic Life .....................................90
  Complexity ....................................91
  Intelligent Life ................................91
  Surface ..........................................92
  Hydrosphere ..................................92
  Dominant Terrain ...........................92
  Resources .....................................93
  Other Objects .................................95
  Asteroids .......................................95
  Comets .........................................96
  Space Habitats ..............................96
  Megastructures ...........................97
  The Universe, Part Three
  Earth’s Solar System ...................100
  The Sun ......................................100
  The Planets .................................100
  Mercury ....................................100
  Venus .......................................101
  The Moon .................................101
  Mars .........................................102
  The Asteroids ............................103
  Jupiter ......................................104
  Saturn ......................................105
  Uranus ......................................105
  Neptune ....................................106
  Pluto .........................................106
  The Kuiper Belt .........................107
  The Oort Cloud ..........................107
  Beyond Sol ..................................107
  Nearby Stars .............................107
  Further Aﬁeld ............................108
  Civilizations
  Future Worlds ..............................110
  Utopia .......................................110
  Bigger Tailﬁns ............................110
  Cultural Stereotypes ..................111
  Cultural Fusion ..........................111
  Dystopia ...................................112
  Post-Apocalypse .......................112
  Creating Alien Species .................115
  Alien Archetypes ..........................115
  Alien Bodies, Alien Minds .............116
  Creating Player Character Species ...119
  Package Deal Components ........120
  Alien Species As NPCs .................122
  Alien Civilization ..........................124
  Technology ..................................124
  Population ...................................124
  Economics ..................................127
  Government ................................131
  The Basics Of Government .........131
  Interstellar Governments ............133
  Agencies ...................................134
  Languages ..................................138
  Diversity ......................................139
  Culture ........................................139
  Technology
  Technology In The Campaign .......142
  Technology Levels ........................142
  Tech Scales ..............................142
  Creating A Tech Scale ................142
  Alternate Tech Paths ..................143
  Varying Tech Paths ....................143
  Obsolete And Advanced  
  Technology .............................143
  Alien Technology .......................144
  
  TABLE OF CONTENTS
  Prime Directives And Quarantines ....145
  Technology Improvements ............145
  Rubber Science ...........................146
  Weapons And Defenses ...............148
  Melee Weapons ...........................148
  Ranged Weapons .........................148
  Defenses .....................................155
  Military Technology ......................158
  Other Technology .........................160
  Computers ..................................160
  Robots ........................................165
  Biotechnology ..............................168
  Nanotechnology ...........................169
  Power And Energy Technology ......171
  Teleportation ...............................173
  Miscellaneous Equipment .............174
  Survival Devices ........................174
  Medical Devices ........................175
  Communications And Sensor  
  Devices ..................................175
  Tools ........................................176
  Acquiring Equipment ...................177
  Starships and Space Stations
  Starship Creation .........................180
  General Starship Considerations ...180
  A Brief History Of Human  
  Space Travel ...........................180
  Space Vehicle Types ..................181
  Obtaining A Space Vehicle ..........182
  Basic Spacecraft Design ..............183
  Power Systems ............................184
  Propulsion Systems .....................185
  Acceleration ..............................185
  Normal Propulsion .....................188
  Faster-Then-Light Propulsion .....190
  Weapon Systems .........................194
  Missiles ....................................195
  Beam Weapons .........................195
  Guns ........................................196
  Defenses .....................................197
  Operations Systems .....................200
  Personnel Systems ......................202
  Disadvantages .............................204
  Planetary Vehicles And Mecha .....205
  Hovercraft ...................................205
  Mecha ........................................205
  Space Stations and Starbases .....208
  Space Station Types ..................208
  Size ..........................................208
  Location ....................................210
  Equipment ................................210
  Space Combat .............................212
  Actions In Starship Combat ..........212
  Starship Combat Movement 
  And Maneuvers .........................214
  Movement Basics ......................214
  Realistic Movement ...................215
  Dramatic Movement ..................215
  Attacking And Defending ..............216
  Sensor Locks ............................216
  Combat Modiﬁers ......................216
  Combat Maneuvers ...................216
  Damage And Its Effects ..............217
  Other Actions In Combat ............220
  Example Vehicles .........................222
  Time Travel
  Temporal Mechanics And  
  Consequences ...........................233
  Real-Life Mechanics ....................233
  Game Mechanics .........................233
  Expanded Time Travel Rules .......233
  Methods And Effects ....................235
  Options .......................................237
  Paradoxes And Complications .......238
  Fixed History .............................238
  Mutable History .........................238
  Time Travel Campaigns ................239
  Alternate Histories .......................240
  Psionics
  Psionic Considerations ................243
  The Basics ..................................243
  How They Do It ..........................243
  Power Level ..............................243
  Available Powers .......................244
  Rarity ........................................246
  Social Issues .............................246
  Rules Considerations ...................249
  Psionic Campaigns ......................251
  Campaign Types ..........................251
  Example:  Psionics In The  
  Terran Empire ...........................252
  Example Psionic Powers ...............254
  The GM
  Creating A Campaign ...................259
  Campaign Theme ........................259
  Campaign Types ..........................259
  Subgenre ..................................259
  Campaign Subject .....................262
  Setting ........................................265
  Running The Game ......................267
  Adventure Structure .....................267
  Plotting .....................................268
  Dealing With Disconnects .............270
  Disadvantages And How To Use  
  Them ........................................273
  The Star Hero Environment .........276
  Albedo ......................................276
  Gravity ......................................276
  Zero Gravity ..............................280
  Vacuum ....................................281
  Atmospheres .............................283
  Explosive Decompression ...........285
  Villains And NPCs .........................287
  Villain Archetypes ........................289
  Non-Player Characters ...............292
  NPC Archetypes ........................293
  Characters
  Argos Exploration ........................296
  Robert Avilla ................................297
  Jennifer Degraff ...........................299
  Jason Grigori ...............................301
  Segaro Krez’shul ..........................302
  Kiritha Tal ....................................304
  Villains .........................................306
  Major Allyssa Barth ......................306
  Bertrand Devereaux .....................308
  Dargen ........................................310
  Ghenak Vaa’resh .........................311
  Zee’gansh ...................................313
  Generic NPCs ..............................314
  Bibliography And Filmography .....317
  Index ............................................319
  Notes ...........................................323
  
  5 
  Star Hero 
  E
  ver since the australopithecines ﬁrst 
  looked up and saw the glittering lights 
  in the nighttime sky, humans have been 
  fascinated by space. he vastness of space, 
  with its equally vast possibilities for other worlds, 
  other forms of life, and even other people like 
  ourselves, has held a special place in our minds 
  that nothing has ever dispelled.
  With the coming of the technological revolu-
  tions of the twentieth century, which made travel 
  to the Moon and into near space possible, inter-
  est in science ﬁction broadened and deepened. 
  Thousands of stories, novels, movies, and televi-
  sion shows featuring the bizarre aliens, almost 
  magical devices, and powerful starships of “SF” 
  became a part not only of American, but world, 
  culture. Franchises such as Star Trek, Star Wars, 
  and Doctor Who became icons, known to billions 
  of people around the planet.
  It’s only natural that gamers, many of whom 
  were interested in science ﬁction long before they 
  learned what roleplaying games were, would want 
  to simulate the characters and adventures of SF 
  in their campaigns. Some of the earliest RPGs 
  were science ﬁction games, and numbered among 
  them are many of the most popular games in the 
  history of the hobby.
  Given the interest in science ﬁction gaming, 
  it’s only appropriate that the HERO System, a set 
  of rules unmatched in its ﬂexibility and adapt-
  ability to multiple genres, have a genre book 
  devoted to the inﬁnite opportunities for adven-
  ture the SF genre aﬀords. Star Hero is a set of 
  rules, guidelines, and advice you can use to run 
  gaming campaigns in the style of your favorite 
  science ﬁction. Like Hero’s other genre books, you 
  can think of it as a sort of “instruction manual” 
  that shows you how to use the HERO System 5th 
  Edition “toolkit” to create the best, most interest-
  ing characters and campaigns possible.
  HOW TO USE THIS BOOK
  Star Hero is designed both for players experi-
  enced with SF roleplaying and those who are new 
  to this style and genre of play. Nothing in these 
  pages is secret or for the GM’s eyes only, so every 
  reader can read it all the way through and then 
  decide which portions he wants to utilize.
  Chapter One, Starships, Spacemen, And Bug-Eyed 
  Aliens:  The Science Fiction Genre, describes the 
  major subgenres of SF — Hard SF, Military SF, 
  Space Opera, and so on — with notes about how 
  to simulate them in HERO System campaigns. It 
  also discusses common genre elements and “bits” 
  (such as aliens, hyperspace, and robots), and 
  applying “meta-genres” such as comedy, horror, or 
  romance.
  Chapter Two, Citizens Of The Galaxy:  Character 
  Creation, covers the subject of creating Star Hero 
  characters. It contains dozens of Species and Pro-
  fessional Package Deals, and a thorough review 
  of the Skills, Powers, and other elements of the 
  HERO System as they pertain to science ﬁction 
  PCs.
  Chapters Three through Five are a brief tour 
  through the wonders of astronomy as they relate 
  to science ﬁction gaming. If you want to know 
  how to create your own galaxies, star systems, 
  and planets for your Star Hero campaign, these 
  chapters show you how — and provide random 
  generation tables for your use. Chapter Five looks 
  at Earth’s solar system, both as an example system 
  and as a possible setting for many SF games.
  Chapter Six discusses alien life and alien civiliza-
  tions. Aliens are one of the most common and 
  important elements of SF, and this section of 
  the book shows you how to create intriguing, 
  plausible, and just plain fun alien species and 
  societies for your Star Hero games. Again, there 
  are random generation tables if you want to use 
  them.
  Chapter Seven, Computers, Blasters, And Robots:  
  Technology, delves into the all-important subject 
  of technology in Star Hero. It starts with general 
  concerns — how to establish a “tech level” system 
  INTRODUCTION
  “SF”
  To avoid cluttering the 
  text too much, this book 
  often uses the abbrevia-
  tion “SF” for “science ﬁc-
  tion.” Another common 
  abbreviation, FTL, 
  stands for “faster-than-
  light” (similarly, STL is 
  “slower-than-light”).
  
  6 
  HERO SYSTEM 5TH EDITION
  for your game, how diﬀerent species’s technolo-
  gies might interact — and progresses to a review 
  of the major categories of technology found in 
  science ﬁction, with dozens of examples. The 
  chapter also includes a section on acquiring tech-
  nology and establishing prices for it.
  Chapter Eight, To Soar Among The Stars:  Star-
  ships And Space Stations, covers both those sub-
  jects and ground vehicles such as hovercraft and 
  mecha. In addition to detailed rules for creating 
  spacecraft and the like, it has an extensive section 
  of rules for starship combat.
  Chapter Nine, Yesterday, Today, And Tomorrow:  
  Time Travel, looks at the intriguing subject of 
  traveling through time. It discusses theories on 
  how time travel might work, possible methods, 
  the perils and pitfalls of inﬂuencing the time-
  stream, and how to set up a “Time Hero” time 
  travel campaign.
  Chapter Ten, The Powers Of The Mind:  Psionics, 
  discusses the nature and role of mental powers in 
  science ﬁction generally, and Star Hero campaigns 
  in particular. It reviews the types of powers psis tend 
  to possess, their role in society and the campaign, 
  and other relevant factors. It includes a look at how 
  to build psionic powers with the right “ﬂavor” for 
  SF games, with plenty of sample powers to get you 
  started.
  Chapter Eleven, A Journey Into The Unknown:  Game-
  mastering Star Hero, oﬀers suggestions and ideas 
  for creating and running Star Hero campaigns. It 
  includes information and rules about common SF 
  environments, such as high and low gravity, unusual 
  atmospheres, and the like.
  Chapter Twelve, Argos Exploration, contains some 
  sample characters from Hero’s “Terran Empire” set-
  ting — ﬁve heroes and ﬁve adversaries. You can use 
  these as starting characters for your own players, or 
  simply as examples of ways to build Star Hero PCs. 
  The chapter also has some “generic” NPC writeups 
  GMs can use.
  The book closes with a bibliography of the 
  authors’ favorite science ﬁction, and other books of 
  use to Star Hero gamers.
  So, get your blaster and your energy sword, strap 
  into the pilot’s seat, and get ready to ﬂy out amongst 
  the stars. It’s time for Star Hero adventure!
  SCIENCE!
  Moreso than most games, science ﬁction RPG 
  campaigns have to pay at least some attention to 
  scientiﬁc reality. You need a certain amount of veri-
  similitude, even if it’s just to create realistic-sound-
  ing technobabble, to preserve the feel of the genre. 
  If the GM starts talking about purple stars, or gives 
  the wrong size for the Milky Way Galaxy, the obvi-
  ous scientiﬁc errors may taint players’ enjoyment of 
  the game.
  That being said, roleplaying games are ulti-
  mately about fun and adventure, not scientiﬁc 
  accuracy. Except for the hardest of Hard SF settings 
  and campaigns, a little fudging of the facts or a few 
  minor mistakes shouldn’t cause any trouble. Don’t 
  spend so much time worrying about scientiﬁc real-
  ity that the game suﬀers because of it.
  Star Hero strives to present just the right level 
  of scientiﬁc realism for good gaming — enough 
  that players and GMs don’t make ludicrous errors, 
  but not so much that the players need astronomy 
  textbooks to ﬁgure out what’s going on or start to 
  question the existence of FTL drives. Throughout 
  this book, you’ll ﬁnd plenty of suggestions and 
  ideas on when, and when not, to use “real science.” 
  Where necessary, the book presents rules for simu-
  lating “realistic” activity, but in some cases those 
  rules are slightly tweaked or fudged to make them 
  easier to use in play. If you know enough to spot 
  the technical inaccuracies, and to be bothered by 
  them, you probably know enough to ﬁx them for 
  yourself.
  For example, beginning on page 185, you’ll 
  ﬁnd rules for “realistic” acceleration and movement 
  in space. While these rules are a lot more realistic 
  than the standard HERO System movement rules, 
  they’re still not truly “realistic.” A truly realistic 
  movement system would involve acceleration per 
  Segment per Segment, requiring 720” of move-
  ment per Turn to achieve 1 G of acceleration. That’s 
  reaching the point where there’s too much work 
  involved; it begins to slow down and hinder the 
  ﬂow of the game. If you really want that level of 
  detail, you can make the necessary changes to the 
  rules, but the average gamer does just ﬁne with the 
  “more realistic, but not totally realistic” system.
  Another good example of stressing playability 
  over “realism” can be found in the rules for gravity. 
  The rules on page 278 set a rate of 5 STR Teleki-
  nesis to equal one gravity (1 G) worth of “pull” (an 
  arithmetic progression), even though the lifting 
  capacity of STR doubles for every 5 points (a geo-
  metric progression). This works better for gaming 
  because it’s easy to remember, allows for a fairly 
  broad range of eﬀects for gravitic weapons, and 
  works more like a Grab would when it comes to 
  determining how characters cope with high grav-
  ity. But it’s easily changed if the GM prefers more 
  “realism.”
  On a related point, the results provided by 
  the random tables in Chapters Three through Six 
  should be taken as guidelines. No random system 
  can account for every variable in the galaxy, so if 
  you ﬁnd the outcome not agreeing with what you 
  want, make whatever adjustments you need.
  This book was written in early-mid 2002, 
  and the scientiﬁc facts it presents reﬂect what was 
  known to astronomers as of about that time. Since 
  new discoveries are being made every day, it’s 
  entirely possible that scientists’ views of the uni-
  verse will change after this book is printed. But the 
  odds are, if you’re aware of the diﬀerences, you also 
  know enough to account for them in your game in 
  a logical yet fun way.
  
  7 
  Star Hero ■ Chapter One
  T
  here are probably as many deﬁni-
  tions of science ﬁction as there 
  are readers and writers of it. The 
  author and critic Damon Knight 
  once famously deﬁned it as 
  “Whatever we’re pointing to when we 
  say, ‘that’s science ﬁction.’” It occupies 
  the uneasy ground between pure fan-
  tasy and pure realism. In general, the 
  fantastic elements in a science ﬁction 
  story are at least possible — justiﬁed 
  (however tenuously) by scientiﬁc plau-
  sibility. Often this means little more 
  than abundant use of “technobabble,” 
  but even then the principle holds:  the 
  appeal is to science, however unlikely or 
  bogus, rather than magic or the super-
  natural. Since Star Hero is a roleplaying 
  game, not a critical study of science ﬁc-
  tion as a genre, this chapter tends more 
  towards Damon Knight’s deﬁnition, 
  including material on space opera, sci-
  ence fantasy, and crossovers with other 
  genres.
  
  8 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  T
  he term “science ﬁction” is broad, encom-
  passing many diﬀerent types of stories, char-
  acters, and settings. In the course of almost 
  a century as an identiﬁable genre, science 
  ﬁction has spawned dozens of popular subgenres. 
  Some of them are important enough to rate their 
  own sourcebooks (like Cyber Hero). The boundar-
  ies between them are sometimes fuzzy, and many 
  ﬁlms, stories, or roleplaying campaigns ﬁt into 
  two or more subgenres at once. (For more on run-
  ning games in each of the subgenres, see Chapter 
  Eleven.)
  APOCALYPSE AND  
  POST-APOCALYPSE
  While science ﬁction is usually described as 
  an optimistic genre, it’s full of stories about the col-
  lapse of civilization. The causes of the collapse are 
  various:  plagues which depopulate the Earth (as 
  in Mary Shelley’s The Last Man or Stephen King’s 
  The Stand), endless warfare (in H.G. Wells’s Things 
  To Come), nuclear war (The Road Warrior, Paul 
  O. Williams’s “Pelbar Cycle,” Piers Anthony’s Bat-
  tlecircle, and countless others), asteroid impacts 
  (Lucifer’s Hammer, by Niven and Pournelle), mass 
  blindness (in John Wyndham’s Day Of The Triﬃds), 
  a new Ice Age (the ﬁlm Quintet), shoddy software 
  (remember the “Y2K bug”?), global warming 
  (Waterworld or John Barnes’s Mother Of Storms), 
  and even the literal Apocalypse (in the Left Behind 
  series of Christian thrillers).
  The great appeal of The End Of The World 
  As We Know It is that all the irritating restrictions 
  and complications of modern life are swept away 
  and replaced by others more conducive to “adven-
  ture.” Instead of battling traﬃc to get to work on 
  time, the survivors battle each other to survive. 
  Impersonal threats like inﬂation are replaced by 
  personal, immediate problems like cannibal motor-
  cycle gangs. The level of destruction is secondary 
  to the complete absence of any authority. People 
  are totally free, and what they choose to do with 
  that freedom drives the story. Some writers use the 
  apocalypse as a way to sweep away the corrupt old 
  world and allow for the creation of a Utopia; others 
  use the post-apocalypse setting as a venue for 
  action-adventure.
  Apocalyptic SF generally divides into stories 
  which focus on the big disaster itself, and those 
  which pick up the story generations or centuries 
  later in the new societies which have grown up 
  (what SF fans and gamers generally refer to as the 
  “post-apocalyptic” subgenre). The latter type shades 
  into the Planetary Romance subgenre, with Earth 
  as the unknown world dotted with strange societ-
  ies. (A few save the revelation that the planet is 
  Earth for the Big Surprise Ending, as in the original 
  Planet of the Apes.)  Tales of surviving the apoca-
  lypse and its aftermath can delve into the minutiae 
  of rebuilding civilization, or just center on blowing 
  away cannibal motorcyclists.
  APOCALYPTIC/POST-APOCALYPTIC  
  STAR HERO CAMPAIGNS
  “Post-Apocalyptic Hero”  games (and the 
  “Apocalypse Hero” campaigns that may very well 
  precede them) usually involve Standard Heroic 
  PCs built on 75 Base Points + 75 Disadvantages. 
  If the GM wants to throw in a weird twist, such as 
  the existence of magic or the supernatural, he may 
  prefer Powerful or Very Powerful Heroic characters 
  instead.
  CYBERPUNK
  Cyberpunk science ﬁction became popular in 
  the 1980s, with the appearance of William Gibson’s 
  novel Neuromancer and the Ridley Scott ﬁlm Blade 
  Runner. The name tells what makes it distinctive. 
  “Cyber” reﬂects the growing fascination with com-
  puter networks, virtual reality, and the accelerating 
  pace of technological change in the modern world 
  and the near future. “Punk” indicates a focus on the 
  seamier side of a world transformed by technology.
  Typically, Cyberpunk stories are set on or 
  near Earth in the near future, but study or reﬂect 
  the eﬀects of rapid change and the possibilities of 
  melding Humans and machines. The feel is gritty, 
  urban, multicultural, and rebellious — characters 
  are often outlaws battling large, impersonal corpo-
  rations. The archetypical Cyberpunk character is 
  the “cyberspace cowboy” — an elite hacker trained 
  to outwit sophisticated and deadly countermea-
  sures as he navigates the data networks to steal 
  valuable information. Cybered drivers/pilots, as 
  depicted in such works as Walter Jon Williams’s 
  Hardwired, are a variant on the hacker. The “samu-
  rai” (a heavily-cybered warrior with an attitude 
  often as lethal as his weaponry) is also popular; 
  Gibson’s Molly Millions epitomizes this sort of 
  character.
  Cyberpunk is suﬃciently successful as a sub-
  genre to spin oﬀ a couple of daughter types of its 
  own:  “biopunk” and “nanopunk” keep the rebel-
  lious tone and urban setting, but shift the focus 
  from computer piracy and glittering mechanical 
  implants to “gene hacking” and Humanity altered 
  by genetic engineering or nanotechnology.
  SCIENCE FICTION 
  SUBGENRES
  COZY  
  CATASTROPHES
  Not all apocalypses are 
  created equal. Some dev-
  astate the Earth, while 
  others conveniently kill 
  oﬀ the Human race but 
  leave everything intact. 
  Day Of The Triﬃds and 
  The Stand both managed 
  to get rid of Human-
  ity without much 
  large-scale destruction. 
  For the lucky few sur-
  vivors, the result is a 
  consumer’s paradise:  all 
  the goods and luxuries 
  of modern society are 
  just lying around to be 
  picked up. There may 
  still be cannibal motor-
  cycle bandits to contend 
  with, but it’s much more 
  fun to battle them in an 
  expensive car.
  The work of rebuilding 
  society is much easier if 
  the catastrophe is a cozy 
  one; just ﬁgure out how 
  to get the power plant 
  running and you’re in 
  business. Consequently, 
  cozy catastrophe stories 
  tend to focus on strug-
  gles among the survi-
  vors about what sort of 
  new society to create.
  
  9 
  Star Hero ■ Chapter One
  CYBERPUNK CAMPAIGNS
  Cyber Hero games are Heroic campaigns. The 
  PCs are most often Standard Heroic characters, 
  with 75 Base Points + 75 Disadvantage points. 
  However, cyberpunk characters are often quite 
  powerful, combining high Skill rolls with various 
  special abilities produced by artiﬁcial enhance-
  ments. Therefore, the GM may want to consider 
  making them Powerful or Very Powerful Heroic 
  characters, particularly if he prefers for the PCs to 
  buy cyberware with Character Points instead of 
  getting it for free.
  See the Cyborgs sidebar, page 28, for more 
  information on cyberware, and the Cyberspace sec-
  tion, page 162, for details on the virtual world of 
  the ’Net.
  EARTHBOUND 
  SCIENCE FICTION
  Though space travel remains the iconic image 
  of science ﬁction, it’s worth remembering that 
  many of the early masters of the genre did quite 
  well with stories set entirely on Earth. Earthbound 
  science ﬁction usually focuses more on changes to 
  Human society rather than interactions with alien 
  beings. The time period tends to be modern-day or 
  near-future, although some more pessimistic writ-
  ers have examined how Human civilization might 
  develop if space travel never becomes practical.
  Just because a story is set on Earth doesn’t 
  mean it can’t involve fantastic and exotic cultures 
  or events. A perennial favorite of pulp-era stories 
  was the Lost World — a remote or isolated region 
  where strange beings and stranger societies can 
  develop. The arrival of aerial mapping and satel-
  lite photography drove most lost world stories 
  oﬀ to other planets, but they still have a place in 
  Pulp-style or Victorian adventures. Gamemasters 
  who want to put a Lost World in a modern or near-
  future setting need to do some fancy handwaving 
  to explain how it has remained undiscovered.
  Similarly, just because the story’s limited to 
  Earth doesn’t mean it can’t involve aliens — they 
  just have to come to the PCs, instead of the PCs 
  going to them. They might be invaders (as in H.G. 
  Wells’s The War Of The Worlds), mysterious grey-
  skinned beings who want to harvest Humans for 
  their own inscrutable purposes, or simply visitors 
  interested in seeing Earth’s “tourist attractions” who 
  happen to bring adventure with them. Alternately, 
  the “aliens” could be an altered, or newly-intelli-
  gent, form of Earth life, such as the insectile beings 
  of Frank Herbert’s Hellstrom’s Hive or The Green 
  Brain.
  EARTHBOUND STAR HERO CAMPAIGNS
  Earthbound Star Hero games are Heroic cam-
  paigns, with Standard Heroic PCs built on 75 Base 
  Points + 75 Disadvantage points. Typically the PCs’ 
  access to the fantastic technology so common to 
  other forms of science ﬁction is limited, though 
  they may, as in the movie Men In Black, have access 
  to technology brought to Earth by alien species.
  HARD SCIENCE FICTION
  Hard SF emphasizes scientiﬁc and technical 
  accuracy, sometimes at the expense of character 
  development and plot (though the best Hard SF 
  combines both technical and dramatic aspects 
  without detracting from either). The great appeal of 
  a Hard SF story is that the events and technology 
  depicted are, theoretically, really possible, at least 
  at some point in mankind’s development. In many 
  such settings, not even that most common staple 
  of science ﬁction, faster-than-light travel, exists, 
  though some otherwise Hard SF stories do have 
  FTL ships because they’re such a useful enabling 
  device.
  Hard SF’s focus on technical matters and sci-
  entiﬁc phenomena often means the stories concern 
  the exploits of inventors and engineers dealing with 
  unforeseen problems in hostile environments. Con-
  ﬂicts in Hard SF stories are as frequently resolved 
  with a little-known piece of real science as with 
  ﬁsticuﬀs and blaster ﬁre. Many are, in essence, mys-
  tery stories where the resolution of the dilemma 
  depends not on the characters’ detective work, but 
  on their scientiﬁc and engineering acumen.
  
  10 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  HARD SCIENCE FICTION STAR HERO  
  CAMPAIGNS
   
  Hard SF Star Hero games are, at best, 
  Standard Heroic campaigns, with PCs built on 75 
  Base Points + 75 Disadvantage points. Many use 
  even lower point totals, such as 75 + 50 — charac-
  ters’ non-scientiﬁc abilities are often quite low, so 
  that they have to think their way out of dilemmas.
  LOW SCIENCE FICTION
  Low Science Fiction is a close cousin of 
  Hard SF. It avoids most of the high-tech trappings 
  common to science ﬁction, instead taking place 
  at the low end of the technology scale. That limits 
  the campaign and characters to relatively plausible 
  near-future technological developments instead of 
  the fantastic devices common to Space Opera and 
  the like. The “Aliens” movies, starring Sigourney 
  Weaver, represent this subgenre in many respects. 
  Low SF is most common in television and movie 
  SF, since it’s easier (and cheaper) to depict — novel 
  writers don’t suﬀer from budget restrictions.
  In Low SF, characters carry advanced ﬁrearms 
  rather than energy weapons. When planetside, they 
  travel in advanced all-terrain vehicles or helicop-
  ters instead of hovercraft. To travel from world to 
  world, they put themselves into “cold sleep” (cryo-
  genic suspension) for near-lightspeed travel and 
  suﬀer from time dilation eﬀects (see page 174). 
  Similarly, Low SF characters are almost always 
  Humans; aliens rarely appear in such settings, 
  since the lack of dependable FTL travel makes it 
  diﬃcult or impossible for them to mingle with 
  Humans (assuming any sentient aliens exist at all). 
  Other common SF characters, abilities, or elements 
  — such as robots, psionics, time travel, and mecha 
  — are typically inappropriate.
  One interesting twist on the typical Low SF 
  setting is a colony, backwater world, or other less-
  advanced part of an otherwise normal, high-tech 
  science ﬁction setting. Characters ﬁnd themselves 
  having to make do with lesser tech, instead of the 
  cutting-edge devices available to most people in the 
  galaxy.
  Ironically, Low SF isn’t really more “realis-
  tic” than other types simply because it limits the 
  technology available. Reasonable extrapolations of 
  future technology show that some amazing things 
  may be possible in only a few decades. Low SF tac-
  itly ignores potential major advances to focus on 
  recognizable characters in a recognizable setting.
  LOW SCIENCE FICTION STAR  
  HERO CAMPAIGNS
  Low SF Star Hero games are mostly the same 
  as Hard SF games:  Standard Heroic campaigns 
  with PCs built on 75 Base Points + 75 Disadvantage 
  points. Some GMs allow even fewer points, thus 
  further emphasizing the grim-and-gritty aspects of 
  the subgenre; others prefer more points, since the 
  PCs have to rely solely on their own skills — can’t 
  fall back on advanced technology the way other 
  Star Hero characters can.
  MILITARY SCIENCE FICTION
  Military SF is a very popular subgenre, focus-
  ing on futuristic military operations and battles. It 
  can involve space battleships trading broadsides 
  in vacuum, or tough battlesuited Space Marines 
  slugging it out on alien planets. By adjusting the 
  technologies available, the GM can create settings 
  which echo the Napoleonic Wars of Captain Horn-
  blower, the island-hopping and carrier duels of 
  World War II’s Paciﬁc theater of operations, or the 
  ground-pounding horrors of World War I trench 
  warfare.
  Military SF is often Low SF because of the 
  sheer killing power of advanced technology. When 
  the outcome of a battle depends more on stealth 
  technology and smart missiles, there isn’t much 
  room for individual heroism. But that’s not a hard 
  and fast rule; it’s entirely possible to tell Military 
  SF stories in high-tech settings, as the “Dominion 
  War” story arc on Star Trek: Deep Space Nine so 
  ably shows. Gamers often have a lot of fun ﬁguring 
  out ways to use teleporting artillery, FTL missiles, 
  anti-matter explosives, and planetary fortresses to 
  wage war.
  A particularly enduring type of Military SF 
  is the alien invasion story, in which extraterrestri-
  als drop down out of the sky and begin trying to 
  take over the world. It worked for H.G. Wells in 
  The War of the Worlds, the producers of the ﬁlm 
  Independence Day, and thousands of writers and 
  moviemakers in between. Alien invasions usually 
  land on a modern-day or past Earth; a future set-
  ting is more likely to be a space war story. One twist 
  on this theme, as seen in Robert Heinlein’s Starship 
  Troopers or Orson Scott Card’s Ender’s Game, is 
  to focus on how the PCs train to invade an enemy 
  world.
  MILITARY SCIENCE FICTION  
  STAR HERO CAMPAIGNS
  Military SF Star Hero games are Standard 
  (or sometimes Powerful) Heroic campaigns, with 
  PCs built on 75-100 Base Points plus up to 75-100 
  points of Disadvantages. Some GMs prefer the 
  higher point totals, since the powerful technology 
  common to this subgenre can easily eclipse the PCs 
  in importance if they’re not particularly competent.
  PLANETARY ROMANCE
  Closely related to both Pulp SF and Space 
  Opera, Planetary Romance stories center on a 
  single world, often teeming with exotic cultures 
  and menaces. The technology level is usually low 
  enough to allow for swordplay and swashbuckling 
  derring-do, though characters can still ﬁnd nifty 
  remnants of advanced superscience. Stories tend 
  to be quests or picaresque journeys which take 
  the heroes on a tour of interesting and dangerous 
  places; Planetary Romances resemble Fantasy Hero 
  in some ways, but with blasters, force-ﬁelds, and 
  aliens instead of magic and monsters. The “Bar-
  soom” stories of Edgar Rice Burroughs serve as a 
  SURREALISTIC  
  SCIENCE FICTION
  At its most specula-
  tive, science ﬁction can 
  question the very nature 
  (or existence) of reality 
  itself. What if everything 
  we see is a dream, or 
  an illusion?  What if 
  everything we remember 
  is a lie?  Philip K. Dick 
  (Do Androids Dream of 
  Electric Sheep?, which 
  became the ﬁlm Blade 
  Runner) is perhaps the 
  best-known surrealist 
  science ﬁction writer, 
  but even arch-Hard SF 
  author Robert Hein-
  lein managed stories 
  like “Them” and “The 
  Unpleasant Profession of 
  Jonathan Hoag.” Ques-
  tions about the nature 
  of reality turn up with 
  surprising regularity in 
  ﬁlms and television.
  The chief feature of sur-
  realist SF is simply that 
  Things Are Not As They 
  Seem. The memories, 
  perceptions and identi-
  ties of the characters can 
  all be false. Naturally, 
  this can be overdone:  if 
  everything is arbitrary 
  and mutable, it’s hard for 
  the reader or the player 
  to care about what hap-
  pens.
  Running a wholly 
  surrealistic Star Hero 
  campaign probably isn’t 
  practical, but GMs could 
  certainly inject an occa-
  sional surrealistic story 
  into otherwise normal 
  campaigns. An RPG also 
  opens up the interesting 
  possibility of running 
  two parallel campaigns, 
  each of which is a work 
  of ﬁction in the other. 
  The heroes in the Cyber-
  punk setting venture into 
  a virtual reality parlor 
  and enter the Space 
  Opera campaign. But the 
  Space Opera characters 
  are playing a “psionic 
  novel” set in the Cyber-
  punk world. Which 
  world is the “real” one? 
  
  11 
  Star Hero ■ Chapter One
  model for the genre, but the novels of writers like L. 
  Sprague de Camp (in his “Krishna” books) and Jack 
  Vance (Big Planet, the “Planet of Adventure” series) 
  hone it to perfection.
  A more recent oﬀshoot of the Planetary 
  Romance is the “Big Dumb Object” story. These 
  tales share the colorful landscape and exotic cul-
  tures, but set the story on a vast and ancient artiﬁ-
  cial structure. Examples include Larry Niven’s Ring-
  world and John Varley’s “Gaia” series. The goal when 
  exploring a Big Dumb Object is usually to ﬁnd out 
  who built it and why; often the sheer Bigness of the 
  Object is the chief obstacle faced by the heroes.
  In either case, the central focus of the story 
  is the same:  the planet/Object and its inhabitants 
  and features. Unlike many science ﬁction stories, 
  which involve traveling vast distances through 
  space in starships, Planetary Romances stick to a 
  single world. Either the characters have no way to 
  get oﬀ-planet, or their means of space travel has 
  been disabled (which makes “ﬁnd a way to repair 
  the ship” an excellent motivator for the GM to 
  use). This means the GM has to develop that one 
  world in detail. He needs to know everything from 
  its planetological data (year, length of day, core 
  composition, orbital pattern, hydrology, climate, 
  and so forth), to its major and minor geographi-
  cal features, to the people and cultures who call it 
  home. Part of the goal of the campaign is often to 
  ﬁnd out about the world, so the GM needs to have 
  answers at the ready when the PCs begin to explore 
  and investigate.
  PLANETARY ROMANCE STAR  
  HERO CAMPAIGNS
  Planetary Romance campaigns usually feature 
  PCs who are at least Standard Heroic characters 
  (75 Base Points + 75 Disadvantages). Since the PCs 
  are likely cut oﬀ from help or outside resources, the 
  GM may want to give them more Character Points, 
  so that they’re more self-suﬃcient. Higher point 
  totals also suit the quasi-swashbuckling nature of 
  these stories.
  RETRO-SF
  Since science ﬁction as a genre has a history 
  stretching back to the 1860s (if not earlier), there’s 
  now a thriving subgenre in which authors (and 
  gamers!) revive old styles and tropes. The tone usu-
  ally falls somewhere between aﬀectionate parody 
  and nostalgic homage. Types of Retro-SF include:
  STEAMPUNK
  “Steampunk” is a coined term referring, gen-
  erally, to stories which take the work of Verne, 
  Wells, and their ilk as inspiration. They can either 
  be set in a Victorian-era setting with anachronistic 
  technology, or in an alternate present based on 
  Steam Age visions of the future. Either way, puﬃng 
  smokestacks and rivets are the order of the day, and 
  the sun doesn’t set on the steam-powered British 
  Empire. The “punk” aspect draws on the genuine 
  squalor and misery of the early Industrial Revolu-
  tion, often blended with Cyberpunk tropes like 
  computer hackers (breaking into 
  the giant Babbage engines that 
  keep the Empire running) or 
  mechanical implants (which may 
  need winding or stoking). The 
  seminal Steampunk novels are 
  The Diﬀerence Engine, by Wil-
  liam Gibson and Bruce Sterling, 
  and K. W. Jeter’s Infernal Devices.
  Steampunk Star Hero cam-
  paigns are usually Standard 
  Heroic games (75 Base Points 
  + 75 Disadvantages), though 
  some GMs prefer to descend 
  lower, perhaps even to Compe-
  tent Normal levels, when setting 
  games in the Victorian Age.
  PULP SCIENCE FICTION
  Science ﬁction tales featur-
  ing the likes of Buck Rogers and 
  Flash Gordon were extremely 
  popular in the freewheeling pulp 
  magazines and ﬁlm adventure 
  serials of the 1920s and 1930s, 
  and Star Hero campaigns and 
  stories inspired by them have a 
  particular look, feel, and tone. 
  Rocketships resemble hood 
  ornaments, aliens are Humans 
  with green skin and ﬁnned 
  helmets, and the weapon of 
  SUPERTANKS AND 
  POWERED ARMOR
  One source of Military 
  SF’s enduring popularity 
  is the hardware, espe-
  cially really big ﬁghting 
  machines. Supertanks 
  are one common trope; 
  these tend to be hov-
  ercraft or antigravity 
  vehicles armed with 
  huge energy cannons. 
  Some supertanks 
  dispense with crews, 
  letting a sophisticated 
  artiﬁcial intelligence 
  run the machine. Sloppy 
  programming can lead 
  to interesting complica-
  tions. Another favorite 
  big war machine is the 
  humanoid battlesuit, 
  usually equipped with 
  an arsenal of built-in 
  weapons and the abil-
  ity to ﬂy. These range 
  from slightly more than 
  man-size (as in Star-
  ship Troopers) to the 
  city-sized Super-Dimen-
  sional Fortress of the 
  animated Macross epic. 
  See Chapters Seven and 
  Eight for some examples 
  of this sort of technol-
  ogy.
  
  12 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  choice is the Art Deco ray gun. Pulp science ﬁction 
  adventures often take place in the old-fashioned 
  version of the Solar System, with a swampy Venus 
  and a dry, canal-covered Mars.
  Pulp Star Hero campaigns are usually Stan-
  dard Heroic games (75 Base Points + 75 Disadvan-
  tages). However, GMs seeking the maximum level 
  of grandiose adventure and swashbuckling hero-
  ism may want Powerful or Very Powerful Heroic 
  characters instead.
  FIFTIES SCI-FI
  “Fifties Sci-Fi” refers to tales based more on 
  the monster and alien-invasion movies of the 
  Atomic Era than on written ﬁction of the time. In 
  Fifties Sci-Fi, the main threats are either radiation-
  spawned giant monsters or ﬂying saucer aliens 
  from space. A dash of Cold War paranoia and the 
  sense that “the government is keeping this quiet” 
  usually add a slightly malevolent tone to what 
  would otherwise be pure camp, but in the end 
  square-jawed jet pilots and pipe-smoking scientists 
  usually save the day. The cheesiness of much of the 
  source material makes it almost impossible not to 
  play Fifties Sci-Fi for laughs.
  Fifties Sci-Fi Star Hero campaigns ordinar-
  ily feature Standard Heroic (75 Base Points + 75 
  Disadvantages) PCs. They can handle most of the 
  threats with forthright heroism, true-blue Ameri-
  can scientiﬁc genius, and a good right hook, so 
  they don’t need to be extremely powerful.
  SPACE OPERA
  Originally coined as a derogatory term for the 
  tired old “spaceship yarn” of the early pulps, Space 
  Opera now refers to stories which try to recap-
  ture the sense of wonder and high adventure that 
  characterized pulp sci-ﬁ. In Space Opera scientiﬁc 
  accuracy and rigorous speculation take a distant 
  second place to exotic settings and fast-paced 
  adventure. Probably the purest Space Opera stories 
  were the Lensman series by E.E. “Doc” Smith, but 
  the greatest success of Space Opera has come in 
  ﬁlm and television, where Star Trek, Star Wars, and 
  Babylon 5 embody all the subgenre’s virtues (and 
  ﬂaws). More recently, authors like Iain M. Banks 
  and Lois McMaster Bujold have revisited Space 
  Opera, adding a greater depth of character and 
  theme.
  Space Opera requires a large canvas:  the scale 
  is at least the whole Solar System, but most stories/
  campaigns are galactic (or even intergalactic) in 
  scope. Spaceships travel at many times the speed 
  of light, range from merely big to mind-bogglingly 
  huge, and mount weapons which ﬁre brightly-
  colored beams of devastating power. Alien species 
  are numerous and often very weird in appearance 
  and habits. Sophisticated technology is common-
  place, and often embodies Clarke’s Law (see page 
  160). Psionics exist, and are sometimes immensely 
  powerful. Science is a matter of genius inventors 
  creating even bigger and more powerful space-
  ships, superweapons, computers, and tools in a 
  remarkably short time. The focus is on big events 
  like wars, planet-cracking disasters, and the fate of 
  whole civilizations.
  SPACE OPERA STAR HERO CAMPAIGNS
  Space Opera is probably the easiest SF sub-
  genre to run as a Star Hero campaign; most science 
  ﬁction RPGs derive from, and use, the elements 
  and features of Space Opera more than any other 
  subgenre. The campaigns are usually Heroic, with 
  PCs who are at least Standard Heroic characters 
  (75 Base Points + 75 Disadvantages). In many cam-
  paigns, the PCs are built on even more points (as 
  Powerful or Very Powerful Heroic characters, or 
  sometimes even Low-Powered Superheroics) — 
  that allows for the high Skill Rolls, psionic powers, 
  and other abilities often displayed by Space Opera 
  characters.
  TIME TRAVEL
  If space isn’t big enough, characters can also 
  go roaming through time. Stories of time travel go 
  back to Mark Twain’s A Connecticut Yankee in King 
  Arthur’s Court, but the concept remained strictly 
  fantasy until H.G. Wells came up with the notion 
  of a Time Machine in the novel of the same name. 
  Even then, of course, it was all just fantasy with 
  technological trappings, but in later decades scien-
  tists began to discover curious loopholes in General 
  Relativity and modern physics which may actually 
  allow time travel under certain conditions.
  Tales of time travel tend to break down into 
  two main categories. The ﬁrst follow Twain and 
  Wells and use time travel as an enabling device that 
  lets characters have exciting adventures in the past 
  or future. The second type centers on the mechan-
  ics and paradoxes of time travel itself. These tend 
  to be short stories like Robert Heinlein’s “All You 
  Zombies” or paradox-riddled ﬁlms like Back To The 
  Future.
  Time travel is such an enduring trope in sci-
  ence ﬁction that it tends to work its way into all the 
  SWORDS AND 
  STARSHIPS
  A surprising number of 
  science ﬁction settings 
  manage to work sword-
  play into a high-tech-
  nology setting. This is 
  mostly because sword-
  ﬁghts are a lot cooler 
  than just incinerating 
  somebody with your 
  laser pistol.
  Since swords aren’t 
  commonly used even 
  on twenty-ﬁrst century 
  Earth, the author of a 
  science ﬁction swash-
  buckler has to explain 
  why they have returned 
  to favor. Sometimes 
  the reason is social:  in 
  L. Sprague de Camp’s 
  “Krishna,” stories the 
  interstellar authorities 
  strictly control what 
  technology explorers 
  can bring with them on 
  primitive planets, and 
  enforce the rules with 
  brainwashing machines. 
  A technological solu-
  tion was used by Frank 
  Herbert in the Dune 
  series. His characters 
  had personal force-ﬁelds 
  which could stop high-
  velocity projectiles, but 
  which a slow-moving 
  blade could penetrate. 
  The lightsabers of Star 
  Wars can penetrate any 
  defenses, but can’t be 
  used as projectiles or 
  beams, making a revival 
  of sword ﬁghting tech-
  niques essential for the 
  Jedi Knights. In more 
  general terms, it might 
  be a matter of spacefar-
  ing safety:  an errant 
  blaster shot aboard a 
  starship could penetrate 
  the hull and cause 
  explosive decompres-
  sion that kills everyone 
  aboard, whereas swords 
  pose no such danger.
  ADJECTIVE FATIGUE
  A potential problem for Space Opera adventures is 
  “adjective fatigue.” Once the heroes have defeated 
  the Ultimate Evil Overlord, they soon run across a 
  Super-Ultimate Overlord. The giant starships and 
  super-weapons get bigger and more devastating in 
  each episode. After saving the Galaxy, they have to 
  save the whole Universe, and then the entire Multi-
  verse, and then....
  The simplest way to avoid this problem is to start 
  at an appropriately low scale. If the heroes begin by 
  toppling the Galactic Empire, it’s hard to top that 
  in later scenarios. But if they begin by thwarting 
  one power-mad Imperial governor, then with what 
  they’ve learned and the allies they’ve made, they can 
  work their way up. The Lensman stories followed 
  this pattern:  at ﬁrst the Galactic Patrol was just 
  concerned with ﬁghting drug runners and pirates. 
  Then they had to face the secret conspiracy behind 
  the pirates. Then they confronted an aggressive rival 
  empire which sponsored the conspiracy... and so on 
  right up to the ﬁnal battle of Good against Evil.
  
  13 
  Star Hero ■ Chapter One
  other subgenres (except Low SF). Star Trek and 
  Babylon 5 both have time travel episodes, and S.M. 
  Stirling’s popular Island In The Sea Of Time centers 
  on the military adventures of modern Americans 
  stuck in the Bronze Age. A time-hop can be a 
  one-shot adventure in an ongoing campaign, or 
  the characters can make a career of visiting other 
  times as agents of the Time Police or simply tour-
  ists. Combining space and time travel lets the sto-
  ries wander all over the cosmos, in the footsteps of 
  the BBC’s Doctor Who.
  A variant on time travel is visiting alter-
  nate universes and other dimensions. These are 
  worlds like our own, but existing “next to it” in 
  some higher level of reality. Alternate histories are 
  worlds in which some particular historical event 
  turned out diﬀerently (perennial favorites are the 
  American Civil War and World War II). They allow 
  characters to see the results of changing history 
  without involving them in all the potential para-
  doxes and complications of visiting their own past. 
  Some alternate worlds even have diﬀerent natural 
  laws, with functioning magic or other supernatural 
  powers to liven things up.
  For more on time travel, refer to Chapter 
  Nine.
  TIME TRAVEL STAR HERO CAMPAIGNS
  Gamemasters can easily center entire cam-
  paigns around the idea of PCs traveling through 
  time, either deliberately (perhaps as “Time Cops”), 
  or involuntarily/uncontrollably (as with Doctor 
  Who, at some points of his career). Player char-
  acters in Time Travel games are usually 75 Base 
  Points + 75 Disadvantages Standard Heroic char-
  acters. Technical Skills and a knowledge of history 
  are de rigueur, and usually much more valuable 
  than the ability to ﬁght well. Some GMs may even 
  wish to consider giving characters extra Character 
  Points that can only be used to buy history-related 
  Background Skills.
  UTOPIAS AND DYSTOPIAS
  One of the oldest themes in science ﬁction 
  is showing how the world could be a better place. 
  Usually this is accomplished by creating a society 
  in which all the author’s pet ideas are put into 
  practice, and everything he dislikes is eliminated. 
  (Or everything she dislikes:  feminist utopias are 
  a particularly enduring subset.) Once all that is 
  done, the result is an ideal society.
  Ideal societies have an unfortunate tendency 
  to be static and unchanging, because there’s no way 
  to improve on perfection. In a roleplaying game 
  they are rather unsatisfying places for adventures, 
  since in a smoothly-running ideal society there 
  aren’t all that many adventures to have. One way to 
  have perfection and still go adventuring is to place 
  the Utopia in danger from hostile outside forces 
  who want to destroy it. Alternately, the inhabitants 
  of a Utopia may feel it’s their duty to spread the 
  beneﬁts of their ideal society to the outside world. 
  Of course, one person’s ideal society is another’s 
  living hell.
  The ﬂip side of the coin from Utopia is Dysto-
  pia:  a society in which something (or everything) 
  has gone wrong. As with Utopias, they are often an 
  excuse for the author to air his political views, by 
  showing the awful consequences if those he dis-
  agrees with get their way. The most famous dysto-
  pia is George Orwell’s 1984, which was a warning 
  about the true face of Communism at a time when 
  it still had a following among the British left.
  Dystopias are slaves of fashion, reﬂecting 
  with uncanny accuracy the concerns of the decade 
  in which they are written. Orwell wrote in 1948 
  when the Cold War was at its coldest. A few years 
  later Frederick Pohl warned about unconstrained 
  consumerism in The Midas Plague, and a couple of 
  decades after that the big problem was overpopu-
  lation in the ﬁlm Soylent Green. Other dystopias 
  retain their appeal:  fundamentalist right-wing 
  dictatorships in America are a perennial favorite, 
  from Robert Heinlein’s Revolt In 2100 to Margaret 
  Atwood’s The Handmaiden’s Tale. In many ways, 
  the entire Cyberpunk subgenre could be regarded 
  as a dystopia reﬂecting fears over corporate power 
  (and greed) and the dehumanizing eﬀects of tech-
  nology.
  UTOPIA/DYSTOPIA STAR HERO CAMPAIGNS
  Star Hero campaigns focusing on utopias or 
  dystopias are relatively rare; such places are better 
  to visit, for single game sessions or story arcs, than 
  RAY GUNS
  One Retro-SF notion 
  which rather surpris-
  ingly came true is the 
  idea of the “ray gun.” 
  One early example was 
  the Heat-Ray of H.G. 
  Wells’s Martian invaders, 
  and during the Pulp Era 
  both heroes and vil-
  lains wielded a dazzling 
  array of weapons that 
  projected rays of various 
  colors and destructive 
  eﬀects. Scientists, mean-
  while, scoﬀed at the 
  notion because everyone 
  knows a beam of light 
  or radiation spreads 
  out in a cone and could 
  never deliver enough 
  energy to do damage. 
  Then a team at Bell Labs 
  invented the laser, and 
  today energy weapons 
  are the stuﬀ of Pentagon 
  research projects rather 
  than pulp ﬁction.
  Gamemasters and 
  players who want to 
  “personalize” their char-
  acters’ ray guns a bit can 
  use the following handy 
  tables. Roll 1d6 for beam 
  type, then roll again for 
  the beam’s color.
   1d6 Roll Beam Type
   
  1 
  Straight beam
   
  2 
  Pulse beam
   
  3 
  Wavy beam
   
  4 
  Line of 
   
   
  circles/disks
   
  5 
  Sphere(s)
   
  6 
  Narrow cone
   1d6 Roll Beam Color
   
  1 
  Red
   
  2 
  Blue
   
  3 
  Purple
   
  4 
  Green
   
  5 
  Yellow/Gold
   
  6 
  Silver/White
  JUST VISITING
  Time travel is a great excuse to let characters from 
  a historical or present-day roleplaying campaign 
  spend some time in a science ﬁction setting. While 
  it can be just a fun outing to a diﬀerent playground, 
  there’s a lot of potential in letting the characters see 
  the consequences of things they were doing back in 
  the “real” campaign setting. If their visit to the future 
  reveals that a minor villain becomes the Tyrant of 
  Earth, they’ll certainly redouble their eﬀorts to catch 
  him. (Even more disturbingly, what if one of the 
  PCs is destined to commit some atrocity?) Similarly, 
  visits to the past can let characters meet their earlier 
  selves, see (or even cause) the origins of their adver-
  saries, and possibly learn some secrets which can 
  help them in their ongoing campaign.
  This is not without its pitfalls, however:  characters 
  dropped into a highly-advanced future world are 
  likely to hit the malls for a superscience shopping 
  spree, and then either use high-tech ﬁrepower when 
  they get back home, or else transform the world 
  economy with new inventions. Those who travel 
  into the past tend to acquire lots of valuable old 
  postage stamps, or else start up stock portfolios or 
  bank accounts which have grown to titanic propor-
  tions when they return to their proper time. Unless 
  the GM wants to have his campaign altered this 
  way (which would certainly make for an interesting 
  change of pace!), he needs to ﬁnd a way to prevent 
  the characters from doing these things — ranging 
  from not giving them the opportunity, to appealling 
  to the players’ senses of drama and fair play, to have 
  items that are “temporally out of place” quickly 
  crumble to dust.
  
  14 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  they are to live in. Games permanently focused on 
  such settings usually feature Competent Normal or 
  Standard Heroic PCs (50-75 Base Points + 50-75 
  Disadvantages). However, utopian characters may 
  be much more powerful, even Superheroic, because 
  their societies have unlocked the secrets of psionics, 
  immortality, superhuman abilities, or what have you.
  SCIENCE FICTION  
  ELEMENTS AND FEATURES
  No matter what the subgenre, certain elements 
  and features — or “bits,” in gamer parlance — occur 
  from setting to setting in science ﬁction. Here’s a 
  brief review of some of the most important ones.
  ALIENS
  Although sentient species from worlds other 
  than Earth aren’t required for science ﬁction — some 
  classics, such as Dune, feature no aliens at all — they 
  exist in most science ﬁction settings. They range 
  from species identical to Humans in all but superﬁ-
  cial ways (odd bumps or ridges on the head, unusual 
  skin tones, weird alien customs), to species so dif-
  ferent from Life As We Know It that Humans can 
  barely relate to or interact with them (energy beings, 
  psionic life-forms, silicon-bodied aliens).
  Some SF settings feature only one or two alien 
  species; others, including most Space Opera uni-
  verses, feature hundreds or thousands of them. In 
  either case, their purpose in the story is often to 
  provide the author with a chance to comment on 
  “the Human condition,” or to cast some Human 
  custom into stark relief by comparing and constrast-
  ing it with alien practices. In Star Hero campaigns, 
  alien species provide players with the chance to try 
  something diﬀerent, and to dive into some unusual 
  roleplaying experiences.
  For more on creating aliens and alien civiliza-
  tions, and the roles they play in Star Hero stories, see 
  Chapter Six.
  BIG DUMB OBJECTS
  “Big dumb object” is a genre term for gigan-
  tic artifacts found in space or on planets. The best 
  known examples include the Ringworld (depicted in 
  Larry Niven’s novel of the same name) and Dyson 
  spheres, but plenty of others exist. They’re a staple of 
  Planetary Romance and some Space Opera settings; 
  they’re perfect for exploration-oriented adventures. 
  For more information on them, see pages 11, 95, and 
  206.
  BLASTERS
  If you’re in a setting with advanced technol-
  ogy, what fun is it to shoot at people using weapons 
  based on gunpowder and bullets? It’s a lot more 
  in tune with the genre to use an energy pistol that 
  ﬁres a brightly-colored bolt of energy. Generically 
  known as “blasters” (or, in earlier SF, “ray guns” or 
  “death rays”), these weapons crop up, in an inﬁn-
  ity of shapes, sizes, and explanations, in most sci-
  ence ﬁction settings. Examples include the phasers 
  of Star Trek, Han Solo’s blaster (and Chewbacca’s 
  bowcaster), and the laser- or plasma-based weapons 
  found in many stories. For more information about 
  diﬀerent types of blasters and how to build them in 
  HERO System terms, see pages 55, 150-53.
  CLONES
  The idea of creating a carbon-copy of a living 
  being is not a new one, but it’s seen new life in sci-
  ence ﬁction in recent decades with the advance 
  of Human genetic science. Now that doctors can 
  viably clone advanced mammals, and some talk 
  about cloning Humans, the concept has even more 
  relevance for Star Hero campaigns. A character 
  could create a clone of himself or another person 
  for many purposes:  artiﬁcial immortality (sur-
  geons transplant the character’s brain from healthy 
  body to health body over the centuries); crime (the 
  character fakes his own death, or creates an alibi, 
  using the clone); trade (a Human with special abili-
  ties might be duplicated as an item of commerce, or 
  a dissolute species might create custom-designed 
  sex-slaves for sale); or warfare (armies of cloned 
  soldiers solve all your recruiting problems). See 
  page 54 for more on creating clones in the HERO 
  System.
  COMPUTERS
  Computers — thinking and calculating 
  machines — have been a feature of science ﬁction 
  from the genre’s earliest days. From the helpful 
  ship’s computer of Star Trek, to the dangerously 
  unbalanced ship’s computer HAL in 2001:  A Space 
  Odyssey, to tiny computers built into characters’ 
  clothing, SF writers have explored how computers 
  and people might interact in the future. Given their 
  prevalence in twenty-ﬁrst century Earth society, 
  computers have become an even more common, 
  and powerful feature of the genre; some subgenres, 
  such as Cyberpunk, can’t really exist without com-
  puter as a plot element.
  In the HERO System, characters build comput-
  ers using the rules on pages 459-61 of the HERO 
  System 5th Edition, Revised rulebook. Page 163 of 
  this book has further information, and also con-
  tains several sample computers for starships and 
  space stations at the end of Chapter Eight.
  GALACTIC EMPIRES
  In many science ﬁction settings, particularly 
  Space Operas, the dominant (or a dominant) form 
  of government is the “galactic empire” — a large 
  entity spanning multiple star systems (or even gal-
  axies), and typically ruled over by a single Emperor, 
  tyrant, Senate, Council, or other person/institution. 
  First featured prominently in Isaac Asimov’s Foun-
  dation novels, the galactic empire has become a 
  feature of many SF stories. It may not always be an 
  empire, exactly — the Federation of Star Trek isn’t 
  one — but any large, multi-stellar government usu-
  ally ﬁts this theme. See pages 131 and 289 for more 
  information.
  GENERATION SHIPS
  Writers unwilling to invent FTL ﬂight (or 
  similar rubber science methods of rapid travel) for 
  their settings still need a way to get Humans oﬀ 
  AS GOOD  
  AS IT GETS?
  For a slightly more 
  grown-up approach, 
  instead of a dystopia 
  being the result of 
  Evil Overlords or the 
  triumph of a political 
  party the GM didn’t vote 
  for, what if the dysto-
  pia is the best anyone 
  can manage in a tough 
  situation?  Real-world 
  examples of this are all 
  too common:  Rome 
  during the decline of 
  the Roman Empire was 
  a pretty oppressive and 
  dystopian place, but 
  all attempts at reform 
  were futile, the barbar-
  ians kept coming over 
  the border, and heavy-
  handed Emperors were 
  about the only alterna-
  tive to anarchy. And 
  when the Empire ﬁnally 
  did fall, the ensuing 
  centuries of darkness 
  weren’t any better. 
  Putting the characters 
  in a dystopia which can’t 
  really be ﬁxed sounds 
  like a recipe for a pretty 
  depressing campaign, 
  but there’s still scope for 
  individual heroism and 
  small-scale victories. 
  You may not be able to 
  overthrow the Over-
  lords, but you can keep 
  one person from falling 
  into the hands of the 
  Secret Police, or possibly 
  bring about the down-
  fall of a corrupt oﬃcial. 
  Characters who are 
  servants of the regime 
  can try to maintain their 
  own decency in a grim 
  world. 
  
  15 
  Star Hero ■ Chapter One
  Earth and out to new planets where they can meet 
  aliens and have adventures — even though the 
  trip would take many Human lifetimes. In some 
  cases, travelers use suspended animation, but a 
  more interesting device is the generation ship, a 
  vessel large enough, and properly equipped, to 
  house multiple generations of Humans as they 
  live, have children, and die en route to their ulti-
  mate destination.
  Stories involving generation ships usually 
  go one of two ways. First, the story can focus on 
  the ship itself — life aboard it, things it encoun-
  ters, how people react to the end of the journey. 
  Second, it can feature an FTL ship (often one 
  invented by the same species that launched the 
  generation ship centuries ago) discovering the 
  generation ship, and what happens thereafter. 
  Either situation would make for a fascinating Star 
  Hero campaign or adventure.
  For more on generation ships, see page 190.
  HIVE MINDS
  In many SF universes and stories, there’s at 
  least one species — often an insectile one — with 
  a “hive mind” that psionically links all members of 
  the species. This has some decided beneﬁts (such 
  as instantaneous communication and sharing of 
  knowledge), but also some drawbacks (“individu-
  als” treated as disposal elements of the greater 
  “overmind”). Often hive mind characters appear 
  in stories dealing with issues of free will and self-
  identiﬁcation.
  In HERO System terms, hive mind species 
  typically have Mind Link with each other, bought 
  to cover interstellar distances. An occasional vari-
  ant is a species built as a single individual with 
  massive amounts of Duplication.
  HYPERSPACE
  Rather than trying to distort science too 
  much by making physical FTL travel possible, 
  some science ﬁction writers create an alternate 
  dimension, hyperspace, that starships can enter 
  and travel through at faster-than-light velocities. 
  In some cases, hyperspace lets physical objects 
  achieve FTL speeds impossible in normal space; in 
  other cases, it acts as a “shortcut” that allows rapid 
  journeys from star to star. For more on hyper-
  space travel, see page 192.
  THE ORIGIN OF HUMANKIND
  Many science ﬁction stories have dealt with, 
  directly or indirectly, the question of mankind’s 
  origin. The movie 2001:  A Space Odyssey touches 
  on this theme somewhat; so do some parts of 
  Larry Niven’s “Known World” cycle, and some epi-
  sodes of Star Trek. In these stories, it often turns 
  out that an Elder Civilization (page 122) jump-
  started Humanity, or made sure it was invested 
  with intelligence, or carried its genetic material to 
  other worlds (thus explaining why Humans meet 
  other Humans in other star systems). The “deep 
  mystery” of how Humanity evolved the way it did 
  makes an excellent background element for a Star 
  Hero campaign.
  PLEASURE PLANETS
  In lots of science ﬁction settings, there’s 
  a planet... or two... or three serving as “resort 
  worlds” — the ultimate vacation destination. 
  Devoted to a non-stop sybaritic lifestyle, these 
  worlds exist only to please vacationing tourists 
  with whatever their hearts desire. In darker SF 
  settings, “vacation” activities on these planets often 
  turn out to be immoral or illegal, but some are just 
  for good-hearted fun. Inevitably, though, when 
  Our Heroes arrive, they discover there’s trouble in 
  paradise, and they have to put a stop to it.
  PSIONICS
  The powers of the mind have fascinated 
  SF writers for decades, and they exert a similar 
  attraction on gamers. Some science ﬁction set-
  tings feature low-powered but intriguing mental 
  abilities (like Gil Hamilton’s telekinetic “arm” in 
  Niven’s short stories); in others, such as E.E. “Doc” 
  Smith’s “Lensman” stories, characters have mental 
  powers capable of laying waste planets and galax-
  ies. See Chapter Ten for more about psionics in 
  Star Hero.
  ROBOTS AND ANDROIDS
  From the humanoid mechanical men of 
  Asimov’s Robot series of novels, to the oddly-
  shaped droids of Star Wars, robots (and the more 
  Human-appearing androids) have been a feature 
  of science ﬁction since its earliest days. Sometimes 
  they’re valuable helpers, sometimes deadly ene-
  
  16 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  mies, and in a few cases they even gain sentience 
  and become heroes. In the HERO System, they’re 
  typically built using the Automaton rules; see page 
  165 of this book, and pages 206-10 of the HERO 
  System Bestiary, for more information and some 
  examples.
  ROGUES
  Many SF stories feature at least one “rogue” 
  character — a fellow who’s often in trouble with 
  the law, and sometimes an outright criminal, but 
  nevertheless has a heart of gold and “does the right 
  thing” when it’s necessary. Harry Mudd, Han Solo, 
  and Harry Harrison’s “Stainless Steel Rat” all ﬁt this 
  mold, along with hundreds of other characters. See 
  Chapter Two for suggestions on how to build such 
  characters.
  RUBBER SCIENCE
  “Rubber science” is a general term for the 
  scientiﬁc impossibilities that occur frequently in 
  SF (particularly Space Opera). In many cases, the 
  characters and story matter more than strict sci-
  entiﬁc or technical accuracy; much of what occurs 
  in SF novels and television shows is not physically 
  possible (as early twenty-ﬁrst century Humans 
  understand “possible,” anyway). If necessary, a 
  writer can blithely ignore Science, or develop some 
  pseudo-scientiﬁc principles to explain how things 
  work, and get on with the business of telling a good 
  story. See Chapter Seven for more information and 
  examples.
  SCIENTISTS
  Where science (or psuedo-science) is impor-
  tant to the story, there you’ll often ﬁnd scientists 
  (or their close cousins, technicians and engineers). 
  Well-versed in the scientiﬁc principles important 
  to the story, they’re of vital importance when 
  someone’s starship breaks down, the motives of 
  the blood-consuming alien creature need to be 
  deduced, an alien plague ravages a planet, or char-
  acters want to explore a black hole safely.
  SPACE STATIONS AND STARSHIPS
  As common in SF as aliens, if not more so, 
  space stations (and their mobile counterparts, star-
  ships) are what allow characters to live, breathe, 
  and travel in the dangerous depths of outer space. 
  In many Star Hero campaigns, the characters’ star-
  ship or home starbase is as much an NPC as any 
  shopkeeper or mercenary; it has its own personal-
  ity, pecadilloes, and way of impacting the story. See 
  Chapter Eight for more information.
  TERRAFORMING
  Terraforming is the process by which Humans 
  make an uninhabitable planet suitable for Human 
  life. (Of course, aliens can do the same thing, but 
  the results of “xenoforming” a planet may not be 
  the same, if the aliens have highly diﬀerent physi-
  ologies from Humans.) Realistically, it takes cen-
  turies of extraordinary eﬀort, but in Space Opera 
  settings it may be quite easy. See page 87 for more 
  information.
  TIME TRAVEL
  While some SF settings don’t allow time 
  travel at all, others feature it frequently, and 
  some science ﬁction story cycles depend on 
  it as their central enabling device. Journeying 
  back and forth through time raises so many 
  interesting issues, and creates so many bizarre 
  questions, that Star Hero GMs willing to put 
  in a little eﬀort can get a lot of game mileage 
  out of the concept. See above and Chapter 
  Nine for more information.
  TRAVEL
  Travel, and the related concept of explo-
  ration, is a major element in many science 
  ﬁction universes. Space itself, as Star Trek 
  reminds us, is “the ﬁnal frontier” — the one 
  domain that it’s impossible to ever become 
  totally familiar with. There’s always a strange 
  new realm to go to, right beyond the next star 
  system, and many characters can’t resist the 
  lure of the open “road.”
  
  17 
  Star Hero ■ Chapter One
  W
  hile most science ﬁction stories ﬁt, 
  broadly speaking, into the meta-genre 
  of “action-adventure,” they don’t all 
  come from that mold. In the past cen-
  tury writers and ﬁlmmakers have blended science 
  ﬁction with just about every other mood and theme 
  possible in ﬁction. Some of the crossovers are natu-
  rals, others are diﬃcult to pull oﬀ with a straight 
  face.
  COMEDY
  Science Fiction and comedy have had an 
  uneasy partnership. The clichés and earnest tone 
  of SF make it a natural target for parody or self-
  parody, as in Douglas Adams’s Hitchiker’s Guide To 
  The Galaxy series or the cartoon “Duck Dodgers in 
  the 24½th Century.” There is a whole subgenre of 
  SF stories which are nothing but elaborate setups 
  for excruciating puns. But funny SF is possible, and 
  stories can be both good comedy and good science 
  ﬁction. Examples include the Buck Godot comics 
  series, novels like Connie Willis’s Bellwether or the 
  Hoka series by Poul Anderson and Gordon Dick-
  son, and ﬁlms like Men In Black.
  The simplest way to do SF comedy is to parody 
  the genre, with silly aliens who look like food 
  or cartoon characters, items like the “Kill-o-Zap 
  Gun,” and civilization threatened by shortages of 
  the shaving-cream atom. This can be very funny 
  and entertaining if done right. But it can get old  
  quickly. One game session spent chasing around 
  the Planet of the Prune People with phasers set to 
  “fricasee” is entertaining, but by the second or third 
  game the amusement value of funny names and 
  mocking the conventions of the genre gets thin.
  A more enduring form of science ﬁction 
  comedy uses the possibilities of the SF genre to 
  create comic situations and characters. This is 
  somewhat more diﬃcult than parody, but it has 
  more shelf life. Eric Frank Russell’s Hugo-winning 
  story “Allamagoosa” is a good guide:  while prepar-
  ing for an inspection, the crew of a spaceship pains-
  takingly goes down the inventory of components 
  to make sure everything is in order, but discovers 
  one item on the list which nobody can remember 
  or ﬁnd. Their increasingly desperate eﬀorts to ﬁnd 
  the device or account for its absence are the source 
  of the humor in the story, since everything they do 
  just makes the situation worse.
  It’s remarkably easy to do the same thing in a 
  roleplaying game, since gamers have a real talent 
  for picking the wrong course of action and then 
  sticking to it with relentless tenacity. However, play-
  ers sometimes resent discovering that they’re the 
  fall guys. If they know it’s a comedy, they may be 
  able to relax and enjoy seeing their characters in 
  a ﬁx. More competitive gamers may have trouble 
  with the idea of not “winning” the adventure. One 
  principle to remember is that in a comedy, every-
  thing comes out all right in the end. Fate may con-
  spire against the characters, they may be frustrated 
  at every turn, but nobody gets hurt by anything 
  worse than a pie in the face.
  HORROR
  Horror and science ﬁction grew up as genres 
  side by side in Victorian novels and pulps like 
  Weird Tales, so it’s natural for them to borrow from 
  each other. Frankenstein is an early classic of both 
  SF and horror. The “Aliens” series of movies is one 
  of the best modern examples of SF horror, and the 
  genre staple 2001:  A Space Odyssey also has impor-
  tant horror elements.
  The great advantage to blending the two is that 
  science ﬁction allows you to deploy horror ele-
  ments which don’t rely on the supernatural. Instead 
  of ghosts and vampires you can use alien monsters, 
  dehumanizing brain implants, or predatory cyber-
  space entities. The greater realism possible makes 
  it easier to believe in the horrors, and that makes 
  them scarier.
  It’s possible to run a relatively “straight” horror 
  adventure in a science ﬁction setting:  a mad slasher 
  lurking aboard a deserted starship is just as scary as 
  one in a castle or a college dorm. But science ﬁc-
  tion also supplies some elements which amp up the 
  horror. If the characters are stuck aboard a space-
  ship ﬂoating in empty space, they can’t ﬂee what-
  ever evil is stalking them. If they’re wanderers in a 
  post-apocalyptic wasteland, there are no police to 
  call when horror strikes. The sense of isolation and 
  (at least partial) helplessness which is so important 
  to a good horror story is easy to achieve in many SF 
  environments.
  However, there’s a countervailing diﬃculty:  
  the tools and weapons available to the heroes make 
  them hard to frighten. When you’re packing a 
  plasma riﬂe and have a belt pouch full of regenera-
  tion pills, what’s so scary about a werewolf? When a 
  character can cross the galaxy in a day or two, how 
  isolated can he really be?
  There are two useful approaches to making 
  science ﬁction horror genuinely scary. First, deprive 
  the heroes of their ultra-tech toys and make them 
  CROSS-FERTILIZATION: 
  METAGENRES IN SF
  ANOTHER SOURCE 
  OF INSPIRATION
  Pages 35-43 of Cham-
  pions contain advice on 
  applying meta-genres to 
  superhero campaigns. 
  Much of that advice is 
  general, and could cer-
  tainly work in Star Hero 
  campaigns as well.
  
  18 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  rely on their own wits. (The ﬁlm Aliens is a great 
  example of this, as all the Colonial Marines’s super-
  weapons and vehicles are either rendered useless 
  by the situation, or get broken or lost.) The more 
  the characters (and their players) have come to rely 
  on gadgetry, the more uneasy they’ll be without 
  it. Taking away the toys can be as complicated as 
  a series of accidents and equipment failures, or 
  as simple as starting the adventure in a situation 
  which doesn’t call for much in the way of equip-
  ment:  a vacation or an undercover mission.
  The second approach is to make the horrors 
  immune to super-tech weaponry. Maybe they don’t 
  have physical bodies to blow apart, or maybe they 
  can regenerate any amount of damage. However 
  you justify it, a monster who keeps coming despite 
  a barrage of laser bolts is pretty scary, especially to 
  characters who prefer to solve their problems with 
  gunplay. Jack Vance’s short story “Three-Legged 
  Joe” provides a perfect example of an indestructible 
  monster the characters have to defeat with their 
  intelligence, rather than their weaponry.
  MYSTERY
  Detective stories were another pulp perennial, 
  but actual science ﬁction mystery stories are surpris-
  ingly rare. The reason is that the story must work both 
  as science ﬁction and as a plausible mystery, which 
  can be diﬃcult to pull oﬀ. Isaac Asimov managed it 
  in several stories, as did Larry Niven. In a roleplaying 
  campaign the players have enough time to get familiar 
  with the setting and the way the world works, which 
  means SF mysteries become quite possible.
  Another problem with creating science ﬁctional 
  mysteries is the rapid advance of crime-solving 
  technology. Present-day police can deploy tools like 
  DNA analysis, face-recognition software, cell-phone 
  eavesdropping, computer databases, psychological 
  proﬁling, and long-range listening devices. A futuristic 
  setting could add even more powerful technologies 
  like nanotech forensic robots, telepathic cops, and 
  superhumanly intelligent computers. The existence of 
  such tools makes it very diﬃcult for a criminal to hide 
  his traces, and in game terms it makes solving a crime 
  little more than a series of technical Skill Rolls.
  The GM can constrain the power of crime-solv-
  ing tools somewhat with laws and regulations:  judges 
  may refuse to grant permission for high-tech eaves-
  dropping, and criminals are already getting cagey 
  about letting the authorities take genetic samples. 
  Strict rules may limit when psionic detectives may use 
  their powers, or perhaps psionic evidence isn’t admis-
  sible in court.
  Crooks are also good at coming up with ways 
  to block or trick forensic technology. If nanobots can 
  gather up skin cells from the crime scene to trace the 
  culprit’s DNA, clever criminals could either deploy 
  their own nanobots to scour the area clean, or else 
  confuse the issue by scattering samples of DNA from 
  dozens of other people at the site. If the cops can use 
  psionics, the crooks can hire rogue telepaths to read 
  the minds of the detectives (and the crooks aren’t 
  going to be worried about privacy regulations). If 
  superhuman AIs help out with police work, other 
  super-smart computers could be planning or even 
  committing crimes.
  ROMANCE
  Science ﬁction and romance have had an uneasy 
  relationship for decades. Until the 1960s, the primary 
  readership of SF was young men, and relationships 
  were seen as so much “mushy stuﬀ.” An SF hero might 
  be in love with the mad scientist’s beautiful daughter, 
  but a quick kiss before doing battle with the Lava Men 
  was about all the reader saw of their relationship. At 
  the same time, however, Science Fiction and its twin 
  Fantasy were both part of a strongly romantic stream 
  of popular ﬁction. Characters were motivated by love, 
  even if the readers didn’t want to read about it.
  Changes in the readership and the general cul-
  ture encouraged a change in treatments of romance 
  and sexuality in SF, particularly during the 1970s. 
  Writers began to explore “adult” themes, more explicit 
  sexual situations began to appear in stories, and the 
  genre approached the ﬁnal taboo:  realistic depictions 
  of relationships.
  In SF roleplaying, much the same has happened, 
  compressed into a shorter timespan:  the hobby went 
  from all-male to something approaching an even mix, 
  and recent games have paid more attention to rela-
  tionships among characters and NPCs in play. A Star 
  HERO campaign can center on love and romance in a 
  variety of settings — if the players are interested.
  Science ﬁction romance opens up an intriguing 
  possibility:  interspecies romance. Can a Human ﬁnd 
  love with an alien? In Planetary Romance and Space 
  Opera SF, the answer is usually yes, since the aliens 
  tend to be very Human-like anyhow. (Or at least the 
  species learn to inquire about such things, as with 
  the discussions of rishathra among the inhabitant’s 
  of Niven’s Ringworld.) But what about Hard SF 
  settings? It’s one thing to fall in love with a green-
  skinned girl dressed in ﬁlmy chiﬀon, but what if the 
  “girl” looks like a cross between a spider and a squid? 
  Science ﬁction writers still have mixed feelings about 
  such relationships:  are they abhorrent and dehu-
  manizing, or noble and enlightened? Issues like this 
  are perfectly suited for exploration in Star Hero.
  SATIRE AND SOCIAL  
  COMMENTARY
  Writers have been using science ﬁction to 
  comment on contemporary society ever since Plato 
  invented Atlantis. Gamemasters can follow in this 
  tradition and use SF adventures to air their own 
  opinions on the way the world should be. By exag-
  gerating a trend or taking something to its logical 
  conclusion, one can see potential ﬂaws. If equality 
  is good, should society use genetic engineering and 
  brain surgery to make everyone exactly alike?  If 
  large corporations are growing ever bigger and more 
  powerful, a future world might show everything sub-
  ordinated to the Bottom Line. Freedom is good, but 
  is complete anarchy really better than living under 
  ROMANTIC COMEDY
  Comedy is all about 
  making people act 
  ridiculous, and through 
  all of Human history 
  the most reliable way to 
  do this is to make them 
  fall in love. Romantic 
  attraction dissolves 
  dignity and restraint, 
  makes people absurdly 
  sensitive and insecure, 
  and puts one’s ego and 
  happiness entirely at 
  the mercy of another 
  person. In fact, the 
  ancient Greeks deﬁned 
  a play as a comedy if it 
  ended with a marriage 
  (tragedies ended with a 
  funeral).
  Romantic comedy in 
  a science ﬁction set-
  ting allows a consider-
  ably broader range of 
  potential partners fall-
  ing in and out of love:  
  Humans, aliens, robots, 
  clones, artiﬁcial intel-
  ligences, androids, time 
  travelers, immortals, 
  and many others. Sci-
  ence ﬁction also creates 
  loads of potential new 
  complications. Char-
  acters falling in love 
  in a virtual environ-
  ment may not like each 
  other in the real world; 
  someone falling in love 
  with one member of a 
  group of identical clones 
  could be unable to tell 
  which is the right one; 
  Humans and aliens 
  in love may be frus-
  trated by incompatible 
  reproductive systems; 
  advances in biochemis-
  try could make genuine 
  “love potions” available 
  at every drugstore. A 
  clever GM can get a lot 
  of story mileage out of 
  such circumstances.
  
  19 
  Star Hero ■ Chapter One
  laws?  These are all issues which can be examined in 
  an SF setting.
  There are a couple of pitfalls to be avoided 
  when doing this. The ﬁrst is simply that the players 
  may not share the GM’s views. His brilliant satire 
  on feminism may strike one of the players as noth-
  ing but piggishness, while her nightmarish world of 
  capitalism run wild might be another player’s utopia. 
  The second issue is that a certain deftness of touch 
  is required if the game is not to degenerate into a 
  series of Ham-Fisted Moral Tales. The TV series The 
  Twilight Zone often skated on the edge of this preci-
  pice, and sometimes went right over. Characters can 
  espouse a view you dislike without being caricatures, 
  and people have reasons (however ﬂawed) for doing 
  things you don’t approve of. 
  TRAGEDY
  The ﬂip side of comedy is tragedy. The tradi-
  tional tragic structure tells of a hero (or heroes) 
  doomed by some ﬂaw, and ultimately destroyed by 
  it. A hero’s tragic ﬂaw can be anything — stubborn 
  devotion to duty, impetuous action, over-caution, 
  even love for another. Sound familiar? Those are 
  all character Disadvantages in the HERO System. 
  Creating a tragedy is simply a matter of setting up 
  a situation in which a hero’s Disadvantages have 
  dire consequences. Having done that, though, a real 
  tragedy requires that the Gamemaster actually go 
  through with it. A tragic hero who cheats fate isn’t 
  a tragic hero at all. Being a tragic hero is all about 
  defying fate even as it overwhelms you.
  The elements of science ﬁction open up some 
  interesting possibilities for tragedy. Time travel, for 
  example, can easily have all sorts of unintended nega-
  tive results, even if the characters use it carefully and 
  with the best of intentions. Cultural or biological dif-
  ferences may doom an interspecies romance from 
  the start. The PCs’ vastly powerful technology may 
  cause equally vast problems if they lose, misuse, or 
  damage it.
  THE RETURN OF HAMLET
  Tragedies tend to be one-shots:  Hamlet comes home, 
  plots to avenge his father, and the stage is littered 
  with bodies. Not much sequel potential. Roleplaying 
  games are usually ongoing campaigns. How to recon-
  cile the two? There are three ways.
  The ﬁrst is to go ahead and kill oﬀ the tragic hero. 
  Characters die in games. The player can create a new 
  one — possibly a vengeance-obsessed brother with 
  his own tragic fate awaiting him.
  The second is to recall that being destroyed by fate 
  and being killed are not the same thing. A tragic hero 
  could be ﬁnancially ruined, lose his loved ones, or see 
  his home planet blown to bits, and still live on, embit-
  tered and broken. The character of Athos in Dumas’s 
  The Three Musketeers is a man who has lived through 
  a tragedy.
  The ﬁnal method is the “Rosencrantz and Guilden-
  stern” approach. In this the player characters aren’t 
  the heroes, but instead are working with an NPC who 
  is. This lets the GM send the tragic ﬁgure hurtling 
  toward his doom without any worry about players 
  changing their minds or derailing the situation. How-
  ever, players don’t much enjoy being spectators; the 
  GM needs to give their characters plenty to do.
  
  20 ■ Starships, Spacemen, And Bug-Eyed Aliens: The Science Fiction Genre 
  HERO SYSTEM 5TH EDITION
  S
  cience ﬁction is a broad genre, with almost 
  limitless possibilities for storytelling. One 
  of those possibilities is the mixing of SF 
  with other genres, such as fantasy, super-
  heroes, or westerns. This ranges from strangely 
  anachronistic planets, to time-traveling SF charac-
  ters getting stuck in the past, to using the elements 
  of another genre in an SF setting... and beyond.
  Champions
  Superheroes are often ostensibly science ﬁc-
  tion characters. Except where a hero’s powers 
  explicitly derive from magic, superheroes gener-
  ally have a “rubber science” or “technobabble” 
  explanation for how they got their abilities. In 
  comic books, Superman is an extraterrestrial, the 
  X-Men are mutants, Iron Man has a high-tech 
  battlesuit, and Plastic Man’s powers come from 
  exposure to chemicals.
  You can use the weapons and equipment 
  described in Star Hero to outﬁt a high-tech super-
  hero operating in a contemporary Champions 
  campaign (paying the appropriate point cost for 
  the powers they confer, of course). An alien or 
  time-traveler with oﬀ-the-shelf supertech equip-
  ment could be quite eﬀective as a crimeﬁghter 
  (or supervillain) in the present (witness Captain 
  Chronos from Conquerors, Killers, And Crooks). 
  Some aliens may have superpowers themselves, 
  either as the result of the same sorts of origins 
  Human superheroes experience, or because the 
  alien’s species naturally possesses some sort of 
  ability that makes him “superhuman.” The Malvan 
  gladiators of the Champions Universe are an 
  example of this.
  Of course, superheroes often get out into 
  space themselves. Whether they’re foiling an 
  alien invasion, rescuing a Dependent kidnapped 
  by intergalactic slavers, or just test-driving a 
  gadgeteer’s starship, characters from a Champions 
  campaign sometimes visit other planets and meet 
  exotic aliens. It’s even possible to run a relatively 
  straight superheroic campaign in an interstellar 
  setting. The Galactic Champions setting in the 
  Hero Universe involves superheroes who right 
  wrongs and battle evildoers across the galaxy. In 
  comic books the Legion of Superheroes and the 
  Green Lantern Corps have similar duties, and the 
  Lensmen of Doc Smith’s pulp epics were certainly 
  as powerful as any caped hero.
  Dark Champions
  The stereotypical Dark Champions grim 
  vigilante may not have much place in most SF 
  settings, but the Danger International subgenre 
  — espionage and intrigue — is deﬁnitely an 
  appropriate one to cross with SF. Call it Danger 
  Interstellar.
  Spy stories and science ﬁction blend seam-
  lessly into one another. Often the distinction 
  between an espionage “technothriller” and near-
  future or cyberpunk SF is nothing more than a 
  matter of marketing. Certainly James Bond has 
  spent an awful lot of his career facing villains with 
  secret bases and superweapons straight out of sci-
  ence ﬁction. The crossover goes the other way, too:  
  Poul Anderson’s Ensign Flandry, Harry Harrison’s 
  Slippery Jim DiGriz, and Robert Heinlein’s Friday 
  accomplish feats of espionage and deception 
  which Mr. Bond would surely have approved of.
  Crossing Star Hero with Danger International 
  can simply be a matter of setting the campaign 
  a few decades in the future. This lets the game-
  master rearrange international politics without 
  worrying about next week’s headlines, and allows 
  the agents to visit Earth orbit or even Mars. Most 
  of the weapons and gadgets are present-day tech, 
  but a few next-generation prototypes like chemi-
  cal laser riﬂes or remotely piloted combat vehicles 
  can liven things up.
  On the other hand, the GM can take things 
  a step further, setting his “great game” of spycraft 
  and assassination in the distant future. This pres-
  ents some of the same problems as crimeﬁghting 
  — high-tech gadgetry may make some forms of 
  spying too easy, or too diﬃcult, which spoils the 
  fun. The campaign may need to fall back on the 
  Human (alien?) element, with scenarios which 
  focus on the characters’ ability to gather informa-
  tion on their own, without spy-tech.
  Fantasy Hero
  Other than the equipment list and the scope 
  of the typical campaign, the main diﬀerence 
  between Fantasy Hero characters and Star Hero 
  adventurers is the existence of magic. Gamemas-
  ters who want to run a crossover adventure have 
  to decide what role magic plays in the Star Hero 
  universe. Does it work at all?  Does it only work 
  on some planets?  The oﬃcial Hero Universe 
  assumes the background magic level of the Earth 
  (and most of Earth’s Universe/reality) changes 
  over time, going from high in the age of Atlantis to 
  STAR HERO AND 
  OTHER GENRES
  THE HERO  
  UNIVERSE
  In this section, and 
  elsewhere throughout 
  this book, the text refers 
  to the Hero Universe. 
  The Hero Universe is 
  a “meta-setting” that 
  joins together most 
  of the published set-
  tings produced (or to 
  be produced) by Hero 
  Games, thus creating 
  a continuum of events 
  and a level of interac-
  tion between characters 
  not otherwise possible. 
  If you’d like to learn 
  more, you can down-
  load the Hero Universe 
  document from the 
  “Free Stuﬀ” webpage at 
  www.herogames.com.
  EVERYONE’S A 
  SUPERHERO
  If an ordinary soldier 
  or policeman in the 
  twenty-ﬁfth century 
  has equipment which 
  makes him the equal of 
  a present-day superhero, 
  what do the heroes in 
  that setting have?  Is 
  there much point in 
  being able to ﬂy and 
  project bolts of energy 
  when anyone with a few 
  credits to spare can buy 
  an antigravity pack and 
  a blaster gun? Superhe-
  roes in a high-tech set-
  ting do face the problem 
  that their powers may 
  not give them much 
  of an advantage over 
  the oﬀ-the-shelf items 
  available to ordinary 
  citizens. If those normal 
  folk have cybernetic 
  implants and are 
  genetically improved, 
  or are aliens with innate 
  powers of their own, the 
  Continued on next page
  
  21 
  Star Hero ■ Chapter One
  low in the Cyberpunk era, and not reviving until 
  the Galactic Champions period. Other planets may 
  be washed by diﬀerent mystic tides and currents, so 
  that a high-magic world could exist in the middle of 
  a high-technology space empire. And of course, the 
  Hero Universe is but one perspective on this issue. It’s 
  easy to envision a setting where fantasy spells and sci-
  ence ﬁction starships merge into an intriguing blend; 
  the only question is how much the GM wants of each.
  A planet of mages would be an interesting place 
  for space explorers to visit. Imagine the surprise of 
  the heroes when the locals respond to laser ﬁre with 
  ﬁreball spells! This can be amusing even if the mages 
  are actually fakers, doing a “Wizard of Oz” con game 
  using hidden technology or psionic powers to make it 
  appear they can command magic.
  Or turn it around and send a group of fantasy 
  characters out to explore strange new worlds. This 
  assumes magic isn’t limited to just one planet, since 
  otherwise a magical spaceship won’t get very far. A 
  whole starfaring magical civilization might exist, with 
  Fantasy Hero spells instead of Star Hero technology.
  Finally, the GM can just pour it all into the 
  blender at once. Characters can use magic spells, 
  psionic powers, mutant abilities, or technologi-
  cal tools, all at once. Distinctions among them are 
  just a matter of vocabulary. The Galactic Emperor’s 
  starships carry scrying-mages and are guarded by 
  powerful enchantments, cyber-wizards jack into 
  the Hypernet to cast spells in virtual reality, dragons 
  carry blaster-armed riders into battle against psionic 
  demon-cyborgs, and stealthy thieves use suction 
  boots and gravitic lockpicks along with a Potion of 
  Insubstantiality when they try to steal the Soulgem 
  from a wizard’s orbital fortress.
  Pulp Hero
  Since science ﬁction came out of the pulps, 
  drawing a distinction between it and pulp adventure 
  seems kind of arbitrary. Most pulp campaigns are 
  likely to have at least a dose of Weird Science and fan-
  tastic inventions. But even the most hard SF campaign 
  can beneﬁt from an infusion of pulpish vitality and 
  pacing. If the heroes spend too much time ﬁnessing 
  the interstellar trade system or upgrading their cyber-
  ware, toss in a sneering, double-dyed pulp villain with 
  a beautiful-but-deadly daughter, a lair full of death-
  traps and exotic creatures, and a Sinister Plan.
   Western Hero
  An old criticism of some pulp science ﬁction was 
  that it was nothing but “westerns in space.” An enter-
  prising GM can make the most of that by playing up 
  the similarities. Almost any interstellar campaign is 
  likely to have remote frontier worlds where the only 
  law is a titanium star and a blaster. The Western ideal 
  is such a powerful archetype in American culture that 
  space colonists may well try to create a society based 
  on a real or imaginary version of the Old West. For 
  a completely over-the-top campaign, give the heroes 
  six-shot lasers and robot horses when they try to 
  clean up a lawless sector of space.
  Going the other way, science ﬁction can creep 
  into Western adventures via the “steampunk” route. 
  Remember, Jules Verne set his fantastic adventures in 
  the 1860s and 1870s, the golden age of the gunslinger. 
  Perhaps a group of heroic cowpokes could run afoul 
  of a mad inventor and his amazing steampunk gad-
  gets, or ﬁnd themselves acting as Earth’s ﬁrst line of 
  defense against an alien invasion (as in the amazing 
  story “Night of the Cooters,” by Howard Waldrop).
  One of the most common time travel/alternate 
  history changepoints is the American Civil War, 
  which overlaps considerably with the classic period of 
  Western adventures. Time Police may have to prevent 
  Confederate sympathizers from smuggling machine-
  guns or death rays to Robert E. Lee’s troops, or else 
  an alternate history campaign might involve cowboy 
  adventures as the Union and its rival Confederacy 
  struggle for control of the West. 
  Other Eras
  The Victorian period is the home time for 
  Steampunk science ﬁction, discussed above. The 
  Classical era of Greece and Rome is a natural desti-
  nation for time travellers, or else might survive the 
  onslaught of the barbarians in an alternate history, 
  with laser-armed legions bearing the Imperial Eagles 
  to the stars. Shorn of its fantasy trappings, the real-
  historical Middle Ages could be an interesting time 
  for SF adventures — either full-bore Space Opera 
  as knights battle alien invaders and ﬁght as mer-
  cenaries on distant worlds, or genuine Hard SF in 
  the days when science itself was in its infancy.
  superhero is just a guy 
  who likes to wear capes.
  One way around this 
  problem is to encourage 
  players to design supers 
  with powers that aren’t 
  easily duplicated by 
  technology. Superpow-
  ers like Growth, Stretch-
  ing, Desolidiﬁcation, or 
  Mental Powers are all 
  possibilities.
  Another solution is to 
  embrace the problem 
  and run with it. The 
  comic series Top Ten, by 
  Alan Moore, examines 
  the problems of super-
  heroes working as cops 
  in a city where everyone 
  from bum to mayor is 
  also super-powered. 
  Fighting crime is easy 
  when you can shrug oﬀ 
  the bad guys’ bullets; 
  when they have blasters 
  it becomes a dangerous 
  job. Isn’t doing a danger-
  ous job what being a 
  hero is all about?
  Continued from last page
  
  22 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  C
  haracters in science ﬁction 
  adventures come in a variety of 
  types and shapes:  aliens, cyborgs, 
  mutants, gene-modiﬁed animals, 
  androids, telepaths, and robots. 
  And maybe a normal Human or two. 
  This chapter discusses the various ele-
  ments you should consider when cre-
  ating a Star Hero character — species, 
  environment, profession, and more 
  — and describes how to simulate them 
  in HERO System terms.
  
  23 
  Star Hero ■ Chapter Two
  I
  n a star-spanning campaign, players may want 
  to create characters from a variety of non-
  Human species. Even if the PCs are all Human, 
  the GM may still wish to create alien foes.
  Individual GMs must decide for themselves 
  whether to allow players to create their own alien 
  species. In a setting with only a few starfaring spe-
  cies, it’s probably best for the GM to deﬁne all the 
  alien types and let players choose from that menu 
  of possibilities. If the campaign is wide-ranging and 
  includes hundreds of diﬀerent species, then GMs 
  may wish to allow players to do some of the work, 
  creating their own exotic aliens to run as char-
  acters. (Of course, the GM should always review 
  player-created Package Deals, and can veto abusive 
  alien designs, or ones which simply don’t ﬁt in with 
  the campaign’s universe.)
  Although each science ﬁction setting is diﬀer-
  ent, with its own unusual aliens and locales, certain 
  archetypical species tend to occur throughout SF, 
  and particularly in science ﬁction RPGs. This sec-
  tion includes Package Deals not only for various 
  species, but which reﬂect the culture or unusual 
  environment the character grew up in (or was 
  genetically designed to thrive in).
  Typically a character should only have one 
  Species Package Deal, plus one Cultural Package 
  Deal, and one Environment Package Deal, if those 
  are appropriate and/or desired. However, a GM 
  might allow a character to take more than one in 
  some cases. See also the Crossbreeds sidebar on 
  page 24.
  See Chapter Six for more information on cre-
  ating alien species.
  SPECIES PACKAGE DEALS
  These Package Deals represent common 
  types of alien species found in much SF. They’re all 
  presented “generically,” without reference to any 
  particular setting or location, since Star Hero is not 
  a setting book. You should consider making slight 
  changes to them to adapt them to your speciﬁc 
  campaign, or to create alternate forms of the same 
  general species.
  There is no Human Package Deal, because 
  Humans serve as the “baseline” from which other 
  species Packages are derived — the Package indi-
  cates how the species in question is “better” or 
  “worse” than Humanity in some respects. Human 
  characters can, of course, take Cultural or Environ-
  ment Package Deals (see below).
  ANDROID PACKAGE DEAL
  A character with this Package Deal is an 
  incredibly sophisticated android or robot. Though 
  clearly a “manufactured” sentient being, the char-
  acter is advanced enough to interact normally with 
  other people. His systems are so high-tech that he 
  takes damage like other characters (loss of STUN 
  represents systems being knocked oﬄine temporar-
  ily, expenditure of END represents strain on his 
  internal power sources, and so forth). The character 
  also needs the Fringe Beneﬁt Free Robot (page 50) 
  in some settings.
  This Package assumes the character looks like 
  an android, and exists in a setting that restricts 
  androids’ civil rights (which most do). You can 
  easily remove those Disadvantages if you prefer.
  For more information about robot and 
  android characters, see page 165.
  BOTANOID PACKAGE DEAL
  A “botanoid” is a species of sentient plant. 
  Although tough, and usually strong, they also 
  tend to be a little slower than other species. Some 
  have the ability to communicate with other, non-
  sentient, plant species (though plants rarely have 
  anything interesting to say), or other plant-based 
  powers.
  RACIAL  
  PACKAGE DEALS
  ANDROID PACKAGE DEAL
  Ability 
  Cost
  Android Form:  Armor (6 PD/6 ED) 
  18
  Android Form:  Life Support:  Total 
  45
  Sensors:  20 points’ worth of Enhanced  
  Senses of player’s choice 
  20
  Computer Memory:  Eidetic Memory 
  5
  Onboard Computer Systems:  Absolute Time  
  Sense, Bump Of Direction, Lightning  
  Calculator, Universal Translator (INT Roll) 
  29
  Disadvantages 
  Value
  Distinctive Features:  Android (Concealable  
  With Eﬀort; Noticed And Recognizable) 
  -10
  Social Limitation:  Android (restricted  
  civil rights, suﬀers from prejudice) (Very  
  Frequently, Minor) 
  -15
  Total Cost Of Package:  92
  
  24 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  CANINOID PACKAGE DEAL
  Caninoids are aliens who evolved from canine 
  stock — wolves, dogs, hyenas, or the like. Wolf-
  humanoids are perhaps the most common in sci-
  ence ﬁction gaming, but they’re certainly not the 
  only type possible. Caninoids tend to work well in 
  groups (coming, as they do, from animals that live 
  in packs), and can be both tenacious and rapacious.
  ENERGY BEING PACKAGE DEAL
  This Package Deal represents an alien com-
  posed primarily of energy, though not to the extent 
  that it’s normally insubstantial or totally immune to 
  physical eﬀects.
  FELINOID PACKAGE DEAL
  Cat-people, such as Larry Niven’s Kzinti, are 
  one of the most common types of aliens encoun-
  tered in science ﬁction literature and gaming. This 
  Package Deal represents a sort of “average” felinoid, 
  one not tied to a particular type of cat. You can 
  easily create more speciﬁc Package Deals for lion-
  men, leopard-men, jaguar-men, ocelot-men, and so 
  forth by altering this Package slightly.
  BOTANOID PACKAGE DEAL
  Ability 
  Cost
  +3 STR 
  3
  +1 PD 
  1
  Bark/Fibrous Skin:  Damage Resistance 
  (3 PD/3 ED) 
  3
  Photosynthesis: Life Support (Diminished  
  Eating: only has to eat once per week) 
  1
  Disadvantages 
  Value
   -2 DEX 
  -6 
   -2” Running 
  -4
  Vulnerability:  1½x STUN from Fire Attacks 
  -10 
  Total Cost Of Package:  -12
  Options 
  Cost
  Plant Communication:  Telepathy 6d6 (Plant  
  class of minds), Reduced Endurance (0 END;  
  +½); No Range (-½), Communication  
  Only (-¼) 
  +26
  Spines:  HKA ½d6, Continuous (+1), Damage 
  Shield (+½), Inherent (+¼), Persistent (+½), 
  Reduced Endurance (0 END; +½); Always On  
  (-½), Activation Roll 14- (-½), No STR Bonus 
  (-½) 
  +15
  Spore Projection:  Energy Blast 3d6, NND  
  (defense is Life Support [Self-Contained  
  Breathing]; +1); Limited Range (2”; -¼),  
  3 Charges (-1 ¼) 
  +12
  Tendrils:  Stretching 1”, Reduced Endurance  
  (0 END; +½); Always Direct (-¼), No  
  Noncombat Stretching (-¼), No Velocity  
  Damage (-¼) 
  +4
  CANINOID PACKAGE DEAL
  Ability 
  Cost
   +2 STR 
  2
  +1 DEX 
  3
   Running +2” 
  4 
  Nightvision:   
  5
  Canine Senses:  +1 PER with all Sense Groups 3 
  Disadvantages 
  Value
  None
  Total Cost Of Package:  17
  CROSSBREEDS
  In science ﬁction set-
  tings with lots of alien 
  species, such as Star 
  Trek, it’s not uncommon 
  for sentient species to 
  crossbreed. The result-
  ing hybrid oﬀspring 
  usually have some fea-
  tures of both species, 
  often somewhat muted 
  or altered to reﬂect 
  their “diluted” genetic 
  heritage. The character’s 
  Everyman Skills, atti-
  tudes, and the like usu-
  ally depend on which 
  homeworld he was 
  raised on; he may also 
  suﬀer from prejudice or 
  discrimination (possibly 
  simulated with a Social 
  Limitation) if half-
  breeds are scorned.
  Since each crossbreed 
  is diﬀerent, there’s no 
  Package Deal for them. 
  Instead, the player and 
  the GM should work 
  together to come up 
  with an appropriate 
  Package that com-
  bines attributes from 
  the Packages for his 
  parent species. In most 
  cases those attributes 
  shouldn’t be as strong as 
  in either parent species’s 
  Package.
  ENERGY BEING PACKAGE DEAL
  Ability 
  Cost
   +5 DEX 
  15
  Energy Body:  Physical and Energy Damage  
  Reduction, Resistant, 25% 
  30
  Energy Body:   Energy Blast 4d6, Damage  
  Shield (+½), Continuous (+1), Reduced  
  Endurance (0 END; +½), Persistent (+½),  
  Inherent (+¼), Personal Immunity (+¼);  
  Always On (-½) 
  53
  Disadvantages 
  Value
   -3 STR 
  -3
   -2 BODY 
  -4
  Vulnerability:  1 ½ x STUN and BODY from 
  opposite energy type, or some similar attack 
  (Common) 
  -20
  Total Cost Of Package:  71
  Options 
  Cost
  Energysense:  Detect Energy (INT Roll)  
  (Sight Group), Discriminatory, Analyze,  
  Range, Sense 
  +27
  Zap Touch:  Energy Blast 6d6; No Range (-½),  
  Side Eﬀect (character loses 1 BODY every  
  time he uses the power; -½) 
  +15
  FELINOID PACKAGE DEAL
  Ability 
  Cost
   +3 DEX 
  9
  Claws:  HKA ½d6 (plus STR); Reduced  
  Penetration (-¼) 
  8
  Nightvision 
  5
   Running +2” 
  4
   Leaping +2” 
  2
  Disadvantages 
  Value
   -1 CON 
  -2
   -1 BODY 
  -2
  Total Cost Of Package:  24
  
  25 
  Star Hero ■ Chapter Two
  HERDFOLK PACKAGE DEAL
  This Package Deal is for sentient species 
  descended from herd animals or other grazing 
  creatures. Typically vegetarians, and often skit-
  tish, they are fast runners and surprisingly strong 
  — when angered, or frightened into a violent 
  response, they can be dangerous, especially if they 
  retain horns or hooves.
  ICHTHYOID PACKAGE DEAL
  This Package Deal represents an ichthyoid 
  (ﬁsh-like) sentient humanoid species, perhaps one 
  native to a waterworld. Typically, ichthyoids deﬁne 
  “water” as their normal environment for breathing; 
  they must take Life Support (Expanded Breathing:  
  air) to breathe normally in gaseous environments, 
  or wear special life support suits (a Dependence; 
  see page 62).
  INSECTOID PACKAGE DEAL
  Insectile species occur fairly frequently in sci-
  ence ﬁction, often as villains or antagonists because 
  of the Human reader’s instinctive loathing for 
  “bugs.” They range from multi-limbed (and often 
  multi-fanged) monstrosities, to members of hive 
  mind species whose thinking is utterly alien to 
  Humans, to industrious laborers renowned across 
  the spiral arm for their diligence.
  REPTILOID PACKAGE DEAL
  Reptilian aliens — snake-men, lizard-men, and 
  the like — crop up in many diﬀerent types of sci-
  ence ﬁction stories; like felinoids, they seem to hold 
  a particular appeal for gamers. This Package Deal 
  represents an “average” reptiloid, one easily custom-
  izable to suit particular reptile types or perspectives 
  on such species.
  HERDFOLK PACKAGE DEAL
  Ability 
  Cost
   +3 STR 
  3
   +1 CON 
  2
   Running +3” 
  6
  Herdfolk Senses:  +1 PER with Smell/ 
  Taste Group 
  2
  Disadvantages 
  Value
   -2 PRE 
  -2
  Total Cost Of Package:  11
  Option 
  Cost
  Horns:  HKA ½d6 (plus STR) 
  +10
  Kick:  HA +3d6; Hand-To-Hand Attack (-½) +10
  ICHTHYOID PACKAGE DEAL
  Ability 
  Cost
   +2 DEX 
  6
   Swimming +4” 
  4
   Infrared Perception (Sight Group) 
  5
  Disadvantages 
  Value
  None
  Total Cost Of Package:  15
  INSECTOID PACKAGE DEAL
  Ability 
  Cost
   +1 STR 
  1
   +1 DEX 
  3
  Chitinous Skin:  Damage Resistance  
  (2 PD/2 ED) 
  2
  Insect Senses:  +1 PER with Smell/Taste Group 2
  Disadvantages 
  Value
   -1 CON 
  -2
   -2 COM 
  -1
  Total Cost Of Package:  5
  Options 
  Cost
  Claws/Mandibles:  HKA ½d6 (plus STR);  
  Reduced Penetration (-¼) 
  +8
  Faceted Eyes:  Increased Arc Of Perception  
  (360 Degrees) for Sight Group 
  +10
  Hive Mind:  Mind Link, any willing target, up  
  to 8 people at once; Only With Others Who  
  Have Mind Link (-1) 
  +15
  Multi-Limbed:  Extra Limbs (as many as  
  desired), Inherent (+¼) 
  +6
  REPTILOID PACKAGE DEAL
  Ability 
  Cost
   +2 STR 
  2
   +1 PD 
  1
  Scaly Skin:  Damage Resistance (2 PD/2 ED) 
  2
   Running +1” 
  2
   Swimming +1” 
  1
  Disadvantages 
  Value
  None
  Total Cost Of Package:  8
  Options 
  Cost
  Claws:  HKA ½d6 (plus STR); Reduced  
  Penetration (-¼) 
  +8
  Supreme Climbing:  Clinging (normal STR); 
  Requires A Climbing Roll (-½) 
  +7
  Tail:  Extra Limb, Inherent (+¼); Limited  
  Manipulation (-¼) 
  +5
  Venomous Bite:  HKA 1 point; No STR Bonus  
  (-½) (total cost:  3 points) plus RKA 2d6,  
  NND (defense is appropriate LS [Immunity];  
  +1), Does BODY (+1); No Range (-½), 2  
  Charges (-1 ½), HKA Must Do BODY (-½),  
  Extra Time (onset time begins 5 Minutes  
  after victim is bitten; -2), Gradual Eﬀect (10  
  Minutes; 1d6/5 minutes; -¾), Linked (-¼)  
  (total cost:  14 points) 
  +17
  
  26 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  SHAPESHIFTER PACKAGE DEAL
  In some science ﬁction settings, shapeshifters 
  — beings with the ability to alter their forms — 
  exist. The Founders of Star Trek:  Deep Space Nine 
  are a good example. In most cases the ability to 
  change shape is limited to other humanoid forms, 
  but sometimes the beings can assume any shape 
  they wish. This Package Deal presents the more 
  limited form of shapeshifting, but can easily be 
  expanded by exchanging Shape Shift for Multiform.
  Shapeshifters do not often enjoy the trust of 
  non-shifting aliens, who regard them with suspi-
  cion and distrust. The Package Deal reﬂects this 
  with a Hunted, but you could substitute a Social 
  Limitation, Reputation, or the like if you prefer.
  SILICON LIFE-FORM PACKAGE DEAL
  Although life on Earth is based on carbon, in 
  a science ﬁction setting that doesn’t have to be the 
  case on every planet. Life could be based on other 
  elements. One of the most common “alternate 
  element” life-forms in SF is sentient beings with 
  silicon bodies — rock- or crystal-men, so to speak. 
  Although tough and strong, they also tend to be 
  slow and ponderous, and quite heavy.
  URSOID PACKAGE DEAL
  Ursoids are aliens who resemble, in form if not 
  in general attitudes, the bears of Earth. Big, strong, 
  tough, and often known for their abilities as ﬁght-
  ers, they can be surprisingly gentle and philosophi-
  cal in the right circumstances.
  WINGED HUMANOID PACKAGE DEAL
  Sentient humanoids with the ability to ﬂy exist 
  in many science ﬁction settings. They range from 
  bird-men, to bat-men, to gargoyle- or demon-like 
  aliens. They tend to be light and relatively frag-
  ile, and often come from low-gravity worlds. If 
  giving a winged humanoid character Flight could 
  potentially unbalance the game, substitute Gliding 
  instead.
  SHAPESHIFTER PACKAGE DEAL
  Ability 
  Cost
   +2 DEX 
  6
  Shapeshifting:  Shape Shift (Sight, Hearing,  
  Smell/Taste, and Touch Groups; any  
  humanoid form), Imitate 
  39
  Disadvantages 
  Value
  Hunted:  local non-shifting authorities 11-  
  (Mo Pow, NCI, Watching) 
  -15
  Total Cost Of Package:  30
  SILICON LIFE PACKAGE DEAL
  Ability 
  Cost
   +3 STR 
  3
   +3 CON 
  6
   +2 BODY 
  4
   +3 PD 
  3
   +1 ED 
  1
  Silicon Body:  Damage Resistance (4 PD/4 ED) 4 
  Disadvantages 
  Value
   -2 DEX 
  -6
  Physical Limitation:  Heavy (about four  
  times Human weight) (Frequently, Slightly 
  Impairing) 
  -10
  Total Cost Of Package:  5
  URSOID PACKAGE DEAL
  Ability 
  Cost
   +5 STR 
  5
   +5 CON 
  10
   +3 BODY 
  6
  Tough Skin:  Damage Resistance (1 PD/1 ED) 1
  Disadvantages 
  Value
  Running -1” 
  -2
  Total Cost Of Package:  20
  Option 
  Cost
  Claws/Fangs:  HKA ½d6 (plus STR);  
  Reduced Penetration (-¼) 
  +8
  Roar:  +10 PRE; Only For Fear/Intimidation- 
  Based PRE Attacks (-1), Incantations (-¼) 
  +4
  
  27 
  Star Hero ■ Chapter Two
  CULTURAL  
  PACKAGE DEALS
  In science ﬁction, it’s not uncommon to ﬁnd 
  species that are overwhelmingly associated with 
  a particular lifestyle, manner of interacting with 
  others, or cultural stereotype. In some cases, it 
  may be appropriate to represent this with Cultural 
  Package Deals, such as the ones described below. 
  Cultural Package Deals should rarely, if ever, be 
  required; a player can always deﬁne his character as 
  a rebel who ﬂouted his species’s cultural trends and 
  traditions.
  CONTEMPLATIVE CULTURE PACKAGE DEAL
  Science ﬁction is ﬁlled with examples of spe-
  cies renowned for their wisdom, learning, spiritual 
  strength, philosophical depth, and/or contempla-
  tive natures. From the Vulcans and Bajorans of 
  Star Trek to the Minbari of Babylon 5, these species 
  often demonstrate to PCs from Earth just how 
  much potential the Human species has.
  Though often peaceful, even paciﬁstic, Con-
  templative Species characters may be highly-
  trained ﬁghters, versed in martial arts and other 
  esoteric combat disciplines. They also often possess 
  psionic powers. They sometimes embrace logic 
  and scorn emotional behavior, which can have its 
  beneﬁts (Eidetic Memory, high Deduction rolls), 
  but also some drawbacks (inability to relate to emo-
  tional species, as reﬂected by various Psychological 
  and Social Limitations).
  CRIMINAL CULTURE PACKAGE DEAL
  Many SF societies are characterized by ram-
  pant levels of crime. They may be kleptocracies 
  (rule by thieves, or more accurately by organized 
  crime), or just worlds where anarchy reigns and 
  every person has to look out for himself. This 
  Cultural Package Deal may also be appropriate 
  for characters living in societies like Soviet Russia, 
  where one’s ability to interact with the black 
  market, and one’s contacts, are necessary to survive 
  and thrive.
  MERCANTILE CULTURE PACKAGE DEAL
  It’s not uncommon for some species in a sci-
  ence ﬁction setting to be depicted only with regard 
  to matters of trade and business. The Ferengi of 
  Star Trek are the best-known example, but many 
  settings feature species who only seem to enter the 
  story when there’s dealing to be done and proﬁt to 
  be made.
  WINGED HUMANOID  
  PACKAGE DEAL
  Ability 
  Cost
   +2 DEX 
  6
  Wings:  Flight 8”; Restrainable (-½) 
  11
   +3 PER with Sight Group 
  6
  Disadvantages 
  Value
  -2 BODY 
  -4
  Total Cost Of Package:  19
  MERCANTILE CULTURAL 
  PACKAGE DEAL
  Ability 
  Cost
  Trading 
  3
  6 points’ worth of Skills from the following list: 
  6
  Bureaucratics, Conversation, Electronics, 
  High Society, Oratory, Persuasion, Seduction, 
  Stealth, Streetwise, any Background Skill
  Contacts (4 points’ worth; player’s choice) 
  4
  Disadvantages 
  Value
  None
  Total Cost Of Package:  13
  CONTEMPLATIVE CULTURAL 
  PACKAGE DEAL
  Ability 
  Cost
   +3 INT 
  3
   +3 EGO 
  6
   +3 PRE 
  3
   Any four KSs or SSs at 11- each 
  8
  Disadvantages 
  Value
  None
  Total Cost Of Package:  20
  CRIMINAL CULTURAL 
  PACKAGE DEAL
  Ability 
  Cost
   +1 INT 
  1
   +1 PRE 
  1
  6 points’ worth of Skills from the following list: 
  6
  Bribery, Climbing, Computer Programming, 
  Conversation, Forgery, Gambling, Lockpick-
  ing, Persuasion, Security Systems, Seduction, 
  Sleight Of Hand, Stealth, Trading, any Back-
  ground Skill
  WFs (2 points’ worth) 
  2
  Contacts (4 points’ worth; player’s choice) 
  4
  Disadvantages 
  Value
  None
  Total Cost Of Package:  14
  
  28 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  WARRIOR CULTURE PACKAGE DEAL
  Science ﬁction is rife with species best known 
  for their abilities as warriors, such as the Klingons 
  of Star Trek or the Kzinti of Larry Niven’s “Known 
  Space” stories. Usually tough, strong, and skilled 
  with a variety of weapons, members of warrior spe-
  cies often embrace elaborate codes of honor that 
  keep their societies from descending into eternal, 
  anarchistic warfare. Others care only about victory, 
  regardless of how they achieve it.
  ENVIRONMENT  
  PACKAGE DEALS
  Even within a single species, people from dif-
  ferent environments can show tremendous varia-
  tion in appearance and abilities. On Earth, the 
  people of Peru and Tibet are more comfortable at 
  high altitude than people native to sea level, and the 
  Inuit are adapted to Arctic conditions. In the future, 
  we may see Humans shaped by other worlds, either 
  naturally or by sophisticated genetic engineering. 
  Sentient aliens could easily have the same intraspe-
  cies diversity.
  To represent these variations, characters can 
  take Environment Package Deals. The abilities pro-
  vided by these Packages could come from heredity, 
  genetic engineering, accidental mutation, or many 
  other factors, but in general they reﬂect an adapta-
  tion of a sentient being to a particular world or 
  environment (hence the name). Characters may 
  buy more than one Environment Package Deal 
  if they have a good explanation for doing so (for 
  example, a Heavyworlder could also be Psionic). If 
  an Environment Package Deal and Species Package 
  Deal provide the same abilities or Disadvantages, 
  the player and GM should decide together whether 
  to combine the abilities (to whatever degree), or to 
  replace one Package’s ability with something else to 
  prevent duplication.
  HEAVYWORLDERS 
  Humans living on planets with heavy grav-
  ity are likely to be large and massively strong, 
  simply to survive. Their strength may be the result 
  of genetic modiﬁcation, or the eﬀect of living in 
  powerful gravity. Heavyworlders’s abilities keep 
  them from suﬀering any particular disadvantages 
  in their home setting, but other members of their 
  species recognize them as heavyworlders instantly, 
  and often ﬁnd their squat, over-muscled physiques 
  unattractive, even dangerous. (Similarly, heavy-
  worlders may ﬁnd ordinary members of their spe-
  cies “petite” or “fragile,” and thus unappealing in 
  some ways.)
  Heavyworlders require a lot of food to sup-
  port their prodigious bodies, and when away from 
  their homeworlds may be prone to accidentally 
  breaking ordinary objects that can’t withstand their 
  weight and strength. Traditionally, heavyworlders 
  and lightworlders don’t get along with each other 
  (much like the customary fantasy ﬁction antipathy 
  between Dwarves and Elves).
  This Package assumes a native environment of 
  up to 2 G; for heavyworlders native to even higher-
  gravity worlds, add +5 STR per +1 G. See also pages 
  203 and 278.
  LIGHTWORLDERS
  Just as Heavyworlders are adapted to high-
  gravity environments, Lightworlders are optimized 
  for planets with between 0.1 and 0.6 G. Humans 
  living on the Moon, Mars, or the moons of Jupiter 
  and Saturn would all be Lightworlders. They tend 
  WARRIOR CULTURAL 
  PACKAGE DEAL
  Ability 
  Cost
   +3 STR 
  3
   +1 DEX 
  3
   +2 CON 
  4
   +2 BODY 
  4
  WFs (6 points’ worth) 
  6
  Disadvantages 
  Value
  Psychological Limitation appropriate to spe-
  cies (Code Of Honor, Belligerent, Hair-Trigger 
  Temper, or the like) 
  -15
  Total Cost Of Package:  5
  CYBORGS
  The term “cyborg” refers 
  to any combination of 
  living and mechanical 
  systems (in the Cyber-
  punk subgenre, the sys-
  tems are usually referred 
  to as “cyberware”). The 
  Terminator in the movies 
  is one example — a killer 
  robot clad in living ﬂesh 
  — while television’s Six 
  Million Dollar Man was 
  a Human equipped with 
  super-powered mechani-
  cal limbs.
  Many Star Hero cam-
  paigns allow characters to 
  be cyborgs, since replac-
  ing biological material 
  with technological coun-
  terparts not only expands 
  the characters’ capabili-
  ties, but raises all sorts of 
  interesting roleplaying 
  issues, such as “where 
  does the man end and 
  the machine begin?”. In 
  some games (particularly 
  Cyber Hero campaigns), 
  GMs let characters buy 
  cyborg parts in-game 
  with money, regarding 
  them as just another form 
  Continued on next page
  
  29 
  Star Hero ■ Chapter Two
  to be tall and slender, and are usually not as strong 
  and tough as their normal-gravity kin because they 
  have less tissue mass (making them prime targets 
  for brutal criminals in some societies). Since low-
  gravity planets tend to have low air pressure, light-
  worlders are also adapted to thin air. Their features 
  may be the result of genetic engineering, or just the 
  eﬀect of living in low gravity.
  Most Lightworlders should take the Gravity 
  Adaptation Physical Limitation (page 64). The exact 
  version of Gravity Adaptation chosen depends on 
  the level of gravity in the environment the charac-
  ter’s accustomed to.
  MERFOLK
  Most of Earth is covered by ocean, and many 
  alien worlds could have no landmasses at all, only 
  oceans. Normal Humans can only venture undersea 
  in submarines or diving suits, but genetic manipu-
  lation could create a race of Humans capable of 
  living in water permanently. This Package assumes 
  the merfolk’s genetic designers wanted them to 
  have the ability to interact with surface-dwellers, 
  so they can still breathe air and walk on land. In 
  appearance, they are stocky, hairless people with 
  webbed hands and feet, and visible gill slits on the 
  sides of their thick necks. Their eyes are large and 
  sensitive, so they normally use sunglasses or similar 
  protective eyewear on the surface.
  MUTANTS
  In real life, most mutants are stillborn, or else 
  go through life with crippling handicaps. In SF 
  stories (especially the cinematic kind), some people 
  (be they Human or alien) are born with or develop 
  favorable mutations. They may be the children born 
  a generation after an atomic war, the direct victims 
  of that selfsame war (or a similar one involving 
  biological or chemical mutative agents), or the 
  unfortunate inhabitants of a high-radiation planet. 
  Mutants are a particularly common feature of post-
  apocalyptic SF stories.
  Because SF mutants always seem to be recog-
  nizable — either due to their deformities, a distinc-
  tive manner of dress, or both — this Package Deal 
  includes a Distinctive Features Disadvantage. You 
  can discard the Distinctive Features if you prefer, 
  or replace it with appropriate Physical Limitations, 
  Social Limitations, and the like.
  PSIONIC PACKAGE DEAL
  If psionic abilities exist in a game world, char-
  acters who have them are members of a powerful 
  elite. The nature of psi powers is too variable for a 
  single Package Deal; in some game worlds Talents 
  like Danger Sense, Simulate Death, and Universal 
  Translator are psi powers, while in other games 
  you’re not a real psionic unless you can wreck cities 
  with a thought. The Psi-Agent Package Deal (page 
  35) includes one set of Skills and Perks for a work-
  ing psi; otherwise the GM must determine what 
  powers are available and how many points charac-
  ters can spend on them.
  HEAVYWORLDER 
  PACKAGE DEAL
  Ability 
  Cost
   +5 STR 
  5
   +3 CON 
  6
   +3 BODY 
  6
  Heavy:  Knockback Resistance -1” 
  2
  High Gravity Training:  Environmental  
  Movement (High-G) 
  1
  Used To High G:  Armor (2 PD/0 ED); Only  
  To Protect Against G Force Damage (-1) 
  1
  Disadvantages 
  Value
  Physical Limitation:  Large (Infrequently,  
  Slightly Impairing) 
  -5
  Total Cost Of Package:  16
  Continued from last page
  of equipment. In other 
  games, GMs require PCs 
  to spend Character Points 
  for their cyborg parts, 
  because they consider 
  them more like “super-
  powers” than equipment 
  and want to control their 
  prevalence and use.
  Being a cyborg doesn’t 
  usually require a Package 
  Deal; characters simply 
  acquire the cybernetic 
  parts they desire by the 
  appropriate method for 
  the campaign. Here’s a 
  list of sample cybernetic 
  parts characters could 
  have. They’re built with 
  the Limitation Restrain-
  able at the -¼ level; see 
  page 200 of the HERO 
  System 5th Edition for a 
  discussion of this.
  Communications 
  Implant:  This tiny device, 
  implanted in the skull, 
  allows a character to 
  receive and broadcast 
  on radio bands without 
  using outside equipment.
  Radio Perception/
  Transmission (Radio 
  Group) (10 Character 
  Points); Restrainable (-
  ¼). Total cost:  8 points.
  Cybernetic Arm:  Made 
  of titanium steel, micro-
  motors, and high-tech 
  plastics, this artiﬁcial arm 
  is much stronger than a 
  character’s natural arm.
  +10 STR (10 Active 
  Points); Only When 
  Using The Right Arm (-
  ¼), Restrainable (-¼), No 
  Figured Characteristics 
  (-½). Total cost:  5 points.
  Cybernetic Eye:  Incorpo-
  rating some of the most 
  advanced optical technol-
  ogy available, cybernetic 
  eyes not only replace a 
  character’s normal vision, 
  but allow him to see into 
  other spectra as well.
  Infrared Perception, 
  Ultraviolet Perception, 
  and Telescopic (+4 versus 
  Range Modiﬁer) (all for 
  Sight Group) (16 Active 
  Continued on next page
  LIGHTWORLDER 
  PACKAGE DEAL
  Ability 
  Cost
   +1 DEX 
  3
  Adapted To Thin Air:  Life Support (Expanded 
  Breathing:  can breathe normally in thin  
  atmospheres) 
  1
  Low Gravity Training:  Environmental  
  Movement (Low-G) 
  4
  Disadvantages 
  Value
   -2 STR 
  -2
   -1 CON 
  -2
   -1 BODY 
  -2
  Total Cost Of Package:  2
  MERFOLK PACKAGE DEAL
  Ability 
  Cost
  Water-Breathing:  Life Support (Expanded  
  Breathing:  breathe underwater; Safe  
  Environments:  High Pressure, Intense Cold) 
  8
  Webbed Hands And Feet:  Swimming +3” 
  3
  Nightvision 
  5
  Environmental Movement:  Aquatic Movement 3
  Disadvantages 
  Value
  Vulnerability:  2 x Eﬀect from Sight Group  
  Flashes based on bright light (Common) 
  -20
  Total Cost Of Package:  -1
  MUTANT PACKAGE DEAL
  Ability 
  Cost
  One mutant ability (see sidebar, page 31) 
  10
  Disadvantages 
  Value
   -2 COM 
  -1
  Distinctive Features:  Mutant (Concealable With 
  Eﬀort; Causes Major Reaction [Prejudice]) 
  -15
  Total Cost Of Package:  -6
  
  30 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  A character can take this Package together 
  with any Species Package, unless the GM has 
  declared that certain species never possess psychic 
  abilities.
  SIZE/WEIGHT
  Some alien species are signiﬁcantly larger or 
  smaller than the deﬁned Human norm. The dis-
  advantages to this are covered by taking a Physical 
  Limitation (see page 63). The beneﬁts are covered 
  by the templates presented here, which include the 
  appropriate Physical Limitation. In the case of spe-
  cies which are more or less Human height, but still 
  weigh signiﬁcantly more (such as silicon aliens), 
  reduce the frequency and/or degree of impairment, 
  as appropriate.
  Cost Size:  Insectile (character is about one-sixty-
  fourth Human size)
  16 
  Easily Hidden:  +12 to Concealment (24 
  Active Points); Self Only (-½)
  60 
  Hard To Hit:  +12 DCV
  24 
  Hard To Perceive:  +12 to Stealth
  -30 
  Less Impressive:  -30 PRE (minimum of 0; 
  adjust cost accordingly)
  -36 
  Shorter Legs:  Running -18” (minimum of 1”; 
  may be changed to compensate for reduced 
  movement due to negative STR)
  -30 
  Weaker:  -30 STR (minimum of -30; adjust 
  cost accordingly)
  -20 
  Physical Limitation:  Insectile (All The Time, 
  Greatly Impairing)
  Total cost:  -16 points.
  Cost Size:  Minute (character is about one-thirty-
  second Human size)
  13 
  Easily Hidden:  +10 to Concealment (20 
  Active Points); Self Only (-½)
  50 
  Hard To Hit:  +10 DCV
  20 
  Hard To Perceive:  +10 to Stealth
  -25 
  Less Impressive:  -25 PRE (minimum of 0; 
  adjust cost accordingly)
  -30 
  Shorter Legs:  Running -15” (minimum of 1”; 
  may be changed to compensate for reduced 
  movement due to negative STR)
  -25 
  Weaker:  -25 STR (minimum of -30; adjust 
  cost accordingly)
  -15 
  Physical Limitation:  Minute (Frequently, 
  Greatly Impairing)
  Total cost:  -12 points.
  Cost Size:  Minuscule (character is about one-six-
  teenth Human size)
  11 
  Easily Hidden:  +8 to Concealment (16 Active 
  Points); Self Only (-½)
  40 
  Hard To Hit:  +8 DCV
  16 
  Hard To Perceive:  +8 to Stealth
  -20 
  Less Impressive:  -20 PRE (minimum of 0; 
  adjust cost accordingly)
  -24 
  Shorter Legs:  Running -12” (minimum of 1”; 
  may be changed to compensate for reduced 
  movement due to negative STR)
  -20 
  Weaker:  -20 STR (minimum of -30; adjust 
  cost accordingly)
  -15 
  Physical Limitation:  Minuscule (Frequently, 
  Greatly Impairing)
  Total cost:  -12 points.
  Cost Size:  Tiny (character is about one-eighth 
  Human size)
  8 
  Easily Hidden:  +6 to Concealment (12 Active 
  Points); Self Only (-½)
  30 
  Hard To Hit:  +6 DCV
  12 
  Hard To Perceive:  +6 to Stealth
  -15 
  Less Impressive:  -15 PRE (minimum of 0; 
  adjust cost accordingly)
  -18 
  Short Legs:  Running -9” (minimum of 1”; 
  may be changed to compensate for reduced 
  movement due to negative STR)
  -15 
  Weak:  -15 STR (minimum of -30; adjust cost 
  accordingly)
  -10 
  Physical Limitation:  Tiny (Frequently, Slightly 
  Continued from last page
  Points); Restrainable (-
  ¼). Total cost:  13 points.
  Cybernetic Leg:  A char-
  acter with this high-tech 
  artiﬁcial leg can run and 
  jump much better than 
  one with ordinary ﬂesh-
  and-blood legs.
  Running +5” (10 Active 
  Points); Restrainable  
  (-¼) (total cost:  8 points) 
  plus Leaping +4” (4 
  Active Points); Restrain-
  able (-¼) (total cost:  3 
  points). Total cost:  11 
  points.
  PSIONIC PACKAGE DEAL
  Ability 
  Cost
   +5 EGO 
  10
   +3 INT 
  3
  Psionics:  Psionic powers of character’s  
  choice (see Chapter Ten for examples) 
  30
  Disadvantages 
  Value
  None
  Total Cost Of Package:  43
  
  31 
  Star Hero ■ Chapter Two
  Impairing)
  Total cost:  -8 points.
  Cost Size:  Diminutive (character is about one-
  quarter Human size)
  5 
  Easily Hidden:  +4 to Concealment (8 Active 
  Points); Self Only (-½)
  20 
  Hard To Hit:  +4 DCV
  8 
  Hard To Perceive:  +4 to Stealth
  -10 
  Less Impressive:  -10 PRE (minimum of 0; 
  adjust cost accordingly)
  -12 
  Short Legs:  Running -6” (minimum of 1”; 
  may be changed to compensate for reduced 
  movement due to negative STR)
  -10 
  Weak:  -10 STR (minimum of -30; adjust cost 
  accordingly)
  -10 
  Physical Limitation:  Diminutive (Frequently, 
  Slightly Impairing)
  Total cost:  -9 points.
  Cost Size:  Small (character is about half Human 
  size)
  3 
  Easily Hidden:  +2 to Concealment (4 Active 
  Points); Self Only (-½)
  10 
  Hard To Hit:  +2 DCV
  4 
  Hard To Perceive:  +2 to Stealth
  -5 
  Less Impressive:  -5 PRE (minimum of 0; 
  adjust cost accordingly)
  -6 
  Short Legs:  Running -3” (minimum of 1”; 
  may be changed to compensate for reduced 
  movement due to negative STR)
  -5 
  Weak:  -5 STR (minimum of -30; adjust cost 
  accordingly)
  -5 
  Physical Limitation:  Small, down to half 
  Human size and/or mass (1m, or ½”) (Infre-
  quently, Slightly Impairing)
  Total cost:  -4 points.
  Reach for Large Characters
  Large characters’ extra reach is simulated with 
  inches of Stretching, bought with these Power 
  Modiﬁers:  Reduced Endurance (0 END; +½); 
  Always Direct (-¼), No Noncombat Stretching (-
  ¼), No Velocity Damage (-¼).
  As with everything else in a Size package, 
  reach is not required. Some characters, particularly 
  Humaniform ones, need it. Others can’t reach sig-
  niﬁcantly far away from their bodies, so they don’t 
  need reach.
  Large Characters and DCV
  As noted under Physical Limitation, for every 
  step larger than Human size, a character suﬀers 
  -2 DCV, and all PER Rolls to perceive him are at 
  +2. The DCV penalty was included in the Physical 
  Limitation for two reasons:  ﬁrst, it almost never 
  varies from the standard (unlike the DCV bonus 
  for being smaller than Human size, which often 
  varies); and because the rules for negative DCV 
  Levels (HERO System 5th Edition, Revised, page 54) 
  are optional. However, the value of the negative 
  DCV Levels (using the standard cost of 5 Character 
  Points per Level) exceeds the points the character 
  gets from the Physical Limitation. If you prefer, 
  you can adopt the negative DCV Levels rule, and 
  then instead of including the reduced DCV as part 
  of the Physical Limitation, subtract the negative 
  Levels’ cost from the cost of the Size Template.
  Cost Size:  Large (character is up to twice Human 
  size)
  15 
  Greater Strength:  +15 STR
  6 
  Greater Mass:  +3 BODY
  6 
  Heavy:  Knockback Resistance -3”
  5 
  More Impressive:  +5 PRE
  12 
  Long Legs:  Running +6”
  3 
  Tougher:  +3 ED
  4 
  Reach:  Stretching 1”
  -5 
  Physical Limitation:  Large (Infrequently, 
  Slightly Impairing)
  Total cost:  46 points.
  Cost Size:  Enormous (character is up to four 
  times Human size)
  30 
  Greater Strength:  +30 STR
  12 
  Greater Mass:  +6 BODY
  12 
  Heavy:  Knockback Resistance -6”
  10 
  More Impressive:  +10 PRE
  24 
  Long Legs:  Running +12”
  6 
  Tougher:  +6 ED
  9 
  Reach:  Stretching 2”
  -15 Physical Limitation:  Enormous (Frequently, 
  Greatly Impairing)
  Total cost:  88 points.
  Cost Size:  Huge (character is up to eight times 
  Human size)
  45 
  Greater Strength:  +45 STR
  18 
  Greater Mass:  +9 BODY
  18 
  Heavy:  Knockback Resistance -9”
  15 
  More Impressive:  +15 PRE
  36 
  Long Legs:  Running +18”
  9 
  Tougher:  +9 ED
  MUTANT ABILITIES
  These mutant powers 
  are all based on realis-
  tic biology, usually the 
  eﬀect of an enlarged 
  or duplicated body 
  part. Each is worth 10 
  Character Points. In 
  a comic book-, pulp, 
  or cinematic-oriented 
  game, more astonishing 
  powers are possible — 
  psionic abilities, energy 
  blasts, shapeshifting, and 
  so forth.
  Double Heart:  +3 CON, 
  +2 BODY
  Four Arms:  +4 STR and 
  Extra Limbs (2), Inher-
  ent (+¼)
  Four Eyes:   Increased 
  Arc Of Perception (360 
  Degrees) (Normal Sight) 
  and Nightvision
  Giant Brain:  +5 INT and 
  Eidetic Memory
  Fangs:  HKA 1d6; No 
  STR Bonus (-½)
  Huge Eyes:  Increased 
  Arc Of Perception (240 
  Degrees) (Sight Group) 
  and Nightvision
  Incredible Digestive 
  System:  Life Support 
  (Diminished Eating:  
  once per week; Immu-
  nity:  Alcohol, Phytotox-
  ins; Longevity:  ages at 
  half normal rate)
  Incredible Immune 
  System:  Life Support 
  (Immunity to all dis-
  eases and bioagents of 
  character’s homeworld)
  Thickened Skin:  Armor 
  (3 PD/3 ED) and Life 
  Support (Safe Environ-
  ment:  High Pressure)
  
  32 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  17 
  Reach:  Stretching 4”
  -15 
  Physical Limitation:  Huge (Frequently, 
  Greatly Impairing)
  Total cost:  143 points.
  Cost Size:  Gigantic (character is up to sixteen 
  times Human size)
  60 
  Greater Strength:  +60 STR
  24 
  Greater Mass:  +12 BODY
  24 
  Heavy:  Knockback Resistance -12”
  20 
  More Impressive:  +20 PRE
  48 
  Long Legs:  Running +24”
  12 
  Tougher:  +12 ED
  34 
  Reach:  Stretching 8”
  -15 
  Physical Limitation:  Gigantic (Frequently, 
  Greatly Impairing)
  Total cost:  207 points.
  Cost Size:  Gargantuan (character is up to thirty-
  two times Human size)
  75 
  Greater Strength:  +75 STR
  30 
  Greater Mass:  +15 BODY
  30 
  Heavy:  Knockback Resistance -15”
  25 
  More Impressive:  +25 PRE
  60 
  Long Legs:  Running +30”
  15 
  Tougher:  +15 ED
  69 
  Reach:  Stretching 16”
  -15 
  Physical Limitation:  Gargantuan (Frequently, 
  Greatly Impairing)
  Total cost:  289 points.
  Cost Size:  Colossal (character is up to sixty-four 
  times Human size)
  90 
  Greater Strength:  +90 STR
  36 
  Greater Mass:  +18 BODY
  36 
  Heavy:  Knockback Resistance -18”
  30 
  More Impressive:  +30 PRE
  72 
  Long Legs:  Running +36”
  18 
  Tougher:  +18 ED
  137 
  Reach:  Stretching 32”
  -20 
  Physical Limitation:  Colossal (All The Time, 
  Greatly Impairing)
  Total cost:  399 points.
  SPACERS
  Also known as Belters or Freefallers, Spac-
  ers are people born and raised in a microgravity 
  environment. For example, Humans raised in the 
  asteroid belt or in orbital space stations would be 
  Spacers. They may have genetic modiﬁcations to 
  help them survive — in particular, bones which 
  don’t weaken in low gravity, improved resistance 
  to radiation, immunity to spacesickness, and pos-
  sibly the ability to use feet more as gripping hands 
  (like those of chimpanzees or orangutans). Spacers 
  tend to be physically weak and very tall. Because 
  they can only visit planets wearing exoskeletons 
  or riding ﬂoat chairs, Spacers naturally prefer their 
  own artiﬁcial environments. In some settings, Spac-
  ers may be the norm for certain species, with only 
  a small proportion of “groundlings” or “dirtsiders” 
  living on planets.
  SPACER PACKAGE DEAL
  Ability 
  Cost
  Spaceborn:  Life Support (Safe  
  Environment:  High Radiation) 
  2
  Feet As Useful As Hands:  Extra Limbs (2) 
  5
  Zero-G Training:  Environmental Movement  
  (Zero G) 
  4
  Disadvantages 
  Value
   -2 STR 
  -2
   -1 CON 
  -2
  Physical Limitation:  Cannot Move In Normal 
  Gravity Without Assistance (Frequently,  
  Greatly Impairing) 
  -15
  Total Cost Of Package:  -8
  
  33 
  Star Hero ■ Chapter Two
  S
  pecies Package Deals reﬂect a character’s 
  genetics, and Environment Package Deals 
  show how the place he grew up in (or was 
  bio-engineered for) aﬀected him. In many 
  cases a character’s background dictates which of 
  these Racial Package Deals he can select. Profes-
  sional Package Deals are diﬀerent. They represent 
  the training and study people go through to learn 
  a career, and as such usually indicate voluntary 
  choices on a character’s part.
  The following Packages represent jobs or 
  lifestyles common to science ﬁction stories and 
  settings. Not all Packages are appropriate for all 
  campaigns, and some may need adjustments or 
  additions for speciﬁc settings. None of the Packages 
  have the Galactic Computernet Access Card Fringe 
  Beneﬁt, since that may not exist in some Star Hero 
  campaigns, but it’s an appropriate addition to many 
  of them.
  A few of these Packages include a Psychologi-
  cal Limitation (such as Overconﬁdence for Pilots). 
  That’s because those attitudes or codes are very 
  closely associated with that profession in science 
  ﬁction. However, if it’s not appropriate for the char-
  acter you have in mind, you can easily switch it for 
  another Disadvantage.
  COLONIST
  The people who journey into space to settle 
  distant worlds come from a variety of back-
  grounds. Some leave home because they are 
  hoping for a better life, others are searching for 
  political or religious freedom. A few are on the run. 
  The only thing they have in common is the deter-
  mination to stick it out in a hostile environment. 
  Colonists on habitable planets learn farming, while 
  those living in space or on hostile worlds learn 
  hydroponics. Asteroid or space station colonists 
  should replace the Animal Handler and Survival 
  Skills with the Talent Environmental Movement 
  (Zero-G). For more heroic colonist player charac-
  ters, the Jack Of All Trades Skill Enhancer is very 
  useful.
  DIPLOMAT
  On twenty-ﬁrst century Earth, diplomats 
  are mostly middle-level bureaucrats doing the 
  detail work of policies set by government leaders. 
  In a future world of interstellar travel, they may 
  become more important as communication lags 
  make it impossible for national leaders to simply 
  pick up the phone during a crisis. In that case a 
  diplomat may ﬁnd himself making policy on the 
  ﬂy, hoping his decisions meet with his superiors’ 
  approval down the line.
  Diplomats assigned to make contact with 
  alien species must be able to adapt to strange ways 
  of thinking and communicating. Moreover, intelli-
  gence-gathering and occasional discreet espionage 
  have always been part of diplomacy, and that will 
  likely continue in the future.
  This Package assumes a diplomat with a fair 
  amount of autonomy and responsibility. It does 
  not include the Universal Translator Talent (either 
  naturally or built into a Focus); if that exists in 
  the campaign, most diplomats will have it. Other 
  useful improvements include the Traveler and 
  Well-Connected Skill Enhancers, Money, Follow-
  ers, and lots of Contacts. The Diplomatic Immu-
  nity Fringe Beneﬁt means the character’s host 
  planet cannot prosecute him for ordinary crimes 
  (although anything beyond a misdemeanor will 
  certainly get him sent home). By replacing Diplo-
  matic Immunity with some appropriate Skills, you 
  can also use this Package Deal for other types of 
  politicians.
  DIPLOMAT PACKAGE DEAL
  Ability 
  Cost
  Conversation 
  3
  High Society 
  3
  KS: Political Science (INT Roll) 
  3
  Language (player’s choice; ﬂuent conversation) 2
  Persuasion 
  3
  Contacts (11 points’ worth of player’s choice) 11
  Fringe Beneﬁt:  Diplomatic Immunity 
  5
  Disadvantages 
  Value
  Hunted:  host government 8- (Mo Pow, NCI, 
  Watched) 
  -10
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  0
  PROFESSIONAL 
  PACKAGE DEALS
  COLONIST PACKAGE DEAL
  Ability 
  Cost
  Animal Handler (choose group) 
  2
  AK: colony’s region 11- 
  2
  Mechanics 
  3
  PS: Farming, Hydroponic Farming, or Mining  
  (player’s choice) 11- 
  2
  Survival (choose environment) 
  2
  TF (2 points’ worth) 
  2
  WF (2 points’ worth) 
  2
  Disadvantages 
  Value
  None
  Total Cost Of Package:  15
  
  34 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  DOCTOR
  Futuristic medicine can work miracles, but 
  only if there’s someone handy to provide treatment. 
  This Package can represent a starship’s medical 
  oﬃcer, a cyberpunk “black clinic” operator, or the 
  self-taught general practitioner on a colony planet. 
  The Hippocratic Oath requires doctors to treat any 
  patient (even an enemy), and forbids them to use 
  their skills to cause harm.
  If you want to expand this Package, consider 
  adding Contacts (particularly appropriate for a 
  practicing physician with access to the local hospi-
  tals and medical community), Cramming (essential 
  for getting through medical school!), Money, and 
  perhaps some Favors from grateful former patients.
  EXPLORER
  Explorers survey new worlds and make contact 
  with alien civilizations. They may work for some 
  agency like NASA or the Interstellar Scout Service, 
  or they may be freelancers driven by wanderlust and 
  the hope of ﬁnding a valuable world and striking it 
  rich. Explorers are optimized for planetary-surface 
  work; scouts who never leave their spaceships are 
  best modeled with the Pilot Package Deal, below. 
  Player character Explorers may want the Jack Of All 
  Trades or Traveler Skill Enhancers. The Universal 
  Translator Talent is extremely useful for Explorers, if 
  it exists in the setting.
  LAW ENFORCEMENT AGENT
  From the cop on the beat in cyberspace, to the 
  incorruptible Space Patrol oﬃcer, to the hard-bitten 
  bounty hunter in a remote frontier dive, lawmen are 
  a staple in science ﬁction. They can be upright rep-
  resentatives of order and civilization, or the street-
  level enforcers of tyranny. Whatever the setting, law 
  enforcers have authority and know how to use it. 
  The Package assumes a uniformed oﬃcer empow-
  ered to carry weapons and arrest people on a given 
  world; for authority throughout a region of space, 
  upgrade the Fringe Beneﬁt to Interstellar Police 
  Powers. For plainclothes oﬃcers, bounty hunters, 
  or private detectives, drop the Distinctive Feature. 
  Bounty hunters and private investigators downgrade 
  Police Powers to a 2-point Private Investigator’s 
  License, but also don’t have the Subject To Orders 
  Social Limitation.
  PILOT
  Pilots ﬂy spacecraft, be they orbital shuttles, 
  space ﬁghters, interstellar merchant vessels, scout 
  ships, or galactic dreadnoughts. They tend to have 
  fast reﬂexes, good vision, and an intuitive grasp of 
  Newtonian physics. Pilots in ﬁction traditionally 
  have a healthy ego and a willingness to test the 
  design limits of their spacecraft with risky maneu-
  vers, hence the Overconﬁdence Psychological Limi-
  DOCTOR PACKAGE DEAL
  Ability 
  Cost
  Deduction 
  3
  Paramedics 
  3
  PS: Doctor (INT Roll) 
  3
  SS: Biology (INT Roll) 
  3
  SS: Chemistry (INT Roll) 
  3
  SS: Medicine (INT Roll) 
  3
  SS: Surgery (INT Roll) 
  3
  SS: Xenobiology (INT Roll) 
  3
  Fringe Beneﬁt:  License To Practice Medicine 
  1
  Disadvantages 
  Value
  Psychological Limitation (Hippocratic Oath) -20
  Total Cost Of Package:  5
  EXPLORER PACKAGE DEAL
  Ability 
  Cost
  Navigation (Land, Space) 
  3
  Any two SSs at 11- each 
  4
  Survival (4 points’ worth) 
  4
  TF (4 points’ worth) 
  4
  WF (2 points’ worth) 
  2
  9 points’ worth of Skills from the following list: 9
  Breakfall, Climbing, Electronics, Gambling, 
  Inventor, Paramedics, Riding, Shadowing, 
  Stealth, Systems Operation, Tracking, any 
  Background Skill
  Disadvantages 
  Value
  Rivalry:  Professional (other explorers) 
  -5
  Total Cost Of Package:  21
  
  35 
  Star Hero ■ Chapter Two
  tation. You can replace this with Thrillseeker instead, 
  or with a suitable Rivalry, Hunted, or DNPC.
  PSI-AGENT
  Psi-Agents are law enforcement or espionage 
  specialists with psionic powers. In tyrannical 
  societies, they use their mental powers to seek out 
  rebellion and dissent. In more open cultures, Psi-
  Agents specialize in solving crimes committed by 
  psionics, tracking psionic bad guys, and assisting 
  ordinary law enforcement oﬃcers with “unsolv-
  able” crimes. Unless society is very tolerant of 
  those with psi powers, the combination of public 
  fear and their admittedly formidable powers gives 
  Psi-Agents a frightening reputation. To prevent 
  them from misusing their abilities, Psi-Agents are 
  closely watched, both by the “mundane” authorities 
  and other Psi-Agents.
  ROGUE
  It’s hard to make a living. Why not let other 
  people do the work, then live oﬀ them?  That’s how 
  rogues manage:  swindling, stealing, and smug-
  gling their way to success. The most honest rogues 
  are merchants who just happen to deal in things 
  forbidden by local laws. The worst are simply 
  predators, willing to kill for hire. A Rogue’s exact 
  nature depends on the campaign style and tone. 
  A swashbuckling Space Opera can have color-
  ful space pirates and gamblers (many with hearts 
  of gold, of course). A Cyberpunk game might 
  have “heroes” who really are cynical professional 
  thieves and assassins. Hard SF runs to slightly 
  LAW ENFORCEMENT  
  PACKAGE DEAL
  Ability 
  Cost
  Criminology 
  3
  KS: Criminal Law 11- 
  2
  PS: Law Enforcement Agent 11- 
  2
  WF (2 points’ worth ) 
  2
  9 points’ worth of Skills from the following list: 9
  Bugging, Computer Programming, Deduc-
  tion, Forensic Medicine, Interrogation, 
  Lockpicking, Paramedics, Security Systems, 
  Stealth, Streetwise, Systems Operation, any 
  Background Skill
  Contacts (10 points’ worth; player’s choice) 
  10
  Fringe Beneﬁt:  Planetary Police Powers 
  5
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  8
  PILOT PACKAGE DEAL
  Ability 
  Cost
  Combat Piloting 
  3
  Navigation (Space) 
  2
  SS: Astronomy 11- 
  2
  TF: Science Fiction & Space Vehicles 
  2
  9 points’ worth of Skills from the following list: 
  9
  Computer Programming, Electronics, 
  Mechanics, Paramedics, Stealth, Systems 
  Operation, any Background Skill
  Environmental Movement (Zero G) 
  4
  Disadvantages 
  Value
  Psychological Limitation:  Overconﬁdence 
  -15
  Total Cost Of Package:  7
  PSI-AGENT PACKAGE DEAL
  Ability 
  Cost
  Psionic powers (as appropriate; must be  
  approved by GM) 
  40
  Analyze Psionics  
  3
  KS: The Psionic World 11- 
  2
  Power Skill (player’s choice) 
  3
  SS: Psionics 11- 
  2
  WF (2 points’ worth) 
  2
  6 points’ worth of Skills from the following list: 6
  Bugging, Computer Programming, Crimi-
  nology, Deduction, Forensic Medicine,  
  Interrogation, Lockpicking, Paramedics, 
  Security Systems, Stealth, Streetwise,  
  Systems Operation, any Background Skill
  Contacts (player’s choice) 
  5
  Fringe Beneﬁt:  Interstellar Police Powers 
  8
  Fringe Beneﬁt:  Psionic Police Powers 
  3
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Hunted:  local authorities 8- (Mo Pow, NCI,  
  Watching) 
  -10
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  39
  
  36 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  shady “entrepreneurs” and smugglers evading 
  oppressive bureaucracy. This Package assumes a 
  rogue whose shady nature is known to, or at least 
  suspected by, the local authorities, but who hasn’t 
  been caught — yet.
  SCIENTIST
  It is called science ﬁction, after all. Scientists 
  are often characters in SF stories, especially in 
  Hard SF and stories of exploration. In Cyberpunk 
  SF, scientists are apt to be NPC researchers in 
  thrall to some megacorporation. In Space Opera, 
  they’re often white-coated supergeniuses, capable 
  of whipping up a weapon to stop an intergalactic 
  menace (with a little help from their beautiful 
  daughters). In Military SF, they may be shipboard 
  engineers, weapon designers, or analysts. Despite 
  their reputation as ivory-tower eccentrics, many 
  are pretty capable and well-rounded individuals.
  SOLDIER
  Humans have been waging war for all of 
  recorded history, and there’s no reason to expect 
  they’ll stop in the future — or that other sentient 
  species aren’t equally warlike. Soldiers in science 
  ﬁction include battlesuited Space Marines attack-
  ing enemy planets from orbit, tough mercenaries 
  ready to ﬁght anything anywhere, post-apocalyp-
  tic warlords, and bioengineered super-troopers. 
  Tactics and technical skills are as important as 
  weapon training.
  If necessary, you can easily customize this 
  Package by altering or adding Skills to represent 
  specialized types of soldiers (space marine, tele-
  artillery oﬃcer, mechanized infantryman, and 
  so forth). With a few additions (such as Combat 
  Luck, Combat Sense, Danger Sense, or Mental 
  Powers) you can create “super-soldiers” or “psi-
  warriors.” You can also add some appropriate Dis-
  advantages — conscripts may only feel loyalty to 
  their unit, professionals are responsible to the ser-
  vice or the state, and mercenaries obey whoever 
  signs the paycheck.
  SPY
  From the shapeshifting saboteurs and wily 
  Romulan espionage agents of Star Trek:  Deep 
  Space Nine to Robert Heinlein’s “courier” Friday, 
  spies are a staple of many science ﬁction settings. 
  Smart, competent, ruthless, and well-equipped, 
  ROGUE PACKAGE DEAL
  Ability 
  Cost
  Streetwise +2 
  7
  WF (2 points’ worth) 
  2
  15 points’ worth of Skills from the following list: 15
  Acrobatics, Breakfall, Bribery, Climbing, 
  Computer Programming, Combat Piloting, 
  Conversation, Forgery, Gambling, High Soci-
  ety, Lockpicking, Persuasion, Security Systems, 
  Seduction, Sleight Of Hand, Stealth, Trading, 
  any Background Skill
  Contacts (8 points’ worth; player’s choice) 
  8
  Disadvantages 
  Value
  Hunted:  local authorities 8- (Mo Pow, NCI, 
  Watched) 
  -10
  Reputation:  rogue, 11- 
  -10
  Total Cost Of Package:  12
  SCIENTIST PACKAGE DEAL
  Ability 
  Cost
  Computer Programming 
  3
  Deduction 
  3
  Any two KSs at 11- each 
  4
  Any two SSs (INT Roll each) 
  6
  Any two SSs at 11- each 
  4
  6 points’ worth of Skills from the following list: 6
  Electronics, Inventor, Mechanics, Security 
  Systems, Systems Operation, Weaponsmith, 
  any Background Skill
  Contacts (6 points’ worth; player’s choice) 
  6
  Disadvantages 
  Value
  Psychological Limitation:  Curiosity 
  -15
  Rivalry:  Professional (another scientist) 
  -5
  Total Cost Of Package:  12
  SOLDIER PACKAGE DEAL
  Ability 
  Cost
  PS:  Soldier 11- 
  2
  Tactics 
  3
  TF (player’s choice) 
  1
  Weaponsmith (one category) 
  2
  WF (6 points’ worth) 
  6
  15 points’ worth of Skills from the following list: 15
  Breakfall, Bureaucratics, Combat Driving, 
  Combat Piloting, Computer Programming, 
  Demolitions, Electronics, Mechanics, Para-
  medics, Security Systems, Stealth, Survival, 
  Systems Operation, any Background Skill
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  4
  SPY PACKAGE DEAL
  Ability 
  Cost
  Computer Programming 
  3
  Conversation 
  3
  Systems Operation (3 points’ worth) 
  3
  TF (2 points’ worth) 
  2
  WF (2 points’ worth) 
  2
  15 points’ worth of Skills from the following list: 15
  Bugging, Bureaucratics, Climbing, Combat 
  Driving, Combat Piloting, Deduction, 
  Demolitions, Electronics, Forgery, Gambling, 
  High Society, Lockpicking, Persuasion,  
  Security Systems, Seduction, Stealth,  
  Survival, any Background Skill
  Contacts (10 points’ worth; player’s choice) 
  10
  Disadvantages 
  Value
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  18
  
  37 
  Star Hero ■ Chapter Two
  they’re often far more dangerous than a squad of 
  soldiers.
  STARSHIP OFFICER — COMMAND
  Large, spacefaring navies and exploratory 
  institutions are found in many science ﬁction set-
  tings. Any such organization needs speciﬁc types 
  of oﬃcers to crew its starships and keep them 
  safe in the face of the many dangers the universe 
  holds.
  Command oﬃcers range from the captain, 
  who usually has absolute authority over the crew 
  and the ship, to junior oﬃcers responsible for the 
  day-to-day operation of various departments on 
  the ship. Since ships often spend months or years 
  away from their home bases, command oﬃcers 
  shoulder a heavy burden — they have to keep 
  morale up and eﬃciency high, protect the crew, 
  and perform many other duties.
  Most command oﬃcers, particularly high-
  ranking ones, feel responsible for the safety and 
  well-being of their crews. You can simulate this 
  with various Psychological Limitations, or even by 
  taking the crew as DNPCs (assuming it’s not too 
  large a crew).
  STARSHIP OFFICER —  
  ENGINEERING/SCIENCE
  Oﬃcers in the Engineering and/or Science 
  departments of a starship are responsible for 
  various scientiﬁc and technical tasks. They study 
  nearby astronomical phenomena, keep the ship in 
  good repair, help upgrade the weapons to ﬁght oﬀ 
  an otherwise unbeatable foe, and bring their ana-
  lytical skills to bear on many problems.
  STARSHIP OFFICER — OPERATIONS
  This Package Deal represents “average” starship 
  oﬃcers — the operations personnel who ﬂy the 
  ship, man the sensors and communications con-
  soles, and perform other routine duties.
  COMMAND OFFICER  
  PACKAGE DEAL
  Ability 
  Cost
  Combat Piloting 
  3
  AK (region of player’s choice) 11- 
  2
  KS: Regulations 11- 
  2
  Navigation (Space) 
  2
  PS: Starship Command Ofﬁcer 11- 
  2
  TF: Science Fiction & Space Vehicles 
  2
  WF (2 points’ worth) 
  2
  15 points’ worth of Skills from the following list: 15
  Bureaucratics, Computer Programming, 
  Electronics, High Society, Paramedics, Per-
  suasion, Stealth, Survival, Systems Operation, 
  any Background Skill
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  5
  ENGINEERING/SCIENCE  
  OFFICER PACKAGE DEAL
  Ability 
  Cost
  Computer Programming 
  3
  Electronics 
  3
  Inventor 
  3
  AK (region of player’s choice) 11- 
  2
  KS: Regulations 8- 
  1
  Mechanics 
  3
  PS: Starship Engineering/Science Ofﬁcer 11- 
  2
  Any three SSs at 11- each 
  6
  Systems Operation (3 points’ worth) 
  3
  WF (2 points’ worth) 
  2
  6 points’ worth of Skills from the following list: 6
  Bureaucratics, Combat Piloting, Paramed-
  ics, Persuasion, Stealth, Survival, any Back-
  ground Skill
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  9
  
  38 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  STARSHIP OFFICER —  
  TACTICAL/STRATEGIC
  A starship’s tactical and strategic oﬃcers oper-
  ate its weapons and defensive systems, devise new 
  weapons (or improvements for existing ones), and 
  advise the captain during emergencies and times of 
  war. They also often function as the ship’s security 
  personnel.
  TECH
  As technology becomes more important, so do 
  the people who know how to keep it running. On 
  a spaceship, the miracle-working engineer (with or 
  without Scottish accent) is often the most important 
  person on board. How would Cyberpunk’s street 
  samurai or cyberspace cowboys do their cool stuﬀ 
  without someone to keep their cyberware and com-
  puters working? This Package represents a skilled 
  mechanic or technician, capable of maintaining sys-
  tems, constructing things from existing designs, or 
  even creating his own inventions.
  Both in the real world and science ﬁction, tech-
  nicians are often better with machinery than people. 
  You can represent this by adding an appropriate Psy-
  chological Limitation.
  TRADER
  Omnipotent beings with godlike powers, or 
  advanced societies with access to replicator technol-
  ogy, can make whatever they want simply by wishing 
  for it. Everyone else has to buy things from a trader 
  or a merchant. Wherever somebody has something 
  and wants something else, someone can make a 
  proﬁt on the deal. A reliable trope of science ﬁction 
  is the daring interstellar trader, seeking out new life 
  and market opportunities. On a backwater planet or 
  among the blasted ruins of a post-apocalyptic future, 
  the trader in his battered truck may be the only thing 
  keeping civilization alive. On a space station, the 
  trader may set up shop and become a more seden-
  tary merchant. Even in cyberspace there are traders, 
  brokering secrets and vital data.
  Improvements for more powerful trader char-
  acters include the Lightning Calculator Talent, a few 
  points in Money, and the Traveler or Well-Connected 
  Skill Enhancers.
  Ability 
  Cost
  Computer Programming 
  3
  AK (region of player’s choice) 11- 
  2
  KS: Regulations 8- 
  1
  PS: Starship Operations Ofﬁcer 11- 
  2
  Any SS at 11- 
  2
  Systems Operation (7 points’ worth) 
  7
  WF (2 points’ worth) 
  2
  12 points’ worth of Skills from the following list: 12
  Bureaucratics, Combat Piloting, Electronics, 
  Mechanics, Paramedics, Persuasion, Stealth, 
  Survival, any Background Skill
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  6
  OPERATIONS OFFICER  
  PACKAGE DEAL
  Ability 
  Cost
  Computer Programming 
  3
  AK (region of player’s choice) 11- 
  2
  KS: Regulations 11- 
  2
  PS: Starship Tactical/Strategic Ofﬁcer 11- 
  2
  Systems Operation (3 points’ worth) 
  3
  Tactics 
  3
  WF:  Small Arms, plus 2 more points’ worth 
  4
  Weaponsmith (choose category) 
  2
  9 points’ worth of Skills from the following list: 9
  Bureaucratics, Combat Driving, Combat 
  Piloting, Paramedics, Persuasion, Security 
  Systems, Shadowing, Stealth, Streetwise,  
  Survival, Teamwork, any Background Skill
  Disadvantages 
  Value
  Distinctive Features:  Uniform (Easily  
  Concealed; Noticed And Recognizable) 
  -5
  Social Limitation:  Subject To Orders 
  -20
  Total Cost Of Package:  5
  TACTICAL/STRATEGIC  
  OFFICER PACKAGE DEAL
  TECH PACKAGE DEAL
  Ability 
  Cost
  Any two SSs at 11- each 
  4
  15 points’ worth of Skills from the following  
  list, two at +2, three at base roll: 
  23
  Bugging, Computer Programming, Deduc-
  tion, Demolitions, Electronics, Inventor, 
  Mechanics, Security Systems, Systems Oper-
  ation, Weaponsmith (+1 category)
  Disadvantages 
  Value
  None
  Total Cost Of Package:  27
  TRADER PACKAGE DEAL
  Ability 
  Cost
  Bureaucratics 
  3
  High Society or Streetwise 
  3
  AK: trading area 11- 
  2
  Trading +2 
  7
  TF (2 points’ worth) 
  2
  9 points’ worth of Skills from the following list: 
  9
  Combat Piloting, Conversation, Electronics, 
  High Society, Mechanics, Oratory, Paramed-
  ics, Persuasion, Security Systems, Seduction, 
  Stealth, Streetwise, Survival, any Background 
  Skill
  Contacts (8 points’ worth; player’s choice) 
  8
  Disadvantages 
  Value
  Psychological Limitation:  Always Has His  
  Eye On The Bottom Line 
  -10
  Rivalry:  Professional (with competitor[s]) 
  -5
  Total Cost Of Package:  19
  
  39 
  Star Hero ■ Chapter Two
  T
  he HERO System character creation rules 
  are tremendously broad and ﬂexible. Here 
  are some suggestions, re-interpretations, and 
  “tweaks” to make them more appropriate or 
  useful for Star Hero games.
  CHARACTERISTICS
  The Characteristics are the same in any setting, 
  but some of them become more important in Star 
  Hero campaigns. 
  STRENGTH
  With machinery to do the heavy work, physical 
  strength is generally less important in most future set-
  tings. An old cliché of science ﬁction is the people of 
  the future with huge heads and puny bodies. As noted 
  in the Heavyworlder and Lightworlder Environment 
  Packages (see page 28), a character’s Strength may 
  vary with his home gravity. The relation isn’t direct, 
  because even in free fall a person still needs some 
  strength.
  Gravity aﬀects both how much a character can 
  lift and how far he can throw things. See page 278 for 
  more information.
  DEXTERITY
  Some SF characters, particularly spacers who 
  are used to working in cramped but delicate environ-
  ments, have high manual deftness, but their reﬂexes 
  aren’t necessarily any faster than other peoples’. You 
  can simulate this by buying DEX with the Limitation 
  Only For DEX Rolls (-1). DEX with that Limitation 
  increases DEX Rolls, and Skill Rolls based on DEX, 
  but does not aﬀect a character’s CV or initiative in 
  combat.
   CONSTITUTION
  The eﬀects of spending long periods in diﬀer-
  ent gravity are poorly understood, but it appears that 
  both low and high gravity environments might reduce 
  a Human’s ﬁtness. (Presumably alien species would 
  suﬀer similar eﬀects when away from their normal 
  gravity.) Gamemasters in Hard SF campaigns may 
  wish to include a CON penalty in Package Deals for 
  characters and species native to zero gravity or any-
  thing over 1.5 G.
  COMELINESS
  Beauty, they say, is only skin deep. As plastic sur-
  gery gets easier and cheaper, buying a beautiful skin 
  becomes only a little more diﬃcult than getting some 
  nice clothes. In futuristic settings, everyone may have 
  the same Comeliness, and trends in personal appear-
  ance might come and go like trends in clothing and 
  music. Only rebels and eccentrics would leave their 
  appearance unimproved or below average. In such a 
  world, a genuinely beautiful person might stand out in 
  the crowd of “generic” good looks.
  SPEED
  Cyberpunk computer hackers or space pilots 
  who ﬂy their ships through direct brain links may 
  wish to purchase extra SPD with Limitations such as 
  Only In Cyberspace (-1) or Only For Flying Vehicles 
  (-1). The player and the GM should work out which 
  Segments the character gets his “extra” Phases on, the 
  eﬀects of Aborting, and so forth; see Menton in Con-
  querors, Killers, And Crooks for an example.
  SKILLS
  Given the breadth of the SF genre, any of the 
  Skills in the HERO System 5th Edition, Revised rule-
  book could come into play at some point. Here are a 
  few notes on special applications for various Skills.
  For information on Skill Roll penalties for deal-
  ing with alien or obsolete technologies, see pages 
  143-44.
  BACKGROUND SKILLS
  Star Hero characters often buy KSs, PSs, and SSs 
  with the preﬁxes “xeno-“ or “exo-,” such as SS: Exobiol-
  ogy, SS: Xenoarchaeology, or KS: Xeno-Art History. 
  Both preﬁxes mean “foreign” or “alien,” and refer to a 
  character’s knowledge of the subject in question as it 
  pertains to species other than his own. A Human with 
  SS: Exobiology might know a lot about Denebian biol-
  ogy, whereas a Denebian with the same Skill would 
  known about Human biology instead.
  In a setting featuring few alien species, a Xeno/
  Exo Background Skill is easier to use, because there’s 
  less to know, and therefore the Skill Roll penalties 
  are likely to be smaller. In settings featuring dozens, 
  hundreds, or even thousands of alien species, a gen-
  eral Xeno/Exo knowledge may not help the character 
  much — he’d be better oﬀ buying Background Skills 
  relating to particular species he knows about.
  Technically, a Xeno/Exo Skill provides a char-
  acter with knowledge of the subject as it pertains to 
  any species besides his own. However, this may entail 
  some hefty penalties; GMs can adapt the rule for KSs 
  (page 43) if necessary. For better results and/or greater 
  realism, characters should buy Background Skills by 
  species.
  INTERACTION SKILLS
  In some settings, characters of one species 
  have diﬃculty interacting with characters of any 
  other species — something about the “alien” nature 
  CHARACTER 
  CREATION
  GRAVITY PENALTIES
  Skills involving physi-
  cal motion, such as 
  Acrobatics, Breakfall, 
  or any technology-
  manipulation Skill, may 
  suﬀer penalties due to 
  higher or lower gravity. 
  The HERO System rules 
  assume a character grew 
  up, as Humans tend to, 
  in an environment of 
  about 1.0 G. If a char-
  acter was trained in a 
  diﬀerent environment, 
  he may suﬀer diﬀerent 
  penalties — for example, 
  a heavyworlder is ﬁne in 
  1.5 G, but might suﬀer 
  low-gravity penalties at 
  1.3 G, when most char-
  acters would experience 
  high-gravity penalties 
  instead. Characters 
  trying to perform tasks 
  in high-G may have to 
  make STR Versus STR 
  Rolls to move (page 
  278); those in either type 
  of environment may 
  suﬀer Skill Roll penalties 
  of -1 to -2 to reﬂect their 
  unfamiliarity with the 
  environment.
  Characters can buy 
  appropriate Environ-
  mental Movement Tal-
  ents to eliminate gravity 
  penalties; see page 51.
  
  40 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  of other species makes it hard to relate to them. 
  Sometimes this phenomenon depends on “classes” 
  of aliens; a mammalian species might relate just 
  ﬁne to any other mammalian species, but reptil-
  ian or ichthyoid species give it the willies. This 
  trait is most common in Low SF or “realistic” set-
  tings; it almost never exists in Space Opera or Pulp 
  SF, where dozens of alien species freely mingle 
  together.
  To reﬂect this discomfort, GMs can impose 
  a penalty on all Interaction Skill rolls between 
  members of two diﬀerent species:  -2 for relatively 
  similar species; -4 for dissimilar species; and -8 (or 
  more) for greatly diﬀerent species (like a physical 
  being and an energy being).
  ACTING
  Characters may have diﬃculty acting like 
  members of another species, since aliens are, well, 
  alien. When a character impersonates a member 
  of a species other than his own to a character who 
  knows what members of that species are like, he 
  suﬀers a -2 to -5 penalty to his Acting roll. He can 
  eliminate this penalty by buying bonuses to Acting 
  Only To Impersonate [Species] (-1), or by succeed-
  ing with a KS: [Species] roll. Gamemasters may 
  also wish to impose some of the penalties from the 
  Alien Disguise Table (page 42) on Acting rolls.
  ANALYZE
  Psionic characters with Analyze Psionics can 
  determine another psionic’s abilities with a Skill 
  Roll, per the normal rules for the Skill. Technicians 
  and scientists who study alien technology may 
  also learn Analyze Alien Tech. Astrobiologists or 
  xenologists who study lots of diﬀerent alien beings 
  with weird powers can learn Analyze Alien Powers 
  — a tremendous help when dealing with unknown 
  creatures and strange abilities.
  ANIMAL HANDLER
  In realistic Hard SF campaigns, alien animals 
  are all completely diﬀerent from any terrestrial 
  species. Each planet has its own menu of animal 
  categories, and knowing how to deal with crea-
  tures native to one world doesn’t help on a new 
  or strange planet (though the GM might allow an 
  Animal Handler roll at -5).
  In a more cinematic setting, such as a Pulp or 
  Space Opera campaign, alien animals may well look 
  and act like Terran creatures. If it has wings and 
  feathers, it’s a bird, even if it comes from a planet 
  orbiting Epsilon Eridani. Characters should still 
  suﬀer a Skill Roll penalty of -2 for working with 
  alien creatures in a group they know how to handle 
  — at least until they’ve spent a game session or two 
  learning about those animals’ habits and instincts.
  BREAKFALL
  Breakfall gets easier in low gravity and harder 
  in high gravity. Apply a Skill Roll penalty of -1 for 
  every 20% increase above 1.0 G. For example, on a 
  planet with a surface gravity of 1.6 G, the Breakfall 
  penalty is -3. On the other hand, low gravity gives a 
  +1 Skill Roll bonus at anything between 0.3 and 0.6 
  G, and +2 for gravity below 0.3 G.
  It may seem odd, but Breakfall is a useful Skill 
  to have in zero gravity! Characters can use Break-
  fall to cushion the impact when they bounce oﬀ a 
  wall in free fall. They receive a +2 bonus to the roll 
  for this purpose.
  BUGGING
  On twenty-ﬁrst century Earth, surveillance 
  devices are already fantastically small and easy 
  to conceal, and future advances in nanotechnol-
  ogy will only make them harder to ﬁnd. Advanced 
  bugs may actually be tiny robot insects, capable of 
  crawling into a room to eavesdrop. The technologi-
  cal arms race is particularly intense in bugging 
  — obsolete bugs or countermeasures get large 
  penalties. See Obsolete And Advanced Technology, 
  page 143.
  COMPUTER PROGRAMMING
  Except for a few Low SF settings such as Dune, 
  computers are omnipresent in science ﬁction. From 
  massive supercomputers capable of running entire 
  civilizations, to bio-computers able to catch true 
  “viruses,” to hand-held computers containing many 
  thousands of times the processing power and stor-
  age capacity of the computers of twenty-ﬁrst cen-
  tury Earth, they crop up in Star Hero games all the 
  time, and that makes the Computer Programming 
  Skill especially useful.
  Paradoxically, computers become both more 
  and less complex in science ﬁction. On the one 
  hand, ease-of-use and user-friendly features 
  improve to the point where most characters can 
  “perform” complex computing tasks simply by 
  telling the computer what they want to do — they 
  never have to press a key or control panel. Thus, 
  Computer Programming as a Skill may die out 
  among large segments of the population, to be 
  replaced by, if anything, a PS: Use Computer Skill. 
  On the other hand, the internal workings of com-
  puters become more and more sophisticated, 
  meaning engineers, scientists, and hard-core com-
  puter users still need Computer Programming to 
  build, repair, and get full beneﬁt from their com-
  puters. Characters may need a Fringe Beneﬁt like 
  Galactic Computernet Access Card to use certain 
  networks or computer systems, in much the same 
  way that people on modern Earth subscribe to 
  Internet service providers.
  In some settings, computers diversify incred-
  ibly, making the ability to use or program one type 
  of computer virtually useless when the character 
  encounters another type of computer. You can 
  simulate this with a -1 to -5 penalty to Computer 
  Programming rolls, depending on the degree of dif-
  ference between the systems. But again, ease-of-use 
  features may compensate for much of this.
  In a Space Opera or Pulp-oriented Star Hero 
  campaign, having a single Computer Programming 
  Skill is suﬃcient; there’s no point getting bogged 
  down in technical details or imposing penalties 
  for using unusual systems. On the other hand, in 
  a Cyberpunk or Hard SF type of game, GMs and 
  players may want to take technical diﬀerences into 
  account. One of the easiest ways to do this (besides 
   EVERYMAN SKILLS
  Diﬀerent science ﬁction 
  settings have diﬀerent 
  Everyman Skill sets. 
  Listed below are sug-
  gested Skill sets for vari-
  ous types of Star Hero 
  campaigns.
  Cyberpunk
  Acting
  Climbing
  Computer Program-
  ming
  Concealment
  Conversation
  Deduction
  Native Language (4 
  points’ worth; includes 
  literacy)
  Paramedics
  Persuasion
  One PS at 11- (job, 
  hobby, or other area of 
  interest)
  Shadowing
  Stealth
  TF:  Small Motorized 
  Ground Vehicles
  AK:  Home City or 
  Cyberspace
  Hard SF
  Acting
  Climbing
  Computer Program-
  ming
  Concealment
  Conversation
  Deduction
  Native Language (4 
  points’ worth; includes 
  literacy)
  Paramedics
  Persuasion
  One PS at 11- (job, 
  hobby, or other area of 
  interest)
  Shadowing
  Stealth
  TF:  Small Motorized 
  Ground Vehicles or 
  Hovercraft or Per-
  sonal-Use Spacecraft
  AK:  Home Planet
  Low SF
  Acting
  Climbing
  Computer Program-
  ming
  Concealment
  Conversation
  Deduction
  Native Language (4 
  points’ worth; includes 
  Continued on next page
  
  41 
  Star Hero ■ Chapter Two
  the 
  Skill Roll 
  penalties 
  suggested 
  above) is to split 
  Computer Program-
  ming up into various categories, the way 
  Gambling and Survival are normally. A 
  sample list of subcategories is suggested in the 
  accompanying box. Characters can learn any one 
  category for 2 Character Points for a (9 + (INT/5)) 
  roll; each additional category costs +2 Character 
  Points, or each additional subcategory +1 Character 
  Point; improving the roll for all categories known 
  costs +2 Character Points for each +1 to the roll.
  CRIMINOLOGY; FORENSIC MEDICINE
  At higher tech levels, the amount of infor-
  mation a forensic scientist can squeeze out 
  of a corpse or a crime scene is astounding. 
  Even on modern Earth, a fragment of 
  hair or skin can provide identifying 
  DNA. In near-future campaigns, 
  that DNA could be decoded 
  to create a genetic model of 
  the suspect or an unidenti-
  ﬁed body, in eﬀect making a 
  “virtual clone” for identiﬁca-
  tion purposes. Criminals 
  will have to develop equally 
  sophisticated methods to avoid 
  leaving trace evidence (or to destroy 
  whatever they do leave behind).
  CRYPTOGRAPHY
  The growth of computer networks and 
  electronic commerce has turned encryption from 
  something known only to intelligence agencies 
  and theorists to a booming subset of the software 
  industry. Codes and code-breaking methods are 
  extremely technology-sensitive — apply the Obso-
  lete Technology rules from Chapter Seven when 
  characters tackle codes that are ahead or behind 
  their own knowledge (or the “knowledge” of the 
  equipment they’re using).
  DEMOLITIONS
  Improvements in technology make chemical 
  explosives both more powerful and safer to use. 
  Asteroid miners, large-scale engineers, and mili-
  taries may make more use of nuclear explosives, 
  or even antimatter explosives. Apply the penalties 
  for Obsolete and Advanced Technology when 
  characters try to use unfamilar demolition gear, 
  and be ruthless about the eﬀects of failures.
  DISGUISE
  Advanced prosthetics, high-tech surgery, 
  artiﬁcial ﬂesh, and smart materials make Disguise 
  easier, but characters in a Star Hero game may 
  need to disguise themselves as weird aliens or 
  variants of their own species. Use the modiﬁers 
  from the table on page 42 when a character tries 
  to disguise himself as a member of a very diﬀer-
  ent-looking alien species. Use all modiﬁers that 
  apply.
  ELECTRONICS
  In pulpish SF, being able to ﬁx one electronic 
  device lets you ﬁx any electronic device. In more 
  realistic campaigns, characters need to purchase 
  the appropriate categories of Systems Operation 
  (see below) for devices they actually know how to 
  ﬁx. Working with an unfamiliar system imposes a 
  -3 penalty.
  FORGERY
  Forgery is a very technology-sensitive skill. 
  Forgers who can absolutely fool contemporary 
  methods of detection can be easily exposed by 
  high-tech equipment, while a forger trying to 
  beat advanced countermeasures may not even 
  Continued from last page
  literacy)
  Paramedics
  Persuasion
  One PS at 11- (job, 
  hobby, or other area of 
  interest)
  Shadowing
  Stealth
  TF:  Small Motorized 
  Ground Vehicles
  AK:  Home Planet
  Military SF
  Acting
  Climbing
  Computer Program-
  ming
  Concealment
  Conversation
  Deduction
  Native Language (4 
  points’ worth; includes 
  literacy)
  Paramedics
  Persuasion
  One PS at 11- (job, 
  hobby, or other area of 
  interest)
  Shadowing
  Stealth
  TF:  Small Motorized 
  Ground Vehicles or 
  Hovercraft or Per-
  sonal-Use Spacecraft
  AK:  Home Planet
  Post-Apocalyptic SF
  Acting
  Climbing
  Concealment
  Conversation
  Deduction
  Native Language (4 
  points’ worth; no lit-
  eracy)
  Paramedics
  Persuasion
  One PS at 11- (job, 
  hobby, or other area of 
  interest)
  Shadowing
  Stealth
  Survival (choose one 
  1-point environment 
  subcategory)
  TF:  Small Motor-
  ized Ground Vehicles 
  or Riding Animals 
  (choose one 1-point 
  subcategory)
  AK:  Home City or 
  Region
  Continued on next page
  EXPANDED COMPUTER  
  PROGRAMMING
  Personal Computers
  Handheld Computers
  Portable Computers (laptops and such)
  Desktop Computers
  Computer Networks
  Local Networks
  Cyberspace
  Mainframe Computers And Supercomputers
  Hacking And Computer Security
  Inﬁltration
  Defense
  Military And Starship Computers
  Artiﬁcial Intelligence
  In a Cyberpunk-era game, Gamemasters may 
  reﬁne the categories even more, to speciﬁc manu-
  facturers and years. After all, programming an 
  IBM computer running a Microsoft OS in 1992 is 
  very diﬀerent from doing the same thing in 2002.
  
  42 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  know what he has to fake. Apply the Obsolete And 
  Advanced Technology rules from Chapter Seven 
  whenever forgers and detectors from diﬀering tech-
  nology levels are involved.
  HIGH SOCIETY
  What constitutes “High Society” and how to 
  behave properly in it are both culture- and time-
  dependent. Time travelers, dimension-hoppers, and 
  interstellar tourists may experience serious prob-
  lems. Unless a character has an appropriate Area 
  Knowledge or Culture Knowledge for any alien 
  culture or any time more than a century removed 
  from the character’s home era, he’ll suﬀer penalties 
  to his High Society rolls.
  The exact penalties for strange cultures 
  depends on how realistic the campaign is. In a 
  cinematic world, an interstellar adventurer can use 
  High Society fairly easily:  -1 penalty for planets 
  other than home, and another -1 for non-Human 
  aliens. A cinematic time traveler’s penalty is never 
  more than -2, no matter how far back he goes.
  In realistic settings (Cyberpunk or Hard SF, for 
  example) the penalties are steeper:  -3 for all alien 
  cultures, with an additional -2 if the aliens have 
  diﬀerent dietary habits or environmental require-
  ments.
  INTERROGATION
  In settings where direct neural implants are 
  commonplace, this Skill might become Mind 
  Hacking — the ability to use intrusive computer 
  programs to examine (and perhaps even alter) the 
  subject’s memories. Cinematic versions may require 
  the Mind Hacker to enter some sort of virtual 
  reality dreamscape as his consciousness wanders 
  through the subject’s brain. Computer Program-
  ming and SS: Psychology are Complementary Skills 
  for Mind Hacking.
  Settings with advanced knowledge of psy-
  chology and hypnosis replace Interrogation with 
  Brainwashing. The Science Skills Neurobiology and 
  Psychology are Complementary. A successful use 
  not only makes the subject tell what he knows, but 
  can implant suggestions and false memories
  At the GM’s option, either use of Interrogation 
  may be able to implant or alter memories. If so, 
  consider this a Major Transform 2d6, with +1d6 for 
  every 2 points by which the brainwasher makes his 
  roll. Achieving this eﬀect usually takes a lot of time, 
  however (1 Hour or more), and may involve a Skill 
  Versus Skill Contest against the target’s EGO Roll.
  INVENTOR
  As a genre which centers on the eﬀects of tech-
  nological change, science ﬁction is a natural habitat 
  of the Inventor Skill. There are two ways to handle 
  inventors in science ﬁction games.
  Cinematic inventors can improvise gadgets on 
  the ﬂy, create a superweapon out of odds and ends, 
  and turn simple farm equipment into a cabbage-
  throwing war machine during a commercial break. 
  Cinematic inventors need Skill Rolls to overcome 
  penalties for inadequate time and material, and a 
  lenient GM who wants instant gadgeteering in the 
  campaign.
  Realistic inventors need a lot of time, equip-
  ment, and money to create new devices. Gamemas-
  ters can use the point cost of the new invention as a 
  rough guideline for how hard it is to create. Divide 
  the Active Point cost by 10 and apply the result as 
  a penalty to the Inventor’s Skill Roll. (Gamemas-
  ters who want to make inventing harder should 
  increase the penalty to -1 per 5 Active Points.) 
  When an inventor just wants to improve an existing 
  device, use only the diﬀerence between the original 
  device’s Real Point cost and the improved version’s 
  Real Point cost to determine the penalty. (This 
  means it’s easiest to create a bulky, fragile, unreli-
  able prototype and then gradually reﬁne it.) The 
  GM should monitor the inventing process carefully 
  to make sure characters don’t abuse the rules, and 
  that using Inventor contributes to the fun of the 
  game.
  Example:  Doctor Kelly is trying to build a por-
  table laser weapon using modern-day technol-
  ogy. The laser is an RKA 1d6, Armor Piercing 
  (22 Active Points) (which imposes a -2 penalty 
  to her Inventor roll). Like all lasers it has the 
  Beam (-¼) Limitation. Doctor Kelly’s prototype 
  has only 4 Charges (-1), and is a OAF Bulky 
  Fragile (-1¾). The total Limitation value is -3, 
  so the total cost is 5 points.
  Some time later, Dr. Kelly wants to improve the 
  device, making it less bulky and fragile, and 
  giving it more Charges (12). The new laser will 
  cost 9 Real Points, which is 4 points more than 
  the original. That gives Dr. Kelly a -0 penalty to 
  improve the laser. 
  This process assumes the new invention 
  involves an application of existing technology. 
  Double the penalties for devices which are more 
  advanced than the available technology in the 
  campaign world. If the campaign uses Tech Levels 
  Continued from last page
  Space Opera 
  Acting
  Climbing
  Computer Program-
  ming
  Concealment
  Conversation
  Deduction
  Native Language (4 
  points’ worth; includes 
  literacy)
  Paramedics
  Persuasion
  One PS at 11- (job, 
  hobby, or other area of 
  interest)
  Shadowing
  Stealth
  TF:  Hovercraft or Per-
  sonal-Use Spacecraft
  AK:  Home Planet, Star 
  System, or Sector
  ALIEN DISGUISE TABLE
  Alien Type 
  Modiﬁer
  Posture
  Similar posture 
  -0
  Semi-Erect 
  -1
  Horizontal posture 
  -2
  Limbs
  More limbs 
  -1
  Fewer limbs 
  -2
  Size
  Smaller than character 
  -2
  Less than half character’s mass 
  -3 per halving
  Larger than character 
  -1
  More than twice character’s mass -2 per doubling
  Skin
  Body covered with hair or feathers 
  +1
  Body covered with shell 
  +2
  Bare skin 
  -1
  Miscellaneous
  Distinctive scent or other emission 
  -2
  Amorphous blob 
  -4
  Diﬀerent home environment 
  -2
  
  43 
  Star Hero ■ Chapter Two
  (see Chapter Seven), double the penalty for each 
  tech level above the campaign norm. The GM can 
  always rule that some devices are simply impossible 
  to invent at a given Tech Level because the inventor 
  doesn’t have the right theoretical background. As 
  an example, consider an inventor trying to create 
  new superweapons for the American Civil War. 
  The theoretical science behind submarines existed 
  as early as 1860; so a suﬃciently large and well-
  funded program could have built World War I-style 
  submarines half a century early. But aerodynamics 
  was not well understood in 1860, so no amount of 
  money could produce a workable airplane.
  Gamemasters may wish to rule that some 
  very complex inventions require a number of “sub-
  inventions” to create — before the hero can invent 
  the liquid-fuelled rocket he has to invent gyro-
  scopic stabilization, high-speed fuel pumps, and 
  cryogenic fuel storage ﬁrst. A big project like the 
  Manhattan Project or the Apollo Program required 
  thousands of sub-inventions and sub-sub-inven-
  tions to accomplish. (Tacitly ignoring these precur-
  sors is the easiest way to encourage cinematic lone 
  inventors creating marvels.)
  Time Required
  The time required to create an invention 
  depends on the device’s Active Point Cost:  it 
  requires about a day’s work for each Active Point of 
  a device. Rushing things applies a penalty to skill 
  — consult the Time Chart on page 45 of the HERO 
  System 5th Edition, Revised and apply modiﬁers as 
  appropriate based on how much the inventor wants 
  to speed up the process. On the other hand, inven-
  tors can take longer and obtain extra time bonuses.
  Help
  Having help can be a real boon for the inven-
  tor. When ﬁguring the time required, divide by the 
  number of people working on the project. Col-
  laborators can use their appropriate Skill Rolls as 
  Complementary Skills to the lead character’s Inven-
  tor Skill Roll. But there’s a penalty for having lots of 
  help — use the worst skill level of all the characters 
  involved with the project when making the Com-
  plementary Skill Roll.
  Example:  Steve is designing a new game 
  system. He has Inventor 14-, and his PS: Game 
  Designer is 18-. But to get the game out the 
  door in time, he has called in two helpers, 
  Jim and Ken. Their PS: Game Designer rolls 
  are 12- and 13-. With three of them working, 
  the development time is cut to a third, but the 
  Complementary Skill Roll to assist the Inven-
  tor roll uses Jim’s mediocre 12- skill instead of 
  Steve’s excellent 18- level.
  Cost
  In Heroic games, characters often have to 
  worry about monetary costs. The cost to create an 
  invention depends on the required time and how 
  exotic the materials are. At modern prices, ﬁgure 
  $200 per person per day of development work for 
  salaries and associated expenses (adjust for the era). 
  For materials, a modern baseline would be $100 
  per kilogram for commercially-available items. 
  Exotic materials can cost considerably more — up 
  to millions of dollars per gram for scarce radioac-
  tive isotopes or complex hormones (the ﬁnal price 
  tag is up to the GM). An ordinary, well-stocked 
  workshop costs about $100 per day to operate. 
  Advanced facilities like particle accelerators or 
  chemical reﬁners can cost $1,000 or more per hour 
  of use. “Throwing money at the problem” can pro-
  duce better and faster results:  for every doubling 
  of expenses the inventor gets a +1 to his Skill Roll. 
  However, inadequate money is a project-killer:  for 
  every 10% below the calculated expenses, the inven-
  tor suﬀers a -2. In realistic campaigns, the project is 
  simply impossible below half the appropriate cost. 
  In cinematic games, a suﬃciently clever inventor 
  can improvise and scrounge with no money at all.
  KNOWLEDGE SKILLS
  When characters operate on a progressively 
  larger and larger scale, their Area Knowledges 
  become less and less useful at the local level. A 
  character with AK: The Solar System would know 
  about the planets and their major states, but would 
  know relatively little about individual cities. Area 
  Knowledge for a sector would mean the character 
  knows about star systems and planets, but would 
  probably have very little knowledge of planetary-
  scale nations, and might miss a few minor moons 
  or asteroids. Galactic Area Knowledge would allow 
  someone to know the major interstellar states, a few 
  of the most important sectors and star systems, and 
  the most common starfaring species. Most stars 
  and planets would be too trivial for the character to 
  know more about than the name and perhaps one 
  key fact, at most.
  The same holds true for other types of KSs. A 
  KS in Galactic History or Galactic Cultures doesn’t 
  provide as much precise information about a given 
  historical event or culture as a similar KS focusing 
  on a sector, solar system, or planet.
  LANGUAGES
  In Space Opera and other low-realism games, 
  everybody may speak a common language — 
  Galactic, or Interlang, or whatever. (In really pulp-
  ish games, aliens all mysteriously know English.) 
  For more detailed settings, each alien civilization 
  has its own language, and learning them can be 
  a major headache. Alien languages add points to 
  the cost of each level of ﬂuency, as shown on the 
  accompanying table. Use all modiﬁers that apply.
  The table accounts for two variables:  the alien-
  ness of the language, and the method of communi-
  cation. The GM determines the level of alien-ness 
  (with “Human” meaning “the character’s own spe-
  cies”). In a Space Opera campaign, many languages 
  will be Virtually Human, while in a more realistic 
  game Moderately Alien is the best the characters 
  can hope for in most situations.
  The methods of communication may prevent 
  a character from learning a language at all (or at 
  least using it without special technology). If the 
  Rigellians communicate with scents that Humans 
  cannot emit, the two species cannot communicate 
  KNOWLEDGE SKILL 
  PENALTIES
  As a rough guideline for 
  the eﬀects of “scale” dis-
  cussed in the text, GMs 
  can use the following 
  ranking of magnitudes 
  of knowledge. Figure 
  out which category the 
  character’s KS falls into, 
  then what category the 
  fact he wants to know 
  is most appropriate 
  for. For each step up 
  or down the list, the 
  character suﬀers a -5 
  penalty to know the 
  fact. The GM may alter 
  this penalty for facts 
  he feels are particularly 
  noteworthy or obscure. 
  Thus, if a character has 
  KS: Galactic History, he 
  suﬀers a -25 penalty for 
  trying to remember an 
  average fact about an 
  event that took place in 
  some nation.
  Intergalactic
  Galactic/Interstellar
  Star Sector
  Solar System
  Planet
  Continent/Region
  Nation
  Province/City
  Village/Locality
  Gamemasters may 
  not want to use this 
  system, or may want to 
  signiﬁcantly reduce the 
  penalties, in campaigns 
  with a more “cinematic” 
  feel, such as many Space 
  Opera and Retro-SF 
  games.
  
  44 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  until Humans develop special devices to emit the 
  proper odors. See Jack Vance’s superb short story 
  “The Moon Moth” for an example of how charac-
  ters can get themselves into trouble with unfamiliar 
  methods of communication.
  Gamemasters who posit a common origin 
  for the sentient species of the Galaxy — a mutual 
  progenitor, or an ancient race that “seeded” the 
  planets genetically — might try to come up with a 
  Language Familiarity Table suitable for their Star 
  Hero campaigns. However, even allowing for such a 
  common origin, most languages diverge so quickly 
  from planet to planet that there’s not enough simi-
  larity between them to justify a point savings.
  LOCKPICKING
  Opening locks gets much easier when you 
  have more advanced tools to do it with. Apply the 
  Obsolete and Advanced Technology rules when a 
  high-tech character tries to open a low-tech lock, or 
  vice-versa. 
  MARTIAL ARTS
  In most Star Hero campaigns, a character’s 
  opportunity to learn new and intriguing martial 
  arts styles increases dramatically. After all, a poten-
  tial student now has not just dozens of styles to 
  choose from, but dozens of worlds’ worth of styles, 
  with all the variation that implies.
  Of course, some types of aliens are so non-
  Human that mankind cannot learn their ﬁghting 
  styles. An octopoid alien whose ﬁghting depends 
  on using his many tentacles to Grab and crush, or a 
  clawed alien with a martial art that emphasizes his 
  natural weaponry, probably can’t teach a Human 
  anything. But in most science ﬁction universes a sub-
  stantial portion of the alien species are humanoid, so 
  Humans can probably study their martial arts with-
  out much problem.
  At the GM’s discretion, some maneuvers (such 
  as Nerve Strikes) may only apply to a single species 
  (typically, the character’s own species) when learned. 
  Characters have to buy a Science Skill in the anatomy 
  of an alien species before they can use such attacks 
  successfully on members of that species.
  One option for science ﬁction martial arts is to 
  limit or abolish the Style Distinctive Feature (see The 
  Ultimate Martial Artist, page 135). In a galaxy pos-
  sibly featuring thousands of martial arts forms, it’s 
  extremely unlikely a particular ﬁghter has in-depth 
  knowledge of more than a tiny fraction of them. 
  Therefore the odds are against the Style Distinctive 
  Feature actually being a Disadvantage most of the 
  time, particularly if the character travels extensively. 
  Therefore the GM should think about giving fewer 
  points for the Disadvantage, or even disallowing its 
  use entirely.
  Alternately, a character’s Analyze Style Skill 
  might only apply to martial arts developed by his 
  own species; he would have to purchase the Skill for 
  each species or region whose ﬁghting styles he stud-
  ies (for example, Analyze Bandarian Styles, Analyze 
  Fomalhauti Cluster Styles, and so forth).
  ALIEN LANGUAGE 
  MODIFIERS TABLE
  Alienness  
  Extra 
  Of Language 
  Cost
  Virtually Human +0
  Moderately Alien +1
  Very Alien 
  +2
  Extremely Alien +3
  Method Of  
  Extra 
  Communication 
  Cost
  Spoken 
  +0
  Spoken, but uses  
  diﬃcult sounds 
  +1
  Ultrasonic or  
  other non-Human 
  sounds 
  +2
  Visual language 
  +2
  Scent or Exotic  
  Sense Language 
  +3
  ENERGY BLADE FENCING
  Energy Blades (page 148) are an elite weapon, and 
  the techniques for ﬁghting eﬀectively using them 
  are closely guarded secrets of the masters. Because 
  Energy Blades do immense damage and pierce most 
  defenses on their own, this ﬁghting art emphasizes 
  hitting one’s opponent, avoiding hits, and disarming, 
  rather than increasing the amount of damage done. 
  Battles between Energy Blade warriors are often long, 
  drawn-out aﬀairs, but against unskilled opponents, 
  Energy Blade masters are devastatingly quick.
  ENERGY BLADE FENCING
  Usable with Energy Blades Weapon Group; Energy 
  Blades Weapon Element is free
  Maneuver Phs Pts OCV DCV Damage/Effect
  Disarm 
  ½ 
  5 
  +0 +1 Disarm, +10 STR
  Dodge 
  ½ 
  4 
  — +5 Dodge all attacks, 
  Abort
  Parry 
  ½ 
  4 
  +2 +2 Block, Abort
  Swift Strike ½ 
  4 
  +2 +2 Weapon Strike
  Wary Strike ½ 
  5 
  +1 +3 Weapon Strike
  Skills
  Acrobatics
  Breakfall
  Defense Maneuver
  Fast Draw
  Two-Weapon Fighting
  WF: Blades
  WF: Energy Blades*
  WF: Oﬀ Hand
  
  45 
  Star Hero ■ Chapter Two
  See also The Ultimate Martial Artist, pages 86-
  87, for two SF martial arts styles, Maashira and Zero 
  Gravity Combat.
  MECHANICS
  Mechanics remains mechanics in the future, 
  even if it takes a back seat to electronics or more 
  advanced technology. The chief diﬀerence is that 
  some systems require extremely specialized tools 
  — repairing a nanotech device would call for a pow-
  erful microscope and tiny manipulators, while ﬁxing 
  a nuclear reactor demands remote-operated robots 
  to avoid a messy death. Apply the Skill Roll modiﬁers 
  on page 45 of the HERO System 5th Edition, Revised 
  rulebook, paying close attention to the modiﬁers for 
  proper equipment and familiarity with the subject.
  MIMICRY
  When mimicking an alien, assume the base Skill 
  Roll penalty is -2 for species which speak in the same 
  sound range as the character, -3 to -5 for aliens using 
  very diﬃcult sounds in their language. (This is in 
  addition to the penalty for foreign languages.) Char-
  acters cannot use Mimicry to imitate beings who 
  make sounds the character cannot produce. If a spe-
  cies communicates through means other than sound 
  (such as ﬂashing lights or pheromonic emissions), the 
  GM must decide whether a character can mimic their 
  “speech” at all, and if so what penalties this entails 
  (usually at least -5).
  NAVIGATION
  In a spacefaring campaign, Navigation (Space) 
  is crucial, though other forms of Navigation may also 
  be common if the PCs are explorers or the like.
  At the GM’s option, the existence of FTL travel, 
  or particular methods of FTL travel, may require new 
  Navigation subskills. Navigation (Hyperspace) allows 
  a character to determine his position in hyperspace, 
  both relative to other points in hyperspace and to 
  normal space; if the environment of hyperspace is 
  suﬃciently weird and unlike normal space, GMs may 
  opt to make this an entirely separate Skill. Navigation 
  (FTL) allows a character to determine his position 
  while whipping along at FTL speeds, and involves 
  compensating for redshift, light lag, and the move-
  ment of objects throughout the Galaxy.
  Time and interdimensional travel allow travel in 
  two entirely new ways, and consequently require two 
  new subskills. Navigation (Time) allows a character 
  to determine where in the past or future he is. Knowl-
  edge and Science Skills such as History, Astronomy, 
  Archaeology, and possibly Anthropology serve as 
  Complementary Skills. Navigation (Dimensional) 
  allows a character to determine his location among 
  the dimensions of the multiverse. It may be the same 
  as Navigation (Hyperspace) if all dimensions open 
  onto the same hyperspace.
  POWER
  This Skill occurs in Star Hero under a variety of 
  names. If a character is psionic, he may have Psionics. 
  Alien species with natural powers may get it as an 
  Everyman Skill.
  PROFESSIONAL SKILL:  ZERO-G  
  OPERATIONS
  Professional Skills abound in Star Hero, as in 
  any other Heroic campaign. But one in particular is 
  of note for science ﬁction characters — PS: Zero-G 
  Operations.
  
  46 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  Zero-G Operations is a DEX-Based Professional 
  Skill. A character with this Skill can perform all ordi-
  nary tasks in Zero-G with none of the penalties listed 
  on pages 278-79. If a task is especially diﬃcult or 
  complicated, or the character must perform it under 
  crisis conditions, he has to make a PS: Zero-G Opera-
  tions roll. If he succeeds, he can perform the task 
  without penalty. (That includes suﬀering none of the 
  diﬃculties described on pages 278-79.) If he fails, he 
  can still attempt the task, but suﬀers the standard -3 
  penalty and other associated diﬃculties.
  RIDING
  Riding requires the same consideration as 
  Transport Familiarity (see below), since the types of 
  animals a character can ride depends on his TFs. In 
  a Space Opera or Pulp-style Star Hero campaign, a 
  character’s ability to ride a particular type of animal 
  from his homeworld may automatically extend to 
  similar creatures on other worlds. For example, a 
  Human who can ride horses can ride any horse-like 
  creature on any world (though the GM may impose a 
  minor penalty, such as -1, until the character and his 
  mount get to know each other). Alternately, for pur-
  poses of Riding the GM may allow characters to buy 
  2-point Riding TFs by planet:  Earth Riding Crea-
  tures, Venusian Riding Creatures, Spica IV Riding 
  Creatures, and so forth.
  In a Hard SF game, Riding (and associated TFs) 
  rarely, if ever, carry over from world to world. A 
  character who wanted to ride horse-like creatures on 
  many worlds would have to pay for each 1-point TF 
  separately:  Earth Equines, Venusian Equines, Spica 
  IV Equines, and so on.
  At the GM’s option, a character can use Riding 
  for creatures he does not have a TF for, but at a mini-
  mum -3 penalty to all rolls. Creatures larger than the 
  “Huge Animals” TF category (such as the sandworms 
  of Dune) may impose additional penalties on the 
  Riding roll, because they’re so large and tough it’s 
  hard to control them.
  SCIENCE SKILL
  Every piece of “rubber science” (see page 146) 
  in a Star Hero campaign should have an appropriate 
  Science Skill associated with it. Some new sciences 
  for use in science ﬁction campaigns include:
  Dimensional Engineering:  The science of inter-dimen-
  sional and time travel (the latter subject, by itself, is 
  also known as Temporal Physics).
  Hyperspace Physics:  Sometimes known as Tachyon-
  ics or Warp Physics, this is the science of faster-than-
  light travel.
  Memetics:  The science of ideologies and mass 
  manipulation (sometimes called socioengineering or 
  psychoengineering).
  Psionics:  The study of mental powers and their appli-
  cations.
  Xenobiology:  The study of alien life forms.
  Xenology:  The study of alien civilizations and societ-
  ies.
  SECURITY SYSTEMS
  As with Lockpicking, Security Systems is a 
  technology-dependent Skill. A high-tech crook can 
  cut through low-tech systems with appalling ease, 
  while low-tech intruders may not even know of the 
  existence of advanced security systems until all hell 
  breaks loose. Use the rules on Obsolete And Advanced 
  Technology in Chapter Seven.
  SEDUCTION
  In realistic game worlds, Seduction is only pos-
  sible among members of the same species. Humans 
  can seduce Humans, and Rigellians can seduce Rigel-
  lians, but a Human and a Rigellian can only be good 
  friends. Among members of a species from radically 
  diﬀerent cultures, GMs may wish to apply a penalty 
  of -1 to -3 to reﬂect diﬀering standards of romantic 
  behavior.
  In Space Opera or Pulp science ﬁction, where 
  many aliens resemble Humans with minor cosmetic 
  diﬀerences, inter-species Seduction is possible. (See 
  many episodes of Star Trek for examples.) In such 
  cases, consult the Alien Seduction Table and apply all 
  relevant modiﬁers. For “Human,” read “member of 
  ALIEN SEDUCTION TABLE
  Alien Form 
  Skill Modiﬁer
  Externally very similar to Humans 
  -0
  Minor diﬀerences from Human 
  -1
  Non-Human but mammalian 
  -2
  Nonmammalian vertebrates 
  -4
  Invertebrates 
  -6
  Non-Material/no physical form 
  -8
  Additional Modiﬁers
  Alien species is asexual 
  -2
  Alien species has speciﬁc mating cues  
  (e.g., scent, color) 
  -2
  
  47 
  Star Hero ■ Chapter Two
  the character’s own species,” and make other appro-
  priate changes. 
  If characters simply use Seduction to make 
  friends or ingratiate themselves, the GM may wish 
  to consider reducing or eliminating the penalties 
  described above.
  SURVIVAL
  In Space Opera campaigns, planetary environ-
  ments are broadly similar, so an expert in Mountain 
  Survival on Earth can get along in high-altitude 
  regions on other Earthlike worlds with only a -1 pen-
  alty. In Hard SF and other realistic settings, each plan-
  et’s environments are distinct, so that Survival:  Earth 
  Deserts and Survival:  Martian Deserts are separate 
  Skills. In such campaigns, characters must specify the 
  planet where they learned Survival.
  Gamemasters may also wish to take into account 
  the relative degree of similarity between planets. Even 
  among worlds classiﬁable as “Earthlike,” a great deal 
  of variation can occur. See the accompanying table 
  for suggested modiﬁers; these modiﬁers are in addi-
  tion to the -1 penalty described above, if that’s used.
  Of course, no amount of skill can overcome 
  the absolute limits imposed by the environment. A 
  character on Mercury can’t ﬁnd water using Survival 
  because there simply isn’t any water to ﬁnd.
  SYSTEMS OPERATION
  As described in the HERO System 5th Edition, 
  Revised rulebook, Systems Operation is a “cinematic” 
  Skill — characters using it can operate any kind of 
  system. This approach may not be appropriate for 
  highly realistic campaigns. Instead, they may wish to 
  break the Skill down into categories. The accompany-
  ing box presents one possible scheme for subdividing 
  Systems Operation, though others are certainly pos-
  sible given the nature and prevalence of technology 
  in a campaign. Characters can learn any one category 
  for 2 Character Points for a (9 + (INT/5)) roll; each 
  additional category costs +2 Character Points, or each 
  additional subcategory +1 Character Point; improv-
  ing the roll for all categories known costs +2 Charac-
  ter Points for each +1 to the roll.
  Technology aﬀects Systems Operation heavily. If 
  appropriate, apply the Obsolete And Advanced Tech-
  nology rules from Chapter Seven.
  TRANSPORT FAMILIARITY
  In the standard HERO System rules, all spacecraft 
  and starships are covered by one simple, inexpensive 
  Transport Familiarity. While that may work well for 
  some Space Opera and Pulp SF campaigns, it’s not 
  appropriate for many Star Hero settings. For games 
  where the GM desires greater detail, consider each 
  of the subcategories listed under “Science Fiction & 
  Space Vehicles” as a separate, 2-point TF category of 
  its own.
  In some campaigns, GMs may wish to add an 
  additional category:  Dimensional/Time Vehicles. It 
  covers time machines, dimension-ships, and any other 
  vehicle that can travel between realities or times.
  PLANETARY SIMILARITY TABLE
  Degree Of Similarity 
  Survival Roll Penalty
  Very similar 
  -0
  Mostly similar 
  -1
  A little similar 
  -2
  Mostly diﬀerent 
  -3
  Very diﬀerent 
  -4
  Extremely diﬀerent 
  -5
  EXPANDED SYSTEMS  
  OPERATION TABLE
  Communications Systems (may be purchased 
  as a group)
  Telephone Communications (installing and 
  using the phone system)
  Cellular & Digital Communications (cellular 
  phones, pagers, and so forth)
  Radio (standard radio systems, CB radio, ham 
  radio, military radios)
  Broadcast Communications (television or 
  broadcast radio equipment)
  Satellite Communications (use of satellites and 
  satellite networks to transmit signals, GPS sys-
  tems)
  Communications Jamming Equipment (equip-
  ment specially designed to jam transmissions)
  FTL Communications
  Dimensional/Temporal Communications
  Environmental Systems (may be purchased as 
  a group)
  Life Support Systems (breathing gases, heating, 
  and so forth)
  Personnel Support Systems (food synthesizers, 
  waste management, and so forth)
  Recreation Systems (games, holo-chambers, and 
  so forth)
  Medical Systems (may be purchased as a 
  group)
  Medical Sensors (x-ray equipment, MRI equip-
  ment, and so forth)
  Surgical Equipment
  Sensor Systems (must be purchased separately)
  Air/Space Traﬃc Control Systems (other than 
  radar and radio)
  Medical Sensors (see above)
  Metal Detectors
  Radar
  Sonar (passive and active arrays, towed arrays)
  Sensor Jamming Equipment (equipment speciﬁ-
  cally designed to jam sensors)
  FTL Sensors
  Dimensional/Temporal Sensors
  Weapons Systems (must be purchased  
  separately)
  Advanced weapons such as missiles are 
  launched with the Systems Operation Skill. Each 
  type of advanced weapon has its own Weapon 
  System subgroup — Patriot missiles, antimatter 
  space torpedoes, and so forth. (This does not 
  apply to vehicular weapons; those require WF: 
  Vehicle Weapons.)
  
  48 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  In Hard SF or high-realism games, GMs may 
  want to go one step further and make each plan-
  et’s or species’s space vehicles a separate TF. Thus, 
  a character with TF: Human Military Spacecraft 
  couldn’t safely pilot Mon’dabi Military Spacecraft. 
  As noted in the HERO System 5th Edition, Revised, 
  page 74, methods of construction, number and 
  placement of manipulatory limbs, control panel 
  organizational logic, and other factors may make 
  it diﬃcult or impossible for one species to use 
  another’s starships.
  Most of the hovercraft, landspeeders, and 
  gravitic/magnetic ground vehicles common in 
  some SF settings typically fall under the Common 
  Motorized Ground Vehicles category as a Hover-
  craft subcategory. Larger hovercraft, or military 
  hovercraft, are usually subcategories under the 
  Uncommon Motorized Ground Vehicle category.
  WEAPON FAMILIARITY
  The number and types of weapons available 
  to characters is greater in science ﬁction than any 
  other genre, given the panoply of worlds, cultures, 
  and technological levels to choose from. It’s not 
  uncommon for characters in a Star Hero game to 
  carry everything from clubs, knives, and swords 
  to blasters and disintegrators. See the accompa-
  nying table for suggested additions to the WF 
  categories; GMs are, of course, free to alter or add 
  to the existing lists to better suit their individual 
  campaigns.
  Gamemasters may want to consider making 
  each planet’s or species’s weapons a separate WF. 
  Thus, a character with WF: Ackálian Common 
  Melee Weapons or WF: Human Small Arms 
  can’t use Varanyi Common Melee Weapons or 
  Denebian Small Arms without suﬀering the 
  normal nonproﬁciency penalty. Depending on a 
  species’s number of limbs or ﬁngers and similar 
  considerations, other species may ﬁnd it diﬃcult 
  or impossible to use their weapons, regardless of 
  proﬁciency.
  WEAPONSMITH
  Because lasers, blasters, and the like are so 
  common in Star Hero settings, GMs may wish 
  to break out the “Energy Weapons” category of 
  Weaponsmith into two or more categories. The 
  categories in the Star Hero Weapon Familiarities 
  table work well in most settings:  Small Arms, 
  Beam Weapons, and Energy Weapons. That way, 
  knowing how to ﬁx a laser may tell a character 
  almost nothing about working on a disintegrator.
  PERKS
  Star Hero characters ﬁnd Perks just as useful 
  as modern-day or fantasy characters do. They 
  even have access to a few that aren’t available in 
  other genres.
  ADVANCED TECH 
  This new Perk is suitable primarily for Star 
  Hero campaigns that have a deﬁned system of 
  Tech Levels (see page 142). It represents a charac-
  ter who has access to equipment more advanced 
  than the campaign setting standard. Maybe he’s 
  from a planet with better technology, found a 
  cache of ancient technology, or is a highly-skilled 
  inventor.
  The GM should monitor and control all 
  uses of this Perk. Having Advanced Tech does 
  not necessarily mean that every piece of equip-
  ment a character possesses is better than normal, 
  or that he can at any time re-equip himself with 
  tech as advanced as what he starts the game with 
  (or obtains in mid-game). It also does not allow 
  him to distribute advanced technology to all of 
  his friends (i.e., the other PCs), give it away freely 
  to allies, and then get more; typically he only has 
  enough for himself (and to keep himself re-sup-
  plied, as reasonably necessary).
  Advanced Tech costs 15 Character Points 
  per Tech Level above the campaign standard (or, 
  at the GM’s option, only 10 Character Points per 
  Tech Level for a single type of technology, such as 
  computers, weapons, or sensors). Gamemasters 
  should be very cautious about allowing more than 
  one level of Advanced Tech, and characters must 
  get the GM’s permission to buy this Perk (particu-
  larly after the game starts).
  ANONYMITY
  As information-gathering technology 
  becomes both more powerful and more ubiqui-
  tous, anonymity becomes harder to obtain, and 
  more valuable. In highly-regimented Star Hero 
  societies, GMs may wish to increase the cost of 
  this Perk to 5 or more points. 
   SKILLS AS TOOLS
  One trend of technology 
  has long been to move 
  the skill from the user to 
  the device. Riﬂe sights 
  are built-in accuracy, 
  and nowadays things 
  like microwave ovens 
  have a little bit of built-
  in cooking skill. This is 
  only going to accelerate 
  in the future. It’s fairly 
  easy to model this using 
  the HERO System — 
  simply buy the Skill as 
  a Power with the Focus 
  Limitation, using the 
  rules on page 141 of the 
  5th Edition rulebook. 
  If direct brain links 
  exist, it may be pos-
  sible to “jack in” a skill 
  module which contains 
  a skill the user doesn’t 
  already know. This is 
  purchased the same 
  way — the control-
  ling Characteristic is 0, 
  because presumably the 
  skill module software 
  is generic and doesn’t 
  get to take advantage of 
  the user’s own abilities. 
  But of course, the better 
  the software, the higher 
  the roll it provides the 
  character.
  WEAPON FAMILIARITIES
  Uncommon Melee Weapons (add to  
  existing category)
  Electric Whip
  Energy Blades
  Inertial Gloves
  Stun Rods
  Small Arms (add to existing category)
  Liquid-Propellant Riﬂes
  Gauss Guns
  Polymer Guns
  Rocket Pistols
  Rocket Riﬂes
  Missile Guns
  Sonic Stunners
  Tranquilizer Dart Guns
  Beam Weapons (may be purchased as a group)
  Laser Pistols
  Laser Riﬂes
  Electron Beam Weapons
  Particle Guns
  Energy Weapons (may be purchased as a group)
  Ion Blasters
  Plasma Guns
  Disintegrators
  Alternately, for some campaigns GMs may prefer 
  to establish a Science Fiction Small Arms category 
  including all weapons listed in the Small Arms, 
  Beam Weapons, and Energy Weapons categories 
  of this table.
  
  49 
  Star Hero ■ Chapter Two
  FRINGE BENEFITS
  Most of the existing Fringe Beneﬁts — including 
  Starship License and Galactic Computernet Access 
  Card — are appropriate for Star Hero campaigns.
  Galactic Computernet Access Card
  Depending on the nature and extent of the com-
  puter nets in a Star Hero setting, the GM may want to 
  change the cost of this Fringe Beneﬁt. In an empire 
  ruled by a cruel overlord, access to the computer 
  networks might be restricted, so the Fringe Beneﬁt 
  would cost more points. On the other hand, in a 
  quasi-utopian Space Opera setting, the cost might 
  drop to 1 point (or even no points) to reﬂect the 
  openness of society.
  Additionally, the cost of the Fringe Beneﬁt may 
  depend on how much access a character has. The 
  standard cost (be it 3 Character Points, as in the rule-
  book, or 1 point in a less restrictive setting) reﬂects 
  the lowest, most common level of access available — 
  the access of the average citizen. Gamemasters may 
  want to charge characters with greater access (such 
  as high-ranking military oﬃcers, security agents, and 
  government oﬃcials) more. Use the guidelines for the 
  Computer Link Perk (which is essentially the same 
  thing) to determine the cost.
  In some settings, this Fringe Beneﬁt may count 
  as an “Everyman Perk” — everyone gets it at the 
  lowest level for free. Characters with greater access 
  pay for that access, typically as part of a Professional 
  Package Deal.
  Despite the name, this Fringe Beneﬁt doesn’t 
  necessarily involve having a “card.” It could just as 
  easily be a personal passcode, DNA scan, identity 
  chip, or the like.
  See page 161 for more information on the 
  Galactic Computernet.
  Head Of State
  Given the size and power of the galactic gov-
  ernments in many Star Hero settings, GMs may 
  wish to expand this Fringe Beneﬁt a little (see 
  accompanying sidebar). For characters who aren’t 
  leaders of a government, but instead are powers 
  behind the throne, heirs waiting to take command, 
  or the like, buy the next-lowest Fringe Beneﬁt.
  Police Powers
  In Star Hero campaigns, you should rename 
  International Police Powers Planetary Police 
  Powers (though the old name still applies on bal-
  kanized worlds). For 8 Character Points, characters 
  can buy Interstellar Police Powers, giving them the 
  authority to enforce the law throughout a single 
  star-spanning government.
  In campaigns which feature special psionic 
  police, GMs may allow a related Fringe Beneﬁt, 
  Psionic Police Powers, for 3 Character Points (this 
  is in addition to the cost of the character’s Police 
  Powers Fringe Beneﬁt). This Perk means the char-
  acter is licensed to use psionic powers as part of 
  the investigative process, and gives him primary 
  jurisdiction over crimes involving the use of psion-
  ics.
  Similarly, campaigns involving “time cops” 
  who travel back and forth in time to prevent 
  “chrono-criminals” from disrupting the time-
  stream may use the Fringe Beneﬁt Temporal Police 
  Powers for 3 Character Points (again, this is in 
  addition to the cost of standard Police Powers).
  STAR HERO  
  HEAD OF STATE
  Cost Fringe Beneﬁt
  10 
  Head Of State of 
  a single nation
  13 
  Head Of State of 
  a planet
  15 
  Head Of State of 
  a small interstel-
  lar society
  20 
  Head Of State of 
  a medium-sized 
  interstellar soci-
  ety
  25 
  Head Of State of 
  a large interstellar 
  society
  
  50 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  Starship License
  This Fringe Beneﬁt gives a character the right 
  to own and operate a single starship. Characters 
  who own more than one ship have to buy the 
  Fringe Beneﬁt multiple times. Alternately, the GM 
  can allow a new Fringe Beneﬁt, Starship Master’s 
  License, for 2 Character Points. This qualiﬁes the 
  character to captain any civilian vessel (there may 
  be restrictions as to size or type), and allows him 
  to own as many vessels as he can aﬀord.
  New Fringe Beneﬁts
  Here are a few Fringe Beneﬁts speciﬁc to Star 
  Hero:
  Free Robot (1 point):  In most cases, robots and 
  androids, even artiﬁcially intelligent ones, are con-
  sidered property. One with this Fringe Beneﬁt is 
  not property; it is recognized as an independent 
  sentient being with legal rights and citizenship. 
  (Robotic characters may also need to change or 
  not take Social Limitations pertaining to their 
  status.)
  Licensed Psionic (1 point):  A character with this 
  Fringe Beneﬁt may use his psionic powers for legal 
  purposes and according to established regulations 
  — for example, to assist with business negotiations, 
  ﬁnd lost objects, or the like. In some settings, the 
  authorities hunt down and capture unlicensed psis.
  Time Machine License (2 points):  A character with 
  this Fringe Beneﬁt is allowed to own and operate a 
  time machine for legal purposes — scientiﬁc and 
  historical research, noninvasive tourism, recovery 
  of endangered species and lost artworks, and so 
  forth. The Time Police may pursue and arrest unli-
  censed time travelers.
  MONEY
  In some SF settings, money is obsolete or use-
  less. The “Culture” of Iain M. Banks’s novels and the 
  Federation of Star Trek are posteconomic societies 
  where individuals can get pretty much whatever 
  they want without money. Of course, even there a 
  person can’t just walk oﬀ with a starship or a space 
  habitat. For anything over a deﬁned limit in value 
  (set by the GM based on local resources and the 
  needs of the campaign), posteconomic characters 
  must make a roll to persuade whoever’s in charge 
  of production facilities that they really need the 
  item. Use Bureaucratics, Persuasion, Seduction, 
  or Trading (whichever is most appropriate for the 
  situation), with a penalty to the roll based on how 
  much the value of the requested item exceeds the 
  established limit (typically -1 for every +10% value, 
  but the GM makes the ﬁnal determination).
  See the Economics section of Chapter Seven 
  for more information.
  REPUTATION
  Andy Warhol once observed that in the future, 
  everyone will be famous, but only for ﬁfteen min-
  utes. Certainly mass media makes it possible for 
  people to have a widespread reputation, but the 
  constant “churn” of the media landscape means 
  this year’s hero is next year’s trivia question. At 
  the same time, improved communications allow 
  people to have groups of colleagues and friends 
  spread across the world (or even the galaxy), which 
  can provide tremendous “leverage” for a character’s 
  Reputation.
  In Star Hero, a character’s Reputation could 
  be known across thousands of worlds, or even 
  throughout time; characters almost always have 
  to pay the 2-point cost for “large group” for their 
  Reputation. But they can, and often should, only 
  take the Reputation on an 8-, since it’s diﬃcult to 
  be known by everyone (or even a substantial por-
  tion of “everyone”) among trillions of aliens.
  VEHICLES AND BASES
  Since Star Hero is a Heroic genre, characters 
  can usually buy starships, houses, and the like 
  with money. However, given the enormous cost of 
  starships in many settings (millions or billions of 
  units of currency), a character may ﬁnd it more 
  convenient to spend Character Points on these 
  items. That also ensures he won’t have interstellar 
  mortgage brokers constantly pestering him for a 
  monthly payment. On the other hand, the need to 
  acquire enough money to buy a ship with cash is 
  a great character motivator for the GM to use. See 
  Chapter Eight for more information about Vehicles 
  and Bases generally, including options for acquir-
  ing them.
  TALENTS
  Science ﬁction dramatically expands the 
  opportunities for people to have unusual abilities. 
  For example, you can simulate the abilities pos-
  sessed by many aliens with Talents. All members 
  of a serpentine species might be Double-Jointed, 
  and rigorous training in childhood might give 
  all members of a contemplative species Eidetic 
  Memory. Some Talents may become universal, 
  like Absolute Time Sense in a world with implant 
  computers (see “Everyman Powers,” page 52). In 
  campaigns involving psionic powers, many Talents 
  are probably low-grade psi abilities. Danger Sense, 
  Simulate Death, and Universal Translator are good 
  candidates for truly uncanny powers.
  ABSOLUTE TIME SENSE
  Characters may deﬁne this Talent as a com-
  puter implant, since all computers have a built-in 
  clock function. (The same “implant” special eﬀect 
  can apply to many other Talents, such as Bump 
  Of Direction, Lightning Calculator, or Universal 
  Translator.)
  This Talent becomes particularly useful in 
  campaigns involving time travel. At the GM’s dis-
  cretion, a character with Absolute Time Sense can, 
  with a successful PER Roll, also tell approximately 
  how far he’s traveled in time from his normal 
  time-frame. Alternately, for +5 Character Points, 
  a character can convert Absolute Time Sense into 
  Time Travel Sense, which gives him the innate abil-
  ity not only to gauge the passage of time, but to 
  determine how far he has travelled in time and the 
  current date.
  
  51 
  Star Hero ■ Chapter Two
  DANGER SENSE
  In worlds with psi powers, Danger Sense is a 
  low-powered form of Precognition. Gamemasters may 
  decide to let characters with Danger Sense improve 
  their ability to full-ﬂedged Precognition with proper 
  training and experience.
  EIDETIC MEMORY
  Eidetic Memory crops up frequently in science 
  ﬁction settings. Not only is it handy for super-scientist 
  types and technical geniuses, it’s de rigueur for species 
  oriented toward logic, regimentation, or the like (such 
  as the Vulcans of Star Trek). It’s virtually required for 
  robotic characters.
  ENVIRONMENTAL MOVEMENT
  Zero-G Training (the form of Environmental 
  Movement that eliminates penalties for performing 
  tasks in zero gravity) is common among space trav-
  elers. Here are a few other gravity-related forms of 
  Environmental Movement; see pages 278-81 for more 
  information about gravity penalties.
  High Gravity Training (1 Point):  Negates the -1 penalty 
  for heavy gravity, but does not change the encum-
  brance penalty.
  Low Gravity Training (1 to 4 Points):  Negates penalties 
  for low gravity. For 1 Character Point, characters can 
  negate up to -1 worth of low gravity penalties; for 3 
  points, up to -2; for 4 points, up to -3.
  Zero G, high G, and low G are all separate envi-
  ronments for purposes of Environmental Movement; 
  a character who wants to function in two or more of 
  them must buy the Talent multiple times.
  FTL PILOT
  Some science ﬁction settings limit the ability to 
  pilot FTL-capable ships to only certain persons. Typi-
  cally, FTL pilots have to possess certain “perceptions” 
  or analytical skills that make it possible for them to ﬂy 
  at superluminal speeds safely. Anyone else who tries to 
  pilot an FTL ship quickly runs it into a star, destroying 
  the entire vessel and everyone aboard. If FTL travel 
  involves hyperspace, only some people know how to 
  open hyperspace portals, or can stand to look at the 
  chaotic vista of hyperspace (as a pilot must) without 
  going insane.
  In Star Hero settings that adopt this trope, char-
  acters who want to be able to pilot FTL ships must buy 
  this Talent.
  ■ FTL Pilot Cost:  4 Character Points (Navigation (FTL 
  or Hyperspace) and TF: FTL/Hyperspace Spacecraft)
  HOTSHOT PILOT
  This Talent represents a character who’s a natu-
  rally gifted or highly-trained pilot. This has two eﬀects. 
  First, he receives a +2 bonus for all Combat Piloting 
  rolls. Second, when piloting a ship no larger than 100 
  ktons in starship combat, his piloting skills make the 
  vessel harder to hit (granting it +2 DCV).
  ■ Hotshot Pilot Cost:  24 Character Points (+2 to 
  Combat Piloting plus +2 DCV, Usable By Other [any 
  ship of up to 100 ktons; +5]; Only For A Starship Char-
  acter Is Piloting [-2])
  LATENT PSIONIC 
  In Star Hero games featuring psionic powers, 
  typically characters gain those powers through hered-
  ity, i.e., they are born with them, and thus should start 
  the game with them. However, some players might 
  not want for their characters’ psionic abilities to have 
  manifested at the time game play begins (either for 
  dramatic reasons, or because they can’t aﬀord to spend 
  Character Points on Mental Powers yet). The GM 
  might allow such characters to buy the Talent Latent 
  Psionic for a set cost (typically 5 Character Points). 
  This means the character can buy psionic abilities 
  later in the game — without this Talent, or some 
  appropriate in-game explanation, characters cannot 
  buy psionic powers after game play begins. When a 
  
  52 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  character is ready for his latent psionic potential to be 
  realized, he simply converts the points spent on this 
  Talent into points spent on his ﬁrst psionic ability.
  ■ Latent Psionic Cost:  5 Character Points (5 points 
  set aside for later purchase of Mental Powers)
  SIMULATE DEATH
  Besides being an appropriate psionic power, 
  Simulate Death works perfectly for simulating “cold 
  sleep pods” for STL travel, “stasis boxes” in which 
  objects (or people) are kept for decades or centuries 
  without deterioration, and similar technologies. Some 
  alien species may have this Talent to reﬂect their abil-
  ity to slow down their metabolic processes without 
  harm.
  UNIVERSAL TRANSLATOR
  This Talent shouldn’t exist in Hard SF cam-
  paigns or other settings emphasizing realism. It’s hard 
  enough for Humans to learn and understand other 
  Human languages.
  Gamemasters who want to dodge the issue of 
  having characters learn new languages every game 
  session can allow this Talent, typically bought as a 
  psionic ability or device; such gadgets are common 
  in many science ﬁction settings. See the sidebar for 
  some examples. Don’t forget the penalties for trans-
  lating languages “extremely diﬀerent” from the ones 
  the character (or the designers of his translation 
  device) knows; there are lots of weird ways for aliens 
  to communicate.
  POWERS
  In science ﬁction settings, HERO System Powers 
  have numerous uses. In addition to high technology 
  — FTL starship drives, teleportation pads, advanced 
  sensors — and weapons such as laser pistols, Powers 
  simulate the abilities of aliens and alien fauna. 
  Described below are some potential uses for various 
  powers; other, more obvious uses (such as Armor 
  to build Space Marine armored battlesuits) are not 
  mentioned (though they may be used for examples in 
  Chapter Seven).
  DEFENSE POWERS
  In Star Hero campaigns, many Defense Powers, 
  particularly those protecting spacecraft, use the 
  optional form of Ablative described on page 116 of 
  the HERO System 5th Edition, Revised, under which 
  shots subtract Active Points from the defense. See 
  Chapter Eight for some examples.
  MOVEMENT POWERS
  Many Movement Powers are aﬀected by gravity. 
  See page 279 for further information.
  SENSE-AFFECTING POWERS
  In Space Opera settings featuring lots of aliens 
  with lots of weird senses, it may prove diﬃcult or 
  impossible to aﬀect or “blind” a reasonable percent-
  age of any group of characters with any given Sense-
  Aﬀecting Power. Gamemasters may wish to consider 
  either (a) lowering the cost of all Sense Groups to the 
  “Nontargeting” rate, or (b) raising the cost of all Sense 
  Groups to the “Targeting” rate.
  In campaigns featuring a lot of starship combat, 
  GMs may want to declare the Radio Group a Target-
  ing Sense Group, at least for purposes of building 
  stealth defenses for starships. Most of the Senses used 
  by one ship to target another are based on Radar, or 
  are assigned to the Radio Group.
  ABSORPTION
  Alien creatures who feed directly on energy may 
  have this Power. Realistically, it should only work 
  against a tightly-limited group of eﬀects, but a Space 
  Opera energy creature may have the ability to absorb 
  any type of energy.
  Some ﬁctional spaceship defensive screens 
  actually absorb energy rather than reﬂecting it. You 
  UNIVERSAL  
  TRANSLATORS
  Universal Translation 
  Matrix:  This device, 
  commonly built into 
  communications 
  systems, hand-held 
  translators, and the like, 
  can convert a person’s 
  speech into any of the 
  thousands of languages 
  in its database without 
  eﬀort. It can analyze and 
  convert languages not 
  in its database, but this 
  takes time and a suf-
  ﬁciently large sample of 
  the new language. This 
  device does not neces-
  sarily confer literacy; 
  that depends on the 
  situation and the GM’s 
  evaluation of the tech-
  nology.
  Universal Translator 15- 
  (26 Active Points); OAF 
  (hand-held translator; 
  -1), Restricted Function 
  (only works instantly 
  on languages in its data-
  base, others require time 
  and samples to analyze; 
  -0). Total cost:  13 points 
  (or 17 points for OIF).
  Intrinsic Language:  The 
  character speaks the 
  “hard-wired” language 
  embodied in the Human 
  brain structure. He can 
  make himself under-
  stood by any Human 
  being, past or future. 
  Aliens are still too alien 
  to understand, but this 
  is a good way to let 
  time travellers speak 
  to everyone they meet. 
  It does not necessarily 
  convey literacy; that 
  depends on the situation 
  and the GM’s evaluation 
  of the technology.
  Universal Translator 
  (INT Roll) (20 Active 
  Points); Human Lan-
  guages Only (-1). Total 
  cost:  10 points.
  Psychotronic Translator:  
  Campaigns including 
  psionic powers some-
  times have these devices, 
  which essentially 
  read people’s surface 
  thoughts as they speak 
  and broadcast them as 
  words. Psychotronic 
  Continued on next page
  EVERYMAN POWERS
  Some settings assume a fairly impressive arsenal 
  of genetic and cybernetic modiﬁcations for ordi-
  nary people:  the inhabitants of Iain M. Banks’s 
  “Culture” novels have longevity, are immune to 
  most poisons and diseases, and can trigger the 
  release of artiﬁcial bloodstream chemicals to go 
  without sleep, overcome fatigue, and boost reac-
  tion time. Gamemasters may consider giving 
  certain abilities out for free, if they are universal in 
  the campaign. 
  One good example is advanced medicine. If some 
  means of delaying aging or preventing diseases 
  exists, anyone who can aﬀord it will want it. In 
  any setting more advanced than the present, a 
  near-total immunity to viral diseases could be 
  universal, and if medical nanobots are available, 
  this could even be immunity to any and all forms 
  of infection. Genetic modiﬁcation or nanosurgery 
  could give everyone increased longevity or even 
  immortality!
  Widespread cybernetics opens up other possibili-
  ties for “Everyman Powers.”  In a world where 
  everybody has a communicator implant, then the 
  Radio Perception/Transmission power could be 
  available for free.
  Some common “Everyman Powers” for future 
  settings:
  Chronometer Implant:  Absolute Time Sense. Total 
  cost:  3 points.
  Communication Implant:  See the “Cyborgs” sidebar, 
  page 28.
  Gland Override:  Aid 2d6, Variable Eﬀect (either 
  STR, CON, DEX, or EGO, one at a time; +¼), 
  Delayed Return Rate (points fade at the rate of 
  5 per Minute; +¼) (30 Active Points); Self Only 
  (-½), 2 Charges (-1 ½). Total cost:  10 points.
  Longevity Treatment:  Life Support (Longevity:  
  half normal aging rate). Total cost:  1 point.
  Nanobot Immune Enhancers:  Life Support (Immu-
  nity:  all diseases and biowarfare agents common 
  to one planet or species) (10 Active Points); Acti-
  vation Roll 15- (-¼). Total cost:  8 points.
  Superefﬁcient Sleep:  Life Support (Diminished 
  Sleep:  8 hours per week). Total cost:  1 point.
  Universal Vaccine:  Life Support (Immunity:  all 
  viral infections). Total cost:  4 points.
  
  53 
  Star Hero ■ Chapter Two
  can build this as Absorption Linked to Force Field 
  or Force Wall, with the points Absorbed typically 
  feeding into the starship’s power plant (Endur-
  ance Reserve). Overloads may be a problem — the 
  device may specify, as a Side Eﬀect, that any energy 
  “Absorbed” beyond the maximum translates 
  directly into damage to the ship in some fashion.
  AID
  Aid shows up quite a bit in the form of sci-
  ence ﬁction wonder drugs to boost a person’s per-
  formance. Just about any Characteristic can have 
  an appropriate booster drug — even Comeliness 
  (possibly with the -½ Limitation Only To Coun-
  teract Aging). Usually there is a cost or side eﬀect 
  — booster drugs may have the Costs Endurance 
  Advantage, or Side Eﬀects that apply when the 
  power stops working (once the Aided points wear 
  oﬀ, the user “crashes,” taking STUN and/or BODY 
  damage).
  CHANGE ENVIRONMENT
  This power may show up as a psionic ability, 
  especially with pyrokinesis or cryokinesis, which 
  alter the temperature around the psionic character. 
  Sometimes the temperature change is an uncon-
  trollable side eﬀect of other psionic abilities.
  Terraforming — the conversion of planets 
  which cannot support Human (or other) life into 
  inhabitable worlds — is a specialized form of 
  Change Environment suitable for settings or plan-
  ets where the eﬀects have to be maintained through 
  powerful atmospheric generators or similar tech-
  nology. (Permanent changes require Area Of Eﬀect 
  Major Transforms.) This type of terraforming is 
  Change Environment bought with the Megascale 
  Advantage (enough to aﬀect the entire planet), and 
  Limitations such as Extra Time, Focus, Gradual 
  Eﬀect, and Requires A Skill Roll. Although the envi-
  ronmental changes may be immense, they may take 
  decades or centuries to eﬀect. (See page 87 for some 
  examples.)
  CHARACTERISTICS
  There are many ways to enhance a character’s 
  basic abilities, including:
  Tools:  Powered exoskeletons (increased STR)
  Cyberware:  Nerve-boosters (improving Dexterity), 
  respiratory superchargers (improving Constitution 
  or Endurance), implanted dermal armor (providing 
  extra PD and ED), and so forth
  Drugs:   These can boost just about any Characteris-
  tic, though they are often better modeled with Aid 
  (see above).
  Genetic engineering can also increase Char-
  acteristics, but it’s best applied by simply buying up 
  the individual’s Characteristics during character 
  creation, since it isn’t really possible after concep-
  tion except in truly fantastic Space Opera cam-
  paigns.
  CLAIRSENTIENCE
  In science ﬁction stories and ﬁlms, Clairsentience 
  is usually a psychic or psionic ability, often with the 
  No Conscious Control or Activation Roll Limitations. 
  You can also use it to model “telepresence” devices 
  which allow people to connect their senses to robots 
  at remote locations, or to build security monitor cam-
  eras.
  Ordinarily, once a character establishes his 
  Clairsentience perception point for a given activa-
  tion of the power, it’s “ﬁxed” at that point. To move it 
  to another point, he’d have to deactivate that use and 
  activate the Clairsentience again at the new percep-
  tion point. To move the perception point while its 
  the power remains active is a +5 Character Point 
  Adder, Mobile Perception Point. The perception point 
  can move up to 6” per Phase, and travels in three 
  dimensions (i.e., it can “ﬂy”). The perception point 
  can pass through solid objects, though that may blind 
  the character, disorient him, cause him to move the 
  point “oﬀ course,” or the like, based on the situation, 
  special eﬀects, common sense, and dramatic sense. 
  (If the point cannot move through solid objects, the 
  Clairsentience takes a -0 Limitation.) A character can 
  double his perception point’s rate of speed for every 
  +5 Character Points. Moving the perception point 
  any number of inches up to its maximum movement 
  requires a Half Phase Action.
  Clairsentience normally allows a character to 
  perceive only one perception point at a time — if he 
  wants to look at some other location, he has to either 
  move his perception point (as described above), or 
  de-activate the power and re-activate it at the new 
  location. At the GM’s option, a character can buy an 
  Adder called Multiple Perception Points to have the 
  ability to perceive multiple perception points at once. 
  For each +5 Character Points, the character can have 
  up to double the number of perception points active 
  at one time (two perception points for +5 Character 
  Points, up to four perception points for +10 Character 
  Points, and so forth).
  The perception point for Clairsentience is not 
  normally perceivable by other characters. If it is, the 
  Clairsentience may take the Focus or Visible Limita-
  tion to reﬂect that.
  CLINGING
  This power is suprisingly common in Hard SF, 
  since it’s useful to simulate things like magnetic boots 
  (for walking around on spacecraft hulls or in zero-g 
  environments) or suction-cup gloves. These are usu-
  ally OIFs, with Limitations indicating what types of 
  surfaces they can cling to (metal for magnetic boots, 
  smooth hard things for suction cups). Alien beings 
  may have this power naturally, in which case it may 
  qualify for the Inherent Advantage. 
  DAMAGE REDUCTION
  Tough aliens, especially those with silicon-based 
  biology, may have natural Physical Damage Reduc-
  tion, as may Cyberpunk characters with artiﬁcially 
  reinforced bones and ﬂesh. Robots with good power-
  surge control may have Energy Damage Reduction, 
  and psionics with layered mental defenses can pur-
  chase Mental Damage Reduction.
  Continued from last page
  Translators don’t work 
  with written languages, 
  recordings, or machines, 
  and are blocked by 
  Mental Defense.
  Detect Meaning Of 
  Speech (INT Roll) (10 
  Active Points); OAF 
  (-1), Living Beings Only 
  (-¼), Does Not Work 
  Against Beings With 
  Mental Defense (-¼). 
  Total cost:  4 points.
  Translator Chip:  
  Implanted in a charac-
  ter’s skull, this device 
  allows easy real-time 
  translation of known 
  languages, but is use-
  less when dealing with 
  some tongue outside its 
  database.
  Universal Translator 
  (INT Roll) (20 Active 
  Points); Restricted 
  Function (only works 
  instantly on languages 
  in its database, others 
  require time and sam-
  ples to analyze; -0). Total 
  cost:  20 points.
  STAR HERO 
  POWERS
  Adreno-Booster Drug:  
  Aid STR 3d6, Delayed 
  Return Rate (points 
  fade at the rate of 5 
  per Minute; +¼) (37 
  Active Points); OAF 
  (-1), 4 Charges (-1), Side 
  Eﬀects (character suﬀers 
  Drain STUN 3d6 when 
  drug’s eﬀects wear oﬀ, 
  always occurs; -1). Total 
  cost:  9 points
  Sensor Drone:  Clairsen-
  tience (Sight and Hear-
  ing Groups), 16x Range 
  (2,800”), Mobile Percep-
  tion Point (cannot move 
  through solid objects) 
  (55 Active Points); OAF 
  (-1) (total cost:  27 
  points) plus Stealth 15- 
  (total cost:  15 points). 
  Total cost:  42 points.
  Mag-Boots:  Clinging 
  (normal STR) (10 Active 
  Points); OIF (-½), Only 
  To Cling To Ferrous 
  Objects (-½). Total cost:  
  5 points.
  
  54 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  DARKNESS
  Darkness can represent several eﬀects in sci-
  ence ﬁction. The ﬁrst is natural Darkness defenses 
  analogous to a squid’s ink jet. They are usually Sight 
  Group Darkness, although a spray of nasal anaes-
  thetic could aﬀect the Smell/Taste Group instead. 
  Most animals have only a few Charges of their 
  Darkness defense available. You can also use Dark-
  ness to model sensor countermeasures, like chaﬀ or 
  jamming; see page 199.
  DISPEL
  You can use Dispel to create sensor jamming 
  strong enough to burn out the opposing communi-
  cations device, or “reverse harmonic” countermea-
  sures to bring down an enemy’s force-ﬁelds. Cyber-
  punk computer hackers may use Dispel to create 
  various sorts of oﬀensive or defensive software. 
  Most such uses of Dispel have Limitations reﬂect-
  ing the fact that they only aﬀect certain special 
  eﬀects of the power they target (a device that shorts 
  out electronically-generated force ﬁelds won’t nec-
  essarily have any eﬀect on an alien’s self-generated 
  Force Field power).
  DRAIN
  You can simulate rubber science “suppression 
  ﬁelds” or “draining ﬁelds” with a Drain against a 
  speciﬁc Power. Campaigns with Psi powers may 
  include “Psi Suppression Helmets” to negate an 
  individual’s abilities. This is simply a special eﬀects-
  based Drain bought through a Focus (see Champi-
  ons, pages 120-21, for an example).
  Suppress can be used the same way as Drain, 
  generally.
  DUPLICATION
  Splitting into Duplicates is rare in science ﬁc-
  tion. Shapeless blob creatures might be able to do it, 
  or colony beings. Duplication could also represent 
  the mindless drones of a hive creature.
  Another application of Duplication is the cre-
  ation of clones. Assuming the setting has even the 
  slightest respect for “realism,” creating the Duplicate 
  should take a while — days, at least, and possibly 
  months (you can simulate this with the Extra Time 
  Limitation). Unless artiﬁcial-aging and memory-
  implantation methods are available, the clone has 
  to grow up and be educated in the normal fashion 
  for members of its species (which may require the 
  Altered Duplicates Advantage, if care isn’t taken to 
  make the clone turn out just like its “parent”). Of 
  course, the Cannot Recombine Limitation is neces-
  sary.
  Time cops and other characters who can move 
  through time may have a “Temporal Fugue” power 
  which is eﬀectively Duplication:  they hop back in 
  time to the very recent past, creating a multitude of 
  alternate selves to help in a battle or with a diﬃcult 
  task. This form of Duplication requires a -½ form 
  of the Feedback Limitation — STUN and BODY 
  damage done to any Duplicate aﬀects all “later” 
  ones, and the death of any Duplicate is the death of 
  the character.
  ENDURANCE RESERVE
  Batteries, power cells, or a vehicle’s fuel supply 
  are all examples of Endurance Reserves. In espe-
  cially realistic campaigns, diﬀerent devices and sys-
  tems may have independent Reserves which are not 
  compatible — the sensors draw power from their 
  batteries, and the laser cannons from their power 
  packs, while the engine requires fuel. Reserves often 
  have the Limited Recovery Limitation to reﬂect their 
  specialized requirements. Chapter Seven oﬀers 
  some suggestions on how to simulate diﬀerent 
  power sources with Endurance Reserve.
  Because Endurance Reserve does not cost 
  END to use, ordinarily characters cannot Push it. At 
  the GM’s option, resourceful starship engineers in 
  cinematic or Space Opera campaigns might be able 
  to “Push” a device’s Endurance Reserve to get just 
  a little bit more power eﬃciency out of it. Have the 
  engineer take an appropriate amount of time (min-
  imum of a Full Phase) and make a Skill Roll (typi-
  cally Electronics or Mechanics). For every point he 
  makes the roll by, he can “Push” the Reserve’s END 
  by 1, to a maximum of 10. Characters can only do 
  this once per Reserve per game session, unless the 
  GM rules otherwise.
  ENERGY BLAST
  Slinging bolts of energy has been a staple of 
  science ﬁction since H.G. Wells’s Martians ﬁrst 
  
  55 
  Star Hero ■ Chapter Two
  used their Heat-Rays to incinerate the British 
  Army. While many of these attacks work better, in 
  game terms, as RKAs, Energy Blast is appropriate 
  for several types, including the ones listed below. 
  See Chapter Seven for examples of some of these 
  weapons.
  Blasters are superscience weapons which ﬁre bolts 
  of undeﬁned energy at the target. They are straight 
  Energy Blast eﬀects, and in some models are set 
  for “stun only.” They’re most appropriate for Space 
  Opera settings.
  Electric Guns ﬁre a bolt of electricity along a path of 
  ionized air heated by a small laser beam. The inten-
  sity of an electric shock can be set to do STUN only, 
  so they’re usually bought as a Multipower with two 
  slots (one an ordinary EB, one with the STUN Only 
  Limitation) and Charges on the reserve. They take 
  the Limitation Not In Rain, Vacuum, Or Water (-½).
  Force Projectors shoot a beam of “force” (by means 
  unknown to modern science) which hits the target 
  like a physical blow. This is typically a physical 
  EB with the Double Knockback Advantage (+¾) 
  (assuming the campaign uses Knockback).
  Heat Beams are like a giant searchlight projecting 
  intense heat (a favorite of Wells’s Martians). Heat 
  Beams can be built using either EB or RKA; they 
  usually have the Power Modiﬁers Area Of Eﬀect 
  (Line) and Reduced By Range.
  Particle Beams project a stream of subatomic par-
  ticles accelerated to near the speed of light. They 
  damage the target both with radiation eﬀects and 
  an ionizing blast. They’re built as Energy Blasts with 
  the Armor Piercing and Beam Power Modiﬁers.
  Plasma Weapons, such as fusion guns or plasma 
  blasters, ﬁre or spray superheated matter at the 
  target. They tend to be straightforward Energy 
  Blasts, often with high numbers of dice.
  Sonic Weapons in science ﬁction are usually harm-
  less stunners — Energy Blasts with the NND 
  Advantage and the Limitations Does Not Work In A 
  Vacuum (-¼) and Reduced By Range (-¼). Deadlier 
  sonic blasts, capable of disrupting tissue and shat-
  tering rigid materials, are Killing Attacks.
  Tachyon Beams ﬁre bolts of tachyons — theoretical 
  particles which can only travel faster than light. In 
  game terms, this is just a special eﬀect, but when 
  combined with faster-than-light sensors it enables 
  spaceships to do battle over extremely long dis-
  tances without worrying about time lag.
  ENHANCED SENSES
  Technology has been boosting Human senses 
  since the ﬁrst telescopes were invented, and Star 
  Hero campaigns often feature many diﬀerent types 
  of sense-enhancing technology (not to mention 
  alien species with strange senses of their own).
  In Hard SF settings, the available senses should 
  be those which detect real phenomena:  electro-
  magnetic radiation, trace chemicals, electrical or 
  magnetic ﬁelds, sound and vibration, gravity, the 
  passage of time, and changes in position. Senses 
  relying on chemical detection (such as smell and 
  taste) usually have very short ranges. Sound and 
  vibration senses require some medium, like water, 
  air, or solid material. Sensors are generally built to 
  detect one speciﬁc eﬀect or emission, and cannot be 
  tuned to read an “unknown form of energy.” 
  More cinematic campaigns typically have 
  more capable and ﬂexible sensors. To save time and 
  eﬀort, GMs should consider allowing characters to 
  build starship sensors (and perhaps some forms of 
  personal sensor technology) as Power Frameworks 
  (typically Variable Power Pools) only for Enhanced 
  Senses. That way the ship’s crew can shift from 
  one type of sensor to the next, limited only by the 
  science oﬃcer’s ability to twiddle the dials and 
  the engineer’s skill at reconﬁguring the main dish 
  antenna.
  Star Hero GMs should also let characters apply 
  appropriate Advantages, particularly MegaScale, 
  to Senses, even though this is not allowed in most 
  genres. Otherwise, it becomes diﬃcult to simulate 
  many of the abilities and actions typically seen in 
  science ﬁction.
  Because Active Detects make the user’s pres-
  ence and location obvious, most spacecraft have 
  both active and passive sensors, so they can lurk 
  silently when they have to and then “light up” when 
  they attack. If sensors are accurate and defenses 
  are limited, space battles often resemble submarine 
  actions — lots of listening and waiting, and then 
  sudden all-out attacks. For a more Space Opera feel, 
  limit the sensors to make space pilots rely on their 
  own steely eyes.
  EXTRA-DIMENSIONAL MOVEMENT
  Ever since the idea of higher and parallel 
  dimensions was put forth, science ﬁction writers 
  have been using them for all kinds of eﬀects. Some 
  of the more common include:
  Cyberspace:  If virtual reality worlds are a major 
  part of the campaign, then one way to model them 
  is to describe entering Cyberspace as a Limited 
  form of Extra-Dimensional Movement (see page 
  163).
  Hyperspace Drive:  One method of faster-than-light 
  travel shifts the spaceship into an alternate universe 
  or dimension in which distances are smaller, then 
  back into our world at the appropriate destination. 
  See page 192 for more information and examples.
  Mindscapes:  Telepaths exploring a person’s mental 
  landscape may model it as a form of Extra-Dimen-
  sional Movement, taking them to the “world” inside 
  the target’s head.
  Microverse Travel:  When scientists determined that 
  atoms resemble tiny solar systems, a number of 
  authors quickly turned out stories about Humans 
  visiting the tiny planets inside an atom. These were 
  usually Pulp SF planets with beautiful princesses. 
  Visiting the microverse is a form of Extra-Dimen-
  sional Movement (the character Shrinker, in Con-
  querors, Killers, And Crooks, has this sort of ability).
  Time Travel:  This is Extra-Dimensional Movement 
  to any date in time. See page 233 for expanded time 
  travel rules.
  THE RANGE OF 
  TRANSMIT
  Usually it’s not neces-
  sary to establish an 
  exact range over which 
  a Sense with the Trans-
  mit Sense Modiﬁer can 
  “broadcast” — the GM 
  can simply establish 
  ranges for Transmit on 
  a case-by-case basis, 
  depending on special 
  eﬀects, the technology 
  used in the campaign, 
  common sense, and 
  dramatic sense. In situa-
  tions where knowing the 
  exact range is important, 
  GMs can use one of two 
  methods.
  For strict precision, give 
  any Sense with Transmit 
  a broadcast range of 1 
  kilometer per Active 
  Point. To increase this 
  range, apply the Mega-
  Scale Advantage, with 
  the +¼ level increasing 
  it to 10 km per Active 
  Point, and so on up the 
  MegaScale Table from 
  there. Characters may 
  need to apply MegaScale 
  as a naked Advantage, 
  or put Senses in a Mul-
  tipower (one slot Mega-
  Scaled, one not), to 
  create both short-range 
  and long-range sensors.
  For more “dramatic” 
  results, assume a trans-
  mission can reach any-
  where within an area 
  deﬁned by the GM (one 
  city, one nation, one 
  planet, one solar system, 
  or the like). For each +5 
  Character Points, the 
  character can increase 
  the range of transmis-
  sion by one step down 
  the MegaScale Table.
  
  56 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  Most Extra-Dimensional Movement devices 
  are bought either as vehicles, or as Fragile Foci 
  (and in the latter case, they’re often Independent 
  as well). Typically, they require a Skill Roll to use 
  properly, with failure meaning the characters 
  either don’t go anywhere, or end up somewhere 
  they hadn’t intended!
  FASTER THAN LIGHT TRAVEL
  One of the key concepts in science fiction is 
  the ability to travel to other stars and encounter 
  other civilizations. To get around that spoilsport 
  Einstein’s universal speed limit, writers have 
  come up with a variety of faster-than-light travel 
  methods. Exactly how fast stardrives go depends 
  on the GM and the rules of the campaign setting. 
  Most forms of FTL travel assume that there are 
  no relativistic time-dilation effects, though GMs 
  willing to calculate such effects can sometimes 
  use them to create plot points (as in Dan Sim-
  mons’s Hyperion novels, where characters have to 
  account for time-debt when using FTL ships).
  FTL Travel is the simplest way to create 
  a faster-than-light craft, because the cost and 
  effects of travel are easy to calculate. See page 
  190 for more discussion of FTL drives.
  FLIGHT
  In Hard SF settings, Flight requires either 
  wings or some kind of thruster capable of lift-
  ing the character’s weight. Realistic flying gear 
  is usually specialized for a given environment:  
  helicopters built for Earth’s gravity and atmo-
  sphere won’t work properly on Mars (and defi-
  nitely won’t work on the Moon). In campaigns 
  which span multiple planets, some Flight equip-
  ment may have the Limitation Only On [Planet] 
  (-½ to -2, depending on how much of the cam-
  paign takes place on that world). Obviously any 
  kind of aerodynamic or aerostatic flight won’t 
  work at all in vacuum.
  Less realistic campaigns aren’t so restricted. 
  They may feature jetpacks (a staple of Pulp SF), 
  antigravity belts, or superscience “repulsorlift” 
  devices. Some of these devices work as well in 
  the vacuum of space as in atmospheres, others 
  do not.
  See page 279 for more information regard-
  ing the effects of gravity on Flight.
  FORCE FIELD AND FORCE WALL
  To real scientists, a “force field” is a techni-
  cal term used to describe the effects of things 
  like gravity and magnetism. We live in a force 
  field that holds us to the surface of the Earth. 
  The only type of protective Force Field plausible 
  under hard science is a magnetic shield like the 
  Earth’s magnetic field, offering protection against 
  charged particles and cosmic rays. Otherwise, 
  armor is the only real defense.
  But in Space Opera, force fields are every-
  where, from personal shield belts, to starship 
  “integral defense fields,” to planetary force 
  shields. These often have Limitations or other 
  restrictions. For example, common to some SF 
  settings, particularly those combining spaceships 
  and swordplay, are energy-only shields. These 
  stop energy attacks and high-velocity projectiles, 
  but not slow-moving attacks like blades and 
  punches. This would best be modeled as a Force 
  Field with lots of Energy Defense and the Limi-
  tation Only Against High-Velocity Projectiles (-½ 
  or more) for the Physical Defense.
  It’s traditional for science fiction force fields 
  to be transparent. Some writers who pay atten-
  tion to detail make them mirror-surfaced or 
  matte black so visible-light lasers can’t pierce 
  them. In that case, they block the vision of 
  anyone inside the shield (a -½ Side Effect).
  Many science fiction force fields behave 
  more like Force Walls in game terms — they 
  create a barrier or bubble rather than hugging 
  the user’s skin. In some cases, a force field gen-
  erator may be able to switch modes and do both 
  (a Multipower). Characters cannot normally use 
  Force Walls to push against things, but many sci-
  ence fiction shields can; you can simulate this 
  power by Linking Telekinesis with Force Wall.
  HEALING
  You can model the improved medical tech-
  nology found in most SF settings with the Heal-
  ing power. Realistic Healing should take lots of 
  extra time — at least a day per die of Healing. 
  Even nanotech medicine can’t just magically 
  make you well. Space Opera and Pulp SF have 
  near-magical healing, invoking rubber science 
  devices like “regeneration fields” and “cellular 
  stimulators” to cut the time down to mere hours.
  Regeneration is still close to rubber science, 
  although since some animals can regrow limbs 
  Humans may someday learn the trick. It takes a 
  while — on the order of weeks or months.
  The literal resurrection of dead people is 
  impossible even in Space Opera, but if “brain 
  taping” or other means of recording a person’s 
  mental state exists, then one can simply grow 
  a new body (cloned from a tissue sample) and 
  input the personality and memories. In some 
  settings this requires characters to keep clones 
  in storage at a “clone bank” and make periodic 
  updates to their recorded selves. This is Resur-
  rection with at least a week of Extra Time and 
  various other Limitations (inlcuding Immobile 
  Fragile Focus); destroying any of the equipment 
  stops the Resurrection.
  IMAGES
  The invention of holography quickly made 
  three-dimensional projected images a stan-
  dard feature of science fiction. Decades later, it 
  appears that creating free-standing visual images 
  in thin air may not be possible (but of course 
  that’s no barrier to having such things in Space 
  Opera Star Hero campaigns; see page 175 for 
  an example). On the other hand, sophisticated 
  computer-controlled speakers do make sound 
  or sonar images quite feasible. Some forms of 
  electronic countermeasures would have the effect 
  of creating Images for the Radio sense group. 
  STAR HERO 
  POWERS
  Jetpack:  Flight 10” (20 
  Active Points); OIF (-½), 
  Only On Earth (-1), 1 
  Continuing Fuel Charge 
  (special fuel cells, Easily 
  obtained, 1 Hour; -0). 
  Total cost:  8 points.
  Personal Force Barrier 
  Generator:  Force Wall 
  (8 PD/8 ED), Reduced 
  Endurance (0 END; +½) 
  (60 Active Points); OIF 
  (-½), Self Only (-½) 
  (total cost:  30 points) 
  plus Telekinesis (20 
  STR), Reduced Endur-
  ance (0 END; +½) (45 
  Active Points); OIF (-½), 
  Linked (-¼), Only To 
  Push With The Force 
  Wall (-1) (total cost:  16 
  points). Total cost:  46 
  points.
  Personal Force Shield:  
  Force Field (0 PD/20 
  ED), Reduced Endur-
  ance (0 END; +½) (30 
  Active Points); OIF (-½) 
  (total cost:  20 points) 
  plus Force Field (12 PD/
  0 ED), Reduced Endur-
  ance (0 END; +½) (18 
  Active Points); OIF (-½), 
  Only Against High-
  Velocity Projectiles (-½) 
  (total cost:  9 points). 
  Total cost:  29 points.
  
  57 
  Star Hero ■ Chapter Two
  The Set Effect Limitation is appropriate for many 
  such uses.
  While most Star Hero Images require a pro-
  jector (a Focus), some alien beings may be able to 
  create them unaided. Creatures like dolphins or 
  bats with sonar senses may be able to generate false 
  sonar images. David Brin’s novel Sundiver included 
  an alien with an organic laser eye which could gen-
  erate holograms.
  INVISIBILITY
  When H.G. Wells wrote The Invisible Man, the 
  idea of making someone invisible seemed plausible. 
  Later discoveries made it seem completely fantastic, 
  but modern developments in stealth technology, 
  “smart” camouﬂage materials, and ﬁber optics have 
  put it back into the realm of the possible.
  Stealth coatings create Invisibility, either for the 
  Radio Group (airplanes, spacecraft) or the Hearing 
  Group (submarines). Smart or reactive camouﬂage 
  can provide visual Invisibility, usually with the Cha-
  meleon or Only When Not Attacking Limitations. 
  Invisibility without some kind of “fringe” eﬀect is 
  very hard to achieve in SF — if nothing else, no 
  amount of camouﬂage can get rid of your shadow! 
  To achieve that eﬀect, you’d need sophisticated 
  light-bending devices or the like, appropriate only in 
  Space Opera and Pulp SF-style games.
  Alien beings may have chameleon powers, 
  giving them Invisibility to whatever sense their 
  natural enemies use for hunting. Psionic Invisibility 
  is another possibility, in games with mental powers. 
  Psi invisibility can have no fringe and work when 
  the character is moving and ﬁghting, but it would 
  have the Limitation Doesn’t Aﬀect Machines — a 
  sensor, lacking any mind for the character to aﬀect, 
  still perceives him normally. 
  LIFE SUPPORT
  Just about all science ﬁction stories which take 
  place away from Earth involve some form of Life 
  Support — without it, the characters can’t get very 
  far. Space suits and starships provide their occu-
  pants with a Safe Environment against vacuum, 
  radiation, and intense cold. 
  Most forms of life support are created by 
  protective suits or vehicles (diving suits, medical 
  cleansuits, radiation-shielded capsules, and the like). 
  But various medical treatments can also provide 
  forms of Life Support:  vaccinations or nanotech 
  immune-enhancers create Immunity against certain 
  diseases and toxins. Good medicine in general can 
  create Longevity, as can rubber science substances 
  like the boosterspice used in Niven’s “Known Space” 
  stories.
  In a Hard SF campaign, Terran medical science 
  can’t vaccinate against unknown diseases. Immunity 
  only applies to viruses and pathogens known to the 
  people creating the vaccines. On the other hand, 
  alien bugs may not be able to aﬀect Humans.
  NASA and Russian space medicine specialists 
  have learned a lot about the eﬀects of zero grav-
  ity. Without gravity, Human muscles and bones 
  get weaker over time (presumably the same would 
  apply to alien species). Any realistic campaign 
  which involves a lot of time in zero-G should prob-
  ably include some way to avoid those eﬀects — a 
  serum to counter the degeneration, or “resistance 
  suits” to keep the muscles toned. Hard SF characters 
  can buy this as a 1-point form of Life Support, Safe 
  Environment:  Zero Gravity. Space Opera and cin-
  ematic characters don’t have to worry about such 
  things, and at the GM’s option any character with 
  Environmental Movement (Zero-G) doesn’t suﬀer 
  from these negative eﬀects anyway.
  MENTAL DEFENSE
  In game settings where psionic powers are 
  known and reasonably common, Mental Defense 
  of some sort will deﬁnitely be widespread. This 
  is likely to be true even in a world dominated by 
  powerful psionic individuals:  they won’t want other 
  psis spying on their thoughts. The exact nature of 
  the defenses depend on what mental powers are 
  common and how they work in the game world. The 
  most obvious is some kind of helmet, headband, or 
  “tinfoil hat” providing Mental Defense through a 
  Focus.
  Non-psionic characters without access to psi-
  blocking technology can sometimes “hide their 
  thoughts” by mentally repeating catchy tunes, con-
  centrating on unpleasant images, or cloaking ideas 
  in obscure metaphors. It isn’t infallible and requires 
  eﬀort, but sometimes it’s just what’s needed:  Mental 
  Defense (10 points) (10 Active Points); Concentra-
  tion (½ DCV, must Concentrate throughout; -½), 
  Requires An EGO Roll (assuming an EGO Roll of 
  12-; -¾). Total cost:  4 points.
  MIND CONTROL
  Mind Control is fairly common in science ﬁc-
  tion. In addition to psionic forms of mental domi-
  nation (see Chapter Ten), characters can control 
  others’ minds by mundane methods. Mind control 
  drugs, alien pheromones that overwhelm the senses 
  to induce lust or rage, and “brain hacking” with 
  neural probes are all forms of Mind Control.
  MISSILE DEFLECTION & REFLECTION
  This power has several applications in sci-
  ence ﬁction. It can be a telekinetic’s ability to divert 
  attacks, a starship’s “deﬂector shields” or “repulsors,” 
  or even a sophisticated antimissile system like 
  the Strategic Defense Initiative. The Ranged and 
  Uncontrolled Advantages are often applied when 
  this Power is bought as part of a starship’s or space 
  station’s defenses, and MegaScale is often applied in 
  conjunction with Ranged.
  MULTIFORM
  Shape-changing aliens are a ﬁxture of Space 
  Opera and Pulp SF, but are less common in Hard 
  science ﬁction. Realistically, it’s diﬃcult for creatures 
  to change their shape — think of how long it takes 
  a caterpillar to become a butterﬂy, or a woman to 
  recover from pregnancy. For all but the most cin-
  ematic Star Hero campaigns, Multiform should usu-
  ally take the Extra Time Limitation (hours or days), 
  and perhaps Costs Endurance and Increased Endur-
  ance Cost, to reﬂect the fact that changing your 
  body around is physically demanding.
  POWER EXAMPLES:  
  MIND CONTROL
  Mind Control Drug:  Mind 
  Control 12d6 (60 Active 
  Points); OAF Fragile 
  (easily spilled or diluted 
  drug; -1 ¼), No Range (-
  ½), Based On CON (ED 
  applies; -1). Total cost:  
  16 points (or 13 points 
  if the drug has the Set 
  Eﬀect Limitation).
  Alien Pheromones:  Mind 
  Control 10d6, NND 
  (defense is Life Support 
  [Self-Contained Breath-
  ing]; +½), Reduced 
  Endurance (½ END; 
  +¼) (87 Active Points); 
  Limited Range (3”; -¼), 
  Set Eﬀect (deﬁned when 
  character buys power, 
  typically sexual arousal 
  or rage; -1). Total cost:  
  39 points.
  Neural Probe:  Mind 
  Control 15d6, Reduced 
  Endurance (0 END; 
  +½) (112 Active Points); 
  OAF Bulky Fragile 
  (neural probe equip-
  ment; -1 ¾), Extra Time 
  (1 Hour; -3), Requires 
  A PS: Brain Hacking 
  Roll (-¼). Total cost:  19 
  points
  
  58 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  Halfway plausible shapeshifters have a set 
  “menu” of alternate forms, using the standard 
  Multiform rules. Completely cinematic shapeshift-
  ers can adopt any form, but that’s really a Variable 
  Power Pool limited to Multiform powers, or a Mul-
  tiform with a large menu of additional shapes.
  SHAPE SHIFT
  While characters who can actually change 
  their features to resemble others are best left to 
  pulpish or cinematic campaigns, this power does 
  have a place in Hard SF or Cyberpunk games. A 
  computer hacker who can adopt someone else’s 
  identity in cyberspace is eﬀectively using Shape 
  Shift (Radio Sense Group) with several Limita-
  tions. Spacecraft with electronic countermeasures 
  to let them fool IFF systems have Shape Shift 
  (Radio Sense Group). A high-tech disguise kit 
  is Shape Shift (Sight and Touch Groups) with a 
  Required Skill Roll, Extra Time, and a Focus.
  SKILLS
  One eﬀect of advanced technology is that the 
  machines get more skillful rather than their users. 
  Devices like GPS receivers essentially give the user 
  the Navigation Skill, for example. This trend is 
  likely to continue; many SF settings feature tech-
  nology able to perform almost any Skill, often with 
  Skill Levels to boot.
  Characters in Cyberpunk games can pur-
  chase Skills “oﬀ the rack” as programmed chips 
  that plug into neural interface sockets. These are 
  Skills bought as OIFs, typically as part of a Power 
  Framework (assuming the GM permits this). 
  While handy for the character, they raise a host of 
  questions and can lead to all sorts of plot hooks for 
  the GM to exploit:  if an enemy has used the same 
  chip, can he ﬁgure out what the character will do 
  and take advantage of that knowledge? What hap-
  pens if a chip is mis-programmed, or has a “bug” 
  in it? If a chip is “used,” is it possible it accidentally 
  stored some information from its previous owner’s 
  brain — information that owner desperately wants 
  to keep secret?
  TELEKINESIS
  From the planet-moving telekinesis displayed 
  by the characters in some Space Opera stories, to 
  the barely-useful “arm” of Larry Niven’s character 
  Gil Hamilton, Telekinesis occurs frequently in SF. 
  Psionic telekinesis (psychokinesis) works about as 
  described on page 231 of the HERO System 5th Edi-
  tion, Revised (Telekinesis BOECV, and often with 
  Fine Manipulation). Force projectors or “tractor 
  beams” are Telekinesis bought with the Focus and 
  Aﬀects Whole Object Limitations, and often able to 
  function across MegaScale ranges.
  TELEPATHY
  In ﬁction, “telepathy” and “telepathic” are 
  often used as a broad term to describe many dif-
  ferent types of psionic abilities, even if those 
  powers aren’t built using this Power. In addition 
  to straightforward psionic telepathy, this can also 
  represent invasive “brain scanning” using devices 
  to remotely read out a brain’s electrical impulses 
  (similar to the Neural Probe on page 57 — just 
  substitute Telepathy for Mind Control). Telepathy 
  versus the Machine class of minds can simulate 
  special electromagnetic sensors that read what’s 
  inside a computer.
  TELEPORTATION
  In Space Opera, Pulp, and other cinematic 
  forms of SF, devices for teleporting characters 
  across great distances are common, since they 
  make it easy for the author to avoid wasting time 
  on boring travel scenes. The transporters of Star 
  Trek, transmat beams of Doctor Who, and transfer 
  booths/stepping disks featured in Niven’s “Ring-
  world” novels are all good examples. For crossing 
  interplanetary distances, a few levels of MegaScale 
  are usually required. You can even simulate some 
  FTL drives, such as stargates, with MegaScale Tele-
  portation (plus a few appropriate Limitations, like 
  Extra Time) rather than Flight or FTL Travel.
  Gamemasters striving for “realism” should 
  disallow the No Relative Velocity and Safe Blind 
  Teleport Advantages for this Power. They can also 
  take the diﬀerent rotation speed and direction of 
  places on a planet’s surface into account — jump-
  ing to the other side of the world means you arrive 
  with a velocity of 3,200 kilometers per hour east-
  ward. This limits the maximum jump to no more 
  than a couple of degrees of longitude or latitude, or 
  about 200 kilometers.
  The existence of Teleportation technology 
  raises all sorts of interesting dilemmas and poten-
  tial story hooks; Star Trek has explored many of 
  them. Can characters use a teleportation device to 
  create armies of “cloned” soldiers, or to instantly 
  heal someone? Is it possible to accidentally dupli-
  cate a character, or merge two characters, and what 
  are the legal and moral implications of such an 
  accident? Does using the device pose any other 
  risks? What happens if the equipment fails in 
  mid-teleport? By developing a reasonable expla-
  nation for how teleportation devices work (even 
  if it’s a rubber science theory), GMs can answer 
  these questions consistently, and even plan stories 
  around them. See Chapter Seven for more infor-
  mation.
  TRANSFORM
  Science ﬁction involves many forms of trans-
  formation, both voluntary and involuntary.
  Viruses or nanotech machines can Transform 
  characters’ bodies — usually with the Gradual 
  Eﬀect Limitation, and often with No Normal 
  Defense (the defense is an appropriate Life Sup-
  port [Immunity]). Such transformations can be 
  Major or Minor. Healing may occur normally, or 
  may require an all-or-nothing cure.
  Nanotechnology can also transform inani-
  mate objects into other things. Again, the process 
  takes some time, and a key Limitation is that the 
  nanobots can only make one speciﬁc product. 
  As described in Chapter Seven, realistic nano-
  tech should require lots of cooling and energy to 
  accomplish in less than several days’ time.
  In Pulp SF, various rubber science rays and 
  STAR HERO 
  POWERS
  Sonic Multitool:  Elec-
  tronics 15- (15 Active 
  Points); OAF (-1) 
  (total cost:  7 points) 
  and Mechanics 15- (15 
  Active Points); OAF (-1) 
  (total cost:  7 points). 
  Total cost:  14 points.
  Underwater Impeller 
  Pack:  Swimming +10” 
  (10 Active Points); OIF 
  (-½), Side Eﬀect (noisy, 
  -3 to Stealth rolls or +3 
  to Hearing PER Rolls 
  to perceive user, always 
  occurs; -½). Total cost:  
  5 points.
  Personal Tractor Beam:  
  Telekinesis (20 STR) 
  (30 Active Points); OAF 
  (tractor beam device; -
  1), Aﬀects Whole Object 
  (-¼), Limited Range 
  (10”; -¼). Total cost:  12 
  points.
  Skillchip Interface 
  System:  A 13-point 
  Multipower with four 
  ultra slots; each slot is an 
  OIF (skillchip), and as 
  a result, the reserve also 
  takes the OIF Limitation 
  (deﬁned as the interface 
  system installed in the 
  character’s head, which 
  is easily removed for 
  cleaning and mainte-
  nance). Four example 
  slots for a burglar char-
  acter:  Climbing 14-, 
  Electronics 14-, Lock-
  picking 14-, Security 
  Systems 14-. Total cost:  
  13 points.
  If the GM does not 
  permit Skills as Powers 
  in Power Frameworks, 
  buy each chip separately, 
  with the Limitations 
  Lockout (cannot use any 
  other chip while this 
  chip is in use; -½) and 
  Extra Time (takes a Full 
  Phase to switch chips;  
  -½). Total cost:  24 
  points (6 points per 
  chip).
  
  59 
  Star Hero ■ Chapter Two
  serums can transform hapless victims — de-evolu-
  tion rays, monster serums, accelerated time projec-
  tors, and so forth. Unlike viruses and nanotech, 
  Pulp devices work quickly, and tend to be massive 
  Immobile Foci.
  Psionic powers and sophisticated brainwash-
  ing can transform the Mind and Spirit, typically 
  using the rules for Mental Transforms on page 240 
  of the HERO System 5th Edition, Revised. Healing 
  from this sort of Transform can be normal healing 
  as the character’s brain readjusts, or it may require 
  a speciﬁc cure (usually some kind of counter-brain-
  washing).
  POWER ADVANTAGES
  Most Power Advantages work in the normal 
  fashion in Star Hero campaigns. Here are a few 
  notes on non-standard applications.
  DELAYED EFFECT
  This is most useful in situations like Cyber-
  punk campaigns, where a computer hacker can 
  have only a certain number of programs run-
  ning at a given time. The hacker prepares his 
  attack software (using Extra Time to keep the 
  cost down) and applies Delayed Effect so he 
  can trigger it when he meets stiff opposition in 
  cyberspace.
  DOES BODY
  This powerful Advantage is useful for 
  simulating certain types of nanotech weapons, 
  psionic powers, bizarre alien poisons, and the 
  like. Because attacks with Does BODY are often 
  lethal, GMs should be wary about allowing them 
  unless the PCs at least have a chance to apply 
  countermeasures.
  DURATION
  The Persistent Advantage is a good way to 
  represent that hoary SF chestnut, the machine 
  that keeps running for centuries or millennia 
  after its creators vanish (though of course there 
  may be a malfunction or two to make the PCs’ 
  lives interesting when they find the device...). 
  And Inherent, of course, is appropriate for many 
  aliens’ innate powers, such as a reptiloid’s tail.
  EXPLOSION
  Depending on special effect, Explosions may 
  behave unusually in a vacuum (such as outer 
  space). In that situation, fragments of shrapnel 
  and such may travel much further than they oth-
  erwise would, while still retaining the ability to 
  cause damage; GMs should consider giving them 
  an extra 1” per -1 DC effect. On the other hand, 
  the expanding gases of an Explosion may dis-
  sipate so quickly that they’re not as effective as 
  they could be without air or some other medium 
  to propagate through; GMs may want to forbid 
  characters to buy some Explosions with a greater 
  than -1 DC per 1” damage reduction rate.
  
  60 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  MEGASCALE
  Because of the vast distances involved in 
  most science fiction stories, particularly those 
  featuring a lot of starship combat or space 
  travel, this Advantage is extremely common in 
  Star Hero campaigns. It’s most often applied to 
  engines (and other movement devices), weapons, 
  and sensors.
  As mentioned above under Teleportation, 
  MegaScale Teleportation is a good way to simu-
  late devices like the transporter of Star Trek. 
  Similarly, starships may model jump drives as 
  MegaScaled Teleportation (usually at the 1” = 
  1 light-year or 10 light-years level), and fixed 
  stargates may combine the “gate” rules with 
  extremely long-range Mega-Scaling (say, 1” = 100 
  or 1,000 light-years, or more). Some FTL drives 
  may work better if built with MegaScale Flight 
  instead of FTL Travel.
  For beam weapons, a good scale is 1” equals 
  10, 100, or 1,000 kilometers. See page 217 regard-
  ing lightspeed lag.
  Although the standard rule is that charac-
  ters shouldn’t apply Advantages to Senses, Star 
  Hero Gms should allow them to apply MegaScale 
  — otherwise, it becomes very expensive to build 
  the sort of long-range sensors so common in SF. 
  Sensors can have ranges of thousands of light-
  years, but resolution requires very big detectors 
  — to see anything smaller than a star at interstel-
  lar ranges, you need huge telescopes separated by 
  thousands of kilometers, or rubber science. The 
  practical limit for realistic vehicle-mounted sen-
  sors is about 1” = 1 million kilometers, though 
  rubber science sensors can work over much 
  greater ranges. Detecting things at interstellar 
  ranges also brings up the question of light-
  speed lag. In the real universe, distance equals 
  time — an image a light-year away is a year 
  old. Faster-than-light sensors based on tachyon 
  pulses or other rubber science definitely require 
  MegaScale.
  A MegaScaled power cannot be “scaled 
  down” to less than 1”, whatever the MegaScale 
  defines 1” as equalling. For example, a sensor 
  with MegaScale (1” = 1 light-year) can’t detect 
  anything closer than 1 light-year away (in much 
  the same way that an observatory telescope can 
  view the Moon and stars, but not a city a few 
  miles away). At the GM’s option, any MegaScaled 
  power at greater than 1” = 1 kilometer can pay 
  for an additional +¼ Advantage to scale down 
  as far as 1” = 1 kilometer, thus allowing much 
  greater flexibility. However, a MegaScaled power 
  can never work at a closer range than 1” = 1 
  kilometer (or whatever 1” is defined as, since 
  the +¼ level of MegaScale allows for 1” to equal 
  anything up to a kilometer). To affect things 
  closer than that, buy the MegaScaled power in 
  a Multipower with a regularly-scaled version of 
  the same ability.
  NO NORMAL DEFENSE
  Although, as the rulebook indicates, not 
  belonging to a particular species is not generally a 
  valid defense against an NND, GMs should remem-
  ber that in a Space Opera setting with many diﬀer-
  ent species, an NND that aﬀects one may not aﬀect 
  others. A substance poisonous to Humans may be 
  a delicious taste treat to Fomalhauti, for example. 
  It may be worthwhile for the GM to deﬁne which 
  species a given poison, drug, or other attack does 
  or does not aﬀect; this may justify a Limitation (see 
  Limited Power, below).
  PENETRATING
  Penetrating can simulate the way radiation 
  weapons interact with armor. Armor (or any mass) 
  stops a part of radiation energy, but some always 
  gets through. When combined with Continuous, 
  Penetrating can represent attacks like chemicals or 
  nanobots which gradually seep through armor.
  STICKY
  This is a great way to model the horrifying 
  eﬀects of things like nanotech “gray goo” weapons 
  or voracious swarms of weird alien insects. It can 
  also represent computer viruses, when applied to 
  attacks in cyberspace. Realistically, electric current 
  is Sticky — touching someone in contact with a 
  powerful electric source means you get shocked, 
  too.
  TRANSDIMENSIONAL
  If the GM deﬁnes a “hyperspace” or “subspace” 
  dimension for his campaign setting, powers which 
  can “reach into” or aﬀect that dimension without 
  leaving normal space need this Advantage. (The 
  same applies to most powers that can aﬀect other 
  points in time.) Transdimensional attacks are 
  even possible — a ship which can attack targets 
  in hyperspace from normal space (or vice versa) 
  would have a signiﬁcant tactical advantage against 
  a species lacking such technology.
  VARIABLE ADVANTAGE
  Powers with a technological or biological basis 
  tend to have a set eﬀect, so Variable Advantage 
  usually isn’t appropriate. If the GM allows it at all, 
  it should be limited to a speciﬁc set of Advantages 
  — like a blaster which can switch among High-
  Intensity (Armor Piercing), Wide-Angle (Area Of 
  Eﬀect), and Autoﬁre modes.
  VARIABLE SPECIAL EFFECT
  This is really hard to justify in a science ﬁction 
  setting — how can a device have the same eﬀect but 
  switch between causes? A laser can’t suddenly start 
  emitting sound waves. One really weird example 
  of this Advantage in an SF story is the Lazy Gun 
  in Iain M. Banks’s Against A Dark Background, 
  which never destroys its target the same way twice. 
  (Nobody in the story can explain it, either.)
  
  61 
  Star Hero ■ Chapter Two
  POWER LIMITATIONS
  Most Limitations work in the normal fashion 
  in Star Hero campaigns. Here are a few notes on 
  non-standard applications.
  ALWAYS ON
  This Limitation is particularly suitable for 
  certain psionic powers. A favorite cliche in SF 
  stories is the telepath who wants to get away from 
  other people’s thoughts because he can’t fully 
  shut down his Telepathy. (In some cases you can 
  simulate this with a Physical Limitation instead of 
  Limiting the Telepathy itself.)
  CONCENTRATION
  Psionic powers in SF stories often take this 
  Limitation — the mentalist has to stop, focus on 
  his target, furrow his brow, and really think about 
  aﬀecting the target. The same applies to devices 
  that require a lot of focusing or adjusting. Vehicles 
  may have this Limitation on their Movement 
  Powers, if the vehicle has to power down or come 
  to a halt to use a special engine (such as a “jump 
  drive”).
  INCANTATIONS
  This Limitation has relatively few applica-
  tions in SF. However, you can sometimes use it to 
  simulate a spoken security password a character 
  has to recite to make a device work, or the spoken 
  protocol used to engage a starship’s self-destruct 
  sequence (such as in Star Trek III: The Search For 
  Spock).
  GRADUAL EFFECT
  Many realistic powers take time to work. 
  Even nanotech super-medicines won’t make 
  injured characters well in an instant. In addition 
  to poisons and drugs, it can simulate Space Opera 
  weapons like “plasma envelopes” which take time 
  to chew through a starship’s shields (thus allowing 
  the heroic engineer to develop a countermeasure 
  before the hull melts).
  LIMITED POWER
  Technological devices are often designed to 
  work in very speciﬁc conditions, and GMs can use 
  the Limited Power Limitation to reﬂect that. How-
  ever, it’s only a Limitation if the characters can 
  reasonably be expected to encounter other condi-
  tions! If the campaign is set on Titan and all the 
  characters’ gear is built for a methane atmosphere 
  at low temperatures, then there’s no reason to 
  reduce the point cost just because things wouldn’t 
  work right on Mercury. If the characters travel 
  from planet to planet regularly, then it’s a fair 
  Limitation. The value of the Limitation typically 
  varies from -½ to -2, depending on how often the 
  GM expects characters to encounter those condi-
  tions (or visit that planet).
  Many medical devices (and poisons) are 
  species-speciﬁc. Human medical tech won’t help 
  aliens much, and vice-versa. This is a -½ Limita-
  tion in situations where aliens are present most of 
  the time, -¼ if they only turn up occasionally, and 
  -0 if they rarely appear in the campaign. Obvi-
  ously, if aliens don’t exist at all in the campaign, it 
  isn’t a Limitation.
  Similarly, some devices or abilities may only 
  work against a particular species’s technology. 
  This most often occurs with defensive technology 
  — a force ﬁeld attuned to defend against Mon’dabi 
  blasters may have little or no eﬀect against Se’ecra 
  weaponry. This is worth -¼ to -1, typically, 
  depending on how often the GM expects the char-
  acter to encounter technology he cannot aﬀect.
  Does Not Work In A Vacuum is a common 
  form of Limited Power, and is usually worth -¼ 
  in most campaigns. In some Star Hero campaigns, 
  it may be worth more — -½, or even -1 — if the 
  characters spend a lot of time in space. But even 
  in Star Hero, most characters stay in pressurized, 
  breathable environments most of the time, so the 
  -¼ may still be appropriate.
  SIDE EFFECTS
  Many SF powers have Side Eﬀects, especially 
  in the prototype stage. Examples include super-
  weapons which may blow up, psi powers which 
  cause everyone nearby to suﬀer a splitting head-
  ache, or simply machines which make a deafening 
  roar when running.
  Some aliens may have powers which don’t 
  have Side Eﬀects on their species but which do 
  aﬀect others — a silicon-chemistry being’s Tun-
  neling ability which showers everyone nearby with 
  acid, for instance. The alien itself doesn’t mind 
  a little acid, but his Human companions have 
  grounds for complaint. This is a ¼ reduction in the 
  value of the Side Eﬀect, since it aﬀects the being’s 
  environment but not himself. If the campaign 
  involved all silicon aliens, the Side Eﬀect wouldn’t 
  be a real Limitation at all.
  DISADVANTAGES
  Most Disadvantages work in the normal fash-
  ion in Star Hero campaigns. Here are a few notes 
  on non-standard applications. Gamemasters should 
  also refer to page 273 for information on using Dis-
  advantages in the campaign.
  ACCIDENTAL CHANGE
  Beings with multiple forms, who might be sus-
  ceptible to Accidental Change, are most common 
  on the Pulp or Space Opera end of the science 
  ﬁction spectrum. Examples include things like 
  alien shapeshifters masquerading as Humans, bio-
  engineered super-soldiers keeping their enhance-
  ments hidden, or possibly aliens who change sex in 
  response to certain stimuli.
  AGE
  Most Star Hero campaigns are Heroic, and 
  therefore impose Normal Characteristic Maxima 
  on the characters as a default, for no points. Age 
  would still be a valid Disadvantage; many charac-
  ters in science ﬁction are older than adventurers 
  in other genres, due to the beneﬁcial eﬀects of 
  advanced medical science. In game terms, this often 
  DISADVANTAGE 
  POINTS
  Most Star Hero cam-
  paigns are Standard 
  Heroic campaigns. The 
  rules typically limit 
  characters in a Standard 
  Heroic campaign to no 
  more than 25 points’ 
  worth of Disadvantages 
  from any one type of 
  Disadvantage — up 
  to 25 points’ worth of 
  Hunteds, 25 points’ 
  worth of Psychologi-
  cal Limitations, and so 
  forth.
  This may cause some 
  problems, since char-
  acters in Heroic cam-
  paigns usually don’t 
  have access to as many 
  Disadvantages as Super-
  heroic characters do. 
  Disadvantages like Acci-
  dental Change, Enraged/
  Berserk, Susceptibility, 
  and Vulnerability don’t 
  occur nearly as often in 
  Heroic games. Star Hero 
  characters may run into 
  trouble trying to come 
  up with 75 points’ worth 
  of Disadvantages from 
  the ones they can, realis-
  tically, take.
  Gamemasters concerned 
  about this problem have 
  several options. First, 
  they can waive the 25 
  point limit — either get 
  rid of it altogether, or 
  increase it to, say, 30 or 
  40 points. Second, they 
  can increase the char-
  acters’ Base Points, thus 
  diminishing the number 
  of points they have to 
  acquire via Disadvan-
  tages.
  
  62 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  means not taking the Age Disadvantage until much 
  later than the character otherwise would, or taking 
  the “40+” version even though the character’s in 
  his 90s... or 120s.... See page 273 for a discussion of 
  other aspects of aging in a setting involving both 
  alien species and high-tech medicine.
  DEPENDENCE
  All characters have a “Dependence” on their 
  natural breathing gas — Humans on the proper 
  oxygen-nitrogen mix, for example. However, they 
  don’t get any Disadvantage points for this unless 
  the campaign requires them to spend signiﬁcant 
  amounts of time (more than half of their in-
  game time) in other environments. For example, 
  a character who belongs to a methane-breathing 
  species who’s part of a PC group where all the 
  other characters are oxygen-breathers could take 
  a Dependence, since he spends most of his time in 
  oxygenated atmospheres. He’d have to wear special 
  breathing equipment most of the time, and if he 
  lost it could easily suﬀocate. On the other hand, if 
  the campaign features a variety of environments, 
  with all characters equally inconvenienced over the 
  course of the game, then this sort of Dependence 
  counts as an “Everyman Disadvantage” for which 
  no characters gets points.
  Of course, breathing gases aren’t the only 
  thing PCs could become Dependent on. Charac-
  ters may well develop exotic addictions in a sci-
  ence ﬁction setting; there’s a universe of drugs and 
  other seductive forms of entertainment out there. 
  But food, even rare and speciﬁc types, doesn’t nor-
  mally qualify for a Dependence; everyone has to 
  eat to survive (see Weird Diets, page 117).
  DEPENDENT NPC
  In a science ﬁction setting, characters can 
  have a startling variety of DNPCs. Besides the 
  usual cast of loved ones and relatives, alien charac-
  ters can have nonsentient mates, parasites can have 
  their hosts, and time-travelers can have ancestors 
  or descendants as DNPCs. A character with a sen-
  tient Vehicle or Computer might even take that 
  piece of “equipment” as a DNPC, with the GM’s 
  permission, though this should be rare.
  DISTINCTIVE FEATURES
  In a Star Hero campaign featuring a wide 
  range of aliens, cyborgs, mutants, and androids 
  who commonly show up during stories, few (if 
  any) species should get a Distinctive Features 
  Disadvantage (few of the Species or Environment 
  Package Deals listed earlier in this chapter have 
  it, for example). In that sort of campaign, a spe-
  cies should qualify for Distinctive Features only if 
  there’s some signiﬁcant hindrance or restriction 
  related to it — for example, a Distinctive Feature 
  deﬁned as a noxious body odor that oﬀends most 
  other species, or a species so reviled throughout 
  the galaxy that everyone automatically distrusts its 
  members. Even then, don’t forget to apply the Not 
  Distinctive In Some Cultures Or Societies -5 point 
  modiﬁer, if appropriate; an alien’s not likely to be 
  distinctive on his homeworld. (See also Interspecies 
  Society on page 116.)
  In more realistic campaigns, where most 
  characters are Human and aliens are rare, any non-
  Human species might qualify for Distinctive Fea-
  tures. It all depends on how disadvantageous the 
  GM considers “alien appearance” to be. Remember, 
  
  63 
  Star Hero ■ Chapter Two
  just looking diﬀerent isn’t necessarily enough 
  to earn Disadvantage points; the alien character 
  has to suﬀer because of his appearance for some 
  reason.
  Advanced technology opens up new forms 
  of Distinctive Features, such as a recognizable 
  android whose particular model is notorious for 
  erratic behavior. In a high-tech setting, a charac-
  ter’s Distinctive Feature may require special senses 
  to detect, such as “unusual genome.”
  Take the campaign’s tech level into account 
  when determining how easily a character can con-
  ceal his Distinctive Features. If holographic dis-
  guise technology or rapid-healing plastic surgery 
  are available, few features may count as anything 
  other than “Easily Concealed.”
  ENRAGED/BERSERK
  Characters in a futuristic setting can become 
  Enraged just as often as those in a modern or fan-
  tasy environment, but some unique science ﬁction 
  variations exist. A person might be psychologi-
  cally conditioned to attack something in response 
  to a code phrase or visual stimulus. (Call this the 
  “Manchurian Disadvantage.”) These “Human 
  time bombs” aren’t necessarily angry or irrational; 
  they’re behaving like programmed machines.
  The more conventional form of Enraged is 
  acceptable, too; science ﬁction is full of characters 
  who like to pick ﬁghts out of species hatred or 
  anger at having been on the losing side in a war. 
  They’re a dependable source of distractions in play. 
  A hero who gets Enraged around Rigelians is going 
  to get into lots of bar ﬁghts in spaceports where 
  Rigelian freighters dock.
  HUNTED
  In high-tech SF societies, being Hunted by the 
  authorities is no joke. It becomes a serious prob-
  lem when widespread data networks, DNA trac-
  ing, foolproof facial-recognition software, and the 
  like exist. To avoid being found the character has 
  to live outside normal society — no credit cards, 
  no System Identiﬁcation Code, no passport, no 
  government jobs (or jobs requiring a background 
  check), no higher education, and no medical insur-
  ance. Having a fake identity helps somewhat, but 
  dedicated investigators equipped with high-tech 
  surveillance methods can ﬁnd speciﬁc individu-
  als given enough time. Thus, in Star Hero, the 
  police and similar agencies almost always count 
  as More Powerful and have Non-combat Inﬂu-
  ence. If appropriate, the GM may want to make 
  all Hunteds involving “the authorities” or persons/
  institutions with access to oﬃcial records worth 
  another +5 Character Points (similar to the “Public 
  Identity” bonus), to reﬂect how diﬃcult it can be to 
  hide in such settings.
  On the other hand, with convenient interstel-
  lar travel, fugitives may be able to hop from world 
  to world ahead of the authorities. Teleportation 
  technology provides even better escape oppor-
  tunities, especially if, as in Dan Simmons’s novel 
  Hyperion and its sequels, it’s extremely common 
  and has interstellar range. Gamemasters may 
  forbid characters to take Hunters with the Limited 
  Geographical Area modiﬁer for this reason.
  Of course, plenty of other types of Hunteds 
  exist. A character who oﬀends a particular alien 
  species may ﬁnd that species Hunting him (at the 
  GM’s option, being Hunted by an entire species 
  gains a character +10 Character Points for his 
  Disadvantage). After an interstellar war, a known 
  war hero may ﬁnd his “victim’s” relatives seeking 
  vengeance. The possibilities are as endless as the 
  Galaxy itself.
  PHYSICAL LIMITATION
  Physical Limitations in most science ﬁction 
  settings have to be pretty severe, or pretty distinc-
  tive, to overcome advanced medicines, medical 
  nanobots, and other high-tech methods of keep-
  ing bodies functioning properly. Typical ones, like 
  Blindness or Missing One Limb, aren’t applicable in 
  most Star Hero settings; players have to be more 
  imaginative than that. At the very least, they have 
  to explain why, for example, a character’s blindness 
  cannot be cured through implants or neurotech-
  nology, as with Geordi La Forge on Star Trek:  The 
  Next Generation. On the other hand, contact with 
  alien life-forms might create as-yet unsuspected 
  physical problems.
  Two types of Physical Limitations that medi-
  cal science can’t cure relate to characters’ size, and 
  their acclimation to diﬀerent levels of gravity.
  Size/Weight
  In a Star Hero setting, it’s possible to have 
  sentient alien species who are signiﬁcantly larger 
  or smaller than the game’s deﬁned Human norm 
  of 1” tall and 100 kilograms in weight. Larger 
  and/or heavier characters have problems in a tech-
  nological society because they can’t ﬁt through 
  doors easily, have trouble walking on upper stories 
  because they break through the ﬂoor or ceiling, 
  can’t be carried in normal vehicles, accidentally 
  crush furniture and break things, and so forth. 
  Smaller and/or lighter characters are less disadvan-
  taged, but sometimes have trouble reaching things, 
  making themselves noticed, and the like.
  Additionally, there are some drawbacks more 
  easily deﬁned in game rules terms. For every step 
  larger than normal Human size, a character suﬀers 
  -2 DCV, and all PER Rolls to perceive him are at 
  +2. For example, a Gargantuan alien is at -10 DCV, 
  and +10 PER to perceive. For every step smaller 
  than normal Human size, a character suﬀers +3” 
  Knockback from attacks. These extra inches only 
  add to the distance traveled, not the damage taken 
  from being Knocked Back.
  The accompanying table provides suggested 
  Physical Limitation values for characters of vari-
  ous sizes. (For the beneﬁts of being smaller and/or 
  larger, see the Size/Weight Environmental Pack-
  age Deals on page 30.) These guidelines assume 
  the character spends a signiﬁcant amount of time 
  (more than half of his in-game time) in settings 
  suited for characters of “normal Human” size and 
  weight. If that’s not the case, the GM should reduce 
  the value of the Disadvantage appropriately.
  Size does not necessarily indicate that a 
  SIZE PHYSICAL 
  LIMITATION
  Value Physical  
  Limitation
  20 
  Insectile, down 
  to 1/64 Human 
  size and/or mass 
  (.032m, or .016”) 
  or smaller (All 
  The Time, Greatly 
  Impairing)
  15 
  Minute, down 
  to 1/32 Human 
  size and/or mass 
  (.064m, or .032”) 
  (Frequently, 
  Greatly Impair-
  ing)
  15 
  Minuscule, down 
  to 1/16 Human 
  size and/or mass 
  (.125m, or .064”) 
  (Frequently, 
  Greatly Impair-
  ing)
  10 
  Tiny, down to 1/8 
  Human size and/
  or mass (.25m, 
  or .125”) (Fre-
  quently, Slightly 
  Impairing)
  10 
  Diminutive, 
  down to one-
  quarter Human 
  size and/or mass 
  (.5m, or ¼”) (Fre-
  quently, Slightly 
  Impairing)
  5 
  Small, down to 
  half Human size 
  and/or mass (1m, 
  or ½”) (Infre-
  quently, Slightly 
  Impairing)
  0 
  Human size and/
  or mass (no Limi-
  tation)
  5 
  Large, up to twice 
  Human size and/
  or mass (4m, or 
  2”) (Infrequently, 
  Slightly Impair-
  ing)
  15 
  Enormous, up 
  to four times 
  Human size 
  and/or mass (8m, 
  Continued on next page
  
  64 ■ Citizens Of The Galaxy
  HERO SYSTEM 5TH EDITION
  character is taller than a normal Human; it may 
  reflect length or girth instead. The Physical 
  Limitation reflects overall size and bulk, not just 
  height. The specified parameters are guidelines; 
  GMs should give each character the Physi-
  cal Limitation that fits him best, regardless of 
  whether the character is exactly the listed size.
  Gravity Adaptation
  Characters who come from species or 
  groups native to low-gravity environments expe-
  rience difficulties in normal-gravity settings. 
  At the GM’s discretion, the following Physical 
  Limitations may be appropriate, assuming the 
  character spends most (if not all) of his in-game 
  time in normal gravity environments.
  Low Home Gravity (All The Time, Slightly Impairing; 
  15 points):  The character is used to 0.6-0.8 G. In 
  normal gravity, he tires more quickly; increase 
  the END cost of any physical activity by ten per-
  cent (10%) (minimum of +1 END).
  Very Low Home Gravity (All The Time, Greatly 
  Impairing; 20 points):  The character is used 
  to 0.3-0.5 G. In normal gravity, he tires more 
  quickly; increase the END cost of any physical 
  activity by twenty percent (20%) (minimum of 
  +1 END). Additionally, he can’t move as quickly; 
  he must sell back his Running and Swimming by 
  2” (minimum of 1”).
  Extremely Low Home Gravity (All The Time, Fully 
  Impairing; 25 points):  The character is used to 0-
  0.25 G. In normal gravity, he tires more quickly; 
  increase the END cost of any physical activity 
  by one-third (33%) (minimum of 2 END). Addi-
  tionally, he can’t move as quickly; he must sell 
  back his Running and Swimming by 4” (mini-
  mum of 1”).
  Alien Physiology
  In some campaigns, some types of aliens 
  have physiologies so unusual that they have dif-
  ficulty getting proper medical attention in the 
  usual campaign setting. This is fairly rare; most 
  science fiction doctors are pretty well-versed in 
  “xenomedicine” and usually able to cope with 
  whatever medical emergencies arise. But some 
  characters are so alien that doctors have trouble 
  treating them when they get sick or suffer injury.
  The value of the Alien Physiology Physical 
  Limitation depends on two factors:  how unusual 
  the character’s physiology is; and how often this 
  causes him difficulty (i.e., how often he tends to 
  need medical care). The first factor is reflected 
  by the penalty doctors suffer to Paramedics, SS: 
  Medicine, and any similar rolls when treating the 
  character. If doctors suffer Skill Roll penalties of 
  -3 to all rolls, the Limitation is Slightly Impair-
  ing. For each additional -3, the Impairment 
  increases one step (-6 for Greatly Impairing, -9 
  for Fully Impairing).
  The second factor varies from campaign 
  to campaign; discuss the situation with your 
  GM before determining a value. Typically Alien 
  Physiology affects a character Infrequently, but 
  in some games (like Military SF campaigns), it 
  may rise to Frequently.
  PSYCHOLOGICAL LIMITATION
  In a Star Hero game, a character can have 
  his own Psychological Limitations, Psychologi-
  cal Limitations from his Package Deals (rare, but 
  possible), and perhaps even Limitations imposed 
  by brainwashing or conditioning. For example, in 
  SF stories it’s not uncommon to find alien spe-
  cies who all subscribe to some bizarre code of 
  honor, or at least pretend to (like the Klingons in 
  Star Trek), or whose societal or cultural pecadil-
  loes rise to the level of imposing a Psychologi-
  cal Limitation on all the natives (as in many of 
  Jack Vance’s short stories, including “The Moon 
  Moth”).
  REPUTATION
  A Reputation is worth -5 points if it’s known 
  to only a “small or limited” group. That takes on 
  new meaning in a Star Hero campaign that uses 
  an entire star sector or galaxy as its setting. In 
  such a vast area, a Reputation that’s only known 
  on a single world should be worth even less. The 
  accompanying table has suggested guidelines 
  for reducing the value of a Reputation based on 
  how widely it’s known; the numbers listed are 
  approximate, GMs may use others if necessary. 
  As always, the minimum value of the Disadvan-
  tage is zero.
  In campaigns involving time travel, GMs 
  should also consider how well known the char-
  acter may be in his future (or, in some settings, 
  even his past!). If a Reputation is so strong and/
  or widespread that it’s known throughout time, 
  it’s worth +5 Character Points.
  RIVALRY
  In addition to the ordinary kinds of Rival-
  ries, characters in a science fiction setting could 
  face Rivals who are, in essence, themselves — 
  robots or androids from the same manufacturer, 
  identical clone-siblings with the same implanted 
  memories, or even their past or future selves in a 
  time travel campaign. If this would give the Rival 
  special insight into how the character acts and 
  thinks, he may qualify for the +5 point “More 
  Powerful” modifier.
  Continued from last page
  or 2.1-4”) (Fre-
  quently, Greatly 
  Impairing)
  15 
  Huge, up to eight 
  times Human 
  size and/or mass 
  (16m, or 4.1-
  8”) (Frequently, 
  Greatly Impair-
  ing)
  15 
  Gigantic, up to 
  16 times Human 
  size and/or mass 
  (32m, or 8.1-
  16”) (Frequently, 
  Greatly Impair-
  ing)
  15 
  Gargantuan, up to 
  32 times Human 
  size and/or mass 
  (64m, or 16.1-
  32”) (Frequently, 
  Greatly Impair-
  ing)
  20 
  Colossal, up to 
  64 times Human 
  size and/or mass 
  (128 m, or 32.1-
  64”) or larger (All 
  The Time, Greatly 
  Impairing)
  REPUTATION SCALE MODIFIERS
  Number Of People  
   
  Campaign Scale 
  Aware Of Reputation 
  -5 Points 
  -10 Points 
  -15 Points
  Planet (1 billion) 
  1 million beings 
  50,000 beings 
  1,000 beings
  System (20 billion) 
  100 million beings 
  1 million beings 
  50,000 beings
  Sector (100 billion) 
  1 billion beings 
  100 million beings 
  1 million beings
  Quadrant (10 trillion) 20 billion beings 
  1 billion beings 
  100 million beings
  Galaxy (1 quadrillion) 100 billion beings 
  20 billion beings 
  1 billion beings
  
  65 
  Star Hero ■ Chapter Two
  SOCIAL LIMITATION
  The possibilities for Social Limitations are as 
  broad as the possibilities for societies in science ﬁc-
  tion. For example, in many science ﬁction settings, 
  the Minority Social Limitation (Very Frequently, 
  Minor; 15 points) occurs frequently — proving that 
  neither Humanity, nor other alien species, neces-
  sarily outgrow prejudice when they become smart 
  enough to build starships. Common targets of dis-
  crimination in science ﬁction stories include aliens 
  (in a society dominated by a single species), the 
  genetically engineered, mutants, telepaths and other 
  psionics, and artiﬁcial life-forms (robots, clones, 
  and the like).
  Other Social Limitations depend on the set-
  ting or the nature of the campaign. In a Military SF 
  game, most characters are Subject To Orders. In a 
  campaign focusing on a barbaric star-empire, slav-
  ery may exist, making the Slave Social Limitation 
  appropriate.
  Other forms of Social Limitation change or 
  become obsolete in future societies. For example, 
  maintaining a Secret Identity is diﬃcult when DNA 
  tracing, computer image-enhancement, and voice-
  print analysis let the authorities see through any 
  disguise. (The GM may want to require anyone who 
  has a Secret Identity to also buy a Deep Cover.) For 
  a computer hacker, a Secret Identity in cyberspace 
  is the only thing keeping him out of jail!
  Given the scale of most Star Hero settings, 
  and the ease with which characters can travel vast 
  distances, it may be possible to escape, at least tem-
  porarily, the eﬀects of social stigma. Characters can 
  reﬂect this by decreasing the frequency at which 
  the Disadvantage applies, or GMs may impose the 
  same modiﬁers as indicated in the Reputation Scale 
  Modiﬁers table.
  SUSCEPTIBILITY
  Artiﬁcial beings or aliens may be Susceptible 
  to things which ordinary Humans ignore; if so, the 
  GM should include the Disadvantage in the appro-
  priate Species Package Deals. And unless a species 
  is very rare or secretive, its Susceptibilities are prob-
  ably common knowledge. This means villains can 
  take advantage of them, but that ways to counteract 
  the Susceptibility likely exist. For example, if the 
  nocturnal Akrai are Susceptible to sunlight, a villain 
  facing Akrai heroes will only go out in the daytime 
  — but Akrai characters can buy protective suits and 
  sunglasses in stores, and many businesses stay open 
  all night for the convenience of Akrai customers. 
  Assuming these eﬀects cancel each other out, charac-
  ters get no additional points for their Susceptibilities 
  being well-known; if they’re more restricted than 
  normal, GMs may allow a +5 Character Point modi-
  ﬁer.
  VULNERABILITY
  Like Susceptibility, Vulnerability most often 
  occurs in Star Hero as part of a Species Package Deal. 
  Many alien races may be more sensitive to certain 
  attacks than Humans are. Engineers may deliberately 
  manufacture synthetic beings like robots or androids 
  with a Vulnerability to make them easier to control.
  Of course, social customs and laws will reﬂect 
  widely-known Vulnerabilities:  if sonic attacks are 
  deadly to Chiroptans, then the laws on Chiroptan 
  worlds regulate sonic weapons as strictly as lasers or 
  particle blasters. By the same token, however, merce-
  naries hired to attack a Chiroptan installation know 
  to load up on heavy sonics. As with Susceptibility, 
  the GM may allow a +5 Character Point modiﬁer to 
  a Vulnerability if the drawbacks of its being public 
  knowledge are more severe than any related beneﬁts.
  
  66 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  O
  ne of the attractions of Star Hero 
  is the vast landscape characters 
  can explore and adventure in. 
  The Milky Way Galaxy alone 
  contains more stars and plan-
  ets than most people can comfortably 
  think about, and it’s just one of millions 
  of galaxies! Given that much real estate 
  to work with, the GM can create just 
  about any sort of setting or locale he 
  needs for an adventure — all he has to 
  do is ﬁnd a way to get the PCs to it.
  Since the astronomical backdrop is 
  an important part of most science ﬁc-
  tion RPG campaigns, Star Hero has three 
  chapters devoted to things that ﬁll the 
  universe. Going from biggest to smallest, 
  this chapter starts oﬀ with a discussion 
  of galaxies and stars. Later chapters delve 
  into the mysteries of planets and Earth’s 
  solar system.
  
  67 
  Star Hero ■ Chapter Three
  G
  alaxies are very big collections of stars. Big 
  galaxies contain up to 400 billion stars, and 
  can be 100,000 light-years across. Galaxies 
  exist singly and in clusters of half a dozen 
  or so. Within a group, galaxies are relatively close 
  together — spaceships that can quickly cross a single 
  galaxy can also handle intergalactic distances. Typical 
  separations within a cluster are 50,000 to 1 million 
  light-years.
  Galaxies are pretty self-contained — stars form 
  inside them from interstellar dust and gas, live out 
  their lives orbiting the galactic center, and then 
  explode, replenishing the interstellar medium for the 
  next generation of stars. Only when galaxies collide 
  or pass near each other can stars be kicked out into 
  intergalactic space.
  Galaxies come in three main types:  spiral gal-
  axies (like the Milky Way), with spiral arms and a 
  deﬁned core; elliptical galaxies, which are simply big 
  spherical or egg-shaped blobs of stars; and irregular 
  galaxies, which are often bodies distorted by close 
  encounters with other galaxies. Elliptical galaxies don’t 
  contain as much interstellar gas and dust as spirals, 
  and their stars seem to be older, so astronomers sus-
  pect spiral galaxies gradually turn into ellipticals as 
  they age.
  THE MILKY WAY
  Earth’s home Galaxy is a big one, a classic double 
  spiral. It is accompanied by two dwarf galaxies, the 
  Magellanic Clouds, and is in the process of absorb-
  ing another, called the Sagittarius Dwarf Galaxy (this 
  is happening on the far side of the Milky Way from 
  Earth). The Milky Way contains 400 billion stars, and 
  can be divided into three distinct regions:  the core; 
  the galactic disk; and the halo.
  The core is a spherical bulge at the center, where 
  much of the Milky Way’s mass is concentrated. It’s as 
  much as 6,000 light-years thick. Scientists believe the 
  core of the Milky Way holds a large black hole, and 
  that all galaxies may have one.
  Most of the remaining mass is the galactic disk, 
  a ﬂat plane extending out from the core. The disk is 
  about 100,000 light-years across and less than 1,000 
  light-years thick in most places. The spiral arms wind-
  ing out from the core are the disk’s most visible fea-
  ture, but they are something of an illusion. The density 
  of stars is roughly constant throughout the disk (dens-
  est near the core, thinnest at the rim); the arms are 
  visible only because they contain a high proportion of 
  new, bright stars. Current theory holds that the arms 
  are “ripples” where the interstellar gas is more concen-
  trated than elsewhere, so that new star formation goes 
  on there. Between the arms there are plenty of stars, 
  they’re just old, stable, and dim — like the Sun.
  The spiral arms of the Milky Way Galaxy include 
  (from innermost to outermost) the 3 Kiloparsec Arm, 
  Norma Arm, Scutum-Crux Arm, Sagittarius Arm, 
  Orion Arm, and Perseus Arm. Earth’s sun is on the 
  inner edge of the Orion Arm.
  The rest of the Galaxy’s mass is in the halo, a 
  spherical region extending up and down from the 
  plane of the galactic disk. The halo contains few stars, 
  and most of those are clumped into globular clusters. 
  Stars in the halo orbit the center of the Galaxy, which 
  means they plunge through the disk every few million 
  years.
  GALACTIC REAL ESTATE
  Recently, scientists have determined that only 
  some parts of the Milky Way are suitable for the 
  formation of planets capable of supporting life (as 
  Humans currently know of and deﬁne “life”). The 
  same is likely to be true of all galaxies — each one has 
  a “Galactic Habitable Zone” where conditions favor 
  the development of life.
  Two factors establish the bounds of the habit-
  able zone:  radiation and metals. Radiation is deadly 
  to most life forms, and it’s diﬃcult to see how life as 
  Humans know it could evolve in a high-radiation 
  environment. The core of the Milky Way has a high 
  level of background radiation, and moreover is prone 
  to frequent supernova explosions. Scientists estimate 
  that life is impossible within 14,500 light-years of the 
  galactic center. (Of course, the radiation levels may 
  not bother suitably exotic kinds of life; see Chapter 
  Four.)
  To astronomers, “metals” are everything that isn’t 
  hydrogen and helium. All the heavy elements like 
  oxygen and iron, the building blocks of planets as well 
  as living things, are formed in supernova explosions. 
  Consequently older Population II stars tend to be very 
  metal-poor, and are unlikely to have planets. They 
  are most common in the galactic halo and out at the 
  edges of the galactic disk. Current estimates suggest 
  GALAXIES
  DANGEROUS  
  GALAXIES
  Not all galaxies are as 
  peaceful and stable as 
  the Milky Way. Astrono-
  mers have observed 
  some where titanic and 
  highly energetic events 
  occur — huge jets of 
  matter shoot into space, 
  blasts of energetic par-
  ticles bombard planets, 
  energy emissions thou-
  sands of times greater 
  than normal exist. 
  Jets and particle emis-
  sions are probably 
  caused by massive black 
  holes in the galactic 
  core, consuming stars 
  and catapulting some 
  material out at high 
  speeds. The radiation 
  produced by this would 
  certainly render most 
  of the galaxy uninhabit-
  able. 
  One interesting possibil-
  ity is that some destruc-
  tive galactic events may 
  be artiﬁcial. A galactic 
  civilization might be 
  creating a mass jet to 
  rearrange the useful 
  matter in a galaxy, get-
  ting it out into space 
  instead of locked up in 
  stars. They might even 
  be trying to move their 
  galaxy, either to get away 
  from some unimagi-
  nable danger, or to get 
  closer to a cluster of 
  other galaxies for piracy 
  on a cosmic scale.
  COUNTING THE STARS
  Despite years of study, astronomers diﬀer on some 
  basic facts about the Milky Way Galaxy. Some say 
  it contains 400 billion stars, others only 200 bil-
  lion. Some say it’s 2,000 light-years thick on the 
  average, others 1,000 light-years. Eﬀort has been 
  made to choose the most plausible (or probable) 
  facts for use in Star Hero, but GMs and players can 
  always use diﬀerent numbers and measurements 
  if they prefer.
  
  68 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  that the zone beyond 37,000 light-years from 
  the center of the galaxy is too metal-poor to 
  have lifebearing planets.
  Of course, there’s still plenty of room in 
  the Galactic Habitable Zone; it contains about 
  100 billion stars. Moreover, the boundaries are 
  hardly ﬁxed; it is certainly possible to have a 
  lifebearing world at the rim, just very unlikely. 
  Other galaxies probably have a similar “habit-
  able zone” scaled appropriately by size. Small 
  galaxies may have no radiation-ﬁlled core, but 
  probably have more of a metal shortage, so it 
  balances out.
  Population I And II Stars
  Generally speaking, stars come in two 
  types:  Population I and Population II. Popula-
  tion I stars contain hydrogen, helium, and lots 
  of other stuﬀ astronomers collectively designate 
  “metals.” Earth’s Sun, and many nearby stars, are 
  Population I. Population II stars, on the other 
  hand, are most common in globular clusters 
  and around the galactic halo. They consist 
  mostly of pure hydrogen and helium as cre-
  ated in the Big Bang. Most astronomers believe 
  Population II stars are “ﬁrst growth timber” formed 
  from the original interstellar medium, while Popula-
  tion I stars are “second growth timber” formed from 
  gas enriched with heavy metals created in the cores 
  of Population II stars and blasted into space in super-
  nova explosions.
  THE DRAKE EQUATION
  The astronomer Frank Drake was among the 
  ﬁrst modern scientists to think seriously about the 
  possibility of intelligent life elsewhere in the Galaxy. 
  He devised a mathematical expression to estimate the 
  number of technological civilizations in the Galaxy, 
  which nowadays is known as the “Drake Equation” in 
  his honor:
  N  = N* x fp x Np x fh x ﬂ x fc x Lc/Lg
  N is the number of civilizations capable of send-
  ing out a message detectable across interstellar dis-
  tances. It is the product of the other terms.
  N* is the number of stars in the Galaxy, about 
  400 billion. In the light of recent discoveries about 
  the Galactic Habitable Zone we can reduce this to 
  100 billion, representing the number of stars in the 
  zone. Space Opera campaigns may wish to ignore the 
  Galactic Habitable Zone in favor of a larger and more 
  populous Galaxy. This is about the only number in 
  this equation which is known with any certainty. The 
  rest are estimates, and Star Hero GMs can adjust them 
  as they wish.
  The term fp is the proportion of stars which last 
  long enough for lifebearing worlds to form around 
  them. Astronomers believe a star needs at least 5 bil-
  lion years for planets to reach a state where life can 
  exist. This means mostly dim, long-lived stars. The 
  proportion isn’t known exactly, but estimates for fp 
  range from 0.5 to 0.9 or so.
  Np is the average number of planets per star. 
  Until recently, it was complete guesswork. The only 
  star available for study (the Sun) has nine planets, but 
  there was no way to know if it was ordinary or rare. 
  Since then, planets have been found around dozens 
  of other stars, suggesting that most if not all stars of 
  appropriate age have a suite of companions. For now, 
  assume the Sun is average, and take 10 as the number 
  of planets per star.
  The term fh, the proportion of planets suitable 
  for life, requires more guesswork. The planet must be 
  the right size, must be in the life zone (or close to a 
  giant planet capable of heating it to liquid-water tem-
  peratures), and must have a stable orbit. Estimates of 
  fh range from 0.1 (or about one per system) to 0.001 
  or lower. For a Space Opera setting, choose the higher 
  number; other campaigns should use 0.01 or 0.001 
  for fh.
  The next term, ﬂ represents the number of 
  potentially lifebearing worlds where life actually does 
  arise. Since experiments trying to duplicate conditions 
  on the early Earth rapidly create complex organic 
  molecules, and amino acids have been detected in 
  space, it appears ﬂ is at least 0.5, possibly as high as 1.
  The term fc is basically complete guesswork. It 
  represents the proportion of lifebearing worlds that 
  produce a technological civilization. Earth got by for 
  billions of years without intelligent life, and a study of 
  human history suggests the path to high technology is 
  not straight and inevitable. An optimistic ﬁgure (suit-
  able for a Space Opera setting) would be 0.5; more 
  brutal realism could put the ﬁgure at 0.001 or lower.
  The ﬁnal term is the ratio of a civilization’s aver-
  age life (Lc) to the life span of the galaxy (Lg). We 
  know the Galaxy has existed for about 10 billion years, 
  but how long do civilizations endure? Our own has 
  had advanced technology barely a century. On the 
  other hand, once a species has space travel it could 
  potentially survive indeﬁnitely. A short average lifes-
  pan means the Galaxy has a few widely-separated 
  civilizations which don’t have enough time to com-
  municate before self-destructing. A long life means 
  space should be crowded — which leads to the ques-
  ENERGY BARRIERS 
  AND INTERGALAC-
  TIC PERILS
  Gamemasters who don’t 
  want their campaign to 
  go intergalactic, but who 
  do like the convenience 
  of rapid travel within 
  a galaxy, can solve that 
  dilemma by making the 
  trip from one galaxy to 
  another very dangerous. 
  Star Trek postulated an 
  “energy barrier” at the 
  edge of the Galaxy, by 
  analogy with the radia-
  tion belts created by 
  the Earth’s magnetic 
  ﬁeld. Scientists haven’t 
  observed any such bar-
  rier, but in a Star Hero 
  campaign that shouldn’t 
  stop you from having 
  one if you want it.
  Other writers have sug-
  gested that physical laws 
  may work diﬀerently 
  in intergalactic space; 
  Vernor Vinge made it 
  home to incomprehen-
  sibly powerful entities 
  who could destroy 
  intruding spacecraft 
  on a whim. A. Bertram 
  Chandler’s stories set 
  among the Rim Worlds 
  at the edge of the galaxy 
  suggested that the 
  fabric of reality itself 
  grows thin beyond the 
  Galaxy’s edge, so that 
  spaceships venturing 
  into intergalactic space 
  may ﬁnd themselves in 
  a completely diﬀerent 
  universe!
  
  69 
  Star Hero ■ Chapter Three
  tion, “Where are they?”
  For now, assume civilizations last about 10,000 
  years before going extinct, entering a “higher stage,” 
  or otherwise losing interest in communicating with 
  primitive starfaring beings. That makes the ratio 1 to 1 
  million, or .000001.
  Now run the numbers. Taking the most “realistic” 
  values we get N = 100 billion x 0.5 x 10 x .001 x 0.5 x 
  0.5 x .000001, which works out to 125 civilizations in 
  the Galaxy, with an average separation of some 6,000 
  light-years. No wonder Earth hasn’t heard from them.
  Taking highly optimistic “Space Opera” values 
  we get N = 400 billion x 0.9 x 10 x 0.1 x 1 x 0.5 x 
  0.000001, or 180,000 technological civilizations in the 
  Galaxy, with an average separation of about 400 light-
  years. Clearly Earth is overdue for a visit!
  OTHER GALAXIES
  The Milky Way is part of a small cluster of gal-
  axies known as the Local Group. The Local Group 
  contains two large galaxies (the Milky Way and M31 
  [Andromeda]) and several dozen small satellite galax-
  ies.
  ANDROMEDA
  The Andromeda Galaxy, also known as M31, is 
  the Milky Way’s closest large neighbor. It lies 2.2 mil-
  lion light-years away in the northern sky. M31 is about 
  50 percent bigger than the Milky Way, and has a larger 
  core region. This suggests that Andromeda should 
  have at least as many civilizations as the Milky Way.
  In science ﬁction, the Andromeda Galaxy is most 
  often used as a potential home of extragalactic men-
  aces. A mighty empire has conquered all of Androm-
  eda and now looks hungrily at the Milky Way; a 
  cosmic disaster (like a gamma-ray burster) is going to 
  render most of Andromeda uninhabitable so its civi-
  lizations are seeking new homes here; an ancient evil 
  driven out by the Andromedans is now hiding out in 
  the Milky Way; and so on.
  THE MAGELLANIC CLOUDS
  The Magellanic Clouds are a pair of irregular 
  dwarf galaxies near the Milky Way. They are con-
  nected to our galaxy by a ribbon of gas called the 
  Magellanic Stream, apparently the result of a close 
  encounter in the distant past.
  The larger of the two (called, logically enough, 
  the Large Magellanic Cloud) is about 200,000 light-
  years away, and contains some 20 billion stars, making 
  it 1/20 the size of the Milky Way. The Large Magel-
  lanic Cloud is rich in dust and gas, and has many 
  young bright stars. Among others, it contains the 
  brightest known star — S Doradus, a star which is 
  believed to have a mass several thousand times that of 
  the Sun, and a brightness several million times greater.
  The Small Magellanic Cloud is connected to 
  its big sister by a streamer of gas and dust called the 
  Magellanic Bridge, and many astronomers consider 
  the two of them a single body. The Small Magellanic 
  Cloud holds about a billion stars.
  In ﬁction, the Magellanic Clouds are good targets 
  for pioneering intergalactic voyages. Explorers using 
  a new super-fast interstellar drive can aim for them 
  on a test ﬂight, or get accidentally catapulted to the 
  Magellanics by some cosmic accident or wormhole. 
  Since they are smaller than the Milky Way they prob-
  ably contain fewer civilizations, and those are likely to 
  be less advanced; the smaller scale of the Clouds also 
  means civilizations there wouldn’t have the resources 
  available to empires in the Milky Way.
  GLOBULAR CLUSTERS
  Globular clusters are clumps of stars existing 
  within and around galaxies. Some orbit within the 
  galaxy itself while others follow long orbits taking 
  them hundreds of thousands of light-years out. Scien-
  tists think clusters formed early in the Galaxy’s history, 
  since they contain almost no gas and very old stars.
  Due to globular clusters’ age, the supply of heavy 
  elements (i.e., anything but hydrogen and helium) 
  is low, so there won’t be very many planets and little 
  chance of life. On the other hand, their great age does 
  mean clusters could hold outposts or ruins of very 
  ancient civilizations.
  In a universe of slower-than-light travel, a very 
  patient and long-lived civilization could “hitch a ride” 
  in a globular cluster on a long elliptical orbit, as a way 
  to reach nearby galaxies. True, there are no planets to 
  settle on, but the stars provide energy, and might be 
  dismantled to provide useful mass (see text box).
  INTERGALACTIC 
  TRAVEL
  Since the distances 
  between galaxies are only 
  an order of magnitude or 
  so greater than the scale 
  of galaxies themselves, any 
  galactic-scale civilization 
  can probably manage 
  intergalactic expeditions. 
  The exact mechanics of 
  FTL drive do have tre-
  mendous inﬂuence on 
  intergalactic travel. (See 
  page 190 for informa-
  tion on the types of FTL 
  drives.)
  Hyperspace and warp 
  drives presumably oper-
  ate the same in interga-
  lactic space as they do 
  within galaxies. Traveling 
  between galaxies with 
  those drives is simply a 
  matter of packing enough 
  supplies and making sure 
  there’s enough fuel for the 
  journey.
  Jump drives may have 
  problems on an interga-
  lactic scale. If ships must 
  refuel after each jump, or 
  can only jump between 
  stars, then intergalactic 
  trips are impossible. A 
  chain of stars linking 
  one galaxy with another 
  (the result of past close 
  encounters) could become 
  a vital highway in that 
  case.
  Wormhole drives or 
  stargates depend on the 
  existence of intergalactic 
  connecting links. Whether 
  such links are possible 
  is entirely up to the GM — 
  natural wormholes might 
  only link points within a 
  given galaxy, or all links 
  could be intergalactic, so 
  that star systems right next 
  door in normal space are 
  thousands of wormhole 
  jumps apart. The range of 
  stargates depends entirely 
  on the builders’ level of 
  technology and area of 
  exploration. Perhaps most 
  gates link nearby stars, but 
  a few very rare and valu-
  able ones are intergalactic 
  gates — which means 
  that whoever controls the 
  intergalactic gate controls 
  all traﬃc between galaxies.
  STELLAR ENGINEERING
  Stars represent a very valuable resource, and advanced 
  civilizations may wish to exploit them for more than 
  light and heat. Since massive stars burn brightly but 
  blow up soon, civilizations might take steps to “bank 
  their ﬁres” and extend the lifespan of stars. In the 
  process the civilization would gain access to large 
  amounts of mass from the star’s outer layers.
  Here’s how it might work:  the civilization constructs 
  a chain of huge stations orbiting over the star’s equa-
  tor, using solar energy to generate powerful magnetic 
  ﬁelds, driving matter from the star upward in two 
  huge streams from the poles. Immense collectors 
  (similar in principle to the Bussard ramjet discussed 
  on page 190) would gather and sort the material. 
  The heavy elements would be put aside for use, while 
  hydrogen and helium would be allowed to stream out 
  to the outer reaches of the star system, where it would 
  condense into planet-sized blobs of gas. 
  The process would continue until the star was 
  reduced to the mass and brightness of a dim Type K 
  or bright M dwarf. In that state, the star could burn 
  for billions of years. When its brightness starts to 
  drop, the managing civilization would drop in a few 
  planet-sized blobs of hydrogen to throw another log 
  on the ﬁre. With proper attention, a star’s life could be 
  extended to tens of billions of years.
  In a Star Hero campaign, stellar engineering can be 
  either an enigmatic project by long-dead ancient 
  aliens, or something done by inscrutable and power-
  ful beings the heroes are trying to communicate with. 
  Of course, if it turns out they’re hostile, how do you 
  ﬁght beings who can take stars apart?
  
  70 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  T
  here’s no reason to create an entire galaxy of 
  400 billion stars for a roleplaying campaign 
  — it would take the GM about 20 million 
  years to generate them all! Instead, most Star 
  Hero campaigns take place either in a more loosely-
  deﬁned galaxy, or across one or more sectors. A 
  sector is simply a convenient-sized region of space. 
  Depending on the speed of interstellar travel and 
  the frequency of inhabited systems, a sector can be 
  anything from a few light-years across to a slice of 
  the entire Galaxy. The scale should be something 
  the characters can cross in a reasonable length 
  of time (typically no more than three months in-
  game), and in most cases the number of inhabited 
  systems should be three to 12 (thus ensuring a rea-
  sonable degree of variation, while not overwhelm-
  ing the players with details).
  STELLAR CARTOGRAPHY
  You can’t create a sector entirely by random 
  generation. The interplay of civilizations, galactic 
  politics, and exploration all aﬀect who lives where. 
  But you can create the basic physical environment 
  randomly — after all, real stars and planets form by 
  essentially random processes.
  On average there is one star per 400 cubic 
  light-years in the outer regions of the Galaxy. This 
  translates to an average separation of 9 light-years 
  per star. In the galactic core and in globular clusters 
  the density can be much higher, up to one star per 
  cubic light-year, with an average separation of one 
  light-year or less. When mapping out a region of 
  space the GM has two options.
  The simplest way to map a region is to pretend 
  the Galaxy is ﬂat, so that all stars exist in the plane 
  of your sheet of paper. While this throws astronom-
  ical accuracy to the solar wind, it’s simple to draw 
  and makes it easy to measure interstellar distances. 
  In such a “two-dimensional” universe, a 20 by 20 
  light-year sector would contain about six stars (roll 
  1d6+3, or 2d6, for more variation).
  In reality, space has three dimensions (actually, 
  according to current physics it may have eleven, but 
  don’t worry about that). To map a volume of space 
  in three dimensions the GM has to give each star 
  a “vertical” coordinate, indicating how far above 
  or below the plane of the page it’s located. On the 
  map you can note the star’s distance “above” or 
  “below” the plane of the page in light-years with a 
  + or - sign. A sector measuring 20 light-years on a 
  side would hold about 20 stars (roll 6d6 for more 
  variation).
  To determine distances between stars, use the 
  Pythagorean Theorem:   for two stars with coor-
  dinate (X, Y, Z) and (A, B, C) the distance is the 
  square root of (X-A)2 plus (Y-B)2 plus (Z-C)2. If 
  you’re working in only two dimensions, ignore the 
  third coordinate.
  Example (two dimensions):  Rhombus Alpha is 
  located at coordinates +4, -8; Beta Manticorum 
  is located at -2, 5. The distance between them 
  is the square root of (+4 minus -2)2 plus (-8 
  minus 5)2, which equals the square root of (2)2 
  plus (-13)2. This translates to the square root of 
  4 + 169, or 173. The square root of 173 is 13.15, 
  or about 13 light-years.
  Example (three dimensions):  Cambias’s Star is 
  located at coordinates +3, +7, +5, and Apanar 
  is at -5, +4, -6. The distance between them is 
  the square root of (3-[-5])2 plus (7-4)2 plus (5-[-
  6])2. The terms simplify to 64, 9, and 121, which 
  total 194. The square root of 194 is 13.9, which 
  rounds oﬀ to 14 light-years.
  Note that a ﬂat two-dimensional Galaxy will 
  be more sparsely populated and dispersed. A sector 
  will have relatively few worlds, and even with FTL 
  travel most planets only have a few neighbors. The 
  plus side is that borders are easier to guard, as a 
  space ﬂeet only has to patrol a “line in the vacuum.”  
  A three-dimensional sector is denser, with more 
  worlds and easier communication among them. On 
  the other hand, this more populous sector is more 
  vulnerable — borders are surfaces rather than out-
  lines and are much harder to monitor and patrol.
  On a small scale — sectors of 20 light-years or 
  so — it’s possible to actually map out all the stars in 
  a given region of space. On a big scale — 100 light-
  years or more — GMs have to content themselves 
  with mapping the important systems and simply 
  ignoring uninhabited star systems (or make them 
  up “on the ﬂy” during the game, as needed).
  Stars are scattered more or less randomly 
  through space. The simplest way to determine their 
  arrangement is to roll dice to get three coordinates 
  for each star. Ten-sided dice work best, if you happen 
  to have some, but you can break the sector up into 
  smaller “blocks” and use other dice. Roll one die for 
  each of the star’s three coordinates, using a second 
  die to determine if each roll is positive or negative as 
  measured from the sector’s center point.
  Example:  Steve is generating coordinates for a 
  star in his campaign. He rolls three ten-sided 
  dice and gets 8, 3, and 6. He rolls a second die, 
  using odd numbers to indicate a negative coor-
  STAR SECTORS
   ACROSS THE
  ELEVENTH
  DIMENSION!
  The text mentions the 
  possibility of there 
  being eleven dimen-
  sions. According to 
  “Superstring theory,” a 
  Hot New Idea in phys-
  ics and cosmology as of 
  2002, the universe has 
  11, or maybe 13, dimen-
  sions. All but three 
  spatial dimensions are 
  extremely tiny.  Basically, 
  the universe is really 
  big in directions X, Y, 
  and Z, and almost ﬂat in 
  directions ZZ through 
  ZZZZZZZZ.  There’s an 
  even Hotter New Idea 
  called Membrane theory 
  (or “Brane theory”) 
  which may change the 
  dimension count.
  These theories open up 
  some intriguing pos-
  sibilities for Star Hero 
  games. The relative ﬂat-
  ness of Earth’s Universe 
  in most dimensions 
  means there could be 
  other universes parallel 
  to it in those “direc-
  tions.” Cutting through 
  the higher-dimensional 
  space in which our 11-
  dimensional universe 
  is coiled could be a 
  convenient explanation 
  for FTL travel. As with 
  Star Trek’s subspace, one 
  of the other dimensions 
  could be a source of 
  energy, a communica-
  tions medium, or a con-
  venient explanation for 
  almost any pseudoscien-
  tiﬁc fact the GM needs 
  to create.
  
  71 
  Star Hero ■ Chapter Three
  dinate and evens to indicate positive numbers. 
  The results are negative, negative, positive. So 
  the star’s coordinates are -8, -3, +6.
  INTERSTELLAR PHENOM-
  ENA AND DANGERS
  Humans of the twenty-ﬁrst century don’t 
  know much about what lies between the stars. 
  Interstellar space may be completely empty, or it 
  may be full of nebulae, interstellar comets, wan-
  dering planets, cosmic strings, space storms, and 
  spaceborne life. Considering them in order from 
  hardest-science to most-rubbery:
  NEBULAE
  The Galaxy contains huge clouds of gas and 
  dust which serve as nurseries for new stars. Inter-
  stellar nebulae are vast, extending across hundreds 
  of light-years. They are not very dense, however; 
  compared to planetary nebulae (see page 73) they 
  are essentially “dense vacuum” with only a few 
  dozen atoms per cubic meter. This can make them 
  something of a threat to ships moving through 
  normal space at high speeds. Any ship going more 
  than 0.9 times the speed of light takes 1 pip of 
  damage per Phase per hex of front facing when 
  passing through a nebula (no defense applies). This 
  may or may not apply to warp-drive ships, at the 
  GM’s option.
  Nebulae also block sensors, but only over 
  distances of light-years. Impose a -1 penalty to 
  any Systems Operation roll for each light-year of 
  nebula between the observer and the target. In 
  Space Opera games, GMs can make these penalties 
  more severe (up to -4) over shorter distances if it 
  serves the dramatic needs of the story (as with the 
  ﬁnal starship combat in Star Trek II:  The Wrath Of 
  Khan).
  COMETS
  Earth’s Solar 
  System is surrounded 
  by a shell of comets 
  called the Oort Cloud, 
  extending out to 
  nearly two light-years 
  from the Sun. (All 
  other solar systems 
  have comet clouds of 
  their own.) That far 
  out, the Sun’s gravity 
  is very weak, scarcely 
  greater than that of 
  other nearby stars. It 
  wouldn’t require much 
  of a push to send a 
  comet or asteroid into 
  an elongated orbit 
  which would carry it 
  into the sphere of inﬂu-
  ence of some other star. 
  Interstellar comets may 
  be relatively common 
  — in which case they would be a serious threat to 
  space voyagers traveling at nearly the speed of light. 
  They could also serve as secret bases for pirates, 
  rebels, and spies, or even as a home for colonists 
  who tunnel into the ice and grow crops by the light 
  of fusion reactors. Some highly advanced civiliza-
  tions might use Oort clouds and interstellar comets 
  for fuel and raw materials.
  WANDERING PLANETS
  If comets can be found in interstellar space, 
  why not planets? They can either be bodies formed 
  out there in the endless darkness, or else exiles, 
  kicked out of the star system where they formed by 
  some tremendous disaster (such as a close encoun-
  ter with a massive object like a neutron star or a 
  black hole). Planets might also be deliberately sent 
  wandering. Doing so would require either some 
  kind of rubber-science space drive (like the “Spin-
  dizzy” of James Blish’s Cities In Flight series, which 
  converts mass to velocity) or a very big explosion 
  which somehow doesn’t just blow the planet into 
  bits.
  Wandering planets could be a useful resource, 
  especially if they carry ruins of some ancient civili-
  zation. They can also be a menace — a loose planet 
  careening through an inhabited system would do 
  tremendous damage just due to tides and orbital 
  perturbations even if it didn’t crash into a popu-
  lated world. Powered planets with a space drive 
  steered by a predatory civilization would be the 
  ultimate pirate menace, arriving in peaceful star 
  systems to loot and conquer before moving on to 
  the next victim. How can the Space Patrol defeat an 
  entire planet of raiders? Or, as with the Puppeteers 
  of Niven’s Ringworld, planets on the move could 
  simply be massive vehicles.
  INTERSTELLAR LIFE
  And maybe there’s something living out there 
  in the dark between the stars. Humans evolved 
  SECTOR CREATION 
  CHECKLIST
  Step 1:  Decide if you are 
  mapping in two or three 
  dimensions.
  Step 2:  Decide on your 
  scale — how many light-
  years on a side is the 
  sector? 
  Step 3:  Determine 
  how many stars there 
  are. If you have a small 
  sector (20 ly per side or 
  less), roll 1d6 for every 
  1,400 cubic light-years 
  of space. If it is a large 
  sector and only the 
  interesting star systems 
  are being mapped, roll 
  2d6 for the number of 
  populated systems.
  Step 4:  Determine coor-
  dinates, as described in 
  the text.
  Step 5:  Roll on the 
  System Type Table (page 
  72) for each system to 
  determine the number 
  of stars.
  Step 6:  Determine 
  orbital separation. For 
  close companions roll 
  2d6-2 times 10 AU; for 
  distant companions roll 
  2d6 times 1,000 AU.
  Step 7:  Roll on the Star 
  Types Table (page 74) to 
  determine the spectral 
  type of the stars.
  
  72 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  on a planet, so naturally they assume all life has 
  to develop on planets... but they could be wrong. 
  Astronomers have detected fairly complex organic 
  molecules in interstellar nebulae. Given enough 
  time, they might evolve into vast, wispy organisms 
  living in space. Such space creatures would be very 
  unlike planetary life — instead of using chemical 
  reactions they would be based on magnetic ﬁelds, 
  gravity waves, and ﬂows of charged particles. In a 
  Hard SF setting, interstellar creatures would be a 
  fascinating phenomenon to study. In Space Opera 
  they might be a world-threatening menace, snatch-
  ing ships which venture too far from the light of 
  the Sun.
  SPACE STORMS
  Star Trek introduced the concept of the “ion 
  storms” and “plasma storms” — violent showers or 
  waves of charged particles moving through inter-
  stellar space at the speed of light. In Star Hero, a 
  particle storm is modeled as a sudden, unexpected 
  Energy Blast attack on ships in space. Science oﬃ-
  cers or sensor operators can detect them in advance 
  on a successful Systems Operation (or appropriate 
  PS) roll. Consider a particle storm to do RKA 3d6 
  damage to objects within an Area Of Eﬀect with a 
  radius of 3d6 x 10,000 kilometers; the storm aﬀects 
  an area for a period of 1d6 Turns, perhaps longer. 
  The GM decides whether some, all, or none of the 
  ship’s defense applies to protect it from this batter-
  ing.
  Another possibility is “gravity tsunamis” 
  — sudden and very powerful gravity waves moving 
  through space which threaten to rip apart anything 
  they pass over or around. They travel at approxi-
  mately the speed of light. They do 2d6+12 dice of 
  Killing Damage, Penetrating, over an Area Of Eﬀect 
  (Line) 1d6 times 10,000 kilometers long and 1d6 x 
  100 kilometers “deep.” The wave should take at least 
  1 Turn, if not longer, to pass by the ship’s location. 
  The GM decides whether some, all, or none of the 
  ship’s defense applies to protect it from the wave’s 
  eﬀects.
  A space storm may also interfere with sensors 
  and communications, imposing a -1 to -5 penalty 
  to Systems Operation rolls to use those systems.
  
  73 
  Star Hero ■ Chapter Three
  S
  pace is big, but it’s mighty cold and empty. 
  Here and there throughout the void are 
  bright, warm little points of light:  the stars. 
  There are close to four hundred billion 
  stars in the Galaxy. Circling many of those stars are 
  planets, and on some of those planets living beings 
  have developed enough intelligence to look upward 
  and wonder about the stars. This game is called Star 
  Hero for a reason; most of the interesting things 
  within the Galaxy happen near stars.
  This section and the following chapter pro-
  vide a system for generating stars and star systems 
  which emphasizes scientiﬁc accuracy. You can 
  either use it as a guide to making your worlds more 
  plausible, or you can use dice to randomly create 
  star systems and see what you get. Note that most 
  star systems will not have planets suitable for “life 
  as we know it.”  This is not as big a problem as it 
  might seem, as there are many other forms of life, 
  ranging from silicon-based beings which live in 
  furnace heat to liquid-helium beings which thrive 
  at Absolute Zero. (See page 91 for details.) Most 
  star systems have a world which some organism 
  ﬁnds comfortable.
  Some gamers want hard science accuracy, 
  while some want Space Opera accuracy which ﬁts 
  the spirit of television shows and ﬁlms. At many 
  points in the process of creating a sector, a star 
  system or a planet, the GM can choose which 
  method to follow. The options are ﬂagged as either 
  Hard Science or Space Opera.
  Note that even the hard science options are 
  only as accurate as possible according to early 
  twenty-ﬁrst century science. Discoveries next week 
  or next decade can make some of these rules either 
  ridiculously optimistic or far too conservative.
  All the tables for system and planet creation 
  are organized for random generation using one 
  or more six-sided dice. You should be aware that 
  they never have to rely on random die rolls. You 
  can always pick what you want. The dice results are 
  there to make it handy when you need a system in a 
  hurry, and they give an idea of what the most likely 
  results are.
  STAR SYSTEM TYPES
  Approximately half of all star systems have 
  more than one star. They can be anything from 
  contact binaries, orbiting so close together their 
  photospheres touch, to stars orbiting light-months 
  apart. In general, the close-orbiting stars are true 
  twins, formed at the same time, while the distant 
  companions tend to be captured as a result of the 
  motions of stars through space. About a tenth of all 
  star systems have three or more members, usually 
  a close binary pair with a distant companion or 
  companion pair.
  GMs creating star systems from scratch should 
  avoid making too many complex multistar systems. 
  To determine the number of members randomly, 
  roll 2 dice and consult the System Type Table.
  ORBITAL SEPARATION
  Having ﬁgured out how many stars there are, 
  now you must determine the separation of the stars 
  if there are two or more. This becomes important 
  when you start placing planets. Stars can be either 
  close or distant companions. As the names imply, 
  close companions orbit close to the central star 
  while distant companions orbit far away. In any 
  system with more than two members, the central 
  pair will be close binaries; in a system with four 
  members, there is a pair of close binary compan-
  ions with a second pair orbiting them at distant 
  binary ranges. Two stars are close companions on a 
  1d6 roll of 1-3, distant companions on a 4-6.
  Close companions orbit at “planetary” dis-
  tances — within about 100 AU — while distant 
  companions can be thousands of AU apart. For 
  close binaries pick a distance or roll 2d6-2 and mul-
  STARS
  JARGON BOX
  While this chapter keeps the technobabble to a 
  minimum, astronomy and astrophysics are complex 
  subjects and have developed a technical vocabulary. 
  Some important terms include:
  Astronomical Unit (AU):  An Astronomical Unit is 
  deﬁned as the average distance from the Earth to 
  its Sun. One Astronomical Unit (abbreviated AU) is 
  150,000,000 kilometers (75 billion hexes). It is a very 
  handy yardstick for describing distances on the scale 
  of star systems.
  Light-year:  A light-year (sometimes abbreviated ly 
  or LY) is the distance light travels in a year at the 
  speed of approximately 300,000 kilometers (186,000 
  miles, or150,000,000”) per second. One light-year is 
  equal to 9,467,000,000,000 kilometers (4.73 quadril-
  lion hexes). When describing interstellar distances 
  it is much more convenient to use light-years than 
  kilometers.
  Parsec:  Another yardstick for interstellar distances 
  is the parsec (parallax second), deﬁned as the dis-
  tance at which a star would have a parallax of one 
  second of arc as observed from the Earth. A parsec 
  equals 3.25 light-years, or 30 trillion kilometers (15 
  quadrillion hexes).
  NAMING STARS
  Astronomers have used 
  several systems to desig-
  nate stars. The brightest 
  stars in a planet’s sky usu-
  ally are given individual 
  names. Less distinguished 
  ones are known by their 
  constellation, and the 
  vast majority get a simple 
  catalog number. 
  Hard Science:  This means 
  most star systems have 
  names like “DM+56 
  3496” or “Lalande 
  211385,” giving the star’s 
  number in some star 
  catalog. As new stars are 
  discovered, new catalogs 
  are created. The GM may 
  wish to use Galactic Star 
  Atlas numbers, which 
  should have at least six 
  or seven digits, leading to 
  system names like “GSA 
  2837961.” Of course, 
  any star system which is 
  inhabited by intelligent 
  beings can have a name 
  in the local language, 
  regardless of what the 
  Star Atlas calls it.
  Space Opera:  In a Space 
  Opera universe, few 
  stars are known by their 
  catalog numbers. Most 
  have old Greek or Arabic 
  names bestowed by 
  astronomers on ancient 
  Earth, or else names 
  given by civilizations 
  on other worlds. Game-
  master can pick real star 
  names from a star atlas 
  (but be warned:  most 
  stars bright enough in 
  Earth’s sky to get an indi-
  vidual name are probably 
  not suitable for lifebear-
  ing planets), or else can 
  invent new names of 
  their own. Other stars can 
  have names which are 
  simply a pair of Greek let-
  ters, like Alpha Upsilon or 
  Omicron Theta.
  
  74 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  tiply by 10 AU; a result of 0 indicates a close binary 
  pair separated by less than a million kilometers. 
  Distant binaries are 2d6 times 1,000 AU apart. For 
  most purposes a distant binary companion is eﬀec-
  tively a separate star system, although civilizations 
  on planets of distant binary stars could make con-
  tact with each other using only sublight spaceships.
  STAR TYPES
  Astronomers classify stars by two characteris-
  tics:  spectrum (color) and size.
  STAR SPECTRUM
  Stars were ﬁrst classiﬁed by spectrum, or the 
  mix of colors in the star’s light. The color of a star 
  corresponds to its surface temperature. There are 
  seven main types:  O, B, A, F, G, K, and M. They are 
  organized in order from hottest to coolest:
  Type O stars are intensely hot blue stars
  Type B stars are slightly cooler blue-white stars
  Type A stars are cooler still but also white
  Type F stars are yellow-white stars
  Type G stars are yellow stars like Earth’s Sun
  Type K stars are orange and cooler than the Sun
  Type M stars are cool red stars
  These basic types are further subdivided by 
  numbers from 0 to 9, with the lower number indi-
  cating a hotter star. Thus, a B5 star is hotter than a 
  B7 star.
  Astronomers also recognize type D (white 
  dwarf), N and R (“carbon stars” with some mole-
  cules containing carbon), S (containing some heavy 
  metal oxides), and Wolf-Rayet (O-like stars with 
  very hot, exposed cores because a companion has 
  “stolen” their outer material) stars.
  STAR SIZE
  The second important thing about a star is its 
  size, given by a Roman numeral. The size scale runs 
  from I to V:
  I indicates a supergiant (type Ia is brighter than 
  type Ib)
  II indicates a bright giant
  III indicates a giant
  IV indicates a subgiant
  V indicates a dwarf star
  Earth’s Sun, for example, is a G2V star — type 
  G2, size V, or a hot yellow dwarf. The “dwarf” types 
  far outnumber the giants. For game purposes, you 
  can simplify matters by lumping all the giant types 
  into simply “Giants” and “Supergiants.”
  Some classiﬁcation systems also have size VI 
  (subdwarf) and VII (white dwarf).
  THE LIFE OF A STAR
  In general, small and cool stars are numerous, 
  large and bright ones are rare. This is because the 
  big bright stars only last a few million years before 
  exhausting their fuel and blowing themselves to 
  bits in a supernova explosion, while a Type M 
  dwarf star can keep simmering for billions of 
  years. About two-thirds of all stars are Type M 
  dwarfs, and most of the rest are relatively sedate 
  Type K, G, and F stars. Less than one percent 
  of stars are bright supergiants like Rigel, or red 
  supergiants like Betelgeuse. Those few giants are 
  the most famous stars, simply because they can 
  be seen across vast distances while a dim star like 
  Earth’s Sun is known only in the immediate neigh-
  borhood.
  SYSTEM  
  TYPE TABLE
  Roll 2d6 System Type
  2 
  Triple star
  3 
  Triple star
  4 
  Single star
  5 
  Single star
  6 
  Single star
  7 
  Single star
  8 
  Double star
  9 
  Double star
  10 
  Double star
  11 
  Double star
  12 
  Four or more 
  stars  
  In October 2002, astron-
  omers at the University 
  of Texas announced the 
  discovery of a planet 
  twice the size of Jupiter 
  orbiting the star Gamma 
  Cephei — a binary star 
  with a dim companion 
  at an average distance 
  of only 200 million 
  miles. This is the ﬁrst 
  time scientists have 
  found a planet in a close 
  binary system; previ-
  ously-discovered binary 
  systems with planets 
  have companion stars at 
  least 100 times further 
  apart than the Gamma 
  Cephei stars. This may 
  mean planets are even 
  more common in the 
  universe than previously 
  believed!
  WELL-KNOWN STARS
  Here are the star types for some of the stars best 
  known to Humans. Stars with double entries indi-
  cate binaries.
  Star 
   
  Spectrum And Type
  61 Cygni  
  K5V, K7V
  Achernar  
  B3V
  Aldebaran  
  K5III
  Algol 
   
  B8VG5IV, A
  Alpha Centauri 
  G2V, K1V
  Altair 
   
  A7IV-V
  Antares 
   
  M1I, B4V
  Arcturus  
  K2III
  Barnard’s Star 
  M4V
  BD +5o 1668 
  M5V
  Bellatrix  
  B2III
  Betelgeuse  
  M2Ib
  Canopus  
  F0I
  Capella 
   
  G8III, G1III
  Deneb 
   
  A2Ia
  Epsilon Eridani 
  K2V
  Epsilon Indi 
  K8V
  Fomalhaut  
  A3V
  Groombridge 34 
  M1V, M6V
  Kapteyn’s Star 
  M0V
  Kruger 60  
  M3V, M4V
  Lacaille 8760 
  M0V
  Lacaille 9352 
  M2V
  Lalande 211385 
  M2V
  Luyten 725-32 
  M5V
  Luyten 726-8 
  M5V, M6V
  Luyten 789-6 
  M6V
  Polaris 
   
  F7I-II
  Pollux 
   
  K0III
  Procyon  
  F5IV-V, DA2 (white dwarf)
  Proxima Centauri 
  M5V
  Regulus 
   
  B7V
  Rigel 
   
  B8Ia
  Ross 128  
  M5V
  Ross 154  
  M4V
  Ross 248  
  M6V
  Ruchbah  
  A5III
  Sigma 2398 
  M4V, M5V
  Sigma Draconis 
  K0V
  Sirius 
   
  A1V, DA2 (white dwarf)
  Spica 
   
  B1V, B2V
  Tau Ceti  
  G8V
  Van Maanen’s Star 
  F5V
  Vega 
   
  A0V
  Wolf 359  
  M8V
  
  75 
  Star Hero ■ Chapter Three
  Big, bright stars seldom have 
  planets, because they don’t live long 
  enough for the small bodies orbit-
  ing them to accrete into planets of 
  any size. In a few cases, giant stars 
  may have captured planets, or pos-
  sibly worlds placed in orbit by ancient 
  civilizations. It is up to the GM to 
  decide if a giant star has captured or 
  “herded” planets; such worlds should 
  be extremely rare in a Hard SF setting.
  Red giants and white dwarfs are 
  both stages in the death of a star. After 
  spending its lifetime as a star on the 
  main sequence, a star which has used 
  up most of its hydrogen fuel turns 
  into a red giant, swelling up until its 
  radius extends out to 1 or 2 AU. The 
  star’s density drops to almost nothing 
  — starships with suﬃciently strong 
  protective shields can ﬂy within a 
  red giant for short periods until heat 
  buildup becomes a problem. The red 
  giant stage lasts a few tens of millions 
  of years, but during that time frozen 
  worlds in the outer system can sud-
  denly ﬁnd themselves in the habitable 
  zone. While life seldom has the chance 
  to evolve during a star’s life as a red 
  giant, such worlds can be terraformed 
  and inhabited by spacefaring civiliza-
  tions for thousands or millions of 
  years.
  After a star goes through the red 
  giant phase it either explodes or col-
  lapses. Stars with a mass greater than 
  1.4 times that of Earth’s Sun go up in 
  a supernova explosion, leaving behind 
  a supernova remnant — a planetary 
  nebula with either a neutron star or a 
  black hole at the center. Smaller stars 
  (which are vastly more numerous) 
  collapse into white dwarfs, burning 
  hot with the energy of the collapse 
  and gradually cooling over billions of 
  years. Unfortunately, any planets of a 
  white dwarf have already been cooked 
  or absorbed during its red giant phase. 
  When determining the composition of 
  a white dwarf’s planets, use the “Red 
  Giant” line on the accompanying table. 
  Only a captured planet snagged after 
  the collapse can have enough volatiles 
  to develop life. Civilizations can build 
  artiﬁcial structures near a white dwarf, or possibly 
  move planets to a suitable distance; with proper 
  tending the star serves as a useful source of energy 
  for billions of years.
  To determine what type of star is in a given 
  system, roll or select from the accompanying Star 
  Types Table. In a multiple star system, place the 
  most massive or brightest star in the center, and 
  make any dimmer stars its companions. If you are 
  generating only populated star systems, then roll 
  2d6+6 instead of 3d6.
  Exotic Objects 
  Astronomers think regular stars are kind of 
  boring. What they really enjoy looking at are exotic 
  objects, which can have all kinds of weird proper-
  ties.
  BLACK HOLES
  A black hole is an object so dense its escape 
  velocity exceeds the speed of light. They’re created 
  when a star with a mass greater than three times 
  that of Earth’s Sun exhausts its nuclear fuel and col-
  
  76 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  lapses. As it shrinks its gravity increases, until the 
  force of the star’s gravity is greater than any matter 
  can withstand, and it collapses into a singularity 
  of inﬁnite density. No matter or energy can leave 
  a black hole, and its enormous gravity warps the 
  fabric of space-time. Not even a faster-than-light 
  starship can escape a black hole’s gravity if it ven-
  tures within the “event horizon,” as the distorted 
  fabric of space makes it impossible for the engines 
  to work. A ship which enters the event horizon and 
  gets sucked into/through a black hole should be 
  considered destroyed, unless the GM mercifully 
  decides the hole sends the ship somewhere (a par-
  allel universe, perhaps).
  Even outside the event horizon, the region 
  around a black hole is very dangerous. The tidal 
  forces created by the black star’s immense grav-
  ity can tear a ship apart (this is RKA, AVLD Does 
  BODY, Continuous damage; the defense is a force 
  ﬁeld constructed speciﬁcally to preserve a ship’s 
  structural integrity; see page 186 regarding Protec-
  tion From G Forces). The black hole’s “accretion 
  disk” is like a dense planetary nebula full of mete-
  oroids. Objects falling into the hole’s event hori-
  zon reach the speed of light, and give oﬀ energetic 
  x-rays as they fall, ﬂooding the area with deadly 
  radiation.
  Time actually moves more slowly around a 
  black hole; the crew of a ship orbiting close to the 
  event horizon will ﬁnd that weeks have passed 
  elsewhere while only hours have gone by for them. 
  Artifacts of fantastic age can sometimes be found 
  in the vicinity of black holes. Rotating black holes 
  have even weirder eﬀects on spacetime. It is pos-
  sible to plot a course around a spinning black hole 
  which emerges earlier in time! (See Chapter Nine 
  for more on time travel.)
  PROTOSTARS
  A protostar is a star system that’s still form-
  ing. If the GM 
  gets a Protostar 
  result when 
  determining 
  the star type, 
  the system is 
  an interstellar 
  nebula, a cloud 
  of gas and dust, 
  which is in the 
  process of col-
  lapsing into a 
  star and plan-
  ets. Interstellar 
  nebulae are 
  fairly thin, so 
  ships can move 
  through them at 
  sublight speeds 
  normally, but 
  any FTL drive 
  which oper-
  ates in normal 
  space (like warp 
  drive) is limited 
  STAR TYPES TABLE
  Roll 3d6* 
  Star Type & Size
  3-8 
  M5V
  9-11 
  M0V
  12 
  K5V
  13 
  K0V
  14 
  G5V
  15 
  G0V
  16 
  F5V
  17 
  F0V
  18 
  Bright or Giant Star (roll on the 
   
  Bright or Giant Star Table below)
  *:  Roll 2d6+6 if you’re generating only populated 
  star systems.
  BRIGHT OR GIANT STAR TABLE
  Roll 3d6 
  Giant Star Type
  3-7 
  A5V
  8-9 
  A0V
  10 
  White Dwarf
  11 
  Type F Giant
  12 
  Type A Giant
  13 
  Type B Giant
  14 
  Type O Giant
  15 
  Supergiant
  16-17 
  Red Giant
  18 
  Exotic Object (roll on the Exotic 
   
  Objects Table below)
  EXOTIC OBJECTS TABLE
  Roll 2d6 
  Exotic Object
  2 
  Black Hole
  3-5 
  Protostar
  6-8 
  Flare Star
  9-10 
  Supernova Remnant
  11 
  Pulsar
  12 
  Anomaly (wormhole, sentient
   
  star, antimatter star, or the like)
  BROWN DWARFS
  A “Brown Dwarf” is an 
  object which is either a 
  very small star or a very 
  large planet. If they exist, 
  they would have masses 
  less than a tenth that of 
  the Sun. They are called 
  “Brown” because a body 
  of that size would radi-
  ate infrared light, but 
  not enough to be visible.
  Brown dwarfs feature 
  prominently in one of 
  the current hot theories 
  about the “missing mass 
  problem” in cosmol-
  ogy. The idea is simple:  
  dim, low-mass stars are 
  more common than 
  bright massive ones. 
  Then presumably really 
  dim, really low-mass 
  objects should be more 
  common still. It’s pos-
  sible that a signiﬁcant 
  part of the Galaxy’s 
  mass consists of brown 
  dwarfs.
  In a Star Hero campaign, 
  brown dwarfs can serve 
  a variety of purposes. 
  They can be vital links 
  along the jump-drive 
  routes between more 
  visible stars. They can 
  be “hidden islands” with 
  moons suitable for rebel 
  bases, pirate hideouts, 
  and secret enemy lis-
  tening posts. They can 
  have life of their own 
  — either creatures living 
  in the dwarf’s upper 
  atmosphere, or on a 
  close-orbiting moon 
  warmed by the dwarf’s 
  infrared radiation.
  The star system map-
  ping and generation 
  system is biased toward 
  visible stars. To add 
  brown dwarfs to the 
  mix, increase the den-
  sity of star systems by a 
  factor of 10 in a given 
  volume of space, and for 
  each system roll 2d6:  on 
  a result of 10 or less the 
  system is a brown dwarf. 
  
  77 
  Star Hero ■ Chapter Three
  to only the speed of light because of friction with 
  the gas and dust. See page 69 for more informa-
  tion.
  Close to the developing star the nebula 
  becomes much denser, and ships cannot travel at 
  more than 10 percent of the speed of light because 
  the dense gas can literally melt the hull at high 
  speeds. The swirls of energetic gas also interfere 
  with sensors, so any Systems Operation rolls to 
  use sensors are at -4 near a protostar (sometimes 
  more). In addition, showers of meteoroids are 
  common.
  FLARE STARS
  In certain stars the nuclear fusion reactions at 
  the core are unstable. This phenomenon seems to 
  be common in stars of all types. These ﬂare stars 
  can suddenly increase in brightness at irregular 
  intervals, in some cases becoming more than six 
  times brighter than usual. Radiation levels also 
  become six times greater. While most starships 
  can handle the increased radiation, the danger 
  is that ﬂare stars do not follow a predictable pat-
  tern, and can go oﬀ without warning. Ships in 
  the vicinity of a ﬂare star must remain on alert 
  with defenses active at all times. Planets orbiting 
  a ﬂare star have no way to avoid the occasional 
  increases in brightness. The ﬂares make it hard for 
  life to evolve on any planet of a ﬂare star, but some 
  especially hardy life forms might develop natural 
  defenses enabling them to survive being baked 
  every few weeks.
  The GM should treat the energy from a ﬂare 
  star as an RKA with MegaScaled Explosion so that 
  it loses about half its dice of damage for each AU 
  of distance out from the star (full damage within 1 
  AU, half at 1.1 to 2 AU, and so on).
  SUPERNOVA REMNANT
  A supernova remnant is the tomb of a giant 
  star. When massive stars use up their fuel they 
  explode in a supernova detonation, scattering 
  much of their matter through space in the form 
  of a planetary nebula. Planetary nebulae seldom 
  extend more than a light-year from the remnant 
  of the exploding stars which formed them. As in 
  the vicinity of a protostar, ships cannot travel at 
  more than 10 percent of the speed of light in a 
  planetary nebula, and any sensor task is at -4 to 
  the Systems Operation roll in a dense nebula. At 
  the center of the nebula is the remains of the star’s 
  core, now a neutron star.
  NEUTRON STARS AND PULSARS
  A neutron star is the remnant left over by a 
  massive star blown apart in a supernova. A neu-
  tron star is the densest things in the universe next 
  to black holes — essentially it’s an atom the size 
  of a planet. Their gravity is so intense that normal 
  matter collapses into a mass of tightly-packed 
  neutrons. This gravity poses great danger to space-
  craft. Like a black hole, a neutron star can damage 
  ships passing nearby with tidal forces. Unlike a 
  black hole, neutron stars cannot capture ships 
  capable of reaching lightspeed.
  A rapidly-rotating neutron star can emit a 
  pulse of intense radiation in a narrow beam, like 
  a lighthouse beacon. The beam ﬂicks around and 
  around several times a second. These are known 
  as pulsars, and they can be quite dangerous (but 
  also make useful navigation beacons for starfar-
  ing civilizations). The radiation beam is intense 
  enough to damage ships at up to a light-year away 
  — anything caught by the beam suﬀers an RKA 
  10d6, Penetrating attack.
  ANOMALIES
  Anomalies are any objects unknown to con-
  ventional science, or which conventional science 
  only theorizes. In a pulpish campaign anomalies 
  can include wormholes (stable or unstable) con-
  necting two distant locations in space, sentient 
  stars, cosmic strings, time distortions, living 
  nebulae, ﬁelds of unknown energy, and negative-
  entropy zones. There is no way to randomly roll 
  for anomalies; the GM gets to choose.
  STAR SYSTEM DATA TABLE
  In this table, brightness and mass are given relative to the Sun, which Earth astrono-
  mers use as their “standard star.” These numbers represent “average” or “typical” stars; 
  individual stars within a classiﬁcation may vary from these ﬁgures. The distance 
  listed for each zone is the inner radius — Yellow, Green, Blue, and Black — in AU; 
  each zone extends out to the next. So for a G0V star the Yellow zone extends from .25 
  to .77 AU, and the Green zone from .78 to 1.2 AU. Note that the Yellow zone of brown 
  dwarf objects begins eﬀectively at the surface. (This information is important for the 
  random generation methods in Chapter Four, Planets.)
  Type 
  Brightness 
  Mass 
  Y 
  G 
  B 
  Bl 
  Age (years)
  Type A Giant 100-1500 
  3-6 
  (these stars do not have planets)# ≥ 10 million
  A0V 
  50 
  2.7 
  1.8 
  5.5 
  9.3 
  140 
  2d6 x 100 
  million
  A5V 
  10 
  1.8 
  .8 
  2.5 
  4.2 
  60 
  ½d6 billion
  Type B Giant 200-8000 
  4-10 
  (these stars do not have planets)# ≥ 5 million
  Type F Giant 
  10-500 
  2-5 
  (these stars do not have planets)# ≥ 100 mil-
  lion 
  F0V 
  7 
  1.6 
  .66 
  2.1 
  3.5 
  50 
  1d6 billion
  F5V 
  2.5 
  1.3 
  .4 
  1.2 
  2.1 
  32 
  1d6 billion
  G0V 
  1 
  1 
  .25 
  .78 
  1.3 
  20 
  2d6 billion
  G5V 
  0.6 
  .9 
  .2 
  .6 
  1 
  15 
  2d6 billion
  K0V 
  0.4 
  .8 
  .16 
  .49 
  .83 
  13 
  3d6 billion
  K5V 
  0.1 
  .6 
  .08 
  .25 
  .42 
  6 
  2d6 x 2 bil-
  lion
  M0V 
  0.01 
  .3 
  .03 
  .08 
  .13 
  2 
  2d6 x 2 bil-
  lion
  M5V 
  0.001 
  .2 
  0 
  .025 
  .042 
  .63 
  2d6 x 2 bil-
  lion
  Type O Giant 10-20,000 
  10-12 
  (these stars do not have planets)# ≥ 2 million
  Brown Dwarf .000005   
  1  
  0 
  .002 
  .003 
  .04 
  2d6 x 2 bil-
  lion
  White Dwarf   0.1 
  1 
  .08 
  .25 
  .42 
  6 
  2d6 billion*
  Supergiant 
  7000-100,000 9-18 
  (these stars do not have planets)# ≥ 2 million
  Red Giant 
  4000 
  .2-10 
  5 
  60 
  67 
  1200 
  2d6 x 10 
  million*
  *:  White Dwarf and Red Giant stars are the end stages of other types and may have 
  planets formed during the earlier history of the system.
  #:  Realistically, these types of stars cannot have planets. In a Space Opera game, you 
  can put a planet around any star you like, giving these stars zones equal to red giants. 
  After all, what fun is it when there aren’t any Rigellians?
  
  78 ■ Galaxies And Stars 
  HERO SYSTEM 5TH EDITION
  SAMPLE SECTOR
  Susan is planning a sector for her new Star 
  Hero campaign. She’s a hard SF fan, so she wants 
  it to be fairly realistic. She decides to use a three-
  dimensional mapping plan, and chooses a sector 
  size of 20 light-years on a side. That gives her a total 
  of 8,000 cubic light-years of space, so she rolls 6d6 
  to determine the number of stars. She gets a result 
  of 23 stars, about average density.
  Next she rolls coordinates (using some handy 
  10-sided dice) and gets the following results:
  A:  9,-2,8 
  B:  9,4,9
  C:  5,-4,2 
  D:  2,2,-10
  E:  -10,-2,6 
  F:  -2,2,-6
  G:  10,3,1 
  H:  2,-8,-10
  I:  9,-10,2 
  J:  -2,2,-3
  K:  10,4,2 
  L:  -8,-7,-10
  M:  -9,-2,5 
  N:  4,-1,7
  O:  4,8,-4 
  P:  -7,-10,-1
  Q:  -3,3,1 
  R:  8,7,1
  S:  -4,-6,9 
  T:  -6,1,-3
  U:  6,7,-1 
  V:  1,7,2
  W:  -5,-10,-2
  Susan notices some patterns. There are some 
  close pairs (G and K, F and J, E and M, P and W); 
  these could be likely political units. Systems G, K, 
  R, and U form a nice compact group, suitable for 
  a small empire or trade cluster. System H is fairly 
  isolated, making it a good place for a lost colony or 
  secret base.
  Now she determines the system types. B and 
  H are triple star systems; E, F, L, O, P, Q, R, and W 
  are double stars; the rest are singles. She determines 
  that F, Q, R, and W are close companions while E, L, 
  O, and P are distant binaries.
  Next she determines star types:
  A:  M0V 
  B:  Close M5V-M5V pair 
  with distant M5V com-
  panion
  C:  M0V 
  D:  G0V
  E:  M0V with distant  
  F:  Close K0V-M0V pair 
  M5V companion
  G:  G5V 
  H:  G0V with close M0V 
  companion and distant 
  M5V
  I:  M5V 
  J:  K0V
  K:  G5V 
  L:  G0V with distant M0V 
  companion
  M:  M5V 
  N:  M5V
  O:  G5V with distant  
  P:  F5V with distant G0V  
  K0V companion 
  companion
  Q:  Close M5V-M5V pair R:  Close G5V-K0V pair
  S:  G0V 
  T:  M0V
  U:  M5V 
  V:  M5V
  W:  F0V with close K0V  
  companion
  Now she focuses on star system H, determin-
  ing the distances between the three stars in the 
  system and how many planets they have. The main 
  star is a G0V with an M0V companion orbiting at 
  a distance of 50 AU. The distant M5V star is 5,000 
  AU away. For the system age she rolls for the main 
  star and gets an age of 8 billion years. The next 
  chapter develops the planets of the system.
  “System H” is a kind of boring name, so Susan 
  gives it the provisional Galactic Survey number “GS 
  5553-781-H,” using the digits of a phone number 
  and the letter H to remind her which one it is on 
  her map. If the system turns out to have a colony or 
  native life, it may get a better name.
  NEAR STARS TABLE
  These are the 24 star systems nearest the Sun, listed 
  by distance from Earth, type, and brightness relative 
  to Sol. In a slower-than-light campaign, these prob-
  ably represent the limit of human expansion in the 
  near term. In a campaign with FTL travel, these will 
  be home to the oldest colonies. Multiple star systems 
  have the primary listed ﬁrst; the exception is Proxima 
  Centauri, a distant compaion of Alpha Centauri, 
  which is listed separately.
  System 
  Distance Star Type Brightness
  Proxima Centauri 4.5 ly 
  M5V 
  0.00006
  Alpha Centauri 
  4.5 ly 
  G2V 
  1.53
   
   
  K1V 
  0.44
  Barnard’s Star 
  6 ly 
  M4V 
  0.00044
  Wolf 359 
  7.5 ly 
  M8V 
  0.00002
  Lalande 211385 
  8 ly 
  M2V 
  0.0052
  Sirius 
  8 ly 
  A1V 
  23.0
  DA2 (white dwarf) 
   
   
  0.002
  Luyten 726-8 
  8.75 ly 
  M5V 
  0.00006
   
   
  M6V 
  0.00004
  Ross 154 
  9.5 ly 
  M4V 
  0.0004
  Ross 248 
  10 ly 
  M6V 
  0.0001
  Epsilon Eridani 
  10.75 ly 
  K2V 
  0.3
  Luyten 789-6 
  10.75 ly 
  M6V 
  0.00012
  Ross 128 
  10.75 ly 
  M5V 
  0.00033
  61 Cygni 
  11 ly 
  K5V 
  0.082
   
   
  K7V 
  0.038
  Epsilon Indi 
  11 ly 
  K8V 
  0.14
  Procyon 
  11.5 ly 
  F5IV-V 
  7.6
  DA2 (white dwarf) 
   
   
  0.0005
  Sigma 2398 
  11.5 ly 
  M4V 
  0.003
   
   
  M5V 
  0.002
  Groombridge 34 
  11.7 ly 
  M1V 
  0.006
   
   
  M6V 
  0.0004
  Lacaille 9352 
  11.7 ly 
  M2V 
  0.012
  Tau Ceti 
  12 ly 
  G8V 
  0.47
  BD +5o 1668 
  12.3 ly 
  M5V 
  0.0015
  Luyten 725-32 
  12.3 ly 
  M5V 
  0.0003
  Lacaille 8760 
  12.3 ly 
  M0V 
  0.027
  Kapteyn’s Star 
  12.7 ly 
  M0V 
  0.004
  Kruger 60 
  12.7 ly 
  M3V 
  0.0015
   
   
  M4V 
  0.0004
  DISTANT  
  STARS TABLE
  Here are the distances 
  from Earth to other 
  well-known stars more 
  than 12.7 light-years 
  away.
  Star 
  Distance (LY)
  Achernar 
  69
  Aldebaran 
  60
  Algol 
  92
  Altair 
  16
  Antares 
  604
  Arcturus 
  34
  Bellatrix 
  1,400
  Betelgeuse 
  427
  Canopus 
  74
  Capella 
  43
  Deneb 
  3,230
  Fomalhaut 
  22
  Polaris 
  316
  Pollux 
  35
  Regulus 
  69
  Rigel 
  770
  Ruchbah 
  59
  Sigma  
  Draconis 
  18.8
  Spica 
  220
  Van Maanen’s  
  Star 
  14.3
  Vega 
  25
  
  79 
  Star Hero ■ Chapter Four
  S
  ectors and stars are just the ﬁrst 
  step when it comes to designing 
  your Star Hero galaxy. After you 
  consider the broad questions and 
  issues raised in Chapter Three, 
  it’s time to start focusing down a little bit 
  more so you can create planetary systems 
  and individual planets — where most of 
  the action in many Star Hero campaigns 
  takes place. From hospitable Earth-like 
  worlds inhabited by friendly aliens, to 
  desolate, dangerous planets containing 
  no life at all, this chapter helps you design 
  the perfect worlds for your game.
  
  80 ■ Planets 
  HERO SYSTEM 5TH EDITION
  PLANETARY
  SYSTEMS
  BODE’S LAW
  One way to generate a 
  planet’s orbital distance 
  is to use Bode’s Law 
  (known more prop-
  erly as the Titius-Bode 
  Relation), a formula 
  for determining the 
  distances of the planets 
  from the Sun in Earth’s 
  solar system. Bode’s law 
  works as follows:  start 
  with the series 0, 1, 2, 4, 
  8, 16, 32, 64, and so on. 
  Multiply each term by 3, 
  giving us 0, 3, 6, 12, 24, 
  and so on. Now add 4 
  to each member of the 
  series, giving the num-
  bers 4, 7, 10, 16, 28, 52. 
  Divide those numbers by 
  10 and you have a close 
  approximation of the 
  distances of the planets 
  from the Sun in AUs:  .4 
  (Mercury), .7 (Venus), 1 
  (Earth), 1.6 (Mars), 2.8 
  (the Asteroid Belt), 5.2 
  (Jupiter), and so on. The 
  system breaks down at 
  the outer system, with 
  Neptune and Pluto, 
  but otherwise it works 
  pretty well. Bode’s Law 
  may reﬂect some actual 
  principle of planetary 
  formation, or it may 
  simply be coincidence 
  — Humans are good at 
  ﬁnding patterns even in 
  random data.
  There are two ways to 
  apply Bode’s Law when 
  creating planetary orbits. 
  The simplest is the 
  “strong Bode’s” principle, 
  which is that all star 
  systems have planets in 
  approximately the same 
  orbital positions as those 
  of Earth’s solar system. 
  The strong Bode’s Law is 
  the easiest to apply, but 
  also the most unlikely. 
  Continued on next page
  S
  tars are pretty and shiny, but planets are 
  where most people in the Galaxy live. 
  Gamemasters can come up with the 
  number of planets in a system in one of 
  three ways. The ﬁrst is just to pull a number out of 
  thin air. If you want Aldebaran to have nineteen 
  planets, then that’s how many it has. Second, you 
  can roll dice. Assuming Earth’s solar system has a 
  roughly average complement of planets, roll 3d6 
  for the number of planets orbiting a star.
  Finally, you can generate the planetary orbits 
  and pick some distance as the system boundary. 
  This should be proportional to the square of the 
  central star’s mass. See the Star System Data Table 
  (page 77) for typical masses. Multiply the star’s 
  mass squared by 40 AU to get the size of a poten-
  tial star system. This means very large massive 
  stars can have planets orbiting up to six light-days 
  out!
  Example:  Isaac is using the system-boundary 
  method to determine how many planets the 
  star Wolf 359 has. Wolf 359 is a Type M dwarf 
  star, with a mass of .2; squaring that and mul-
  tiplying by 40 AU gives Isaac a system size of 
  .04 times 40, or 1.6 AU. The star will not have 
  any planets orbiting beyond that distance.
  ORBITAL DISTANCE
  At present, scientists are still working out how 
  planetary systems form. If the Solar System is any 
  guide, planets tend to have orbits closely spaced 
  near the central star, getting progressively fur-
  ther apart as one moves outward. The exact rules 
  are unknown. One possibility is the relationship 
  known as Bode’s Law (see sidebar).
  Until astronomers know more, you can simply 
  generate planetary orbits randomly. Start by roll-
  ing 1d6 and divide the result by 10. That gives the 
  innermost planet’s orbital distance in AU. To get 
  the second planet’s distance, roll 2d6, divide by 10, 
  and add 1, for a result between 1.2 and 2.2. Multi-
  ply the ﬁrst planet’s orbital distance by that to get 
  the second world’s orbit. Each subsequent planet’s 
  orbit is 1 + (2d6/10) times the next innermost 
  planet’s distance. 
  SYSTEM ZONES
  Once a distance has been set, check the Star 
  System Data Table (page 77) to determine which 
  zone the world orbits in. There are ﬁve zones in all, 
  color-coded Red, Yellow, Green, Blue and Black.
  Closest to the central star is the Red zone, the 
  region within the distance listed for the start of the 
  Yellow zone. Planets simply cannot exist in the Red 
  zone because it is too hot. They never solidify and 
  eventually boil away.
  The Yellow zone is the belt in which solid planets 
  can exist, but liquid water and the building blocks 
  of organic life are rare. Some unusual worlds in the 
  Yellow zone can have water — tidally-locked planets 
  or bodies with extreme axial tilt may have the proper 
  temperatures over a portion of their surfaces. Planets 
  in the Yellow zone may be home to silicon-based life 
  or energy beings in Pulp or Space Opera settings.
  The Green zone is the belt in which the tempera-
  ture permits liquid water. Worlds in the Green zone 
  have the best chance of developing DNA-based life, 
  so the Green zone is also known as the Biozone or life 
  zone. Not all planets in the Green zone are suitable 
  for life, of course — they may still be too small, too 
  big, or otherwise wrong.
  Planets in the Blue zone are too cold for liquid 
  water, but exceptions are possible. Tidal heating or 
  volcanic activity may make some worlds in the Blue 
  zone capable of supporting DNA-based life. Other 
  Blue zone worlds may have life based on ammonia or 
  methane.
  In the outer fringes of the system is the Black 
  zone, where the central sun is just a bright star in the 
  sky. Water is a rock in the Black zone, and even light 
  gases like hydrogen and helium exist as slushy liquids. 
  Tidal heating can create a few islands of warmth on 
  moons of large planets, but life based on water and 
  organic molecules is very rare in the Black zone. 
  Exotic life forms using liquid hydrogen or superﬂuid 
  liquid helium might exist on Black zone worlds.
  Orbital Restrictions
  With a binary star, certain orbits within the 
  system are unusable for planets. As a simple principle, 
  the companion star makes planets impossible in a 
  band between 1/3 and 3 times its own orbital dis-
  tance. So in the Alpha Centauri system, Alpha Cen-
  tauri B orbits at a distance of 24 AU, making planets 
  impossible between 8 and 72 AU.
  Companion stars can have planets of their own, 
  subject to the same limits, so Alpha Centauri B can 
  only have planets out to 8 AU itself. Any planets 
  orbiting beyond 3 times the companion star’s dis-
  tance are actually orbiting both stars.
  
  81 
  Star Hero ■ Chapter Four
  SYSTEM ANOMALIES
  Some star systems contain very atypical 
  objects, ones which cannot be created using the 
  standard planet generation tables. These include 
  captured planets, “counterworlds,” and rosettes.
  CAPTURED PLANETS
  Captured planets are bodies which did not 
  form in the system but have wandered in from the 
  depths of interstellar space. They typically have very 
  eccentric orbits, often sharply inclined to the plane 
  of the system in which the other planets orbit. The 
  GM can place a captured planet in any orbit at all, 
  including one normally restricted by the presence 
  of a companion star. It can even cross the orbits of 
  other worlds in the system, although that arrange-
  ment probably won’t last forever.
  If the GM creates the system randomly, a 
  system has a captured planet on a roll of 18 on 3d6. 
  Its closest approach to the central star is 2d6 AU; 
  the most distant point in its orbit is 2d6 times 10 
  AU out. When creating the planet, treat it as a Black 
  zone world.
  COUNTERWORLDS
  Counterworlds are planets which share the 
  same orbit but are separated by 180 degrees, so 
  they orbit on opposite sides of the sun. Such worlds 
  are extremely rare, and almost always occur in the 
  inner system, close to the star. Such bodies never 
  form naturally — over time orbital perturbations 
  would either shift the counterworlds into diﬀerent 
  orbits or else smash them together. If they exist, 
  they must be the work of some extremely advanced 
  civilization. They are not listed in the random cre-
  ation tables, but GMs can place them wherever they 
  wish.
  ROSETTES
  Rosettes are the extreme case of counter-
  worlds. Instead of two planets, a circle of three or 
  more worlds share the same orbit. These are almost 
  always artiﬁcial arrangements, and consequently 
  are most often found in the Green zone of a long-
  lived Type M star or white dwarf. As with counter-
  worlds they are too rare (i.e., too impossible under 
  current theories) to show up in random generation.
  Continued from last page
  The second way to gen-
  erate distances is the to 
  vary the mechanisms of 
  the series. This could be 
  called the “weak Bode’s” 
  principle. Instead of 
  counting up 0, 3, 6, 12... 
  the GM can roll a die to 
  create the “seed” number. 
  Instead of 3 it could be 
  2, or 5. Similarly, instead 
  of adding 4 to each term, 
  roll 1d6 and use that as 
  the standard adder for 
  the system. Divide the 
  results by 10 to get dis-
  tances in AU.
  
  82 ■ Planets 
  HERO SYSTEM 5TH EDITION
  T
  his section describes the physical character-
  istics of planets, with random-generation 
  rules where appropriate. The social details of 
  worlds with intelligent inhabitants are cov-
  ered in Chapter Six.
  ORBITAL EFFECTS
  Where a planet orbits determines a lot about 
  its composition and conditions. The Planetary 
  Systems section above describes the zones in a star 
  system and how to place planets.
  YEAR LENGTH
  To ﬁgure the length of a planet’s year, do a little 
  quick calculating, using the formula ﬁrst discovered 
  by the astronomer Kepler. The year length (in Earth 
  years) equals the square root of (orbital distance 
  cubed divided by star mass). This means planets of 
  very bright massive stars can have enormously long 
  orbital periods — over a century in some cases. 
  Multiply by 365 days to get the year in standard 
  days. The GM may also want to calculate how many 
  local days there are in a year after the planet’s rota-
  tion has been determined below. 
  ORBITAL ECCENTRICITY
  No planet orbits its sun in a perfect circle. All 
  orbits are ellipses, and some are more eccentric 
  than others. A planet in an eccentric orbit can 
  sometimes veer between zones, spending part of 
  the year at a habitable distance from the star, swing-
  ing far out for a very cold winter, or zooming in 
  close for a brief but scorching summer. However, 
  highly eccentric orbits tend to be unstable — inter-
  actions with other planets tend to pull eccentric 
  orbits into more circular paths, or else sling the 
  planet out of the system entirely.
  When creating a star system randomly, roll 
  2d6 for each planet. A result of 12 indicates a 
  planet with a very eccentric orbit. Planets in the 
  star’s Black zone get a +1 bonus. If a world has an 
  eccentric orbit, use the base orbital distance as its 
  closest approach to the star. Roll 1d6, multiply by 
  10 percent, and add that much to the orbital dis-
  tance to get the maximum radius of the orbit. If 
  the eccentric orbit intersects the orbit of a smaller 
  planet, then remove the smaller world. If it crosses 
  the path of a bigger planet, then the eccentric world 
  either gets kicked oﬀ into interstellar space, swal-
  lowed up in a giant impact, or captured as a moon 
  (GM’s option).
  Example:  Fimbul orbits its G5V star in an 
  eccentric orbit. The inner distance is .8 AU, 
  safely within the Green zone. The maximum 
  distance is 1d6 times 10 percent greater — a 
  roll of 4 indicates 40 percent, so the maximum 
  radius is 1.12 AU, which puts Fimbul into the 
  Blue zone during part of the year.
  INCLINATION
  Most planets form in the plane of their central 
  star’s equator, as the collapsing protostar swirls 
  about in its nursery nebula. The orbits of planets in 
  a system seldom vary by more than a few degrees. 
  However sometimes the passage of another star or 
  the arrival of a rogue planet can disrupt this tidy 
  arrangement. To determine the inclination of a 
  planet’s orbit, roll 3d6. On a roll of 18, the planet 
  has a highly-inclined orbit. Roll 2d6 times 5 degrees 
  to determine its inclination.
  Orbital inclination has little eﬀect on a planet 
  itself, but it can pose problems for explorers or 
  space travelers. Interstellar explorers surveying a 
  system for the ﬁrst time are more likely to miss 
  planets which have cockeyed orbits. Apply a Skill 
  Roll penalty of -2 to ﬁnd worlds in highly-inclined 
  orbits during the initial survey of a system. Space 
  voyagers who live on a planet with a tilted orbit 
  usually have trouble visiting other worlds.
  MASS
  The two most important parameters for a 
  planet are its orbital distance (page 80) and mass. 
  The combination of the two determines if a world 
  is a gas giant, a ball of rock, or a green and habit-
  able planet. The yardstick for planetary mass is the 
  mass of the Earth (5.974 x 1024 kilograms); all plan-
  etary masses are expressed in fractions or multiples 
  of the Earth’s mass.
  Gamemasters can pick the mass for each 
  planet or roll randomly. The planets of the Solar 
  System are a good yardstick:  small airless worlds 
  like Mercury have a mass of .05 or less; marginal 
  worlds like Mars have masses of .1 to .3 or so; larger 
  solid planets have a mass of .5 to 2. Small gas giants 
  like Uranus and Neptune have a mass of about 20, 
  while bigger ones like Jupiter and Saturn weigh in 
  at 100 to 300 times the mass of the Earth. Really 
  gigantic planets are possible, verging on brown 
  dwarf stars, with masses of 500 or more.
  To randomly determine planetary mass, roll 
  2d6 and consult the Planetary Mass Table, cross-
  indexed by orbital zone. The result is the planet’s 
  mass in Earth masses. A result of 0 means no planet 
  formed in that orbit. Either it is completely empty, 
  or it is occupied by asteroids.
  QUICK PLANETARY 
  SYSTEM CREATION
  Step 1:  Determine the 
  number of planets, 
  either by rolling 3d6 or 
  by ﬁguring the system 
  boundary size.
  Step 2:  Determine 
  orbital distances for the 
  planets, either by using 
  Bode’s Law or by rolling 
  1d6 divided by 10, then 
  multiplying by 1 + (2d6/
  10) for each subsequent 
  planet.
  Step 3:  Remove any 
  planets in the Red zone 
  or in orbits made unten-
  able by the presence of a 
  companion star.
  Step 4:  Add any system 
  anomalies.
  PLANETS
  
  83 
  Star Hero ■ Chapter Four
  DENSITY AND COMPOSITION
  A planet’s density depends upon its composi-
  tion, which depends in turn on the planet’s mass 
  and orbital zone. Consult the Planetary Composi-
  tion Table and compare the mass with the zone 
  to get the composition, which in turn determines 
  density.
  Gas:  The planet has a solid core but the bulk of it is 
  composed of liquid or gaseous methane, ammonia, 
  helium, and hydrogen. Density is low, about .2 to .3.
  Hydrogen:  The planet is composed almost entirely 
  of hydrogen and helium, with traces of other gases 
  in roughly the same proportions they are found in 
  interstellar space. The core is highly-compressed 
  metallic hydrogen. Density is .2.
  Ice:  The planet is composed almost entirely of ices, 
  with a density of .1 to .2.
  Rock:  The world is composed of rock and is too 
  cold or not massive enough to form an active core. 
  Density is .6 or .7 but seldom higher. 
  Rock-Ice:  The body is composed of rock and ice; 
  smaller bodies are an undiﬀerentiated “pudding,” 
  but larger ones may have a rocky core covered by 
  an ice crust. Typical densities for a rock-ice world 
  are .3 to .5 depending on the ratio of rock to ice. 
  (GMs may roll randomly 1d6/20 plus .2 to deter-
  mine density.)
  Rock-Iron:  The body has a core of liquid iron and 
  a crust of rock. Density is typically very close to 1, 
  but for extremely massive bodies can approach 1.5. 
  (To determine randomly roll (1d6/20) plus .8 to get 
  density.)
  DIAMETER
  Density is mass divided by volume, and 
  volume is proportional to the cube of the diameter, 
  so once you know the mass and density you can 
  ﬁgure out the size of the planet. Use the following 
  formula to get the diameter from the mass and 
  density:
  Diameter = cube root of (mass/density)
  If you don’t have a calculator which can do 
  cube roots, consult the sidebar on page 84. The 
  result is the planet’s diameter relative to the Earth. 
  To convert that to kilometers, multiply by the 
  Earth’s diameter of 12,800 km.
  Example:  Kalumar has a density of .8 and a 
  mass of .5, so its diameter will be the cube root 
  of (.5/.8), or .625. The cube roots sidebar shows 
  that the closest approximation is .75, which has 
  a cube root of .9, so Kalumar has a diameter 
  of .9 times that of the Earth. Multiplying .9 by 
  12,800 kilometers gives us a diameter of 11,500 
  kilometers.
  Gas Giants
  A gas giant is a planet with a diameter of 
  48,000 to 130,000 km (sometimes more) and a 
  thick atmosphere of Gas or Hydrogen. (Neptune 
  and Uranus are on the small end of this scale; Jupi-
  ter and Saturn on the upper end.) They have masses 
  of 50 or higher. They usually exist in the Blue or 
  Black zones; closer in, the heat of their sun would 
  boil away the gases of all but the largest ones. Large 
  gas giants actually generate heat on their own, 
  which may warm their moons (gas giants always 
  have moons) enough to make them habitable (see 
  Tidal Heating, below). In science ﬁction, gas giants 
  frequently provide fuel for starships, which “skim 
  oﬀ” part of their atmospheres.
  GRAVITY
  The relative diameter times the relative density 
  gives the planet’s surface gravity as a fraction of 
  Earth’s gravity. The value for Earth’s surface gravity 
  is 10 meters per second squared.
  Example:  Kalumar (in the example of diameter 
  computation above) has a diameter of .9 and a 
  density of .8, which gives it a surface gravity of 
  .9 x .8, or .72 standard gravities.
  Most life forms cannot live long in a gravity 
  ﬁeld more than about 50 percent greater than that of 
  their native environment. This applies to individuals 
  more than species:  a Human raised on a high-gravity 
  planet has no trouble there, but a person whose bones 
  PLANET NAMES
  If a planet is inhabited, 
  or in a system with 
  native intelligent life, 
  it probably has a local 
  name. Otherwise, the 
  standard practice is 
  to give each planet a 
  Roman numeral indicat-
  ing its orbital position. 
  The innermost planet 
  of Alpha Hydri is Alpha 
  Hydri I. The planet 
  four orbits out is Alpha 
  Hydri IV. Planets with 
  eccentric orbits (such 
  as captured worlds) 
  have their number 
  based on their average 
  distance from the star. 
  Counterworlds, rosettes, 
  and double planets get 
  a letter following the 
  Roman numeral — VIIa 
  and VIIb, or IIa-IIf. A 
  colonized system may 
  keep the numerals, or 
  give the planets names 
  based on some scheme 
  chosen by the colonists.
  Hard Science:  The Inter-
  national Astronomi-
  cal Union has a set of 
  guidelines for naming 
  features on other planets 
  in the Solar System. The 
  two most important 
  rules are that discover-
  ers cannot use names 
  from living religions or 
  the names of living per-
  sons. (A living religion 
  is one which still has 
  active believers; Islam, 
  Hinduism and Christi-
  anity are living religions, 
  the Aztec, Greek and 
  Babylonian religions are 
  not.)  It seems likely that 
  future space explorers 
  would follow a similar 
  scheme.
  BIG WORLDS
  As of 2002, Human 
  astronomers have dis-
  covered extrasolar plan-
  ets with masses up to 
  almost 14 times that of 
  Jupiter! To simulate this 
  with the table, any time 
  you get a result of 300 
  or more, roll another d6. 
  On a 1-3, multiply the 
  planet’s mass by 2d6.
  PLANETARY MASS TABLE
  Roll 2d6 
  Yellow 
  Green 
  Blue 
  Black
   
  2 
  0 
  0 
  0 
  0
   
  3 
  .1 
  .1 
  .1 
  0
   
  4 
  .1 
  .2 
  .2 
  .1
   
  5 
  .2 
  .5 
  .5 
  .2
   
  6 
  .3 
  .8 
  .8 
  .3
   
  7 
  .5 
  1 
  1d6x5 
  .4
   
  8 
  .8 
  1.2 
  1d6x5 
  .5
   
  9 
  1 
  1.5 
  1d6x10 
  1d6x5
   
  10 
  1.5 
  2 
  1d6x50 
  1d6x10
   
  11 
  1d6 
  1d6x50 1d6x50 
  1d6x50
   
  12 
  1d6x50 1d6x100 1d6x100 1d6x100
  Hard Science:  The GM can make these numbers a 
  bit more variable by rolling 2d6 and reducing the 
  mass by that percentage. So a result of 4 for a blue 
  zone planet would be .2; rolling an additional 2d6 
  and get 10; subtracting 10 percent from .2 gives a 
  ﬁnal mass of .18 earths.
  Also, it seems that a large gas giant (anything 
  with a mass over 50 earths) tends to “cannibalize” 
  nearby worlds. Divide the mass of any smaller 
  planet within 3 AU of a giant by 10; if the result is 
  less than .05 there is an asteroid belt in that orbit 
  instead.
  PLANETARY COMPOSITION
   
  Zone
  Mass 
  Yellow 
  Green 
  Blue 
  Black
  ≥ .1 
  rock-iron 
  rock 
  rock-ice 
  ice
  .1 to .3 
  rock-iron rock-iron 
  rock 
  rock-ice
  .4 to .5 
  rock-iron rock-iron rock-iron rock-ice
  .6 to 1 
  rock-iron rock-iron rock-iron 
  gas
  1.1 to 10 rock-iron rock-iron 
  gas 
  gas
  10.1 to 50 
  gas 
  gas 
  gas 
  gas
  50.1 to 100 
  gas 
  gas 
  hydrogen hydrogen
  100.1+ 
  hydrogen hydrogen hydrogen hydrogen
  
  84 ■ Planets 
  HERO SYSTEM 5TH EDITION
  developed on a low-gravity world would be in danger. 
  One important exception to this is that creatures 
  which live in the water are largely immune to gravita-
  tion eﬀects because the ﬂuid that surrounds them 
  supports them as well. So as long as all the other 
  conditions are the same, swimmers can live anywhere 
  regardless of gravity. (See page 278 for more on the 
  eﬀects of gravity.)
  MOONS
  Most planets are accompanied by one or more 
  moons. As a rule, the bigger a planet, the more moons 
  it has and the bigger those moons can be. Solid “ter-
  restrial” planets tend to have no more than a couple, 
  usually no bigger than asteroids. All gas giants have 
  moons, and some of them can be the size of planets 
  in their own right.
  To determine randomly how many moons a 
  solid planet has, and how far out they orbit, roll on 
  the Moons Table below. Planets in the Yellow zone 
  suﬀer a -1 to the roll. All gas giant planets have 
  moons — small gas giants (mass up to 50) have 2d6 
  moons, and large ones have 3d6.
  MOON ORBITS
  There does not seem to be any simple rule 
  governing moon orbits, in part because they aﬀect 
  each other much more than planets do. The standard 
  “yardstick” for moon orbits is the planetary radius 
  (half the planet’s diameter). The GM can either keep 
  the distances in radii or convert them to kilometers 
  by multiplying by the parent planet’s radius. For each 
  moon choose an orbital distance of between 3 and 
  100 planetary radii, or else roll on the Moon Distance 
  Table to determine orbital distance.
  There are a couple of things to consider:  moons 
  within 2.44 planetary radii (the distance known as 
  the Roche limit) break up if they are bigger than aster-
  oidal in size, often forming a ring system. Replace 
  any moon more than 100 kilometers across at that 
  distance with a ring. Moons usually can’t occupy 
  the same orbit (exceptions are noted in the Moon 
  Anomalies Table), so reroll if a moon’s orbit is 
  already taken.
  MOON SIZE
  Moons range from tiny asteroidal chunks of 
  rock to small worlds. In general, the inner moons of 
  gas giant planets tend to be large, with masses on the 
  order of .01 Earth; outer moons of gas giants and 
  moons of solid planets are more like asteroids. Excep-
  tions are possible, of which the most famous is Earth’s 
  Moon. To determine moon size randomly, roll on the 
  Moon Size Table, with a +1 for close and medium 
  moons of gas giant planets. For small asteroid-type 
  moons the result is its size in kilometers; surface grav-
  ity and atmosphere are minimal. For bigger moons 
  the result is the body’s mass. Determine the density, 
  gravity, atmosphere, and other details for a large moon 
  exactly as if it were a planet.
  STRANGE MOONS
  Not all worlds have ordinary moons. Even within 
  the Solar System Saturn has a pair of moons sharing 
  the same orbit, and Pluto’s moon Charon is almost 
  as big as Pluto itself. The Moon Anomalies Table lists 
  some of the more common kinds of weird moons. 
  Gamemasters can pick what they ﬁnd interesting (but 
  no more than two or three per star system), or can 
  roll randomly. Roll 2d6; on a roll of 12, a planet has 
  some anomalies about its moon system (which you 
  can determine randomly with the Moon Anomalies 
  Table).
  TIDAL HEATING
  If a gas giant has multiple moons, the conﬂicting 
  gravitational pulls of the planet and the other moons 
  can cause tremendous heat and pressure in a moon. 
  This can also occur with a single moon that has an 
  elliptical orbit. Sometimes there’s enough heat to make 
  an otherwise uninhabitable body warm enough for 
  life to evolve. Tidal heating depends on the distance 
  from the primary planet to the moon. Check the Tidal 
  Heating Table to determine how much the tidal eﬀects 
  raise the moon’s temperature. If the tidal heating raises 
  the temperature into the range of liquid water, then 
  the moon may be capable of supporting life. (Use the 
  rules under Climate, below, to determine the base 
  temperature of a moon.) A moon with a trace atmo-
  sphere or none at all may still have a subsurface ocean 
  if it is rock-ice or ice in composition. Close moons 
  CUBE ROOTS
  Number 
  Cube Root
  .001 
  .1
  .005 
  .18
  .01 
  .2
  .05 
  .37
  .1 
  .46
  .5 
  .8
  .75 
  .9
  1 
  1
  1.25 
  1.08
  1.5 
  1.14
  1.75 
  1.2
  2 
  1.26
  2.5 
  1.36
  3 
  1.44
  4 
  1.6
  5 
  1.7
  10 
  2.15
  15 
  2.5
  20 
  2.7
  30 
  3.1
  40 
  3.4
  50 
  3.7
  75 
  4.2
  100 
  4.6
  150 
  5.3
  200 
  5.8
  300 
  6.7
  400 
  7.4
  500 
  7.9
  750 
  9
  1000 
  10
  1500 
  11.4
  2000 
  12.6
  MOONS TABLE
  Roll 1d6 
  Number Of Moons
   
  1-2 
  No moons
   
  3-4 
  One moon
   
  5 
  Two moons
   
  6 
  1d6 moons
  MOON SIZE TABLE
  Roll 1d6 
  Moon Size
   
  1 
  Asteroidal; 1d6 km diameter
   
  2 
  Asteroidal; 1d6 x 5 km diameter
   
  3 
  Asteroidal; 1d6 x 10 km diameter
   
  4 
  Asteroidal; 1d6 x 100 km diameter
   
  5 
  Planetary; mass of .01 times 1d6
   
  6 
  Planetary; mass of .1 times 1d6
  MOON DISTANCE TABLE
  Roll 1d6 
  Orbital Distance
   
  1-2 
  Close orbit (1d6 planetary radii)
   
  3-4 
  Medium orbit (3d6 planetary radii)
   
  5-6 
  Distant orbit (1d6x10 planetary radii)
  TIDAL HEATING TABLE
  Distance (radii) 
  Heating (degrees Centigrade)
   
  5 
  600
   
  6 
  150
   
  7 
  50
   
  8 
  20
   
  9 
  10
  
  85 
  Star Hero ■ Chapter Four
  may be heated to the point of being semi-molten, with 
  constant volcanic eruptions and a very active surface.
  PLANETARY ROTATION
  Planetary rotation indicates how fast the 
  planet turns on its axis, which in turn dictates the 
  length of the planet’s day. Rotation seems to depend 
  loosely on a planet’s mass, but moons and nearness 
  to the primary star can aﬀect it, too. The Planetary 
  Rotation Table gives some rough guidelines for 
  random determination.
  Tidal eﬀects can slow a planet’s rotation tre-
  mendously, and some worlds appear to just have 
  very unusual rotation rates. Solid planets with a 
  large moon (mass of .01 or more) add 1d6 hours 
  to day length if the moon is in a distant orbit, 2d6 
  if it is in a medium orbit, and 3d6 hours if the 
  moon orbits close in. Double planets and worlds 
  with giant moons are always tidally locked to their 
  companions, presenting the same face to one 
  another and rotating in the time it takes the two 
  bodies to revolve around each other.
  Moons are almost always tidally locked to 
  their primary worlds. The only exception is dis-
  tant moons which may have a “resonant” rotation 
  — turning twice every three orbits, or something 
  similar.
  Tidal eﬀects from the primary star can also 
  slow a planet’s rotation. Worlds with an orbital 
  distance of less than .5 AU multiply the day 
  length by 1d6, while worlds within .4 multiply 
  the day length by (1d6 x 10). All worlds within .3 
  AU are automatically tidally locked, turning one 
  face always towards the sun. (Tidal eﬀects don’t 
  change a gas giant’s rotation.)
  ROTATION ANOMALIES
  Some worlds just have peculiar rotation 
  rates. Gamemasters may select one or two worlds 
  per system to have unusual rotation, or roll 2d6 
  for each planet — on a result of 11 or 12 the 
  world has a rotation anomaly. Choose or roll on 
  the Rotation Anomalies Table.
  MOON ANOMALIES TABLE
  Roll 1d6 
  Moon Anomalies:
   
  1 
  Co-Orbial Moons
   
  2 
  Giant Moon
   
  3 
  Retrograde Moon
   
  4 
  Inclined Orbit
   
  5 
  Subsatellite
   
  6 
  Synchronous Moon
  Co-Orbital Moons:  The planet has two or more 
  moons sharing the same orbit. This is most 
  common in very low orbits near the Roche limit, 
  indicating a moon which has fragmented due 
  to tidal stress. More rarely a planet may have a 
  rosette of moons, spaced at 60 degree intervals 
  along the same orbit. Rosettes are usually artiﬁcial, 
  and the moons themselves may have underground 
  habitats or be old space stations.
  Giant Moon:  The planet has a moon which is really 
  big, a full-ﬂedged planet with a mass of 2d6 times 
  .1 Earth. The moon may not have a mass greater 
  than its primary planet. Giant moons of solid 
  planets are likely to have the same composition 
  as well.
  Retrograde Moon:  The moon orbits in a direction 
  opposite the planet’s rotation and the orbits of the 
  other moons. Often the orbit is highly eccentric 
  as well, indicating a captured moon. If there are 
  several moons this arrangement is unstable, but a 
  solitary retrograde moon is in no danger.
  Inclined Orbit:  The moon’s orbit is tilted with 
  respect to the planet’s equator, as much as 90 
  degrees. (To determine the amount of tilt ran-
  domly, roll 2d6 times 10 degrees; results greater 
  than 90 indicate a retrograde tilted orbit.)  Moons 
  with highly tilted orbits often have very eccentric 
  orbits as well, and may be captured bodies.
  Subsatellite:  One of the planet’s moons has a 
  small moon of its own. The smaller moon is a 
  captured body, asteroidal in size. If the planet has 
  multiple moons a subsatellite can’t last very long 
  before gravitational interference either ﬂings it out 
  to become a moon itself, or else sends it crashing 
  into something. 
  Synchronous Moon:  One of the planet’s moons 
  orbits with exactly the same period as the planet’s 
  rotation, so that it is forever hidden from half the 
  planet. (This is not possible for a planet which is 
  tidally locked to its sun.)  Synchronous moons 
  usually orbit in a medium orbit unless the pri-
  mary planet rotates very quickly or very slowly.
  PLANETARY ROTATION TABLE
  Mass 
  Day Length
  up to .5 
  20 to 30 hours (6d6)
  .5 to 5 
  15 to 20 hours (5d6)
  5.1 to 50 
  10 to 15 hours (4d6)
  50.1 or more 
  5 to 10 hours (3d6)
  
  86 ■ Planets 
  HERO SYSTEM 5TH EDITION
  AXIAL TILT 
  The majority of planets have axial tilts in the 0 
  to 30 degree range, but a few have radical tilts of up 
  to 90 degrees. Roll 1d6 on the Tilt Table.
  A planet’s axial tilt can have profound eﬀects 
  on its climate, as it is the main cause of yearly 
  seasons. Worlds with minimal tilt have a nearly 
  uniform climate year-round. Ironically, this has the 
  eﬀect of reducing a planet’s habitable area, as dry 
  regions never get any seasonal rains and cold areas 
  have no summer at all. When computing popula-
  tion based on the planet’s habitable area, apply a -1 
  to the die roll for worlds with minimal axial tilt. 
  ATMOSPHERE
  The atmospheric composition of a planet 
  is very important in determining whether it can 
  develop life. A planet’s atmosphere is the result 
  of numerous factors:  what zone the planet orbits 
  in; its mass and composition; and its age. There’s 
  also a strong element of chance — some worlds 
  wind up with a very thick atmosphere simply 
  because they happened to pick up a lot of lighter 
  elements during formation.
  All planets start out with an atmosphere 
  of hydrogen, the most common element in the 
  universe. Most smaller planets lose this within a 
  few million years as the heat of the sun boils the 
  hydrogen away into space. Big planets are able 
  keep their primordial atmospheres, and some 
  bulk up until they become gas giants.
  Solid worlds then generate a new atmo-
  sphere from volcanic outgassing, which is rich 
  in water vapor, carbon dioxide, nitrogen, and 
  sulfur compounds. On small planets or worlds 
  close to the sun, this second atmosphere is also 
  temporary, as the planet’s gravity can’t hold on to 
  the gas molecules. But larger and cooler worlds 
  retain this second atmosphere. If it is too dense 
  and has too much carbon dioxide, the planet 
  can suffer a runaway greenhouse effect, winding 
  up like Venus, with a surface temperature hot 
  enough to melt lead.
  If the atmosphere isn’t too dense and the 
  temperature is suitable for liquid water, the 
  planet may develop life. Life can have an amaz-
  ing effect on a planet, transforming the very 
  atmosphere itself. Oxygen atmospheres cannot 
  form without life. Free oxygen reacts with other 
  elements on the planet; in a few thousand years 
  none would be left. Planets can only have an 
  oxygen atmosphere when photosynthetic organ-
  isms continually renew the air.
  If the system is young — less than 1 bil-
  lion years old — all planets have essentially the 
  same atmosphere, a mix of hydrogen, methane, 
  and ammonia. This is called a Primordial atmo-
  sphere. For older systems, 2 billion years old or 
  more, consult the Atmospheric Composition 
  Table to get the atmosphere composition based 
  on the planetary composition and zone. All 
  planets with a Gas composition have Primor-
  dial atmospheres, and all Hydrogen composi-
  tion planets have atmospheres of hydrogen and 
  helium.
  Gamemasters may be puzzled to find that 
  oxygen is not one of the gases listed on the 
  Atmospheric Composition table. That is because 
  planets can’t have free oxygen without life to gen-
  erate it. At this stage you’re creating the planet’s 
  “prebiotic” atmosphere; you’ll take the effects of 
  living things into account later on.
  To determine the atmospheric density, con-
  sult the Atmospheric Density Table, then go on 
  to the Pressure step to get surface pressure. Note 
  that since pressure and atmospheric density both 
  depend on gravity, higher-gravity worlds have 
  much thicker atmospheres than small planets do.
  TILT TABLE
  Roll 1d6 
  Tilt
   
  1 
  Minimal tilt: 1d6 degrees
   
  2-3 
  Moderate tilt: 10 plus 2d6 degrees
   
  4-5 
  High axial tilt: 20 plus 2d6 degrees
   
  6 
  Extreme axial tilt: 2d6 times 10 
  degrees (tilt greater than 90 degrees 
  indicated a retrograde rotation)
  ROTATION ANOMALIES
  Roll 2d6 
  Anomaly
   
  2-3 
  Fast Rostation
   
  4-6 
  Slow Rotation
   
  7 
  Roll 1d6:  1-3, Fast Retrograde 
  Rotation; 4-6, Slow Retro-
  grade Rotation
   8-10 
  Retrograde Rotation
   11-12 
  No Rotation
  Fast Rotation:  The planet spins extremely fast, 
  with a day length of only 2d6 hours. In extreme 
  cases, where a very big planet has a very fast spin, 
  the gravity at the equator may be perceptibly less 
  than at the poles due to centrifugal eﬀects. The 
  formula is (500 x diameter)/(3600 times rotation) 
  squared. So the Earth’s rotation reduces its gravity 
  at the equator by only .0009 meters per second 
  squared, or .009 percent.
  Slow Rotation:  The planet spins extremely slowly. 
  Its day length is 3d6 times 20 days. If the length 
  of a day is greater than the year length, then the 
  planet is tidally locked and spins once a year.
  Retrograde Rotation:  The planet spins backwards. 
  Most planets rotate in the same direction that they 
  orbit; this is deﬁned as “counterclockwise” or west 
  to east. A retrograde planet spins the opposite way 
  from its orbit. Retrograde rotation may indicate a 
  captured planet, or may be the result of some mas-
  sive impact which ﬂipped the planet’s axis in the 
  distant past.
  No Rotation:  The planet does not rotate at all rela-
  tive to the stars; this is most common in captured 
  planets or worlds very far from their parent star. 
  Note that a planet with no rotation is not the same 
  thing as a tidally-locked world — a tidally-locked 
  planet keeps the same side towards its primary, 
  but a nonrotating world has eﬀectively one day 
  and night per year.
  
  87 
  Star Hero ■ Chapter Four
  There are ﬁve classes of atmosphere densities:
  None:  The planet has no atmosphere, or at least 
  none detectable without instruments, and thus 
  no atmospheric pressure. Any visitors must wear 
  vacuum suits and full life-support gear. The Moon 
  has no atmosphere.
  Trace:  Trace atmospheres are very thin, typically 5 
  to 10 percent of the density of Earth’s. Again, visi-
  tors must wear vacuum suits and full life-support 
  gear. Roll 1d6 times 1 percent to get the atmo-
  sphere’s density relative to Earth’s, then multiply by 
  the surface gravity to determine pressure relative to 
  Earth’s. Mars has a Trace atmosphere.
  Thin:  Thin atmospheres are typically about a third 
  as dense as Earth’s; some worlds with thin atmo-
  spheres can support life. Thin atmospheres have an 
  atmosphere density of 2d6 times 3 percent. Multi-
  ply by gravity to get the surface pressure.
  Standard:  Standard atmospheres are about as 
  massive as Earth’s, with a density of 3d6 times 10 
  percent of Earth’s (multiply by gravity to get the 
  surface pressure). They often support life, and can 
  also create a signiﬁcant greenhouse eﬀect, helping 
  planets retain heat.
  Dense:  Dense atmospheres are many times more 
  massive than Earth’s — from where Standard 
  leaves oﬀ to 2d6 times 10 times the mass of Earth’s 
  atmosphere (or more). Multiply by gravity to get 
  the surface pressure. In the inner parts of a system, 
  worlds with dense atmospheres retain too much 
  heat, leading to a runaway greenhouse eﬀect that 
  makes the world into a virtual oven. Venus has a 
  Dense atmosphere.
  The result is the atmosphere for a lifeless 
  planet. For most worlds, this is the ﬁnal result. But 
  planets which develop native life may have their 
  atmospheres changed further. So the next step is to 
  determine if life has evolved on the world. Check 
  the Life step to see if life has evolved on the planet.
  If the planet has life and is 3 billion years or 
  more in age, modify its atmosphere to reﬂect the 
  action of living things. Photosynthesizers convert 
  all atmospheric carbon dioxide to oxygen, but that’s 
  only the ﬁrst step. The free oxygen in turn com-
  bines with any methane to make water and more 
  carbon dioxide. The result is an atmosphere con-
  siderably less massive and a surface covered with 
  water and biomass. The atmosphere becomes 1d6 
  times 5 percent oxygen, with the remainder made 
  up of whatever components were not eliminated 
  by the plants (nitrogen and argon are the only 
  elements which do not readily form oxygen com-
  pounds). Halve the atmospheric density.
  For more on the eﬀects of atmospheres, see 
  page 283.
  ALIEN LIFE AND ATMOSPHERES
  The Life step (page 90) allows for a variety of 
  exotic life chemistries which might ﬂourish on very 
  hot or very cold worlds. It seems reasonable that 
  those forms of life might have as much of an eﬀect 
  on a planet’s environment as carbon-water organ-
  isms. (This is all extreme rubber science — early 
  twenty-ﬁrst century Humans have no way of know-
  ing if these types of life exist or have the eﬀects 
  described.)
  Ammonia-based life does much the same as 
  water-based life, sucking carbon dioxide out of 
  the atmosphere and releasing oxygen. The oxygen 
  removes methane and hydrogen, but on cold 
  ammonia worlds, the water freezes solid, becoming 
  essentially another mineral. As on water planets, 
  this makes the remaining atmosphere much thin-
  ner. 
  Fluorine-silicon life removes carbon from the 
  atmosphere, combining it with silicon to create 
  complex silicone compounds. The free oxygen 
  released by this gets taken up by silicon, so the net 
  result is to remove all the carbon dioxide from the 
  planetary atmosphere. On some worlds this reduces 
  the temperature to the point where ﬂuorocarbon-
  sulfur life takes over from the silicon types.
  Fluorocarbon-sulfur life converts carbon diox-
  ide and sulfur dioxide to oxygen. This may create 
  a world which has a breathable atmosphere for 
  Humans even though the temperatures are those of 
  molten sulfur.
  Energy-based life has no eﬀect on atmo-
  spheres, nor do hydrogen or helium-based life. 
  They simply don’t conduct enough large-scale 
  chemical reactions to have any major eﬀect.
  PRESSURE
  Atmospheric pressure depends on the com-
  position of the planet’s atmosphere and its surface 
  gravity. After determining what the planet’s atmo-
  sphere is like, multiply the atmospheric density 
  by the surface gravity, then multiply that result by 
  1000 millibars (approximately 1 atmosphere) to get 
  air pressure at sea level. Any result less than 10 mil-
  libars indicates a world which is eﬀectively airless.
  Humans from Earth require 20 percent oxygen 
  at 1000 millibars pressure; this is called a partial 
  pressure of 200 millibars of oxygen. If the partial 
  pressure of oxygen (percentage times air pressure) 
  is less than 100, Humans cannot survive unaided 
  over the long term. Similarly, a partial pressure 
  greater than 400 is also harmful. Other species may 
  have diﬀerent limits, of course.
  Altitude does aﬀect pressure; on Earth the air 
  pressure drops by approximately 10 percent per 
  kilometer of altitude. The gradient on other worlds 
  ATMOSPHERIC 
  COMPOSITION 
  TABLE
  Roll 1d6 x 10 percent for 
  boldface components, 
  2d6 x 1 percent for 
  plaintext items)
  Rock Or Rock-Iron 
  Worlds
  Yellow zone:  Carbon 
  Dioxide, Nitrogen, 
  Sulfur Dioxide, Argon, 
  Chlorine, Fluorine
  Green or Blue zones:  
  Carbon Dioxide, Nitro-
  gen, Methane, Argon, 
  Ammonia, Sulfur Diox-
  ide, Chlorine, Fluorine
  Black zone:  Hydrogen, 
  Helium
  Ice Or Rock-Ice Worlds
  Blue zone:  Carbon 
  Dioxide, Methane, 
  Argon, Nitrogen, 
  Ammonia
  Black zone:  Hydrogen, 
  Helium
  Boldface items are 
  major constituents (1d6 
  times 10 percent of the 
  atmosphere); the others 
  are minor components 
  (2d6 percent). Start with 
  the ﬁrst item listed and 
  roll the abundance of 
  each gas until you reach 
  100 percent. If you get 
  to the end before reach-
  ing 100 percent, add the 
  remainder to the ﬁrst 
  item on the list.
  ATMOSPHERIC DENSITY
  Planet Mass 
  Yellow Or Green 
  Blue Or Black
  .1 or less 
  None 
  Trace
  .11 to .3 
  None 
  Trace
  .31 to .5 
  Trace 
  Thin
  .51 to .7 
  Thin 
  Thin
  .71 to .9 
  Standard 
  Standard
  .91 to 1.3 
  Dense 
  Standard
  1.31+ 
  Dense 
  Dense
  For more variety, roll 1d6 for each world:  1 indicates 
  an atmosphere one step thinner, 6 indicates an atmo-
  sphere one step thicker, and 2-5 indicates the result 
  shown on the table.
  
  88 ■ Planets 
  HERO SYSTEM 5TH EDITION
  would depend on the 
  local gravity. Divide 
  1000 meters by the local 
  gravity to ﬁnd the equiv-
  alent for other planets. 
  When pressure reaches 
  0, the atmosphere ends 
  and space begins. Oddly, 
  this means big planets 
  actually have a thinner 
  atmospheric envelope 
  than small ones, because 
  the big planets’ heavy 
  gravity keeps all the 
  air close to the surface. 
  While some planets have 
  surface pressure too high 
  for Humans to survive, 
  there may be altitudes at 
  which the partial pres-
  sure is appropriate for 
  Humans to breathe with-
  out assistance.
  Here’s a quick-refer-
  ence table for determin-
  ing pressure at the plan-
  etary surface (measured 
  in atmospheres, where 1 
  atmosphere is the Earth 
  average pressure at sea 
  level). Atmospheric 
  density is expressed as a 
  mulitple of the mass of 
  Earth’s atmosphere.
  CLIMATE
  The climate of a 
  world depends on its 
  temperature, which in 
  turn depends on what 
  zone the planet’s orbit 
  lies in. The basic temper-
  ature is 350 Centigrade 
  in the Yellow zone, 10 
  Centigrade in the Green 
  zone, -100 Centigrade in 
  the Blue zone and -200 
  Centigrade in the Black 
  zone.
  Gamemasters 
  who want to ﬁgure a 
  planet’s temperature 
  more precisely can use 
  the following formula:  temperature is 280 degrees 
  Kelvin times the fourth root of the star’s luminos-
  ity, divided by the square root of the distance in AU 
  from the  star. To convert from degrees Kelvin to 
  Centigrade, simply subtract 273.
  Once the base temperature is determined, 
  apply various modiﬁers based on the planet’s atmo-
  sphere and other characteristics.
  ALBEDO
  Albedo refers to the fraction of light or elec-
  tromagnetic radiation an object reﬂects. The more 
  it reﬂects — the higher its albedo — the brighter 
  it appears. Planets may reﬂect back a signiﬁcant 
  amount of incoming energy, especially if their 
  atmospheres contain large amounts of dust or 
  water vapor, or if the surface is covered by ice and 
  snow. For any planet with an atmosphere more 
  dense than Trace but less than Dense, reduce the 
  temperature by 5 degrees Centigrade; Dense atmo-
  ATMOSPHERIC 
  COMPONENTS
  Here are a few notes on 
  the gases that frequently 
  compose atmospheres. 
  See the rules on page 
  284 regarding “Poison-
  ous” or corrosive atmo-
  spheres.
  Ammonia:  Ammonia 
  (NH3) is extremely 
  poisonous as a vapor. 
  Fortunately, it’s also very 
  soluble in water; if a 
  world has liquid water, 
  you’ll ﬁnd the ammonia 
  in its seas, not its atmo-
  sphere.
  Carbon Oxides:  Carbon 
  oxide (CO) and carbon 
  dioxide (CO2) often 
  exist on terrestrial 
  worlds that haven’t 
  evolved plant life yet. 
  Plants break these down, 
  freeing the oxygen so 
  other forms of life can 
  breathe it.
  Chlorine, Fluorine:  These 
  two gases both react 
  with many other ele-
  ments, so they probably 
  won’t exist in an atmo-
  sphere unless they’re 
  somehow being pro-
  duced or freed (either 
  by the natural life pro-
  cesses of weird aliens, 
  or artiﬁcially). Both are 
  extremely poisonous to 
  Humans and other ter-
  restrial life.
  Helium:  The second-
  most abundant element 
  in the universe after 
  hydrogen, helium is of 
  course unbreathable 
  by terrestrial life. But 
  at least the intrepid 
  space explorers will 
  get to shout for help in 
  squeaky voices before 
  they die.
  Hydrogen:  Because it’s 
  ﬂammable, hydrogen 
  can be extremely dan-
  gerous if it’s present in 
  large quantities. Even 
  worse, its tiny atoms 
  can sometimes get 
  inside sealed protective 
  garments, potentially 
  Continued on next page
  PRESSURE TABLE
   
  Atmospheric Density (Trace Atmospheres)
  Gravity .02x 
  .03x 
  .04x 
  .05x 
  .06x 
  .07x 
  .08x 
  .09x 
  .10x 
  .11x 
  .12x
  .5 
  .01 
  .015 
  .02 
  .025 
  .03 
  .035 
  .04 
  .045 
  .05 
  .055 
  .06
  .75 
  .015 .0225 
  .03 
  .0375 .045 .0525 
  .06 
  .0675 .075 .0825 
  .09
  1.0 
  .02 
  .03 
  .04 
  .05 
  .06 
  .07 
  .08 
  .09 
  .10 
  .11 
  .12
  1.5 
  .03 
  .045 
  .06 
  .075 
  .09 
  .105 
  .120 
  .135 
  .15 
  .165 
  .18
  2.0 
  .04 
  .06 
  .08 
  .10 
  .12 
  .14 
  .16 
  .18 
  .20 
  .22 
  .24
  2.5 
  .05 
  .075 
  .10 
  .125 
  .15 
  .175 
  .20 
  .225 
  .25 
  .275 
  .3
  3.0 
  .06 
  .09 
  .12 
  .15 
  .18 
  .21 
  .24 
  .27 
  .30 
  .33 
  .36
  3.5 
  .07 
  .105 
  .14 
  .175 
  .21 
  .245 
  .28 
  .315 
  .35 
  .385 
  .42
  4.0 
  .08 
  .12 
  .16 
  .20 
  .24 
  .28 
  .32 
  .36 
  .40 
  .44 
  .48
  4.5 
  .09 
  .135 
  .18 
  .225 
  .27 
  .315 
  .36 
  .405 
  .45 
  .495 
  .54
  5.0 
  .10 
  .15 
  .20 
  .25 
  .30 
  .35 
  .40 
  .45 
  .50 
  .55 
  .60
   
  Atmospheric Density (Thin Atmospheres)
  Gravity .10x 
  .15x 
  .20x 
  .25x 
  .30x 
  .35x 
  .40x 
  .45x 
  .50x 
  .55x 
  .60x
  .5 
  .05 
  .075 
  .10 
  .125 
  .15 
  .175 
  .20 
  .225 
  .25 
  .275 
  .30
  .75 
  .075 .1125 
  .15 
  .1875 .225 .2625 
  .30 
  .3375 .375 .4125 
  .45
  1.0 
  .10 
  .15 
  .20 
  .25 
  .30 
  .35 
  .40 
  .45 
  .50 
  .55 
  .60
  1.5 
  .15 
  .225 
  .30 
  .375 
  .45 
  .525 
  .60 
  .675 
  .75 
  .825 
  .90
  2.0 
  .20 
  .30 
  .40 
  .50 
  .60 
  .70 
  .80 
  .90 
  1 
  1.1 
  1.2
  2.5 
  .25 
  .375 
  .50 
  .625 
  .75 
  .875 
  1 
  1.125 1.25 1.375 
  1.5
  3.0 
  .30 
  .45 
  .60 
  .75 
  .90 
  .105 
  1.2 
  1.35 
  1.5 
  1.65 
  1.8
  3.5 
  .35 
  .525 
  .70 
  .875 
  1.05 1.225 
  1.4 
  1.575 1.75 1.925 
  2.1
  4.0 
  .40 
  .60 
  .80 
  1 
  1.2 
  1.4 
  1.6 
  1.8 
  2 
  2.2 
  2.4
  4.5 
  .45 
  .675 
  .90 
  1.125 1.35 1.575 
  1.8 
  2.025 2.25 2.475 
  2.7
  5.0 
  .50 
  .75 
  1 
  1.25 
  1.5 
  1.75 
  2 
  2.25 
  2.5 
  2.75 
  3
   
  Atmospheric Density (Standard Atmospheres)
  Gravity .30x 
  .45x 
  .60x 
  .75x 
  .90x 1.05x 1.2x 1.35x 1.5x 1.65x 1.8x
  .5 
  .15 
  .20 
  .30 
  .375 
  .45 
  .525 
  .60 
  .675 
  .75 
  .825 
  .9
  .75 
  .225 .3375 
  .45 
  .5625 .675 .7875 
  .9 
  1.0125 1.125 1.2375 1.35
  1.0 
  .30 
  .45 
  .60 
  .75 
  .90 
  1.05 
  1.2 
  1.35 
  1.5 
  1.65 
  1.8
  1.5 
  .45 
  .675 
  .9 
  1.125 1.35 1.575 
  1.8 
  2.025 2.25 2.475 
  2.7
  2.0 
  .60 
  .90 
  1.2 
  1.5 
  1.8 
  2.1 
  2.4 
  2.7 
  3 
  3.3 
  3.6
  2.5 
  .75 
  1.125 
  1.5 
  1.875 2.25 2.625 
  3 
  3.375 3.75 4.125 
  4.5
  3.0 
  .90 
  1.35 
  1.8 
  2.25 
  2.7 
  3.15 
  3.6 
  4.05 
  4.5 
  4.95 
  5.4
  3.5 
  1.05 1.575 
  2.1 
  2.625 3.15 3.675 
  4.2 
  4.725 5.25 5.775 
  6.3
  4.0 
  1.2 
  1.8 
  2.4 
  3.0 
  3.6 
  4.2 
  4.8 
  5.4 
  6 
  6.6 
  7.2
  4.5 
  1.35 2.025 
  2.7 
  3.375 4.05 4.725 
  5.4 
  6.075 6.75 7.425 
  8.1
  5.0 
  1.5 
  2.25 
  3 
  3.75 
  4.5 
  5.25 
  6 
  6.75 
  7.5 
  8.25 
  9
   
  Atmospheric Density (Dense Atmospheres)
  Gravity 20x 
  30x 
  40x 
  50x 
  60x 
  70x 
  80x 
  90x 
  100x 110x 120x
  .5 
  10 
  15 
  20 
  25 
  30 
  35 
  40 
  45 
  50 
  55 
  60
  .75 
  15 
  22.5 
  30 
  37.5 
  45 
  52.5 
  60 
  67.5 
  75 
  82.5 
  90
  1.0 
  20 
  30 
  40 
  50 
  60 
  70 
  80 
  90 
  100 
  110 
  120
  1.5 
  30 
  45 
  60 
  75 
  90 
  105 
  120 
  135 
  150 
  165 
  180
  2.0 
  40 
  60 
  80 
  100 
  120 
  140 
  160 
  180 
  200 
  220 
  240
  2.5 
  50 
  75 
  100 
  125 
  150 
  175 
  200 
  225 
  250 
  275 
  300
  3.0 
  60 
  90 
  120 
  150 
  180 
  210 
  240 
  270 
  300 
  330 
  360
  3.5 
  70 
  105 
  140 
  175 
  210 
  245 
  280 
  315 
  350 
  385 
  420
  4.0 
  80 
  120 
  160 
  200 
  240 
  280 
  320 
  360 
  400 
  440 
  480
  4.5 
  90 
  135 
  180 
  225 
  270 
  315 
  360 
  405 
  450 
  495 
  540
  5.0 
  100 
  150 
  200 
  250 
  300 
  350 
  400 
  450 
  500 
  550 
  600
  
  89 
  Star Hero ■ Chapter Four
  spheres reduce it by 20 degrees.
  See page 278 for more information on, and 
  rules for, albedo.
  GREENHOUSE EFFECT
  Certain gases can act to trap heat, raising 
  the temperature of a world. There are a variety of 
  greenhouse gases, including carbon dioxide and 
  water vapor. Use the following rules of thumb:  on 
  worlds with Trace or Thin atmospheres there is 
  no appreciable greenhouse eﬀect. Standard atmo-
  spheres increase the temperature by a number 
  of degrees Centigrade equal to the twice the per-
  centage of carbon dioxide in the atmosphere, and 
  Dense atmospheres increase the temperature by 10 
  degrees for each 1 percent of carbon dioxide.
  If this raises the planetary temperature above 
  50 degrees Centigrade, the planet experiences a 
  runaway greenhouse eﬀect. Its oceans boil, pump-
  ing the atmosphere full of water vapor and vastly 
  increasing its ability to hold heat. Add another 1d6 
  times 100 degrees to the planet’s temperature.
  TIDAL HEATING
  Moons of gas giant planets can also get addi-
  tional heat from tidal energy. This can sometimes 
  provide enough energy to make a world warm 
  enough for life. See the discussion on page 84.
  ROTATION
  Tidally-locked planets or worlds with days 
  longer than 10 standard days can get extremely hot 
  on the day side. The temperature on the dayside 
  in degrees Kelvin is doubled; on the nightside it is 
  halved. (To convert from degrees Kelvin to Cen-
  tigrade, subtract 273.) This can mean the oceans 
  on the dayside literally reach boiling. The planet 
  won’t have a runaway greenhouse eﬀect because the 
  moisture all freezes out on the night side. On tidally 
  locked worlds, all the water winds up as glaciers on 
  the night side.
  ECCENTRIC ORBITS
  Planets in eccentric orbits may have two cli-
  mate ratings, based on the innermost and outer-
  most distance from the star. Compute the tempera-
  ture separately for each extreme.
  CLIMATE CLASS
  The ﬁnal climate class is based on the planet’s 
  average temperature. By way of comparison, the 
  Earth’s average temperature is about 12 degrees 
  Centigrade (53 Fahrenheit) for the entire planet, 
  making it Temperate. Obviously various regions 
  are warmer or colder than this. Assume a planet’s 
  equatorial regions are about 20 degrees Centigrade 
  warmer than the base temperature, the mid-lati-
  tudes are close to that temperature and the polar 
  regions are 20 degrees colder. As a result, plan-
  ets which are Cold or Hot are uninhabitable by 
  Humans over most of their surface, but may have 
  livable temperatures in the equatorial or polar 
  regions. Very Cold or Hot and Extremely Cold or 
  Hot planets are uninhabitable, period. Humans vis-
  iting them must wear life-support gear.
  TERRAFORMING
  Terraforming is the process of making a 
  hostile world suitable for life. Since the word was 
  invented by Humans, it literally means “making like 
  Earth,” but aliens could use the same methods to 
  make planets more like their homeworlds as well 
  (“xenoforming,” so to speak).
  Humans can only change certain aspects of 
  a planet easily. Mass and orbit are eﬀectively ﬁxed 
  — by the time you can move planetary masses 
  around you don’t need to live on planets any more 
  (like the Puppeteers of Niven’s “Known Space” sto-
  ries). Composition and density are similarly immu-
  table. Atmosphere can be altered, by either large-
  scale brute-force methods (slamming comets into 
  a planet to increase the supply of volatiles) or the 
  application of genetically tailored microorganisms 
  (to change gases like carbon dioxide and ammonia 
  into nitrogen, oxygen, and water). Changing atmo-
  sphere can indirectly aﬀect climate, as thickening 
  and altering the composition changes the green-
  house eﬀect.
  A species can also alter a planet’s climate by 
  brute force. Using orbital mirrors to warm a cold 
  world or “sunshades” to cool a hot one is surpris-
  ingly possible. There are practical limits — altering 
  temperature by more than 50 degrees Centigrade is 
  probably impossible. 
  In HERO System terms, these are all applica-
  tions of the Change Environment Power. Dropping 
  a comet on a planet to thicken the atmosphere is:
  Change Environment 1” radius (increase atmo-
  spheric pressure), MegaArea (1” = 10,000 km; 
  +1 ¼) (11 Active Points); 1 Continuing Charge 
  lasting for 1 Century which Never Recovers 
  (-0), Side Eﬀect (EB 14d6 [physical] with a 
  10 km area MegaScale Explosion centered on 
  target point, always occurs; -2), Requires A PS: 
  Planetology Roll (-¼). Total cost:  3 points.
  Mirrors or sunshades to change the tempera-
  ture are:
  Change Environment 1” radius (raise or lower 
  temperature), MegaArea (1” = 10,000 km; 
  +1 ¼), Reduced Endurance (0 END; +½) (14 
  Active Points); OIF Fragile Immobile (orbital 
  mirror/sunshade; -1 ¾), Gradual Eﬀect (25 
  years;  -3 ¼), Requires A PS: Planetology Roll 
  (-¼). Total cost:  2 points.
  Continued from last page
  leading to ﬁres inside 
  a spacesuit if they 
  encounter an errant 
  spark or too much fric-
  tion. Hydrogen can also 
  bond with oxygen to 
  form water vapor, which 
  is itself corrosive.
  Methane:  Like hydrogen 
  (with which it’s usually 
  found), methane is also 
  dangerously ﬂammable.
  Nitrogen:  Although 
  necessary for life on ter-
  restrial worlds (Earth’s 
  atmosphere is about 
  three-fourths nitrogen), 
  by itself nitrogen is 
  unbreathable.
  Nitrogen Oxides:  Various 
  compounds of nitrogen 
  and oxygen are highly 
  corrosive.
  Oxygen:  Oxygen, obvi-
  ously, is necessary for 
  terrestrial life. However, 
  a world can have too 
  much of a good thing; 
  oxygen is both ﬂam-
  mable and corrosive if it 
  composes about 30%, or 
  more, of a world’s atmo-
  sphere.
  Sulfur:  Sulfur exists 
  mainly in various com-
  pounds, many of them 
  corrosive or toxic.
  CLIMATE TYPES
  Temperature 
  Climate Type
  -101o C or colder 
  Extremely Cold
  -51o to -100o C 
  Very Cold
  -21o to -50o C 
  Cold
  -1o to -20o C 
  Cool
  0o to 19o C 
  Temperate
  20o to 49o C 
  Warm
  50o to 99o C 
  Hot
  100o to 149o C  
  Very Hot
  150o C or hotter 
  Extremely Hot
  
  90 ■ Planets 
  HERO SYSTEM 5TH EDITION
  Altering atmospheric composition using micro-
  organisms is:
  Change Environment 1” radius (alter atmospheric 
  composition in one speciﬁc way), MegaScale (1” 
  = 10,000 km; +1 ¼), Reduced Endurance (0 
  END; +½), Uncontrolled (power stops function-
  ing when microorganisms expire; +½) (16 Active 
  Points); Gradual Eﬀect (5 Years; -3), Requires A 
  PS: Planetology Roll (-¼). Total cost:  4 points.
  Because these forms of terraforming use Change 
  Environment, they have to be maintained — remove 
  the orbital mirrors, or let the microorganisms die out, 
  and the transformation of the planet quickly wears 
  oﬀ. Permanent changes require Mega-Scaled Area Of 
  Eﬀect Major Transforms.
  L
  ife as early twenty-ﬁrst century Humans 
  know it is made up of complex carbon 
  molecules (nucleic acids, proteins, and car-
  bohydrates) existing in a solution of water. 
  This is by far the most common type of life in 
  the Galaxy, and seems to develop wherever liquid 
  water and simple carbon compounds are available. 
  Any planet with an average temperature between 
  -20 and 50 degrees Centigrade is likely to develop 
  life. This includes colder planets which reach the 
  liquid water range as a result of eccentric orbits or 
  tidal heating. Planets which get hotter than 50o C 
  have boiling oceans too warm for complex mol-
  ecules.
  This section deals only with the possibility 
  that life exists, and its general type. Chapter Six 
  discusses the nature of sentient alien life and alien 
  societies.
  EXOTIC LIFE
  Interstellar explorers in Space Opera or Pulp 
  SF settings may encounter life forms based on 
  chemicals very diﬀerent from those found in ter-
  restrial life. Most of these kinds of life require a 
  fairly narrow range of conditions, and so are much 
  less common than life based on carbon molecules 
  in water. Gamemasters who want to throw in some 
  exotic forms of life can choose from the following 
  possibilities.
  CARBON-AMMONIA
  On Very Cold planets with substantial 
  amounts of liquid ammonia, life forms similar to 
  carbon-water organisms can evolve using ammo-
  nia as a solvent instead. Carbon-ammonia beings 
  require a temperature range of -80 to -30 degrees 
  Centigrade and a methane-ammonia atmosphere. 
  CARBON-HYDROGEN
  Hydrogen can act as a solvent for carbon 
  compounds at temperatures between -250 and -
  260 Centigrade (higher in the immense pressures 
  of a gas giant world). Hydrogen-based life does not 
  alter its environment because it can only form in 
  places with no sunlight or other sources of exter-
  nal energy. 
  CARBON-METHANE
  On still colder worlds where methane exists in 
  liquid form, it is possible to have life forms made 
  of carbon molecules in a methane medium. Meth-
  ane-based life requires Extremely Cold tempera-
  tures between -180 and -160 degrees Centigrade, 
  and a planetary atmosphere rich in methane and 
  hydrogen.
  LIFE
  
  91 
  Star Hero ■ Chapter Four
  ENERGY BEINGS
  How beings of “pure energy” could exist and 
  remain stable is unknown. If such a thing is pos-
  sible, energy beings would probably evolve in a 
  very high-temperature environment with strong 
  magnetic ﬁelds. Rock-Iron worlds with Very Hot 
  or Extremely Hot climates and Thin or Trace 
  atmospheres rich in argon seem to be the best can-
  didates. Energy-based beings do not have a direct 
  eﬀect on a planet’s atmosphere or environment. 
  FLUORINE-SILICON
  Organisms with a complex body chemistry 
  based on ﬂuorosilicone compounds can evolve on 
  Extremely Hot planets with ﬂuorine and carbon 
  dioxide atmospheres. They require a temperature 
  range of 400 to 500 degrees Centigrade. 
  FLUOROCARBON-SULFUR
  Where liquid sulfur is present, on planets with 
  a temperature range of 150 to 400 degrees Cen-
  tigrade and atmospheres poor in oxygen but rich 
  in ﬂuorine, life forms based on ﬂuorocarbons and 
  sulfur can evolve. Such organisms can create atmo-
  spheres which Humans can actually breathe, as 
  they release oxygen from carbon dioxide to make 
  complex ﬂuorocarbon molecules.
  LIQUID HELIUM
  Far out from any star, in the reaches where 
  planets move through space warmed only by the 
  residual heat of the Big Bang, helium can exist as 
  a liquid, at temperatures approaching absolute 
  zero (-270 Centigrade). The organisms based on 
  liquid helium are very alien, and do not make use 
  of chemical reactions at all. Helium-based life does 
  not alter the planetary environment.
  COMPLEXITY
  Having determined the type of life, next ﬁgure 
  how complex it is. Use the planet’s age in billions 
  of years (from the Star System Data Table on page 
  77) and consult the Life Complexity Table. For a 
  little variation, roll 1d6 — on a 1 the planet’s life is 
  one level more primitive, on a 6 it is one level more 
  advanced.
  INTELLIGENT LIFE
  This is the big question. Does the planet have 
  intelligent life?  Worlds without sentient inhabitants 
  may nevertheless be interesting places to visit, but 
  to cause real problems you usually need sentient 
  beings.
  Hard Science:  All evidence available to Human 
  science at the start of the twenty-ﬁrst century indi-
  cates intelligent life is very rare. For any world with 
  multicellular life roll 4d6; on a result of 24 exactly, 
  there is an intelligent species. This translates to a 1 
  in 1,300 chance of intelligence, which is about in 
  line with Earth’s history (multicellular life for the 
  past billion or so years, Humans for the past mil-
  lion).
  Space Opera:  In science ﬁction stories, intelligent 
  life turns out to be much more common. Roll 2d6 
  and give the planet intelligent life on a 12. Note 
  also that many worlds in SF turn out to be ancient 
  colonies.
  COLONIES
  Even if they lack indigenous sentient life, 
  potentially life-supporting planets may house colo-
  nies of species from other worlds. To determine if 
  a planet is home to a colony, roll 2d6 and apply the 
  modiﬁers in the Colonies Table, then subtract 11. 
  The result is the number of colonies. Some colonies 
  may be quite old, on the order of centuries or mil-
  lennia, making the inhabitants eﬀectively native to 
  the world. The age of a colony is up to the GM.
  MULTIPLE SPECIES
  In classic Pulp science ﬁction there are many 
  examples of planets with two or more sentient spe-
  cies. This is not as odd as it sounds; in the distant 
  past two or more hominid species may have co-
  existed on Earth. When rolling randomly, GMs can 
  roll a second time for intelligence (using either the 
  Hard Science or Space Opera options) — if the dice 
  come up all sixes again, there are two sentient spe-
  cies. Conceivably the process can go on as long as 
  the GM keeps getting boxcars. (A planet with three 
  or more native sentient races could be a very inter-
  esting place.)
  The relationship of two species on a single 
  world depends a great deal on how much they 
  compete with one another. Two sentient species 
  with the same diet and the same climate prefer-
  ences are likely to ﬁght ﬁercely with one another, 
  and may wind up living on separate continents. 
  But a pair of species who don’t compete — say, a 
  land-dwelling race of vegetarians and a coastal ﬁsh-
  eating race — may have perfectly amicable relations 
  and even develop into a single biracial civilization.
  COLONIES TABLE
  Modiﬁer 
  Condition
   
  +1 
  Green Zone
   
  +1 
  Temperature between 0 and 50 
  degrees Centigrade
   
  -4 
  Gas Giant
   
  +1 
  Lifebearing World
   
  +1 
  Spacefaring civilization on another 
  planet in the system
   
  +1 
  Valuable Resources
  LIFE COMPLEXITY TABLE
  Planetary Age In Years Types Of Life
  1 billion or less 
  Prebiotic (complex mol-
  ecules but no organisms)
  2 billion 
  Single-Celled organisms
  3 billion   
  Plants
  4 billion or more 
  Multicellular organisms
  
  92 ■ Planets 
  HERO SYSTEM 5TH EDITION
  T
  wo planets can have identical atmospheres 
  and climates and still be vastly diﬀerent. The 
  amount and arrangement of land on the 
  surface makes some worlds rich and pros-
  perous while others are nearly uninhabitable.
  HYDROSPHERE
  The hydrosphere of a planet is how much of its 
  surface is covered by water. This is inﬂuenced by 
  several factors. Since a planet’s oceans are formed 
  of water released by volcanic activity, big planets 
  (which are more active) tend to have more water 
  than small ones.
  Climate also plays a big role. Worlds which 
  are Hot have only half as much ocean because a 
  large amount of water is in vapor form. Very Hot or 
  Extremely Hot worlds have no oceans at all.
  Very Cold or Extremely Cold worlds have no 
  oceans of water, but might have seas of ammonia 
  or liquid methane. If those chemicals exist and the 
  planet has a Dense atmosphere, the GM may roll 
  for the coverage of other liquids. Otherwise they 
  have a Hydrographic percentage of zero.
  Finally, there is a random element depending 
  on how rough the surface is. A planet with deep 
  ocean basins could have a lot of water but still have 
  plenty of dry land; a smooth planet with little relief 
  might be completely covered by a shallow ocean.
  To compute hydrosphere randomly, roll 2d6 
  and multiply by 10 percent. (Apply the modiﬁers 
  in the accompanying table.) Add or subtract 1d6 
  percent for some variability, if you want. The result 
  is the amount of surface covered by ocean. If the 
  result is 10 exactly, then the planet has large islands; 
  an 11 indicates a few small islands; and 12 means a 
  true “waterworld” with absolutely no land at all.
  DOMINANT TERRAIN
  The terrain of a planet varies widely, of course 
  — just think of all the diﬀerent landscapes on 
  Earth. The most important factors in ﬁguring 
  landscapes are hydrosphere, climate, and tectonic 
  activity (a function of mass). Hydrosphere indicates 
  how much of the surface is desert, climate tells how 
  much tundra or icecap there is, and mass gives an 
  idea of how mountainous the world is. But because 
  so much depends on random accidents of the 
  planet’s history, there is no convenient formula. The 
  GM simply has to decide on his own.
  Earth’s land surface has approximately 25 per-
  cent desert, 10 percent ice cap, 10 percent tundra, 
  and 5 percent mountainous terrain. The rest is a 
  mix of tropical forest, temperate forest, grassland, 
  and wetland.
  Since Earth is 70 percent ocean and still has 
  deserts, any world with less water is likely to have 
  SURFACE
  PLANET CLASSIFICATIONS
  At present, scientists only have the planets of the 
  Solar System and a few bodies detected around 
  other stars to study. They have only been able 
  to recognize some very general types — gas 
  giants, solid planets, and icy bodies like Pluto. An 
  interstellar society with data on hundreds of star 
  systems and thousands of planets might come up 
  with a set of standard “planet classes” as a short-
  hand for scientists and explorers. For example, in 
  the Star Trek series, planets get a letter classiﬁca-
  tion — habitable Earth-like worlds are “Class M,” 
  gas giants like Jupiter are Class J, and so forth.
  The exact criteria for a planetary classiﬁcation 
  scheme depend on who is doing the classifying, 
  and why. Space travelers and merchants might 
  simply group them into “inhabited” and “unin-
  habited,” while planetologists could have a highly 
  detailed system based on internal structure and 
  chemical composition.
  The Terran Empire, in the Hero Universe timeline, 
  uses a system of loose types geared mostly toward 
  determining a planet’s suitability for colonization 
  or economic exploitation. The types are denoted 
  by numbers, on a scale which indicates the planet’s 
  usefulness:
  Type 
  Description
   1 
  Earthlike planets with compatible 
  native life
   2 
  Lifebearing worlds requiring life sup-
  port for Humans
   3 
  Planets suitable for terraforming 
  (Mars)
   4 
  Icy dense-atmosphere worlds (Titan)
   5 
  Airless rocky worlds (Moon, Mercury)
   6 
  Airless icy worlds (Pluto, Europa)
   7 
  Asteroids (Phobos, Ceres)
   8 
  Greenhouse planets (Venus)
   9 
  Small gas giant planets (Uranus,  
  Neptune)
   10 
  Large gas giant planets (Jupiter, Saturn)
  HYDROSPHERE MODIFIERS
  Modiﬁer 
  Condition
   
  +1  
  Planetary mass greater than 1.25
   
  -1  
  Planetary mass less than .75
   
  +1  
  Warm climate
   
  -1  
  Cool climate
   
  -2  
  Cold climate 
  QUICK PLANET  
  CREATION 
  Step 1:  Check orbital 
  eccentricity, inclination, 
  and determine year 
  length
  Step 2:  Determine mass 
  by rolling on the Plan-
  etary Mass Table.
  Step 3:  Determine com-
  position on the Plane-
  tary Composition Table, 
  then compute density 
  based on composition.
  Step 4:  Compute diam-
  eter, equal to the cube 
  root of (mass divided by 
  density) in Earth diam-
  eters. Multiply by 12,800 
  to get kilometers.
  Step 5:  Determine grav-
  ity by multiplying den-
  sity by relative diameter.
  Step 6:  Roll on the 
  Moons Table to deter-
  mine how many moons 
  the planet has; ﬁgure 
  orbital distance by roll-
  ing the the Moon Dis-
  tance Table; determine 
  size by rolling on the 
  Moon Size Table; check 
  the Moon Anomalies 
  Table.
  Step 7:  Roll on the Plan-
  etary Rotation Table to 
  determine day length; 
  check the Rotation 
  Anomalies Table; roll 
  for axial tilt on the Axial 
  Tilt Table.
  Step 8:  Determine 
  atmosphere composi-
  tion by rolling on the 
  Atmospheric Composi-
  tion Table.
  Continued on next page
  
  93 
  Star Hero ■ Chapter Four
  very extensive deserts. A good 
  rule of thumb is that the non-
  desert portions make up a per-
  centage of the planet’s land area 
  roughly equal to the percentage 
  of the planet as a whole that is 
  covered by land. So a world with 
  50 percent ocean area would have 
  land that is 50 percent desert, and 
  a planet with 30 percent ocean 
  would have desert covering 70 
  percent of its land surface.
  Icecaps depend on climate 
  and hydrography. The ice surface 
  varies between 0 percent (on 
  Warm worlds) and 100 percent 
  (on Very Cold planets). For every 
  2 degree of temperature below 50 
  degrees Centigrade, increase the 
  ice cap and tundra coverage by 1 
  percent each. Ice caps can never 
  cover more of the surface than the 
  oceans.
  Mountains depend on how 
  active the planet’s crust is. Small 
  planets like Mars have few moun-
  tains (but those it does have are 
  really big because they stay in one 
  place and keep growing). Multiply 
  the planet’s mass by 5 percent to 
  get the amount of the surface cov-
  ered by mountains. Obviously, the 
  result cannot be greater than the total land surface.
  The other terrain types depend heavily on 
  the local life forms and the way the continents are. 
  One can assume that drier worlds are likely to have 
  more grassland, wetter ones to have more wetlands, 
  hotter ones to have more tropical forest, and cooler 
  ones to have more temperate forest. But a cold 
  planet might have all its continents in the relatively 
  warm equatorial regions, and so have a high pro-
  portion of tropical landforms.
  RESOURCES
  There are ten types of resources found on 
  planets:
  Heavy Metals
  Metals
  Nonmetals
  Volatiles
  Organics
  Plants
  Animals
  Crafts
  Manufactures
  Specialties
  Of course, this is a highly simpliﬁed list. The ﬁrst 
  ﬁve are found on nearly every world, though quanti-
  ties may vary and it may be easier to extract certain 
  minerals on certain planets. Animals and plants are 
  found on just about any lifebearing world, but certain 
  species with valuable properties may exist in only a 
  single environment on one planet. The products of 
  intelligent species obviously come only from planets 
  that have inhabitants capable of making them.
  Gamemasters creating a world randomly can 
  roll for each resource type using 1d6. On a roll of 1, 
  the planet is poor in that material, on a 6 it is rich. 
  The description of each category, below, includes 
  modiﬁers based on the planet conditions. Worlds 
  rich in a given resource are likely to be exporters, 
  while worlds poor in something must import it or 
  do without. Planets in the middle range have enough 
  to supply local demand. Gamemasters building a 
  world should only bother listing the rich and poor 
  resources on the template unless more detail is 
  desired or necessary.
  HEAVY METALS
  Heavy metals are radioactive substances like 
  uranium and thorium, or precious metals like gold 
  and silver. They have many applications — at lower 
  technology levels they are valued as money, and at 
  higher ones they become useful as sources of nuclear 
  power, or in construction of electronic devices. Heavy 
  metals, like other metals, are most common on rock-
  iron planets, and can be found on rock and rock-ice 
  worlds as well. The more dense a planet is, the more 
  likely it is to have heavy metals in quantity. Rock-iron 
  planets get a +1, rock-ice planets get a -1, and ice 
  planets get a -4. The roll gets an additional +1 if the 
  planet’s density is greater than 1.
  METALS 
  Metals are substances like iron, aluminum, 
  copper, and titanium. They are most often used for 
  Continued from last page
  Step 9:  Determine 
  atmosphere density by 
  rolling on the Atmo-
  spheric Density Table, 
  then calculate pressure 
  by multiplying atmo-
  sphere density by sur-
  face gravity.
  Step 10:  Determine 
  climate, either by calcu-
  lating temperature based 
  on distance or by using 
  the base temperature for 
  the planet’s orbital zone. 
  Modify for albedo, tidal 
  heating, and greenhouse 
  eﬀect.
  Step 11:  Determine if 
  the planet has any native 
  life. If so, modify the 
  atmosphere accordingly, 
  then reﬁgure climate.
  Step 12:  Roll on the Life 
  Complexity Table to see 
  what kind of creatures 
  exist.
  Step 13:  Roll to see if 
  any intelligent life exists 
  (a 2d6 result of 12, or a 
  24 on 4d6 for hard sci-
  ence); check to see if the 
  planet has any colonies 
  on it.
  Step 14:  Determine 
  ocean coverage by roll-
  ing 2d6 times 10 per-
  cent, with modiﬁers for 
  mass and climate.
  Step 15:  Determine the 
  dominant terrain based 
  on climate, hydrography, 
  and mass.
  Step 16:  Roll 1d6 for 
  each resource category; 
  on a 6 the world is rich 
  in those resources, on a 
  1 it is poor (use modiﬁ-
  ers based on other plan-
  etary characteristics).
  
  94 ■ Planets 
  HERO SYSTEM 5TH EDITION
  structural purposes, particularly in civilizations 
  with industrial-era or higher technology. Metals 
  are common on rock-iron worlds, available on 
  rock worlds and rock-ice worlds, and rare on ice 
  worlds. More massive planets tend to have more 
  metals. The die roll is +1 for rock-iron planets, 
  unmodiﬁed for rock and rock-ice, and -4 on ice 
  planets. There is a +1 modiﬁer for planets with a 
  mass greater than 1 Earth.
  NONMETALS
  Nonmetals are solid substances like sulfur, 
  silica, crystals, potassium nitrate, and the like. 
  They have a variety of uses, both as materials for 
  ceramics and as feedstocks for chemical indus-
  tries. Crystals are nonmetals, and in ﬁction often 
  have remarkable properties. Nonmetals are most 
  common on rock worlds, and are available on 
  all others except gas and hydrogen planets. Rock 
  worlds get a +1 for nonmetals, others are unmodi-
  ﬁed.
  VOLATILES
  Volatiles are liquids and gases, especially 
  water, ammonia, hydrogen, helium, and the like. 
  They are hard to ﬁnd on Yellow zone planets, but 
  are available in the Green zone and are common in 
  the Blue and Black zones. Rock-ice and ice planets 
  have good supplies of volatiles. Volatiles have three 
  main uses: as fuel for rocket-powered spacecraft; 
  as the raw materials for life support for ships and 
  space stations; and as the basis for a great many 
  chemicals. Planets in the Yellow zone get a -4 
  modiﬁer on the roll for volatiles, worlds in the Blue 
  and Black zones get a +1. Ice and rock-ice planets 
  get a +3 modiﬁer.
  ORGANICS
  Organics are chemicals made from the amaz-
  ingly versatile element carbon. They range from 
  simple substances like methane and cyanide to 
  complex lipids, alcohols, and petrochemicals. 
  Organics are very rare on Yellow zone worlds 
  as the high temperatures break them down. On 
  Green zone worlds with life, organics are found in 
  the biomass. In the Blue and Black zones primor-
  dial organics can be found, especially on worlds 
  with abundant methane. Organics are an impor-
  tant energy source at industrial-era technology, 
  and are also vital for making plastics, pharmaceu-
  ticals, or chemicals. Yellow zone worlds get a -4 on 
  the roll for organics, rock-ice and ice planets get 
  a +1, and any world with life that is water-based, 
  ammonia-based, or methane-based get a +3.
  PLANTS
  Plants and plant products are only available 
  on planets where plant life has evolved. Plants in 
  general are common on such worlds, but particular 
  species with special properties can be exceedingly 
  rare. They are most commonly used for food, but 
  plant extracts can also be a source of pharmaceuti-
  cals or spices. Trees and similar big plants provide 
  materials for building, and other plants supply 
  ﬁbers for cloth. When rolling for the resource, one 
  can assume that there are plants growing all over 
  any world with life in the Yellow, Green, or Blue 
  zones; the die roll indicates how useful or valuable 
  the world’s plants are.
  ANIMALS
  As with plants, animals exist only on lifebear-
  ing worlds. Not all lifebearing planets have animal 
  life — the GM should decide if a given planet does. 
  Animals are used for food by many races, and their 
  skins are a traditional material for clothing. Some 
  animal species produce toxins or other substances 
  which can have importance as medicines. The roll 
  for animal resources requires that the planet have 
  native multicellular life, but is otherwise unmodi-
  ﬁed.
  CRAFTS
  Crafts are the products of preindustrial cul-
  tures, chieﬂy from societies at Stone Age through 
  preindustrial technology. Pottery, cloth, woodwork, 
  and items made of bone and leather are typical 
  crafts. Their value in interstellar trade derives 
  mostly from aesthetic value, and they are treated 
  as artworks. When rolling randomly, treat a die 
  result of 1-5 as neutral — the planet’s people make 
  crafts for their own use but don’t export anything. 
  A result of 6 means the culture’s crafts are interest-
  ing or beautiful enough to have value elsewhere. 
  The roll for crafts has no modiﬁers, but obviously 
  the planet must have intelligent inhabitants with 
  manipulatory limbs to make them. (For an exam-
  ple of an intelligent species without manipulatory 
  limbs, and the problems this causes, see Arthur C. 
  Clarke’s short story “Second Dawn.”)
  MANUFACTURES
  Manufactures are those products made in 
  factories at industrial or later technology. Manu-
  factured goods are seldom as lovingly made or 
  beautiful as handcrafts, but they are vastly cheaper 
  and available in enormous quantities. This means 
  factories are built only when there is a suﬃciently 
  large market for their wares. Many planets import 
  manufactured goods, either because the local tech-
  nology cannot produce them or because the local 
  population is too small to support a factory. The 
  range of manufactured goods is vast — from plas-
  tic trinkets to starships. When rolling randomly, 
  all worlds with preindustrial technology get a -1; a 
  spacefaring or higher technology get a +1. A plan-
  etary population below 1000 gives a modiﬁer of -2, 
  and population less than 1 million gives a modiﬁer 
  of -1. 
  SPECIALTIES
  Many worlds have some resources which are 
  the result of particular local conditions and do not 
  occur elsewhere. They may be natural products or 
  items made only by one culture on that world, or 
  luxury items like a unique mineral water. On a roll 
  of 6, a planet has some special resource; the GM 
  gets to decide what it is.
  
  95 
  Star Hero ■ Chapter Four
  P
  lanets are not the only things one can ﬁnd 
  circling a star. There are asteroids and 
  comets, space rubble which may turn out to 
  be more useful in some ways than planets 
  themselves. Intelligent beings can construct space 
  stations and habitats. And extremely advanced 
  civilizations may construct really huge structures 
  bigger than worlds.
  ASTEROIDS
  Asteroids are small bodies orbiting a star. 
  They range in size from a kilometer across to 1,000 
  kilometers in diameter. All asteroids are airless, and 
  have a surface gravity of 0.01 G or less. They have 
  no surface water, but may contain deposits of ice.
  In the Solar System, the asteroids are most 
  common in the Asteroid Belt, a loose collection 
  of bodies orbiting between Jupiter and Mars. Any 
  planetary mass result of 0 during planet generation 
  indicates an asteroid belt. Other star systems may 
  have multiple asteroid belts, and young stars won’t 
  have anything else.
  The exact composition of asteroids varies. 
  Some are stony-iron bodies, composed of rock and 
  metal with little in the way of volatiles. These are 
  most common in the inner system (the Red, Yellow, 
  and Green zones), although they can be found any-
  where. Carbonaceous asteroids are rich in carbon 
  and volatiles, though rock and metal still makes up 
  the bulk of their mass. Carbon asteroids are most 
  common in the Green and Blue zones. In the outer 
  system (the Black zone), comets predominate.
  The structure of asteroids also varies. Some are 
  simply huge single chunks of rock or iron, possibly 
  with a coating of dust pulverized by eons of mete-
  oroid impacts. Others have been shattered by large 
  impacts, or formed by low-energy collisions, and 
  so are really just a collection of fragments loosely 
  packed together.
  Humans operating on an asteroid face several 
  hazards. The surface of an asteroid is essentially 
  “outer space,” with no protection from cosmic 
  rays or solar heat. (See page 281 for conditions in 
  space.) The low gravity means staying on an aster-
  oid’s surface can be diﬃcult. On small bodies (up to 
  20 kilometers or so) a vigorous leap can send one 
  into a long ballistic path, sometimes circling the 
  entire asteroid. Explorers and workers need tethers 
  to keep from “falling oﬀ” into space.
  The surface of an asteroid is likely to be a mass 
  of powder like Moon dust. In the minuscule grav-
  ity, any motion quickly raises a cloud of obscuring 
  dust. Each Phase characters must make a PS: Zero-
  G Operations roll, or a DEX Roll at -3, to avoid 
  kicking up dust. On a failed roll, the character is 
  surrounded by one hex of dust, which functions 
  as Darkness to Sight Group (and, depending on 
  composition, possibly the Radio Sense Group and 
  senses like Sonar). The dust settles in 6 Segments 
  unless the character fails another roll. In a battle 
  situation, characters may choose to kick up a lot of 
  dust deliberately, to block laser weapons and sen-
  sors.
  Their low gravity makes asteroids attractive 
  for space mining and manufacturing because there 
  is no need to waste much energy hauling mass out 
  of a deep gravity well. Asteroids with ice deposits 
  could draw colonists, tunneling into the rock and 
  farming under domes or bright lights.
  To determine if a system has asteroid colo-
  nies or bases, the system must either have a planet 
  with spacefaring technology, or the system must 
  be claimed by a spacefaring civilization. If either 
  of those is the case, roll 2d6-11 and add 1 for each 
  OTHER
  OBJECTS
  
  96 ■ Planets 
  HERO SYSTEM 5TH EDITION
  inhabited planet in the system. The result is the 
  number of asteroid bases. To determine population, 
  roll 1d6 and consult the Asteroid Population Table.
  Asteroids can have resources just like planets. 
  It’s safe to assume nobody would settle on a given 
  asteroid unless it was rich in something. Stony-iron 
  asteroids are rich in either metals, heavy metals, or 
  nonmetals. Carbonaceous asteroids have metals, 
  nonmetals, and organics. Comets have volatiles, 
  organics, and nonmetals. Any asteroid with a 
  Colony or Large Colony is assumed to produce 
  Manufactures as well.
  FLYING IN ASTEROID BELTS
  A staple of science ﬁction movies is for a hero 
  being pursued by a numerically- or technologi-
  cally-superior enemy to duck into an asteroid ﬁeld, 
  using his superior reﬂexes to avoid a collision. Not 
  only does this oﬀer him visual and physical cover 
  from his pursuers, but since they don’t have the 
  same degree of piloting skill he does, they end up 
  smashing into the big, ﬂoating rocks.
  To pull this trick, a PC pilot has to make a 
  Combat Piloting roll every Phase to avoid colliding 
  with an asteroid. The diﬃculty of the roll depends 
  on how densely packed the asteroids are:
  Belt Density 
  Modiﬁer
  Very light 
  +2
  Light 
  +1
  Average 
  +0
  Tight 
  -3
  Very Tight 
  -6
  Extremely Tight 
  -9
  Even “Very Light” assumes the asteroids are 
  close enough together that the character’s ship 
  passes a few each Turn. If they’re extremely dif-
  fuse — as in Earth’s asteroid belt, where there’s an 
  average of a million kilometers between asteroids 
  — characters don’t have to roll at all, but they gain 
  no cover, either.
  Failing a roll indicates a collision. If the 
  roll fails by 1-3, the character merely swipes (or 
  is swiped by) an asteroid, and takes its velocity 
  divided by 5 in dice of Normal Damage. If the roll 
  fails by 4 or more, it takes its velocity divided by 3 
  in dice of Normal Damage (or more, at the GM’s 
  discretion).
  If the character can make the rolls, in some 
  cases his ship becomes harder to hit with attacks, 
  thanks to the cover of the intervening rocks:
  Belt Density 
  OCV Penalty
  Tight 
  -2
  Very Tight 
  -4
  Extremely Tight 
  -6
  Of course, ships may still be able to obtain 
  cover behind individual asteroids, in the GM’s dis-
  cretion; if so, normal Concealment rules apply.
  COMETS
  Comets are similar to asteroids, but are com-
  posed mostly of ice, with chunks of rock embedded 
  in them. They are found in the Black zone of all 
  star systems. Like asteroids, comets represent valu-
  able resources due to their accessibility. Because 
  they’re so far out from the central star, they’re less 
  suitable for colonization. As with asteroids, they are 
  only colonized if the system contains a spacefar-
  ing planet or is owned by a starfaring civilization. 
  Roll 2d6-12 and add 1 for each inhabited planet; 
  the result is the number of comet bases in a system. 
  Roll on the Asteroid Population Table with a -1 
  penalty to get the population of a comet base.
  See page 71 for more information about, and 
  ideas for, comets.
  SPACE HABITATS
  Sometimes there isn’t a convenient planet or 
  asteroid where people want to live or work. In that 
  case they need an artiﬁcial habitat, like a space 
  station or star base. These can be anything from a 
  trailer-sized orbital laboratory (like Skylab or Mir), 
  to a large permanent station (like Deep Space 9 
  in the Star Trek universe) to a giant self-suﬃcient 
  space city (like Babylon 5 in the television series of 
  the same name). See page 208 for more on Bases in 
  space.
  As with asteroid or comet colonies, a system 
  must hold or be controlled by a spacefaring civi-
  lization. If that is the case, roll 2d6-12 and apply 
  the following modiﬁers:  +1 if there are one or 
  more asteroid colonies, +1 if there is more than 
  one inhabited planet, and +1 if the system is on an 
  important trade route. The result is the number of 
  major stations. Roll 2d6 on the Space Station Table 
  to determine the size of each station.
  SPACE STATION TABLE
  Roll 2d6 
  Station Type and Size
   
  2-7 
  Small Station (1d6 x 5 people)
   
  8 
  Medium Station (2d6 x 10 people)
   
  9 
  Large Station/Star Base (1d6 x 100 
  people)
   
  10 
  Large Star Base (2d6 x 100 people)
   
  11 
  Small Colony (2d6 x 1,000 people)
   
  12 
  Large Colony (2d6 x 10,000 people)
  ASTEROID POPULATION TABLE
  Roll 1d6 
  Population
   
  1-2 
  Small base (1d6 x 5 people)
   
  3 
  Medium base (1d6 x 10 people)
   
  4 
  Large Base (1d6 x 100 people)
   
  5 
  Colony (1d6 x 1,000 people
   
  6 
  Large Colony (2d6 x 10,000 people)
  TARGET:  ASTEROID!
  If a starship has to shoot 
  at an asteroid, comet, or 
  the like for some reason, 
  the GM needs to deter-
  mine how much damage 
  the target can withstand.
  Defense
  A rock asteroid has DEF 
  5; a rock-metal asteroid 
  has DEF 5-7; an ice 
  asteroid or comet has 
  DEF 2-4.
  BODY
  To determine BODY, 
  assume the object is a 
  sphere. Determine its 
  radius in hexes. To ﬁnd 
  out the volume of hexes 
  in the object, cube its 
  radius (multiply it by 
  itself, and then multiply 
  that product by the 
  radius), then multiply 
  that product by pi 
  (3.14), and then multiply 
  that product by 1.33. (In 
  short, use the formula 
  4/3πr3.) The end result 
  is the volume of cubic 
  hexes in the object.
  A rock or rock-metal 
  asteroid has 19 BODY 
  per hex. An ice asteroid 
  or comet has 13 BODY 
  per hex. Apply the stan-
  dard rules (+1 BODY 
  per doubling of size) 
  to determine overall 
  BODY.
  Here’s how much BODY 
  to add, based on size:
  5” radius:  +9 BODY
  10” radius:  +12 BODY
  20” radius:  +15 BODY
  50” radius:  +19 BODY
  100” radius:  +22 BODY
  200” radius:  +25 BODY
  1 km radius:  +29 BODY
  100 km radius:  +49 
  BODY
  See Target:  Earth!, page 
  197, for more informa-
  tion and ideas.
  
  97 
  Star Hero ■ Chapter Four
  Megastructures
  Highly advanced civilizations can build really 
  big structures, bigger than planets. A society at the 
  “stellar engineering” stage may well build things on 
  the scale of stars.
  All megastructures are impossible to place 
  randomly; the GM must decide which systems have 
  them. Exploring even a small megastructure would 
  be an entire campaign in itself. Given their poten-
  tially huge populations, a single megastructure 
  could easily dominate all the nearby systems. In the 
  case of a Dyson sphere or ringworld, the inhabit-
  ants may simply disregard planets as too tiny to be 
  worth conquering.
  ORBITALS
  A common type of habitat in Iain M. Banks’s 
  “Culture” series is the orbital. An orbital is nothing 
  but a really really big space colony — a ring some 
  400,000 kilometers across and hundreds or thou-
  sands of kilometers thick, turning once a day and 
  producing gravity by spin. In Banks’s novels most 
  orbitals are made up of smaller segments called 
  plates, so that the whole thing can be built incre-
  mentally over time. An orbital 4,000 kilometers 
  thick would have a surface area of about a trillion 
  square kilometers — two thousand times the Earth 
  itself — not to mention any usable interior volume.
  Making an orbital that size would take only 
  a fraction of the Earth’s mass, so dismantling one 
  Terrestrial-sized planet would create thousands of 
  times the living space of that planet’s surface. A star 
  system could hold dozens or hundreds of orbitals, 
  each with tens of billions of inhabitants.
  TOPOPOLIS
  Larry Niven’s essay “Bigger Than Worlds” 
  noted another interesting type of megastructure 
  called a Topopolis. The idea is simple — a tube one 
  or two kilometers across, looped around the central 
  star in a big circle the size of a planet’s orbit. The 
  result is a long, thin doughnut. Since it’s orbit-
  ing, the topopolis would be in zero gravity, but its 
  designers can rotate the tube for spin gravity. This 
  is possible because the diameter of the tube is so 
  tiny compared with the enormous scale of the ring 
  around the central star; it behaves locally like a 
  straight cylinder.
  A single-loop topopolis would have an area of 
  about 2 billion square kilometers, or four Earths. 
  But as Niven pointed out, the civilization can go 
  on adding loops almost indeﬁnitely, with fraction-
  ally smaller or larger diameters, inclined so as not 
  to block one another’s sunlight. A planet like Earth 
  could furnish material for 5,000 topopolis loops, 
  enough room for 100 trillion people! 
  RINGWORLDS
  Niven also devised 
  the idea of a ringworld 
  — a huge ribbon like 
  an orbital, but as wide 
  as the Earth’s orbit 
  around the Sun. A 
  ringworld requires 
  super-scientiﬁc build-
  ing materials (in other 
  words, stuﬀ with 
  impossible properties 
  by modern standards) 
  and a mass equal to 
  ten Earths. However, it 
  would provide living 
  space equal to at least 
  20,000 Earth-sized 
  planets, allowing a 
  population in the 
  hundreds of trillions 
  with no crowding. (The 
  ringworld in Niven’s 
  stories has 600 trillion 
  square miles of surface 
  area, the equivalent of 
  three million Earths!)
  The chief problem 
  with a ringworld is 
  that it isn’t in orbit. It’s 
  spinning to create grav-
  ity, but it’s just parked 
  around the central 
  star. Such a situation is 
  unstable over the long 
  term. Niven suggested 
  
  98 ■ Planets 
  HERO SYSTEM 5TH EDITION
  the use of large Bussard ramjets as attitude thrust-
  ers, or the builders might use the solar wind to keep 
  the ringworld centered. His novels Ringworld, The 
  Ringworld Engineers, and The Ringworld Throne 
  turn in large part on Hard SF facts about how such 
  a structure would be built and maintained, and 
  contain many fascinating ideas for GMs looking to 
  include ringworlds in their Star Hero settings.
  DYSON SPHERES
  The ultimate megastructure is to enclose an 
  entire star in a sphere. This would capture all of the 
  star’s energy output, and would allow a population 
  in the billions of billions!
  There are two ways to go about this. Freeman 
  Dyson’s original idea envisioned simply surround-
  ing the Sun with a swarm of orbiting habitats and 
  solar collectors. But later visionaries and SF writers 
  liked the notion of a single huge structure, a sphere 
  as big as the Earth’s orbit. Such a sphere would need 
  artiﬁcial gravity, because it couldn’t spin (the poles 
  would still be in zero-G), or else the inhabitants 
  would simply have to learn to live in freefall. The 
  sphere wouldn’t be in orbit, and it wouldn’t need to 
  be — the net gravity over a hollow sphere is zero, so 
  it could exist in a stable arrangement for millennia.
  MEGA-BASES
  Characters with serious claustrophobia may want a 
  megastructure as a private base. Point costs are pretty 
  high, and include no resources whatsoever beyond 
  the space itself. Gamemasters should consider using 
  the alternate rules for large Bases on page 209 and 
  just assigning a ﬂat cost for each of these mega-Bases 
  (950 to 1,850 points, depending on location and 
  resources).
  Orbital:  An orbital 400,000 km across and 4,000 km 
  thick would have a surface area of approximately 500 
  trillion hexes, at a cost of 138 points. It has BODY 
  20 (18 points), DEF 10 (24 points). It’s a location in 
  Space (25 points). The orbital provides Life Support 
  for its inhabitants (self-contained breathing and pro-
  tection from vacuum and radiation; 14 points). Total 
  cost:  219 points.
  Topopolis:  A single-loop topopolis at Earth’s orbit 
  with an internal diameter of 2 kilometers would have 
  an area of 1.5 quadrillion hexes, costing 144 points. 
  It has BODY 15 (13 points), DEF 10 (24 points). It’s 
  a location in Space (25 points). The topopolis pro-
  vides Life Support for its inhabitants (self-contained 
  breathing and protection from vacuum and radia-
  tion; 14 points). Total cost:  220 points.
  Ringworld:  A ringworld has a surface area of 600 
  trillion square miles (1.5 quadrillion square kilome-
  ters), or approximately 750 quadrillion hexes, cost-
  ing 170 points. It is very tough, with BODY 30 (28 
  points), DEF 30 (84 points). It’s a location in Space 
  (25 points). The ringworld provides Life Support for 
  its inhabitants (self-contained breathing and protec-
  tion from vacuum and radiation; 14 points). It has 
  the Physical Limitation Unstable (requires constant 
  eﬀort/maintenance to keep it functioning properly; 
  All The Time, Slightly Impairing; -15). Total cost:  
  306 points.
  Dyson Sphere:  A solid Dyson sphere has a surface 
  area of 70 hextillion hexes (7 x 1022 hexes), at a cost 
  of 220 points. The sphere itself isn’t especially strong, 
  with BODY 20 (18 points), DEF 10 (24 points). It’s 
  a location in Space (25 points). The sphere provides 
  Life Support for its inhabitants (self-contained 
  breathing and protection from vacuum and radia-
  tion; 14 points). Total cost:  301 points.
  
  99 
  Star Hero ■ Chapter Five
  M
  any science ﬁction stories take 
  place right in Earth’s back-
  yard — in its solar system, in 
  other words. The nine plan-
  ets (and one asteroid belt) 
  orbiting Sol are the cosmic real estate 
  Humans know best, so it’s only natu-
  ral for science ﬁction authors to use 
  them as the settings for stories. Since 
  Star Hero GMs and players often have 
  similar motivations, this chapter pro-
  vides a brief look at the solar system 
  from a gaming perspective. Addition-
  ally, Earth’s solar system can serve as 
  an example of what solar systems are 
  like, providing guidance to GMs who 
  want to create their own. The chapter 
  concludes with some information about 
  other nearby stars and galactic features 
  of interest.
  
  100 ■ The Solar System
  HERO SYSTEM 5TH EDITION
  E
  arth’s solar system has nine planets. From 
  closest to the Sun to furthest, they are:   
  Mercury, Venus, Earth, Mars, Jupiter, Saturn, 
  Uranus, Neptune, and Pluto. Additionally, 
  there’s an extensive asteroid belt between Mars and 
  Jupiter, and a cloud of comets out beyond Pluto.
  THE SUN
  Earth’s Sun is a type G2V star, a bright “yellow 
  dwarf.” As stars go, it’s relatively large — most stars 
  are type M dwarfs a tenth the Sun’s mass. Com-
  posed almost entirely of hydrogen and helium, it 
  has a mass 330,000 times Earth’s, and is 1.4 million 
  kilometers in diameter. Ninety-nine point nine per-
  cent of the mass of the Solar System is in the Sun 
  itself; the planets are, essentially, debris. It rotates 
  once every 27 days, which reveals the interest-
  ing fact that the planets contain most of the Solar 
  System’s angular momentum, even though the Sun 
  has most of the mass.
  About 4.6 billion years ago the Sun condensed 
  from a cloud of dust and gas in some now-distant 
  part of the Galaxy. As that cloud contracted, it 
  heated up as gravitational potential energy turned 
  to kinetic energy. That heat eventually made it pos-
  sible for the Sun’s core to begin fusion reactions. 
  Over time, the Sun has gradually brightened — a 
  billion years ago it was only about 90% as bright 
  as it is today. This brightening will 
  continue into the future, so that in 
  another billion years Earth may well 
  be uninhabitable.
  The Sun is, as characters might 
  expect, hot. Its surface temperature 
  is about 5,000 degrees Centigrade, 
  and at the core it can reach an 
  unimaginable 15 million degrees. 
  SOLAR FLARES 
  Solar ﬂares are eruptions on 
  the surface of the Sun that release 
  large amounts of energy. Often 
  the ﬂare is contained in a loop of 
  the Sun’s magnetic ﬁeld, creating a 
  huge “prominence” extending up to 
  100,000 kilometers above the sur-
  face of the Sun. Flares can release 
  showers of charged particles and 
  radiation, damaging electronics and 
  posing a threat to character health 
  and safety.
  THE PLANETS
  The nine planets of the Solar System have all 
  been extensively observed through telescopes, and 
  all but Pluto have been visited by space probes. 
  Long before NASA got to any of them, science ﬁc-
  tion writers were exploring the planets in stories.
  Mercury
  Diameter:  4,900 kilometers
  Distance From Sun:  .39 AU
  Gravity:  .37 G
  Year:  88 Earth days/1.5 Mercury days
  Moons:  None
  Orbital Velocity:  47.6 kilometers/sec
  Atmosphere:  None
  Mercury is the innermost planet, an airless, 
  cratered body half again as large as Earth’s Moon. 
  It is notable for its high density — almost that of 
  the Earth, which is twenty times larger. Apparently, 
  because it formed so close to the Sun, solar heat 
  cooked all the lighter elements out of Mercury. That 
  suggests, in turn, that it may be very rich in heavy 
  metals, a mineral treasure trove. Because Mercury 
  moves so quickly about the Sun, it’s hard for space-
  craft launched from other planets to reach it.
  Observing Mercury by telescope is diﬃcult 
  EARTH’S 
  SOLAR SYSTEM
  VISITING THE SUN
  While it may seem insane 
  to think of landing on the 
  Sun or even approach-
  ing within a few million 
  miles of it, science ﬁction 
  stories have imagined it. 
  The key is to carry along 
  enough insulation or 
  enough matter to absorb 
  the incredible heat before 
  the characters roast.
  In HERO System terms, 
  visiting the Sun’s “sur-
  face” (the photosphere, 
  the edge of the opaque 
  plasma of the Sun’s atmo-
  sphere, where it’s a mere 
  5,000o C) requires Life 
  Support:  Intense Heat, 
  High Radiation, and 
  High Pressure (5 Active 
  Points). More realistically, 
  it should also include a 
  large amount of abla-
  tive armor to boil away. 
  Immersion in the solar 
  surface plasma inﬂicts 
  10d6 Normal Damage, 
  Continuous, Armor 
  Piercing, per Segment 
  (i.e., as if the Sun has SPD 
  12). Using the optional 
  rules for Ablative that 
  remove Active Points 
  instead of imposing an 
  Activation Roll (since a 
  single failed Activation 
  Roll could kill everyone 
  aboard the ship!), for a 
  ﬁve minute visit a Solar 
  Exploration Module 
  needs DEF 500 just to 
  absorb the damage from 
  the visit (it loses 20 DEF 
  per Turn, at the rate of 5 
  Active Points’ worth of 
  DEF per Segment).
  Descending deeper into 
  the Sun (which has a 
  diameter of 1.4 million 
  km, or 700 million hexes) 
  Continued on next page
  
  101 
  Star Hero ■ Chapter Five
  because of glare from the Sun. Consequently, 
  astronomers goofed in determining Mercury’s rota-
  tion period. The mistake was easy to make because 
  Mercury’s rotation (58 days) and orbital period 
  (88 days) are “resonant” — it turns around three 
  times for every two orbits. When astronomers got 
  rare glimpses of the surface of Mercury, it appeared 
  to keep the same face to the Sun. For decades in 
  classic and pulp science ﬁction, Mercury was the 
  one-face world, its bright side eternally baking 
  under the harsh light of the Sun, its night side one 
  of the coldest places in the Solar System, forever 
  in shadow. Sadly, in the 1960s, radar observations 
  determined Mercury’s true rotation period, and the 
  one-face world was no more.
  Adventures on Mercury often involve the 
  monstrous heat of the Sun, either as something the 
  heroes must survive, or as a lurking menace every-
  one must constantly worry about. When a member 
  of the Mercury base crew goes mad and sabotages 
  the cooling machinery, it’s a race against time 
  before the deadly dawn.
  Venus
  Diameter:  12,200 kilometers
  Distance From Sun:  .72 AU
  Gravity:  .88 G
  Year:  223 Earth days/0.9 Venus days
  Moons:  None
  Orbital Velocity:  34.9 kilometers/sec
  Atmosphere:  Dense (100 times the mass of Earth’s)
  Venus is a pretty close approximation of Hell. 
  Its thick carbon dioxide atmosphere traps solar 
  heat, raising the surface temperature to 450 degrees 
  Centigrade (850 Fahrenheit) — hot enough to melt 
  lead. Sulfuric acid rain blown by gale-force winds 
  lashes the barren landscape, and intense lightning 
  discharges occasionally zap the rocks. The surface 
  pressure is 90 times that of Earth’s atmosphere 
  — equivalent to the pressure of the ocean a kilome-
  ter down. Explorers on the surface of Venus need 
  armored diving suits with heavy refrigeration. The 
  planet’s day is 243 Earth days long, and Venus turns 
  counterclockwise, so the Sun rises in the west on 
  Venus and sets in the east.
  This is all in sharp contrast to how Venus was 
  long depicted in science ﬁction. Until the 1960s, 
  all that was known about Venus was that it was 
  wrapped in clouds. Scientists (and SF writers) 
  naturally assumed they were clouds of water vapor, 
  as on Earth. A planet covered by clouds must be a 
  rainy, wet place. In ﬁction it was either a planetary 
  ocean with no solid land at all, or else a vast steam-
  ing swamp, lush with plant life — maybe even 
  dinosaurs! 
  The Moon
  Diameter:  3,480 kilometers
  Distance From Earth:  384,400 kilometers
  Gravity:  0.16 G
  Month:  28 days
  Atmosphere:  None
  Earth’s Moon is big — it would be perfectly at 
  home among the planet-sized moons of the outer 
  gas giants. What a relatively small planet like Earth 
  is doing with such a big moon has kept scientists 
  puzzled for decades. The current theory holds that 
  the Moon formed from material blasted into space 
  by a collision between Earth and a Mars-sized body 
  early in the history of the Solar System. The result 
  is that the Moon is similar in composition to the 
  rocks of the Earth’s crust.
  The Moon’s tiny gravity means it cannot 
  hold onto any air or water (although there may be 
  deposits of ice under the surface or in perpetu-
  ally-shadowed craters at the poles). However, it also 
  makes it easy for lunar explorers to carry heavy 
  equipment with ease.
  In ﬁction, the Moon is often portrayed as an 
  industrial outpost, supplying raw materials for 
  orbital colonies and factories. Earth’s proximity 
  means plenty of opportunity for economic rivalry 
  and political conﬂict, ranging from wars of Lunar 
  independence to a tense Cold War over inter-
  planetary trade. A Moon colony equipped with an 
  electromagnetic catapult to launch cargoes into 
  space could use it to bombard Earth with artiﬁcial 
  meteorites.
  THE LAGRANGE POINTS
  The “Lagrange Points” are hot real estate in 
  Earth orbit because the combined gravity of the 
  Earth and Moon make them very stable loca-
  tions. Satellites or space colonies at the Lagrange 
  is even more dangerous. 
  The next layer down, the 
  convective zone, contains 
  superhot gases; it’s about 
  two million degrees Cel-
  sius. It does 350d6 Killing 
  Damage, Continuous, 
  Armor Piercing (x2), 
  Penetrating (x4), per Seg-
  ment.
  The next zone, the 
  radiative zone, contains 
  streams of photons 
  coming from the core. It’s 
  about 5 million degrees 
  Celsius, and does 560d6 
  Killing Damage, Con-
  tinuous, Armor Piercing 
  (x4), Penetrating (x8), per 
  Segment.
  Assuming a ship makes 
  it all the way to the Sun’s 
  core — the region where 
  the nuclear reactions 
  occur — it encounters 
  temperatures of 15 mil-
  lion degrees Celsius. The 
  core inﬂicts 975d6 Killing 
  Damage, Continuous, 
  Armor Piercing (x8), 
  Penetrating (x16), per 
  Segment.
  That certainly ought to be 
  enough for the PCs to get 
  a good suntan....
  Continued from last page
  
  102 ■ The Solar System
  HERO SYSTEM 5TH EDITION
  Points can remain in place without 
  using up a lot of fuel. There are ﬁve 
  Lagrange points, but the two impor-
  tant ones are L4 and L5, located 60 
  degrees ahead and behind the Moon 
  in its orbit. They are also called 
  “Trojan points” because there are 
  clusters of asteroids named after 
  heroes of the Trojan War clumped 
  at the Lagrange Points on Jupiter’s 
  orbit around the Sun.
  Gerard K. O’Neill suggested 
  that the Moon’s Lagrange Points 
  would be ideal locations for space 
  colonies, as they could have easy 
  access to Lunar materials for con-
  struction. A leading space coloniza-
  tion group was named the L5 Soci-
  ety in support of that notion.
  In ﬁction, the Lagrange Points 
  are often depicted as a cluster of 
  habitats, ranging from big govern-
  ment-run space colonies to tiny stations inhabited 
  by crackpots and criminals. A wealthy and pros-
  perous Lagrange society might try to break away 
  from Earth and become independent — no easy 
  task when the space cities are all very delicate and 
  vulnerable. Earth and the Lagrangians might be 
  rivals for inﬂuence on the Moon and in the rest of 
  the Solar System. A less powerful Lagrange culture 
  might serve as a spacegoing version of Cold War 
  Macao or WWII Casablanca — a lawless place 
  where anything can be had for the right price.
  Mars
  Diameter:  6,800 kilometers
  Distance From Sun:  1.5 AU
  Gravity:  .38 G
  Year:  686.6 Earth days/672.6 Mars days
  Moons:  2
  Orbital Velocity:  24 kilometers/sec
  Atmosphere:  Trace
  Mars is a fascinating world, worth a whole 
  book to itself. Its atmosphere is very thin (surface 
  pressure is about 0.5 percent of Earth’s), and is 
  composed of carbon dioxide. There is no oxygen to 
  breathe. Water is apparently common in the form 
  of underground ice deposits, and the canyons and 
  channels on the Martian surface indicate it once 
  ﬂowed abundantly in liquid form.
  As a colony, Mars could be quite valuable 
  — Humans could use its ice and atmosphere to 
  manufacture rocket fuel, and its low escape velocity 
  makes it easier to ship payloads from Mars to the 
  asteroids and outer system than hauling them up 
  from Earth’s surface. Scientists and space enthu-
  siasts have also done a lot of planning for how to 
  terraform Mars (see sidebar).
  Mars is the planet of science ﬁction. Ever since 
  H.G. Wells writers have been sending explorers 
  there, dealing with invaders from there, exploring 
  the ruins of ancient civilizations there, setting up 
  colonies there, and terraforming the place. To many 
  people, the term “Martian” is synonymous with 
  “alien from outer space.” Near-future adventures 
  could take place against the backdrop of a growing 
  colony, while later ones set on a terraformed Mars 
  could use it as a rival planet to Earth.
  AREOGRAPHY
  Mars is divided into two geographical regions:  
  the southern highlands, occupying roughly two-
  thirds of the planet; and the northern lowlands. 
  A boundary zone, often containing prominent 
  features such as buttes and mesas, marks the line 
  between the two regions in most places. The north-
  ern zone is relatively smooth, whereas the south 
  has enough craters to make it look like the Moon; 
  the exact reasons for this remain unclear.
  Some prominent Martian features include:
  Chryse Planitia:  This relatively ﬂat, uncratered 
  region, located almost in the center of the planet 
  on most maps, has been a primary site of Human 
  exploration of Mars. Both Viking 1 and the Mars 
  Pathﬁnder landed in the “Plains of Gold.” The 
  Chryse Planitia region also includes the so-called 
  Cydonian Face (a rock formation which, when 
  viewed from certain angles, resembles a face) and 
  the star-shaped “City Square” of outcroppings and 
  massifs.
  Utopia Planitia:  Another fairly ﬂat and easily-tra-
  versed region of Mars, Utopia Planitia was where 
  Viking 2 landed. It’s likely that initial Human 
  settlements of Mars would be located either here 
  or on Chryse.
  Tharsis Province:  An 8,000 by 4,000 kilometer long 
  uplifted region straddling the north-south bound-
  ary, Tharsis is well-known for its volcanic features. 
  Chief among this is Olympus Mons, the largest vol-
  cano in the Solar System. Twenty-seven kilometers 
  high, and with a diameter of 624 kilometers and a 
  caldera 100 kilometers wide, it’s three times as tall 
  as Mt. Everest and covers about as much land as 
  the state of Missouri. Three other large volcanoes, 
  the Tharsis Montes, dot the Province.
   TERRAFORMING 
  VENUS
  When the true nature 
  of Venus was discov-
  ered, some planetary 
  scientists wondered if 
  the planet was just wait-
  ing for life. Carl Sagan 
  suggested shooting a 
  few rockets full of fast-
  breeding single-celled 
  plants into the upper 
  atmosphere of Venus. 
  The plants would con-
  vert the carbon dioxide 
  of Venus’s atmosphere 
  to oxygen, reducing the 
  greenhouse eﬀect and 
  eventually creating a 
  habitable world.
  Later discoveries indi-
  cate that it wouldn’t be 
  so easy — Venus is short 
  on water and nitrogen, 
  and there’s that pesky 
  sulfuric acid to worry 
  about. Still, the notion 
  of “bioterraforming” 
  by letting the plants 
  do their thing remains 
  very attractive. The 
  investment is low and 
  the payoﬀ is a whole 
  planet to live on. Per-
  haps advanced genetic 
  engineering could create 
  plants to convert Venus’s 
  atmosphere to a more 
  breathable mix.
  TERRAFORMING 
  MARS
  Mars is too small and 
  too cold to support 
  Earthly life, but in both 
  cases the margin is very 
  slim. Making it warmer 
  and giving it a thicker 
  atmosphere could make 
  Mars habitable over a 
  scale of tens of thou-
  sands of years. Current 
  plans envision doubling 
  the planet’s solar heat 
  input by means of 
  giant mirrors in space, 
  and adding volatiles to 
  thicken the atmosphere 
  by sending comets 
  smashing down onto the 
  Martian surface.
  
  103 
  Star Hero ■ Chapter Five
  Elysium Planitia:  South of the Utopia Planitia lies 
  another volcanic region, the Elysium Planitia. 
  Among its many unusual geographic features are 
  the Giant Polygons, a plain ﬁlled with enormous, 
  deep cracks forming various roughly geometrical 
  shapes up to 20 kilometers wide.
  Valles Marineris:  This series of chasms and valleys 
  up to 200 kilometers wide stretches over 4,000 
  kilometers — roughly the distance from New York 
  City to Los Angeles. The Valles has some canyons 
  up to 10 kilometers deep that are big enough to 
  hold the entire Rocky Mountains! It merges with 
  the Tharsis Province in a region called Noctis Laby-
  rinthus (the Labyrinth of Night), the largest net-
  work of intersecting valleys in the Solar System.
  PULP MARS
  In the 1890s, the astronomer Percival Lowell 
  announced he had discovered a network of canals 
  spanning the surface of the planet Mars. Obviously, 
  Mars had intelligent inhabitants, ﬁghting to keep 
  their planet habitable by titanic engineering works. 
  Though Lowell was actually just imagining the 
  canals, his vision inspired generations of science 
  ﬁction writers. 
  In the days of classic pulp science ﬁction, 
  Mars was the original “sword and planet” world, 
  with decadent kingdoms of humanoid Martians, 
  crystal towers, desert barbarians, and a surpris-
  ing number of sword-swinging Earthmen. Later 
  on, writers like Leigh Brackett and Ray Bradbury 
  imagined the delicate crystal cities and ancient 
  decadent Martians coming face to face with greedy, 
  pistol-packing adventurers from Earth, in a kind of 
  British Raj in space. 
  Meanwhile, a rival vision of Mars stemmed 
  from H.G. Wells’s super-advanced invaders 
  — Martians as a coldly hostile Elder Race, pitting 
  their superior technology against Earthlings armed 
  only with courage, numbers, and infectious dis-
  eases. Martians invaded Earth with 
  regularity from 1900 right up to the 
  days of the ﬁrst Mariner probes.
  PHOBOS AND DEIMOS
  Diameter:  27 x 19 kilometers 
  (Phobos); 15 x 11 km (Deimos)
  Distance From Mars:  9,380 kilo-
  meters (Phobos); 23,500 kilometers 
  (Deimos)
  Gravity:  Negligible (see text)
  Month:  0.32 days (Phobos)/1.26 
  days (Deimos)
  Atmosphere:  None
  Mars has two moons, Phobos 
  (“Fear”) and Deimos (“Terror”). 
  Both are small and irregularly-
  shaped. Their gravity is so weak that 
  a person standing on them could 
  throw objects with enough force to 
  achieve escape velocity (or acciden-
  tally make a strong enough leap to 
  hurl himself into space). Their origin 
  is unclear; they may be captured 
  asteroids, or built up out of materials left over after 
  Mars itself formed.
  Phobos, the larger and closer of the two 
  moons, is covered with impact craters, including 
  Stickney crater, which is 10 kilometers in diameter. 
  The enormous impact which created Stickney also 
  created kilometers-long grooves that streak the sur-
  face of Phobos. Deimos, although much smoother, 
  also has numerous small craters.
  In 1959, Soviet astronomer Iosif Schlovskii, 
  upon discovering how light Phobos is, suggested 
  that it was hollow — perhaps even a space station 
  built by some long-lost Martian civilization. Sadly, 
  he was incorrect, but it could easily be true in a Star 
  Hero game.
  The Asteroids
  Diameter:  10 to 1,000 kilometers
  Distance From Sun:  average of 2.8 AU
  Gravity:  Minimal
  Year:  average 4.7 Earth years
  Orbital Velocity:  17.7 kilometers/sec
  Atmosphere:  None
  The asteroids — rubble left over from the for-
  mation of the Solar System — are most common 
  in a belt between the orbits of Mars and Jupiter. 
  Although there are thousands of asteroids in the 
  belt, there is a lot of empty space there, too; the 
  average separation between asteroids is a million 
  kilometers.
  Individual asteroids are irregular chunks of 
  rock, ranging from a few kilometers across to giants 
  like Ceres, half the size of Earth’s Moon. Their sur-
  faces are probably powdered regolith, shattered by 
  frequent impacts. The composition of individual 
  asteroids varies quite a bit, with some rich in 
  metals, some in carbon, some in ice, and some in 
  nothing but rock.
  
  104 ■ The Solar System
  HERO SYSTEM 5TH EDITION
  In ﬁction, the Belt 
  has often been depicted 
  as a futuristic version of 
  the Gold Rush, with lone 
  asteroid prospectors steer-
  ing their jury-rigged ships 
  from rock to rock, search-
  ing for asteroids rich in 
  valuable radioactives or 
  Helium-3. Often the inde-
  pendent-minded Belters 
  come into conﬂict with 
  Earth’s stuﬀy bureaucrats 
  and greedy corporations. 
  Life in permanent zero 
  gravity sometimes makes 
  the Belters physically dif-
  ferent from Earthlings, 
  unable to walk upright 
  even in Mars’s light gravity.
  The asteroids also 
  present a potential threat to 
  Humans, since their orbits 
  sometimes bring them uncomfortably near Earth. 
  It’s likely that an impact with one millions of years 
  ago led to the extinction of the dinosaurs, and an 
  impact today could easily wipe out Humanity. Many 
  stories center around threats by megalomaniacal 
  villains to draw an asteroid down to Earth, or the 
  eﬀorts of a bold team of adventurers to stop an 
  asteroid from hitting the planet.
  Jupiter
  Diameter:  140,800 kilometers
  Distance From Sun:  5.2 AU
  Gravity:  2.6 G (at cloud tops)
  Year:  11.9 Earth years
  Moons:  16 known
  Orbital Velocity:  13 kilometers/sec
  Atmosphere:  Dense
  Jupiter is the biggest of the planets, with a mass 
  300 times that of Earth. It’s about twice as big as 
  all the other objects in the Solar System combined 
  (excepting the Sun, of course). Jupiter itself is no 
  place for Humans — the gravity at the cloud tops is 
  almost 3 G, and there’s no identiﬁable solid surface. 
  The atmosphere is mostly hydrogen and helium, 
  though clouds of ammonia and methane give the 
  planet its swirling yellow and scarlet appearance.
  The most notable feature of Jupiter is the Great 
  Red Spot, a storm covering an area about twice 
  the size of Earth. Its origins are unknown, though 
  it’s apparently been in existence for at least 300 
  years (probably much longer), and becomes redder 
  during periods of heightened solar activity.
  Carl Sagan once speculated about the possibil-
  ity of life in Jupiter’s titanic atmosphere, envisioning 
  huge balloon creatures drifting among the clouds. 
  While current theories suggest Jovian life is unlikely, 
  nobody has actually gone there to check. However, 
  at least one of Jupiter’s moons, Europa, is currently 
  on the hot list of places where Humans might ﬁnd 
  alien life.
  EUROPA
  Diameter:  3,120 kilometers
  Distance From Jupiter:  671,000 kilometers
  Gravity:  0.13 G
  Month:  3.55 days (82 hours)
  Orbital Velocity:  13.74 kilometers/sec
  Atmosphere:  Trace
  Europa is a large moon, comparable in size 
  to Earth’s Moon, composed largely of ices with a 
  solid core. It has no atmosphere to speak of, and 
  its surface is dirty water ice. What makes Europa 
  interesting is that it has almost no craters, which 
  suggests some process constantly resurfaces the 
  crust. Current theories suggest that beneath the icy 
  surface lies a deep ocean of liquid water, kept warm 
  by tidal heating from Jupiter. If that is the case, then 
  Europa’s ocean may be home to some form of life. 
  Adventures on Europa can be exploration missions 
  in search of native life, who’s-hunting-who battles 
  with dangerous Europan predators under the ice, 
  or covert operations to ﬁnd hidden pirate or rebel 
  bases in the black ocean.
  GANYMEDE
  Diameter:  5,280 kilometers
  Distance From Jupiter:  1,070,000 kilometers
  Gravity:  0.14 G
  Month:  7.16 days
  Orbital Velocity:  10.88 kilometers/sec
  Atmosphere:  Trace
  Ganymede is the biggest moon in the Solar 
  System — bigger than the planet Mercury, in fact. 
  It has a metallic core with a crust and mantle of ice, 
  and appears to have active geology driven by tidal 
  forces from Jupiter and the other moons. It was once 
  considered a possible site for terraforming, but now 
  that its composition is known, raising the tempera-
  ture to habitable levels would create an ocean miles 
  deep. Ganymede has its own magnetic ﬁeld, shield-
  ing it somewhat from Jupiter’s radiation belts.
  INSIDE JUPITER
  Astronauts venturing 
  into the atmosphere 
  of Jupiter are in for 
  an exciting time. The 
  winds are ﬁerce:  360 
  kilometers per hour in 
  the upper atmosphere, 
  and 500 kph or more 
  deeper down. Storms 
  like the Great Red Spot 
  can last for centuries. 
  The pressure increases 
  with depth, starting at 
  about .001 atmosphere 
  at the cloud tops and 
  doubling for every 20 
  kilometers down. Tem-
  perature is 0 Centigrade 
  at the cloud tops, going 
  up by 1 degree per 
  kilometer of depth. This 
  means explorers could 
  ﬂy through the upper 
  200 kilometers with 
  reasonable life support 
  systems, but below that 
  the heat and pressure 
  begin to damage, and 
  will eventually destroy, 
  spacecraft.
  JUPITER’S  
  RADIATION BELTS
  Like everything else 
  about Jupiter, its mag-
  netic ﬁeld and radiation 
  belts are huge and pow-
  erful. The belts extend 
  out from the planet to 
  a distance of half a mil-
  lion to a million kilo-
  meters, and are at least 
  ten times as intense as 
  Earth’s Van Allen belts. 
  The inner moons, Io, 
  Europa, and Ganymede, 
  are in the thick of the 
  radiation. Explorers 
  visiting the inner moons 
  of Jupiter need Life Sup-
  port:  High Radiation, or 
  considerable amounts 
  of armor. The icy crust 
  of Europa would oﬀer 
  adequate protection, 
  so radiation suits aren’t 
  necessary down in the 
  subsurface ocean.
  
  105 
  Star Hero ■ Chapter Five
  Saturn
  Diameter:  120,300 kilometers
  Distance From Sun:  9.5 AU
  Gravity:  1.2 G (at cloud tops)
  Year:  29.5 Earth years
  Moons:  18 known (probably more)
  Orbital Velocity:  9.6 kilometers/sec
  Atmosphere:  Dense
  Saturn is much like Jupiter, but is less than 
  a third as massive (only 95 times the mass of the 
  Earth), less dense, and less active. Like Jupiter, it 
  has an atmosphere of hydrogen and helium, with 
  clouds of methane and ammonia giving it a pale 
  yellow color from space. It is best known for its 
  spectacular ring system, a belt of ice and rock par-
  ticles extending from a few thousand kilometers 
  above the surface to about 70,000 kilometers up. 
  Saturn has a large family of moons, ranging from 
  tiny asteroidal chunks like Pan or Atlas, to good-
  sized objects like Tethys and Iapetus, to the aptly-
  named Titan.
  The astounding beauty of Saturn and its rings 
  make it a natural tourist attraction for a spacefar-
  ing future society (as in Arthur C. Clarke’s short 
  story “Saturn Rising”). There might be orbiting 
  resorts or hotels on the moons. Tycoons could 
  build luxurious private stations just to admire the 
  view. The rings could also hide fugitives or space 
  pirates. 
  TITAN
  Diameter:  5,150 kilometers
  Distance From Saturn:  1.2 million kilometers
  Gravity:  0.14 G
  Month:  16 days.
  Orbital Velocity:  5.58 kilometers/sec
  Atmosphere:  Standard (atmospheric pressure 
  approximately 1.5)
  The biggest moon of 
  Saturn, Titan is a remark-
  able place. Its surface is 
  hidden by a dense atmo-
  sphere of nitrogen and 
  methane, with a surface 
  pressure half again as 
  great as Earth’s. Current 
  theories suggest Titan’s 
  surface may have oceans 
  of liquid methane dotted 
  with islands or continents 
  of dirty ice. The tempera-
  ture on Titan is a chilly 
  94 degrees Kelvin (-194 
  Centigrade). It is thought 
  that Titan is very rich in 
  organic chemicals, making 
  it potentially very valuable 
  to future space colonists.
  Titan could possibly 
  be home to some form 
  of exotic life, based on 
  ammonia or methane (see 
  page 88). As a colony world it might be the Persian 
  Gulf of the outer system, with valuable carbon for 
  sale.
  Uranus
  Diameter:  56,300 kilometers
  Distance From Sun:  19 AU
  Gravity:  0.8 G (at cloud tops)
  Year:  84 Earth years
  Moons:  21 (possibly more).
  Orbital Velocity:  6.8 kilometers/sec
  Atmosphere:  Dense
  Uranus is very similar to Neptune, a small gas 
  giant with an atmosphere of hydrogen, colored 
  
  106 ■ The Solar System
  HERO SYSTEM 5TH EDITION
  blue-green by methane clouds. It is notable because 
  of its extreme axial tilt — 97 degrees. It rolls about 
  the outer Solar System on its side, surrounded 
  by a dark ring of dust and pebbles. Uranus has a 
  large family of moons, mostly small objects 100 
  kilometers across or smaller. The ﬁve biggest are 
  Titania (1,578 kilometers), Oberon (1,522 kilo-
  meters), Umbriel (1,170 kilometers), Ariel (1,158 
  kilometers), and Miranda (see below). The moons 
  of Uranus, unlike those of other planets in the Solar 
  System, have names taken from the plays of Shake-
  speare instead of classical mythology.
  Conditions within Uranus and Neptune are 
  considerably less violent and dangerous than in 
  Jupiter or Saturn. The gravity is bearable, and the 
  winds aren’t as ﬁerce. Explorers in high-tech bal-
  loon-spaceships might venture beneath the clouds, 
  and thus encounter airborne life.
  MIRANDA
  Diameter:  470 kilometers
  Distance From Uranus:  129,780 kilometers
  Gravity:  .008 G
  Month:  1.41 days
  Orbital Velocity:  6.68 kilometers/sec
  Atmosphere:  None
  Miranda is not the biggest moon of Uranus, 
  but it is a remarkable object. Photographs from the 
  Voyager probes show Miranda’s surface as a chaotic 
  jigsaw-puzzle of diﬀerent terrains, and the current 
  theory is that the moon was literally smashed apart 
  by some immense impact long ago, and the jum-
  bled fragments gradually fell together again. This 
  suggests the interior of Miranda may be a maze of 
  faults and crevices, possibly extending all the way 
  to the core. Who knows what adventurers might 
  ﬁnd in such deep places?
  Neptune
  Diameter:  49,900 kilometers
  Distance From Sun:  30 AU
  Gravity:  1.2 G (at cloud tops)
  Year:  164.8 Earth years
  Moons:  8 known
  Orbital Velocity:  5 kilometers/sec
  Atmosphere:  Dense
  Neptune’s day is 16 hours long, which makes 
  it slightly ﬂattened at the poles. Like Jupiter and 
  Saturn, it emits more heat than it receives from the 
  Sun. Its atmosphere is mostly hydrogen and helium, 
  with clouds of methane. All of Neptune’s moons 
  except Triton are small objects, no more than 400 
  kilometers across. The planet also has faint dusty 
  rings.
  Like Uranus, Neptune qualiﬁes as a “bearable” 
  gas giant. As the outermost major planet, it might 
  serve as the launching station for interstellar mis-
  sions, especially for slower-than-light ships using 
  huge nuclear rocket motors. Neptune’s atmosphere 
  would provide fuel.
  TRITON
  Diameter:  2,700 kilometers
  Distance From Neptune:  354,800 kilometers
  Gravity:  0.076 G
  Month:  -5.88 days
  Orbital Velocity:  -4.39 kilometers/sec
  Atmosphere:  None
  Triton’s orbit is retrograde, going the opposite 
  direction from most moons in the Solar System 
  (hence the “negative” numbers for its month and 
  orbital velocity). It is also highly tilted, 157 degrees 
  from the plane of Neptune’s equator. These suggest 
  it was captured, rather than forming along with 
  Neptune itself. Its most likely origin is the Kuiper 
  Belt, but GMs can have Triton be an interstellar 
  interloper, perhaps with artifacts or even survivors 
  in stasis. Triton is composed of rock and ice, with a 
  fairly smooth icy surface, though there are patches 
  of old cratered terrain. It has a very thin atmo-
  sphere of methane and nitrogen. 
  Pluto
  Diameter:  2,300 kilometers
  Distance From Sun:  39 AU
  Gravity:  .06 G
  Year:  247.7 Earth years
  Orbital Velocity:  4.7 kilometers/sec
  Atmosphere:  None
  Pluto is the outermost planet, and is the excep-
  tion to almost every rule. It is tiny, less than half 
  as massive as Mars. It has a giant moon, Charon, 
  which is nearly as big as Pluto itself. Its orbit is 
  tilted and very eccentric, at times taking it within 
  the orbit of Neptune (the two planets orbit in a 
  resonant relationship so there is no danger of a col-
  lision). A growing number of astronomers prefer 
  to classify Pluto as the biggest of the Kuiper Belt 
  
  107 
  Star Hero ■ Chapter Five
  objects rather than a true planet, but in the popular 
  mind it’s unlikely to be kicked out of the planet 
  club. Pluto has a trace atmosphere of nitrogen with 
  tiny amounts of methane.
  CHARON
  Diameter:  1,200 kilometers
  Distance From Pluto:  20,000 kilometers
  Gravity:  .015 G
  Month:  6.4 days
  Orbital Velocity:  0.23 kilometers/sec
  Atmosphere:  None
  Pluto and Charon essentially compose a 
  “double planet.” Pluto is the larger of the pair, with 
  a mass 5 times that of its big moon. Both Charon 
  and Pluto are tidally locked, keeping the same face 
  towards each other. The two worlds are composed 
  almost entirely of ices — mostly nitrogen, methane, 
  carbon monoxide, and water in solid form.
  The Kuiper Belt
  Extending out from the orbit of Neptune to 
  about 130 AU is the Kuiper Belt, a collection of icy 
  asteroid-size objects orbiting in the plane of the 
  Solar System. There are at least 70,000 Kuiper Belt 
  objects in the 100-kilometer size range, with mil-
  lions of smaller bodies. The total mass of the Belt 
  is estimated at 5 to 10 times that of the Earth. This 
  represents a vast resource for future space colonists 
  — the Kuiper Belt could provide enough volatiles 
  to give Mars and the Moon breathable atmospheres, 
  ﬁll up millions of space habitats with air, and fuel 
  a virtually inﬁnite number of fusion reactors and 
  rockets.
  The Oort Cloud
  The Oort Cloud is 
  a huge sphere of comets 
  and icy asteroids, contain-
  ing trillions of objects, 
  extending out from the 
  Sun 30,000 AU to about 
  2 light-years. Other 
  stars have similar comet 
  clouds around them. The 
  Oort Cloud is the source 
  of long-period comets, 
  which are sent tumbling 
  down into the inner Solar 
  System by the gravity of 
  passing stars. The total 
  mass of the Oort is even 
  larger than the Kuiper 
  Belt, estimated at 20 to 40 
  times that of the Earth. 
  The Oort represents a sub-
  stantial “bank” of matter, 
  but the distance to even 
  the nearest Oort objects is so great it would be 
  almost as hard as colonizing another star system.
  BEYOND SOL
  Past the Oort Cloud one is no longer in the 
  Solar System. The nearby stars may have planets 
  and even life forms of their own, and beyond is the 
  whole Galaxy to explore. (See Chapter Three for 
  data tables regarding the stars nearest Sol.)
  Nearby Stars
  The stars near the Sun are a pretty ordinary lot, 
  which is probably a good thing. There are no dan-
  gerous supernovas waiting to go oﬀ, no gamma-ray 
  bursters, no black holes. 
  ALPHA CENTAURI
  The nearest star to the Solar System, Alpha 
  Centauri is in fact a trinary star system. The pri-
  mary, Alpha Centauri A, is a G2V star very much 
  like the Sun. Its close companion, Alpha Centauri 
  B, is a dimmer K1V star, orbiting with a period 81.2 
  years at a distance of about 19 AU. Far from the two 
  of them, the red dwarf Proxima Centauri circles 
  at a distance of 0.17 light-years. For now, and for 
  centuries to come, Proxima Centauri is closer to the 
  Sun than its primary pair, and so is likely to be the 
  target of the ﬁrst interstellar missions.
  The Alpha Centauri system could have plan-
  ets, even habitable ones, but as yet Humans have 
  detected none. In fact, it’s possible for both Alpha 
  Centauri A and B to have lifebearing worlds, so 
  GMs running a campaign without FTL travel can 
  still have multiple exotic planets in just one star 
  system.
  QUAOAR
  In October 2002, 
  astronomers announced 
  the discovery of an 
  extremely large object 
  in the Kuiper Belt:  a 
  frozen body about 1,300 
  kilometers in diameter, 
  or over half the size of 
  Pluto. Named Quaoar 
  (KWAH-oh-wahr), a 
  name taken from South-
  ern California Indian 
  myths, it has an orbital 
  period of 288 years. 
  According to its dis-
  coverers, it has a mass 
  roughly equal to that of 
  all of the asteroids com-
  bined. The existence of 
  Quaoar conﬁrms many 
  astronomers’ belief 
  that Pluto isn’t really a 
  planet; like Quaoar, it’s 
  simply one of the larg-
  est Kuiper Belt objects. 
  Scientists estimate the 
  Kuiper Belt may hold 
  ﬁve to ten objects of 
  comparable size to Pluto 
  or Quaoar.
  
  108 ■ The Solar System
  HERO SYSTEM 5TH EDITION
  BARNARD’S STAR
  The second-closest star system to Sol is the 
  red dwarf Barnard’s Star. The star itself is relatively 
  ordinary, but it moves remarkably quickly — its 
  velocity is nearly 190 kilometers per second. It is a 
  red subdwarf, type M4, with a luminosity 0.0004 
  times that of the Sun. It may have a companion 
  body about 1.6 times as massive as Jupiter, though 
  astronomers have not conﬁrmed this. Barnard’s 
  Star is unlikely to have habitable planets, but the 
  system might be suitable for space colonies or 
  asteroid miners. 
  SIRIUS
  The closest bright star to the Sun, Sirius is a 
  type A1V star 21 times brighter than the Sun is. 
  Its companion Sirius B is a white dwarf, the last 
  remnant of a bigger, brighter star which burned out 
  millions of years ago. Sirius B is only four times the 
  size of the Earth, even though it is as massive than 
  the Sun, and its brightness is 0.0025 times that of 
  the Sun. The two orbit at a distance of 7 AU, with 
  a period of 7 years. Sirius may be a target for early 
  interstellar missions, as scientists would love to 
  study Sirius B up close.
  EPSILON ERIDANI
  Located 10.7 light-years from Earth, Epsilon 
  Eridani is a type K2 star with a luminosity 0.3 times 
  that of the Sun. This makes it a good candidate for 
  having lifebearing worlds nearby, as well as a star 
  early Human FTL explorers could reach without 
  too much diﬃculty.
  61 CYGNI
  61 Cygni is a binary pair of type K stars (K5 
  and K7) orbiting each other at a distance of 75 AU, 
  so there is plenty of room for both to have lifebear-
  ing worlds. 61 Cygni A has a luminosity 0.08 times 
  that of the Sun, and B’s brightness is half that. They 
  orbit with a period of 653 years. Some observations 
  suggest 61 Cygni A has a Jupiter-sized planet with a 
  period of 5 to 12 years.
  TAU CETI
  Tau Ceti is 12 light-years from the Sun, and 
  one of the best nearby candidates for lifebearing 
  planets. It is a type G8 star, with a luminosity 0.47 
  time that of the Sun, so it could certainly have a 
  decent-sized habitable zone. 
  VAN MAANEN’S STAR
  Also known as Wolf 28, Van Maanen’s Star is 
  variously classiﬁed as an F5V star or a white dwarf. 
  It is 14.4 light-years from the Sun. Its luminosity is 
  0.00018 times that of the Sun, and it is thought to 
  be about half the size of the Earth. Like Sirius B, it 
  is likely to attract scientiﬁc interest.
  ALTAIR
  Also called Alpha Aquilae, Altair is a type A7 
  subgiant/dwarf, the closest giant star to the Sun. 
  It is 16.8 light-years away. Altair is 10 times as 
  bright as the Sun, and has an extremely rapid rota-
  tion — 6.5 hours — so it would appear noticeably 
  saucer-shaped.
  Further Aﬁeld
  With as many as 400 billion stars in the 
  Galaxy, it’s impossible to describe them all. Here’s a 
  quick rundown of some interesting objects.
  WITHIN 50 LIGHT-YEARS
  Arcturus:  Alpha Bootis, a type K2III giant 37 light-
  years away. Arcturus is 100 times as bright as the 
  Sun, and is currently moving toward the Solar 
  System at high speed. It will pass nearby in a few 
  thousand years.
  Capella:  Also known as Alpha Aurigae, Capella is a 
  binary type G8 and G1 giant pair orbiting only 0.7 
  AU apart, circled at a distance of 10,000 AU by a 
  pair of red dwarf stars.
  Fomalhaut:  Twenty-ﬁve light-years distant, Fom-
  alhaut is a type A3V star, 16 times as bright as the 
  Sun.
  Vega:  Alias Alpha Lyrae, Vega is 25.3 light-years 
  away, a type A0V star 40 times as bright as the Sun. 
  Astronomers believe it is surrounded by a proto-
  planetary system of asteroids and growing planets, 
  so it might attract scientists interested in watching 
  the process of planetary formation. 
  DISTANT STARS
  Antares:  A huge red giant (type M1), 604 light-
  years away, with a luminosity 10,000 times that of 
  the Sun.
  Betelgeuse:  Also called Alpha Orionis, it is 427 
  light-years distant, a huge red giant thought to be 6 
  AU in diameter. It is type M2Ib, with a luminosity 
  14,000 times that of the Sun.
  Deneb:  Known also as Alpha Cygni, it is a very 
  bright young star, a type A2Ia giant 3,230 light-
  years away. Deneb is one of the brightest stars 
  known, 250,000 times as bright as the Sun.
  Rigel:  Also known as Beta Orionis, Rigel is a huge 
  bright type B8Ia star, 770 light-years distant. It is a 
  dazzling 40,000 times as bright as the Sun, and has 
  a faint binary companion orbiting at a distance of 
  0.03 light-years. 
  EXTRAGALACTIC OBJECTS
  Bright Quasar 3C 273 is among the brightest 
  and closest quasars to Earth. It’s 3 billion light-years 
  away (and thus that old), and its output equals 100 
  trillion times the Sun’s. It varies in output with a 
  cycle less than a year long, so it must be less than a 
  light-year  across. Astronomers believe it may be a 
  black hole with a mass of 1 billion solar masses, the 
  core of a developing supermassive galaxy.
  
  109 
  Star Hero ■ Chapter Six
  O
  ne of science ﬁction’s great 
  strengths is its ability to show us 
  strange and imaginary worlds 
  and civilizations. Unlike fantasy, 
  science ﬁction’s worlds are pos-
  sible, at least if certain assumptions are 
  allowed. Some SF takes place in future 
  Human societies, or colonies on distant 
  worlds; other stories show alien cul-
  tures. But all civilizations have features 
  in common. The GM needs to consider 
  those features when inventing a soci-
  ety, and players need to consider them 
  when deciding what their characters are 
  like.
  
  110 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  O
  ver the years, science ﬁction has presented 
  several views of how the world may 
  develop in the future. Of course, the future 
  has a way of turning out completely dif-
  ferent from predictions, but when you’re creating 
  a future world these are some models to consider. 
  They range from the wildly optimistic to the grim 
  and depressing.
  Utopia
  The most optimistic view of the future is 
  a utopia, in which Humans learn to solve every 
  problem and create a world in which people can be 
  happy and content. The exact nature of a utopian 
  setting depends a lot on the author’s political beliefs 
  and opinions; a Green Socialist and a Libertarian 
  would probably have vastly diﬀerent views of what 
  an ideal society would look like. Star Trek, by and 
  large, depicts a utopian setting (at least for Humans 
  and other Federation members), one vaguely based 
  on 1960s-era liberal/socialist theories.
  When creating a utopian society as the GM, 
  you have to watch out for several pitfalls. First of 
  all, there’s the problem of ramming your opinions 
  down your players’ throats. Your idea of a Utopia 
  may not match theirs, and they may consider your 
  jolly ideal future a nightmarish vision. Stacking 
  the deck in favor of your utopia by making all its 
  opponents evil or idiotic doesn’t help — it just ren-
  ders your “preaching” more blatant. The solution 
  is to make your Utopia realistic. Recognize that no 
  world is absolutely perfect, but try to depict a soci-
  ety in which the leaders and citizens know about 
  their problems and struggle to resolve them.
  Another problem is simply that utopias are 
  kind of boring. If there are no problems then what 
  is there for the characters to struggle against? 
  Usually the solution is to send the heroes beyond 
  Utopia to defend it against enemies or bring the 
  advantages of Utopian civilization to less enlight-
  ened cultures. Iain M. Banks’s series of novels about 
  the Culture are an example of this:  the Culture 
  itself is a Utopian setting, but the novels mostly deal 
  with the exploits of the “Special Circumstances” 
  agency, as its operatives thwart Galactic aggres-
  sors and meddle in the aﬀairs of primitive planets 
  like Earth. This sort of story can be as simplistic as 
  “we’re right and they’re wrong,” or as complex as an 
  examination of ends and means. Is it right to inter-
  fere with less advanced cultures? Is it right to stand 
  by and watch them suﬀer?
  False And Flawed Utopias
  Not all Utopias are really as utopian as they 
  seem. Both false and ﬂawed Utopias exist.
  A false Utopia is one in which the perfect 
  society is a sham, maintained either by deception 
  or tyranny. Real-world false Utopias include Stalin’s 
  Soviet Union, where the jolly unity and progress 
  of the propaganda ﬁlms was maintained by tens 
  of millions of murders. Some false Utopias can 
  use extremely advanced and insidious methods 
  of social control:  brainwashing, computer brain 
  implants, drugs in the water supply, television 
  hypnosis, the super-sophisticated propaganda and 
  social engineering seen in the universe of Dune, or 
  even genetic engineering to create a docile popu-
  lace. Adventures in false Utopias usually involve 
  becoming aware of the iron ﬁst beneath the velvet 
  glove, and attempts to escape or overthrow the 
  regime.
  Flawed Utopias are less malevolent, but instead 
  address the basic question of whether a Utopia 
  is possible or even desireable. One common fea-
  ture of many Utopian visions is stability, and this 
  often means stagnation and a lack of innovation. 
  Adventures in a ﬂawed Utopia of this sort are often 
  attempts by nonconformist original thinkers to 
  shake things up and inject a little life into the static 
  society.
  Bigger Tailﬁns
  Somewhat less idealistic than Utopian visions, 
  other futures common in science ﬁction assume 
  current trends continue, nothing seriously disrupts 
  the world system, and the world of tomorrow is the 
  world of today — with bigger tailﬁns.
  This view is not as unrealistic as it sounds. 
  Now that the year 2000 is past, one striking thing 
  about some past visions of the twenty-ﬁrst century 
  is how overly “futuristic” they were. Sadly, Humans 
  don’t have ﬂying cars or vacations on the Moon 
  now; what they do have is a world which would be 
  very recognizable to someone from 1950 who paid 
  attention to social trends already in place then.
  Big Tailﬁns futures are handy because they 
  don’t require a lot of explanation to give the play-
  ers a feel for the setting. When the characters meet 
  someone who works for the FBI, the GM doesn’t 
  need to stop and explain that in 2029 the Bureau 
  was sold oﬀ to a Japanese conglomerate. Interstel-
  lar explorers who work for NASA know something 
  about how astronauts are supposed to act, even if 
  they are dozens of light-years from Earth.
  That very familiarity is also Big Tailﬁns 
  futures’ chief problem. There’s no sense of wonder 
  FUTURE 
  WORLDS
  SCIENCE FICTION 
  WITHOUT ALIENS
  While the concept of 
  sentient alien life is 
  central to many science 
  ﬁction stories, it’s not a 
  requirement. Many SF 
  sagas — such as Frank 
  Herbert’s magniﬁcent 
  epic Dune — feature 
  Humans, and Humans 
  only (though sometimes 
  those Humans are heav-
  ily altered by genetic 
  engineering or other 
  forces). Some subgenres, 
  such as Post-Apocalyp-
  tic and Low SF, also tend 
  to have only Human 
  characters.
  In these stories and set-
  tings, the author usually 
  diﬀerentiates Humans 
  by grouping them into 
  organizations with iden-
  tiﬁable traits, abilities, 
  and agendas. In Dune, 
  for example, Herbert 
  presents various Houses 
  (Atreides, Harkon-
  nen, Corrino...), social, 
  political, and quasi-
  religious organizations 
  (the Bene Gesserit, the 
  Spacing Guild), and 
  cultures (the Fremen). 
  In other settings, “pure” 
  and genetically-engi-
  neered Humans are 
  recognizably diﬀerent, 
  or Humans from dif-
  ferent planets compete 
  against each other. In 
  some ways, these groups 
  and institutions take the 
  place of the competing 
  alien species common 
  to Space Opera settings 
  and other such science 
  ﬁction tales.
  Star Hero GMs can, if 
  they wish, take a simi-
  lar approach to their 
  campaigns. Rather than 
  Continued on next page
  
  111 
  Star Hero ■ Chapter Six
  or strangeness in that sort of future. If things are 
  about the way they are now, then why set the cam-
  paign in the future at all? And sometimes things do 
  change in dramatic and unexpected ways. A Bigger 
  Tailﬁns view of the future in 1950 probably would 
  not have predicted the fall of Communism or the 
  relatively rapid development of genetic engineer-
  ing. This makes the Bigger Tailﬁns approach most 
  suitable for near-future scenarios, in which trends 
  are recognizable and surprises few.
  Cultural Stereotypes
  A close cousin of the Bigger Tailﬁns view, the 
  Cultural Stereotypes vision of the future empha-
  sizes how much people will retain their traditional 
  culture and society even in a high-tech future 
  world. Englishmen still have tea in midafternoon 
  and get knighted, Italians are still bad drivers, 
  American Indians retain their tribal and spiritual 
  identities, and Arabs are pious Muslims. This view 
  often turns up in depictions of colony planets or 
  space habitats populated by a single nationality. 
  New Scotlanders speak with an exaggerated brogue 
  and often go into engineering, Arabs settle desert 
  worlds and use star charts to pray toward Mecca, 
  and samurai in powered armor rule New Nihon. In 
  extreme versions, New Texas and Penn’s World take 
  regional stereotypes into space.
  While in many cases Stereotype settings are, 
  realistically speaking, ridiculous — why should 
  there be a revival of, say, 
  pagan Norse religion in 
  the twenty-third century? 
  — the idea isn’t completely 
  impossible. One thing 
  which might motivate 
  people to leave Earth and 
  settle in space habitats or 
  remote planets is the desire 
  to preserve a traditional 
  culture and way of life. 
  Sometimes the GM can 
  have fun if the transplanted 
  culture and its new set-
  ting don’t go together well 
  — if the Arab planet New 
  Medina is a world of gla-
  ciers and boreal forests, or 
  the Russian colony St. Basil 
  is a warm ocean planet 
  dotted with lush islands.
  Some authors have 
  even applied the Stereotype 
  idea to alien civilizations. 
  The justiﬁcation is that 
  given similar conditions, a 
  society will develop in sim-
  ilar ways to historical ones. 
  While that’s probably true 
  to a degree, it doesn’t mean 
  all cultures with a medieval 
  technology level will have 
  knights in armor on horse-
  back, feudal governments, 
  and a powerful Church.
  Like the Bigger Tailﬁns future, Stereotype 
  worlds do have their uses. It’s very convenient if 
  the players can tell in advance what the people on 
  a given planet will be like, especially if the PCs are 
  supposed to be citizens of an interstellar commu-
  nity. The GM describes an important NPC as “the 
  Capo di Tutti Capi of Nova Sicilia” and the players 
  immediately think of The Godfather. This works 
  especially well in Pulp or Space Opera settings.
  Adventures in Stereotype settings often make 
  use of ﬁctional tropes associated with the culture in 
  question:  High Noon gunﬁghts with laser pistols in 
  the New Texas colony; paranoid political intrigue 
  on Novy Russia; and chrome cyberpunk samurai 
  swordﬁghts in New Tokyo. Sure, it’s unrealistic and 
  can go right oﬀ the edge into silliness, but it does let 
  the GM crank the “ﬂavor” knob up to 11.
  Cultural Fusion
  In some ways the antithesis of the previous 
  view, a Cultural Fusion future assumes that cur-
  rent trends of cultural exchange continue, leading 
  to a future society that mixes elements from all the 
  world’s peoples. Certainly the idea is supported 
  by late twentieth/early twenty-ﬁrst century social 
  trends. Who would have predicted, even as recently 
  as 1970, that sushi would become an American 
  favorite, or that every shopping mall in suburbia 
  would boast an espresso bar? 
  Continued from last page
  presenting the players 
  with a lengthy menu of 
  Species Package Deals, 
  instead require all char-
  acters to be Human. 
  Then give them a series 
  of Package Deals to 
  choose from that rep-
  resent organizations, 
  cultures, institutions, 
  and other groups within 
  Human society. These, 
  together with Profes-
  sional Package Deals, 
  can do just as much to 
  deﬁne and diﬀerentiate 
  characters as Species 
  Package Deals do in 
  other campaigns.
  The beneﬁt to this 
  approach is that it allows 
  the players and GM to 
  focus on one species, 
  developing its cultures, 
  politics, and society to 
  a much greater degree 
  than might otherwise be 
  possible. The drawback, 
  of course, is no aliens... 
  and many gamers enjoy 
  aliens a lot. Ultimately, 
  whether to include 
  aliens largely comes 
  down to personal pref-
  erence, but don’t assume 
  you must have them to 
  play Star Hero.
  
  112 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  A Fusion future takes that notion and runs 
  with it, postulating hybrid religions like Pentecostal 
  Shi’ite or Zen Catholic, suburban teenagers going 
  on vision quests, Artiﬁcial Intelligences living in 
  cyberspace taking on the form of Voodoo loas or 
  Japanese kami, government oﬃces in America and 
  Europe closing for Hindu holy days, advanced tech-
  nological industries in Bali, and pop music based 
  on Tibetan throat-singing rising to number one 
  on the charts. One advantage to this view is that it 
  only takes a few glimpses to give players the feel of 
  a world radically diﬀerent from our own. However, 
  the same thing can be a disadvantage:  too often a 
  Fusion future is simply a Bigger Tailﬁns world with 
  a side order of sushi.
  To make a Fusion world seem realistic, think 
  about the reasons cultures borrow things from each 
  other. Cuisine is easy — if people in one country 
  like a certain food, people elsewhere probably will, 
  too. Music and clothing are very fashion-driven, 
  and can change from year to year. Political and eco-
  nomic systems tend to follow the leading powers:  
  when Great Britain and Imperial Germany were 
  world powers, countries like Japan and Serbia 
  adopted constitutional monarchies. In the Ameri-
  cas, newly-independent Latin American nations 
  modeled their governments on that of the United 
  States. When the Soviet Union was one of the 
  world’s two superpowers, new states in Africa called 
  themselves “People’s Republics.” In a Fusion future, 
  nations might try to emulate China’s one-party 
  regime or European-style bureaucracy.
  People adopt foreign religions and philoso-
  phies when their own don’t provide the answers 
  they seek. Changes in the world might make some 
  religions better suited for the new environment 
  — in a setting with advanced nanotechnology and 
  artiﬁcial intelligence, an animist faith that treats 
  everything as alive would be a pretty accurate view 
  of the world.
  In adventures, a Fusion setting allows for exotic 
  elements cheek by jowl with familiar ones. Characters 
  don’t have to venture to Africa to get involved in a 
  tribal conﬂict; instead rival immigrant groups are 
  ﬁghting right downtown. A prosperous and stable 
  Fusion society could be a near-Utopia worth defend-
  ing against outside threats, while an impoverished 
  and violence-ridden one is absolutely perfect for 
  gritty cyberpunk adventures.
  Dystopia
  The opposite of Utopia, a Dystopia is a setting 
  in which everything is going wrong. In particular, 
  dystopias are a staple of “dreadful warning” science 
  ﬁction, showing how particular political ideas or 
  social trends can lead to a world of oppression and 
  despair. Probably the most famous dystopia is George 
  Orwell’s 1984, with its haunting depiction of what a 
  Soviet-style Great Britain would be like. Science ﬁc-
  tion dystopias set centuries in the future often include 
  chilling applications of science, like the embryo 
  manipulation and universal drugging in Aldous Hux-
  ley’s Brave New World. Dystopias ruled by computers 
  date back to E.M. Forster’s The Machine Stops.
  The chief diﬀerence between a Dystopia and a 
  false Utopia is that nobody in the Dystopia has any 
  illusions. Things are bad, everybody knows it, and 
  the challenge is getting through the day. The Secret 
  Police don’t even bother to act friendly, and the cam-
  eras watching on every corner aren’t disguised. Star-
  spanning Dystopian societies are usually oppressive 
  Galactic Empires or creepy hive-minds.
  The usual adventures in a Dystopia are escape 
  or revolution (although the roleplaying game Para-
  noia demonstrated that there’s plenty of potential for 
  excitement and humor in just accomplishing routine 
  missions). Escape requires someplace to escape to 
  — if the dystopia is a worldwide tyranny, dissenters 
  may try to ﬂee to the stars.
  If escape is impossible, the only alternative is 
  revolt. Of course, the Secret Police aren’t going to take 
  that lying down. Almost every dystopia is lavishly 
  furnished with surveillance devices, spies, goons in 
  black armor, and high-tech torture chambers. Poten-
  tial rebels have to plan in secret, develop a robust 
  organization and ways to ferret out police informers, 
  gather weapons and followers, and then strike — a 
  perfect framework for a Star Hero campaign.
  Characters from an outside society (or another 
  planet) can enter a dystopia in secret, perhaps to 
  rescue someone important, or identify ways to over-
  throw the tyranny. Especially daring agents could 
  even lead the revolt themselves.
  In a blackly humorous vein, the characters 
  can be agents of the dystopian government — why 
  should NPCs have all the fun of summary executions, 
  black leather trenchcoats, and planet-busting weap-
  ons? This can be as silly as the GM will tolerate, or a 
  fairly serious examination of how people can serve an 
  evil regime. 
  Post-Apocalypse
  A “post-apocalyptic” setting is one in which 
  society has been destroyed or devastated, plunging 
  people back to a more primitive existence. The idea 
  is not a new one in SF — nearly 200 years ago Mary 
  Shelley’s novel The Last Man postulated a plague 
  which wipes out Humanity.
  Post-apocalyptic settings are often an excuse to 
  sweep away all the petty, bothersome details of life 
  in a complicated society. People are no longer bound 
  by laws or good manners. The conﬂicts are not over 
  abstractions or distant concerns, but over immediate 
  things like food, shelter, and survival. The end of soci-
  ety and its restrictions also allows lots of vicarious 
  anarchy and destruction. Wiping out society is also a 
  good way to restore civilization to a low-technology 
  condition. Heroes can swing swords and ride horses 
  like King Arthur’s knights, even if their armor is 
  Kevlar and their quest is for a stockpile of antibiotics 
  instead of the Holy Grail.
  Destroying the world requires a disaster. There 
  are many ways to wipe out a civilization, depending 
  on how much of it you want to wipe out and how 
  many survivors you want to leave. And of course, 
  any disaster that could aﬀect Earth could aﬀect any 
  similar planet.
  
  113 
  Star Hero ■ Chapter Six
  ASTEROID IMPACT
  A big asteroid or comet smashes into the 
  Earth. The level of the catastrophe depends on 
  how big the object is, how many bits it breaks into, 
  and where it strikes. A relatively small one (up 
  to a kilometer or so) would be like a single large 
  bomb, devastating the immediate surroundings 
  where it strikes but leaving the rest of the world 
  intact — good for a “temporary apocalypse” in the 
  disaster-movie mode. A larger body (tens of kilo-
  meters across) could ﬂatten an entire continent 
  and cause dramatic climate changes (see below), 
  aﬀecting the entire world. If an object of that size 
  landed in an ocean basin, the tidal waves created 
  by the impact would devastate every coastline 
  on that sea. An impact of that scale is thought to 
  have wiped out the dinosaurs at the end of the 
  Cretaceous Era. Finally, a body the size of a large 
  asteroid (hundreds of kilometers) could destroy 
  just about all multicellular life.
  Asteroids are good menaces for heroes trying 
  to avert the apocalypse. Astronomers might pre-
  dict the impact and space agencies could launch 
  a mission to divert or destroy the object with 
  nuclear explosives. Villains might try to direct 
  the falling rock onto an enemy nation, or use the 
  threat to blackmail governments.
  CLIMATE CHANGE
  The Earth’s climate changes tremendously 
  over the eons. In the age of the dinosaurs the poles 
  were ice-free; twenty thousand years ago half of 
  North America was covered by glaciers. Changes 
  in either direction could have dire eﬀects on 
  Humanity. In past decades, the fashionable climate 
  change to worry about was a new ice age — cities 
  buried in the ice, sea levels dropping, famine and 
  mass migrations as people ﬂee the advancing gla-
  ciers. Carl Sagan and colleagues proposed that a 
  large-scale nuclear war might trigger an ice age, 
  and many scientists believe a large asteroid impact 
  might do the same.
  More recently, scientists have become con-
  cerned about the prospect of planetary warm-
  ing. Increases in temperature might cause rising 
  sea levels as the polar caps shrink, the spread of 
  deserts, more storms, and unpredictable shifts 
  in rainfall and weather. Global warming lets you 
  have cities like London or New York half-sunk in 
  the ocean, hot winds howling across the dry bed 
  of Lake Michigan, and Atlanta covered by tropical 
  jungle.
    Climate change is a good disaster if the GM 
  wants to preserve some areas almost untouched. 
  Global warming might ﬂood the eastern US and 
  plunge the Great Plains into desert, but Quebec 
  and Scandinavia would bloom in the warmer 
  temperatures. One drawback is that societies 
  coping with climate change, swarms of refugees, 
  and conﬂicts over food and water supplies would 
  be likely to become more regimented and tightly-
  organized, rather than anarchic “Road Warrior” 
  environments.
  COSMIC DISASTERS
  Nearby supernovas, gamma-ray bursts any-
  where in this part of the Galaxy, or massive solar 
  ﬂares are all ways to devastate the Earth. Cosmic 
  disasters can’t be predicted or prevented, their 
  eﬀects are sudden and massive, and they’re over in 
  an instant. They all unleash a sudden tremendous 
  burst of radiation, killing everyone on the side of 
  the Earth aﬀected by the ﬂash. A few minutes with 
  a globe can help the GM decide what parts of the 
  Earth to irradiate. The worst case would be a radi-
  ation ﬂash centered above north-central Russia, 
  which would catch just about all of Europe, Asia, 
  Africa, and parts of North America. The best case, 
  over the southeastern Paciﬁc, would still get South 
  America, Australia, and all the Paciﬁc islands.
  A cosmic disaster is like a neutron bomb on 
  a planetary scale — it kills oﬀ the living things 
  (especially vertebrates) but leaves all the ruins 
  intact. A few people in the aﬀected region might 
  survive in mines, bomb shelters, or submarines, 
  and they’d have all the food supplies from before 
  the blast neatly sterilized and preserved.
  Adventurers in a world blasted by a cosmic 
  disaster can scavenge the ruins for treasures, 
  battle other scavengers and survivors, struggle to 
  reach the unaﬀected parts of the world, and try to 
  rebuild civilization with all the toys easily at hand. 
  Cosmic disasters and plagues both qualify as “cosy 
  catastrophes” for the survivors.
  FAMINE AND RESOURCE DEPLETION
  Usually connected with overpopulation, a 
  shortage of food and/or energy is an often-used 
  catastrophe, especially during the oil crisis of the 
  1970s. The world starts to run out of some crucial 
  resource, or food production can’t keep up with 
  booming populations, and civilization cracks under 
  the strain. Famine and resource shortages often 
  lead to the same sort of situations that turn up in 
  climate change disasters:  highly-regimented soci-
  eties preserving civilization, surrounded by “wild 
  lands” full of heavily-armed psychopaths stealing 
  each others’ food and gasoline.
  PLAGUE
  The tidiest catastrophe, a plague is a deadly 
  disease which kills oﬀ most of Humanity. The cities 
  are all left intact, the animals all survive, but sud-
  denly there aren’t any people. This was the premise 
  of Stephen King’s The Stand. Plague is the ultimate 
  “cosy catastrophe” — one in which, if you survive, 
  you can sleep in the best hotels, drive the fastest 
  cars, and generally enjoy all the fruits of civiliza-
  tion.
  If a plague can wipe out the Human race, any 
  post-plague campaign must explain why the heroes 
  didn’t die like everyone else. Did they get an experi-
  mental vaccine? Are they naturally immune? Were 
  they isolated long enough for the virus to burn 
  itself out?
  As recent headlines demonstrate, plague can 
  begin as an act of war or terrorism, making it a 
  good candidate for Something Awful the heroes 
  must race to prevent. Time travelers from the 
  
  114 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  future might bring back a vaccine.
  Note that a plague doesn’t necessarily have 
  to target Humans (or their alien equivalent) to 
  destroy civilization — anything vital that’s suscep-
  tible to destruction by bacteria or viri is a poten-
  tial candidate. In Niven’s Ringworld, for example, 
  the Puppeteers use an engineered bacteria to 
  destroy superconducting materials on the Ring-
  world, causing its civilization to collapse when 
  their machinery fails.
  WAR
  For more than ﬁfty years, war has been the 
  unchallenged leader in the apocalyptic category. 
  Even before nuclear weapons made it possible for 
  one country to destroy every town on Earth in a 
  day, H.G. Wells postulated a civilization-wrecking 
  war of poison gas and aerial bombing in Things 
  To Come. The tropes of a world ravaged by war 
  are familar to everyone — ruined cities blighted 
  by fallout, mutant humans and animals spawned 
  by radiation, gangs of looters and refugees, and 
  worse. Nuclear war assimilated many of the other 
  disasters, with a “nuclear winter” ice age, biowar 
  plagues, and all the best resources destroyed.
  What makes war particularly useful as an 
  apocalyptic disaster is that it’s intelligent devasta-
  tion. The weapons would be targeted to do the 
  most damage. Both sides really would be doing 
  their best to wipe out the enemy’s civilization. 
  There’s no need to drop comet fragments on 
  inland cities or assume unrealistically fast-spread-
  ing and incurable plagues. There may not be any 
  enclaves of high-tech civilization because second-
  strike weapons and submarines would have taken 
  them out.
  REGRESSION AND DECADENCE
  Apocalyptic wars and civilization-smashing 
  disasters are often the kickoﬀ for a period of low 
  technology and a return to barbarism. In science 
  ﬁction stories this era is sometimes called the “Long 
  Night” or the “New Dark Age.” The most direct 
  historical model is the collapse of civilization in 
  Western Europe after the fall of the Roman Empire. 
  A Long Night may aﬀect only a single planet, or 
  hundreds of worlds at once if the fallen civilization 
  was an interstellar one.
  The decline and fall of Rome are also the 
  model for another kind of collapse — civilizations 
  which grow decadent and fail because of internal 
  rot rather than external invasion. In decadent civili-
  zations, people become absorbed in entertainment 
  and petty intrigues, scientiﬁc inquiry sinks to mere 
  pedantry and reclassifying of existing knowledge, 
  and government becomes remote and bureaucratic, 
  unable to respond to crises or accomplish routine 
  functions. Manchu China is another historical 
  example. Decadent cultures in ﬁction often refuse 
  to admit they have declined from their era of great-
  ness.
  Both regression and decadence are convenient 
  ways for authors to reset the clock of technologi-
  cal advance while allowing cultures to develop 
  and diverge into interesting and unusual forms. 
  Human colony worlds fallen into barbarism can 
  evolve cultures as weird as any alien species. If the 
  Long Night aﬀected a large interstellar empire, then 
  hundreds of Human worlds may be waiting to be 
  rediscovered by whichever planet struggles back 
  to starfaring technology ﬁrst. This way the heroes 
  have technology which is recognizably near-future 
  — energy weapons, spaceships, computers, robots, 
  and the like — but they are adventuring in a setting 
  centuries or millennia removed from the present in 
  terms of cultural change.
  One thing for GMs to consider when creat-
  ing a fallen civilization is how to keep it isolated. If 
  one planet falls back to barbarism but its neighbors 
  have starships, then the neighbors will simply send 
  in peacekeeping forces, aid convoys, and so forth to 
  get things going again. (They may take the oppor-
  tunity to conquer and rule the planet as well, but 
  that’s a diﬀerent problem.) In ﬁction, authors have 
  come up with various ways to keep the Dark Age 
  dark. First of all, spaceships are very complex and 
  expensive things, and may depend on special parts 
  or scarce resources which are suddenly unavail-
  able when civilization collapses. Sure, you’ve got a 
  starship — but the Hyperspace Matrix Stabilizer’s 
  busted and there aren’t any spares handy. The fac-
  tory which makes Matrix Stabilizers is only ﬁfty 
  light-years away, which would be a short hop... if 
  your starship were working. Oops.
  Another possibility is that planets might 
  choose to isolate themselves. If the interstellar 
  empire is tyrannical and oppressive, subject worlds 
  might prefer freedom to slavery, even if it means 
  a lower standard of living. If bioweapons are 
  common, planets might quarantine themselves to 
  keep the plagues at bay, much as medieval villages 
  refused to admit travelers in the days of the Black 
  Death.
  A society may voluntarily decide to adopt a 
  low-technology way of life. Perhaps a new and fast-
  growing religion denounces all high technology as 
  sinful or tainted. In Frank Herbert’s Dune series, 
  computer technology and robots were abolished in 
  the “Butlerian Jihad” because people refused to live 
  in a society where thinking machines were more 
  important than Humans. Mass movements might 
  oppose interstellar travel, fusion power, or science 
  in general. The motivation need not be religious; on 
  contemporary Earth there are activists convinced 
  that Human technology has disrupted the balance 
  of Nature.
  Finally, decadence or regression is a matter of 
  opinion. The ruling planet or species of an inter-
  stellar empire could have a change of heart and 
  withdraw from subject worlds — much as the Brit-
  ish and French withdrew from their colonies after 
  World War II. To someone from the age of imperial 
  expansion, this would seem intolerably wimpy, a 
  sure sign that the old virtues were gone. But to the 
  post-imperialists, it’s a sign of moral advancement 
  (or simply rigorous cost-beneﬁt analysis).
  
  115 
  Star Hero ■ Chapter Six
  A
  fter you’ve given some basic thought to 
  what a future world is like, you can create 
  its dominant sentient alien species — typi-
  cally a species intended as a PC species or 
  to play a major role in the campaign setting. You 
  should also refer to page 122 for a discussion of the 
  roles alien species can play in the campaign, and 
  page 90 regarding alien life generally.
  The main issue you need to address is:  is this 
  species available for use as a PC species? If so, it 
  needs a Species Package Deal, and a good bit of 
  thought regarding its presence and role in the set-
  ting. If not, you mainly need to think about the role 
  the species plays in the game, and how best you can 
  create it to fulﬁll that role.
  If there is any One Golden Rule of alien cre-
  ation, it’s this:  make sure the aliens serve a purpose. 
  If a Human can play the same role in the story, why 
  go to the trouble of creating an entire alien spe-
  cies and civilization? The potential roles described 
  below provide some guidance when you create an 
  alien species, but many other possibilities exist.
  ALIEN ARCHETYPES
  Some kinds of aliens turn up again and again 
  in science ﬁction ﬁlms and stories. This isn’t neces-
  sarily because the writers are lazy. Certain aliens 
  have become archetypes — recognizable symbols 
  with a suite of accompanying concepts and ideas.
  ENERGY BEINGS
  Probably the most alien beings in science 
  ﬁction are energy beings, immaterial creatures 
  composed entirely of energy rather than matter. In 
  many works they serve as a slightly scientiﬁc way to 
  have ghosts or spirits in the story.
  The nature of energy beings depends on their 
  power level and what kind of energy they’re made 
  of. Electrical beings often learn to communicate 
  through telephones or computers, and sometimes 
  are nothing more than advanced AI programs gone 
  feral. Psionic beings are pretty close to being dis-
  embodied spirits. Superhot plasma beings from the 
  surface of a star may not even know solid matter 
  beings exist, and can destroy Human spacecraft and 
  colonies as casually as a person stepping on a bug.
  Characters composed of pure energy do need 
  a way to interact with the outside world — some 
  form of telekinesis, say, or the ability to create semi-
  solid limbs to manipulate objects. They also can’t 
  be deadly to their companions! In play, they tend 
  to have truly amazing powers, and usually some 
  severe disadvantages to compensate.
  FUNNY-LOOKING HUMANS
  Many alien species are, by and large, not that 
  diﬀerent from Humans. Other than a few odd cus-
  toms, and perhaps modes of dress or speech, the 
  only way to distinguish them from Humans is to 
  look at the color of their skin and the bumps/ridges 
  on their heads (see the “Rubber-Suited Aliens” 
  sidebar). This is a convenient way for writers (and 
  GMs) to create “alien” species readers can identify 
  with fairly easily... and roleplay without too much 
  diﬃculty.
  HIVE CREATURES
  Hive insects have long been used as a model 
  for Human societies; the industriousness and 
  apparent loyalty of ants and bees makes Humans 
  look greedy and fractious by comparison. Hive 
  aliens are the ultimate social beings, with spe-
  cialized castes optimized for work, breeding, or 
  defense. They allow storytellers to examine issues 
  of individual identity in mass society. In today’s 
  individualistic climate, the hive is often a dreadful 
  warning of how society can destroy an individual’s 
  rights and personality. Hives make good Warrior 
  species, with endless hordes of single-minded sol-
  diers bred for ﬁghting.
  Since hives are based on Terran insects, 
  ﬁctional hive civilizations almost always have 
  insect-like inhabitants. The regimentation and 
  specialization of a hive ﬁts in neatly with computer-
  controlled cultures or cyborg civilizations.
  Characters from a hive culture are likely to be 
  rebels or freaks, unable to exist in the regimented 
  society that produced them. An interesting variant 
  is the character who is a hive himself — a collective 
  being made up of nonintelligent or semisentient 
  creatures.
  When creating a hive species, the GM should 
  decide whether the hive remains together for social 
  or biological reasons, or actually has a “group mind” 
  that psionically links all its members together. The 
  latter requires Mind Link or some other power 
  that represents the hive mind; both types may have 
  Psychological or Social Limitations reﬂecting their 
  attitude towards themselves and others.
  TALKING BEASTS
  With roots going back to Aesop’s fables, the 
  Talking Beast is among the oldest and most reso-
  nant alien archetype. A Talking Beast is a sentient 
  alien species based closely on some kind of real-
  world animal. Appearance, diet, and personality 
  traits closely track those of the original animal. The 
  most common Talking Beast aliens in science ﬁc-
  tion are probably Felinoids (cat-people), Insectoids, 
  CREATING 
  ALIEN SPECIES
  RUBBER SUIT 
  ALIENS
  Often budget-conscious 
  SF ﬁlm and television 
  producers make the tacit 
  assumption that alien 
  life is broadly similar 
  to life on Earth. The 
  justiﬁcation is “paral-
  lel evolution.” This is a 
  real biological concept 
  — that creatures in sim-
  ilar conditions develop 
  along similar lines. The 
  Pulp Science approach 
  takes this to an extreme, 
  making most pouncing 
  carnivores recognizably 
  catlike, most small ﬂyers 
  insectile, and most intel-
  ligent species shaped 
  like Humans in heavy 
  makeup.
  Similarly, on Star Trek, 
  Babylon 5, and other 
  television shows, what 
  sets “aliens” apart 
  from Humans is often 
  little more than a few 
  head bumps or ridges, 
  unusual skin or hair col-
  oration, and/or distinc-
  tive modes of dress and 
  behavior. This is because 
  it’s easy to use makeup 
  and costumes to turn 
  a Human actor into an 
  “alien,” but much more 
  diﬃcult (and expensive) 
  to create a blob-alien, 
  octopoid-alien, or other 
  non-humaniform being 
  on a regular basis. 
  Star Hero campaigns 
  often mimic this, since 
  Human players can 
  more readily identify 
  with aliens who seem 
  at least a little Human 
  themselves.
  
  116 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  Reptiloids, and Winged Humanoids (often bird-
  people).
  Talking Beasts are relatively easy to create 
  because the model species provides a whole 
  suite of behaviors and traits which naturally ﬁt 
  together. It makes sense for a Felinoid to be soli-
  tary, proud, carnivorous, selﬁsh, and territorial 
  because real cats act that way. Since Humans are 
  animals too, with our own set of biological traits, 
  gamers can use Talking Beast aliens to reveal and 
  comment on diﬀerent aspects of Human behav-
  ior.
  Modern developments in genetic engineering 
  have created a more hard-science subset of the 
  Talking Beast archetype:   the Uplifted Animal. 
  Uplifted Animals really are talking beasts — they 
  are existing Terrestrial species given intelligence 
  and the ability to use tools by genetic modiﬁca-
  tion. Stories often depict Uplifted Animals as 
  slaves or second-class citizens, allowing the writer 
  to explore just what it means to be Human.
  SUPER INTELLECTS
  If the Talking Beast explores Humanity’s 
  connection to its biology, a Super Intellect exam-
  ines minds freed from the tyranny of bodies. Sci-
  ence ﬁction usually depicts them as skinny guys 
  with oversized heads (often with a cleft down the 
  middle), or disembodied brains. Either way, Super 
  Intellects are concerned purely with matters of 
  the mind. They are relentlessly logical, seldom let-
  ting emotions interfere with their decisions.
  In ﬁction, Super Intellects often serve as a 
  dreadful warning of what may happen if Humans 
  devote themselves completely to reason, with no 
  room left for emotion and feeling. Other writers 
  use them of a symbol of ultimate enlightenment, 
  pure minds devoted to pure thoughts. Often 
  Super Intellects have psionic powers, or their 
  advanced brains put their civilization ahead of 
  others technologically. Either way they have great 
  powers other races don’t.
  In recent decades, the idea of creating artiﬁ-
  cial intelligence computer programs has led to a 
  new subtype of the Super Intellect:  the Sentient 
  Program. Sentient Programs are about as pure 
  mind as it is possible to be, software existing only 
  in cyberspace, interacting with the real world 
  through robot tools and computer screens. Like 
  Super Intellect aliens, the Sentient Program can 
  be either a menace of logic without pity, or a 
  benevolent pure intellect free of hate and negative 
  emotions.
  WARRIORS
  Humans are pretty aggressive creatures; 
  check any history text or the local police reports 
  for conﬁrmation. Many science ﬁction stories 
  ask what would happen if we met beings even 
  more warlike than ourselves. They make useful 
  antagonists in action stories, if only because the 
  author doesn’t have to come up with any better 
  reason for the conﬂict. They’re Warriors, they 
  ﬁght — ’nuﬀ said. Examples from ﬁction include 
  the Klingons of Star Trek and the Kzinti of Larry 
  Niven’s “Known Space” stories.
  Warriors tend to come in two varieties:  the 
  disciplined horde and the feudalists. Disciplined 
  hordes are regimented, organized, and unfailingly 
  loyal. They often serve a galactic tyrant. They draw 
  on images from Earth history — the grey columns 
  of the Wehrmacht, or Communist tank divisions 
  parading on May Day. In ﬁction they are frequently 
  non-Human in appearance, often running to insec-
  toid looks or cyborg bodies.
  Feudalists hearken back to medieval Europe or 
  Shogunate Japan. They have clans, ﬁght duels at the 
  drop of a hat, and spend as much time battling each 
  other as ﬁghting aliens. Feudalists are a bit more 
  appealing and useful as characters — belonging 
  to of a vast horde of interchangeable soldiers isn’t 
  nearly as much fun as being a hot-tempered duel-
  ist with an elaborate code of honor. Consequently, 
  feudalist Warriors are usually more Human-like in 
  appearance.
  Sometimes one Warrior species fulﬁlls both 
  roles, either due to diﬀerences within society or 
  because they change over time. For example, the 
  Klingons in Star Trek functioned more like a disci-
  plined horde in the Original Series, but changed to 
  more feudalistic warriors in The Next Generation 
  and later series.
  ALIEN BODIES, ALIEN MINDS
  Aliens are, of course, alien. Depending on how 
  alien they are, they may have serious problems 
  living in an environment comfortable for Humans. 
  This section discusses various alien traits and how 
  to model them using the HERO System rules. Some 
  general guidelines:
  ■ Any eﬀect produced by a limb or an external body 
  part may (or may not) qualify for the Limitation 
  Restrainable.
  ■ You should consider making any permanent qual-
  ities of the being’s body, such as a tail, Inherent. Ask 
  yourself:  would it make sense for other characters 
  to Aid or Drain this ability or quality? If the answer 
  is “no,” then Inherent is probably appropriate.
  ■ Any power requiring eﬀort from the creature 
  should be left at full END cost, or take the Costs 
  Endurance Limitation if it doesn’t already use END.
  ■ The following Advantages are usually inappropri-
  ate for a being’s innate powers or abilities:  Autoﬁre, 
  Indirect, Invisible Power Eﬀects, MegaScale, Pen-
  etrating, Time Delay, Trigger, Usable On Others, 
  Variable Advantage, or Variable Special Eﬀects.
  ■ The following Limitations are usually inappropri-
  ate for a being’s innate powers or abilities:  Focus, 
  Independent, Only In Heroic Identity, or Variable 
  Limitations.
  AMPHIBIANS
  Beings at home in both water and air have the 
  Expanded Breathing (water) form of Life Support. 
  If they can go deep underwater, they also have Safe 
  Environment:  High Pressure. Just about any being 
  which swims in the ocean should also have Safe 
  INTERSPECIES 
  SOCIETY
  Aliens in Human soci-
  ety will naturally seem 
  strange. If the campaign 
  takes place in a mul-
  tispecies setting, then 
  aliens and Humans meet 
  on equal terms, and 
  generally neither may 
  take Distinctive Features 
  (see page 62). But if 
  aliens are seen as hos-
  tile conquerers, slaves, 
  monsters, or food, they 
  may have problems get-
  ting along with Humans 
  (or vice-versa). Social 
  matters of this kind are 
  best represented with 
  Disadvantages such as 
  Distinctive Features, 
  Psychological Limita-
  tion, Reputation, and 
  Social Limitation. Some 
  examples:
  Distinctive Features:  
  Alien (Concealable 
  With Eﬀort; Noticed 
  And Recognizable; Not 
  Distinctive In Some 
  Cultures Or Societies):  
  5 points.
  Distinctive Features:  
  Alien Conqueror (Con-
  cealable With Eﬀort; 
  Always Recognized, 
  Causes Major Reaction 
  [fear]; Not Distinctive In 
  Some Cultures Or Soci-
  eties):  10 points.
  Reputation:  murderous 
  alien, 11- (Extreme):  15 
  points.
  Social Limitation:  Slave 
  Species (Very Fre-
  quently, Major):  20 
  points.
  
  117 
  Star Hero ■ Chapter Six
  Environment:  Intense Cold, since water is usually 
  pretty chilly. A being which has evolved to live in 
  both air and water will probably be uncomfortable 
  in dry environments; amphibians may well have a 
  Dependence on water, causing Incompetence after 
  6 hours or more. This is a 0-point Disadvantage in 
  a setting with lots of water, but in a dry or desert 
  environment (like Mars, or the Moon) it would be 
  worth 5 or 10 points.
  BLOBS
  Creatures with no ﬁxed shape are Blobs. 
  They are liquid or gelatinous in consistency, with 
  no bones and no limbs. In ﬁction they usually 
  appear as viscous monsters. Blobs can move, and 
  can pick things up using pseudopods or formed 
  hands. Some Blobs can’t do any ﬁne work requir-
  ing manual dexterity; being a Blob of this type 
  requires a Physical Limitation, Limited Manipula-
  tion (All The Time, Greatly Impairing; 20 points). 
  Most Blobs can ooze through small apertures 
  and porous materials (Desolidiﬁcation, Cannot 
  Pass Through Solid Objects (-½); 27 points). A 
  Blob’s elastic body may have Damage Reduction 
  to reﬂect its ability to absorb impacts, Stretching 
  to represent its ﬂexibility, and even Shape Shift or 
  Multiform to simulate its ability to assume other 
  shapes.
  Blobs with more control over their forms 
  can create temporary features and organs, such as 
  claws, wings, or gills. If they have only a limited 
  “menu” of possible body parts to create, you can 
  best model this with Multiform or a few speciﬁc 
  Powers, perhaps in a Power Framework. If the 
  Blob can transform itself completely at will, it 
  probably has Shape Shift and/or a Variable Power 
  Pool with Limitations reﬂecting what it can and 
  cannot do with its body. Some Blobs may even 
  have the ability to divide their bodies in two 
  (Duplication).
  BODILESS BEINGS
  Some aliens in science ﬁction have 
  no physical form at all, existing as pat-
  terns of data in computer networks, or as 
  free-ﬂoating psychic energy. Being Bodi-
  less isn’t the same as being Immaterial 
  (see below); Immaterial beings can 
  interact physically with each other, 
  and still have some eﬀect on the 
  material world. A truly Bodiless 
  alien has no physical attributes 
  or powers at all. To simulate 
  this, give the being Invisibility, 
  Desolidiﬁcation (both Always 
  On and Inherent), the Physical 
  Limitation No Body (typically 
  All The Time, Fully Impairing; 
  25 points) and sell back its STR, 
  CON, and COM to zero. Usually the 
  being cannot take or give physical or 
  energy damage at all; it’s only vulnerable 
  to Mental Powers. Bodiless beings which 
  possess the bodies of others are best modeled as 
  Parasites or Symbiotes (see below). 
  COLONY CREATURES
  A colony creature is a being composed of sev-
  eral smaller beings living together in symbiosis. If 
  the colony components can’t live apart, this is just 
  a cool special eﬀect, but a colony being which can 
  separate temporarily probably has Duplication, and 
  perhaps Multiform and other powers as well.
  DIGGERS
  Aliens derived from underground creatures 
  like moles have the Tunneling power with the Lim-
  ited Medium Limitation (soil and sand only; -½). 
  Beings which live underground all the time and 
  “swim” through rock and soil have Tunneling with 
  the Fill In Adder and no Limitation on the medium. 
  They should also have some form of ground-pen-
  etrating sense like N-Ray Perception or Normal 
  Hearing with the Targeting Sense option. They often 
  have tough or armored skins (represented by Armor 
  or Damage Resistance), and may need Life Support 
  to survive underground.
  FAST BEINGS
  Creatures so fast Humans can hardly see them 
  are not uncommon in science ﬁction. While in a 
  Hard SF setting, invisibly fast beings would burn up 
  from air friction, it’s still possible to have creatures 
  which live much faster than Humans do — consider 
  hummingbirds. Superfast aliens are best represented 
  with high DEX and SPD, and possibly increased 
  Running. If they are pulpish beings who live so fast 
  they cannot be seen, give them Invisibility with the 
  Limitation Not While Standing Still (character must 
  make at least a Half Move every Phase or Invisibility 
  deactivates; -½). Living in the fast lane takes more 
  energy (and thus more food and drink), which is 
  WEIRD DIETS
  Aliens often eat food 
  that is weird or alarming 
  by Human standards. 
  If their diet is merely 
  disgusting to observers, 
  this is no more than 
  an entertaining special 
  eﬀect (or possibly a 
  Social Limitation). If the 
  alien’s diet causes harm 
  to others (perhaps it eats 
  plutonium, or fuming 
  hydrochloric acid, or 
  the ﬂesh of sentient 
  beings), it may deserve 
  a Reputation or Social 
  Limitation.
  If an alien’s food is dif-
  ﬁcult or harmful to 
  obtain, the alien might 
  deserve a Dependence 
  that causes weakness or 
  incompetence. However, 
  GMs should think care-
  fully before allowing 
  such a Disadvantage. 
  Humans do not get a 
  Dependence on normal 
  food, and vampires don’t 
  get a Dependence on 
  blood (HERO System 
  Bestiary, page 124-27). 
  All creatures have to 
  consume food in some 
  way, and normally they 
  don’t get a Disadvantage 
  for it; it’s a default condi-
  tion all characters suﬀer 
  from. An alien’s diet 
  would have to be unusu-
  ally diﬃcult or danger-
  ous to obtain to qualify 
  for a Dependence.
  
  118 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  represented by the Physical Limitation Increased 
  Life Support Needs (Frequently, Slightly; 10 points), 
  and possibly a short lifespan. 
  FLYERS
  Most realistic ﬂying aliens have wings, and 
  thus buy Flight with the Restrainable Limitation. 
  Because they must be light enough to ﬂy, they 
  probably have reduced BODY and possibly a Vul-
  nerability to ordinary physical damage. Another 
  option is to give them Gliding. Living gasbag 
  creatures are fairly common in ﬁction — build 
  them using a very slow Flight power, no more 
  than 1-2”, with the Increased Endurance Cost 
  Limitation to reﬂect the eﬀort needed to move 
  a bulky balloon through the air. More unusual 
  aliens, like energy beings or psionic creatures, 
  may be able to ﬂy without using wings or lifting 
  gas (straightforward Flight, often with Movement 
  Skill Levels).
  GIANTS
  Some aliens in ﬁction are very big. Land 
  creatures on an Earthlike world could easily be 
  the size of dinosaurs, while water-dwelling aliens 
  or gasbag creatures might well be hundreds of 
  meters long. This is not Growth; instead really 
  huge aliens should buy their Characteristics and 
  abilities at a suitably high power level. Other size-
  related abilities may include increased Movement 
  Powers and increased reach; see page 31 for ideas. 
  Disadvantages associated with large size can be 
  summed up as a Physical Limitation; see page 63.
  HANDLESS BEINGS
  Perhaps intelligence can develop in a spe-
  cies which lacks usable hands. Sentient dolphins 
  or dogs would also have this problem. A creature 
  with no hands at all, like a dolphin, would have 
  a 25-point Physical Limitation, No Hands (All 
  The Time, Fully Impairing). Beings which could 
  manipulate objects with diﬃculty — like a panda- 
  or a squirrel-based alien — would have a 20-
  point Physical Limitation, Limited Manipulation 
  (All The Time, Greatly Impairing). As with handi-
  capped Human characters, if the alien routinely 
  has technology or special powers to overcome its 
  lack of hands, this Disadvantage is worth fewer or 
  no points.
  HIDEOUS BEINGS
  In a setting with lots of alien species, the 
  average alien’s appearance probably won’t cause 
  any problems (i.e., characters shouldn’t take the 
  Distinctive Features Disadvantage). But aliens in a 
  setting where strange beings are uncommon may 
  cause shock, fear, or revulsion in Humans they 
  encounter. The simplest way to handle this is to 
  give them Distinctive Features; a negative Come-
  liness may also be appropriate.
  Some aliens may be so alien and unearthly in 
  appearance that their looks actually damage the 
  minds of those who behold them. H.P. Lovecraft’s 
  Great Old Ones are an example of sanity-blasting 
  ugliness. Model this as an Ego Attack with the 
  Area of Eﬀect (Radius) and Inherent Advantages 
  and Limitations such as Always On and Only 
  Aﬀects Beings Who See Character (-½).
  IMMATERIAL ALIENS
  Some creatures may not be made of solid 
  matter. Examples include gaseous beings, energy 
  creatures, and aliens whose matter is somehow 
  “out of phase” with the rest of the universe. 
  Immaterial aliens typically have Desolidiﬁcation; 
  see the accompanying sidebar for some examples. 
  “Out of phase” beings should either buy Life 
  Support, or ﬁgure out some way to obtain their 
  transphased food. Energy creatures may be able 
  to create solid extensions, giving them the Aﬀects 
  Physical World Advantage on some physical 
  Characteristics or powers.
  IMMOBILE BEINGS 
  There are many species of animal life on 
  Earth which don’t move much, not including 
  dedicated TV watchers. Clams, oysters, tube-
  worms, and adult termite queens are examples. 
  Alien species may combine a sessile existence 
  with Human-level intelligence. A sessile being 
  which nevertheless has arms gets a 20-point 
  Physical Limitation, Unable To Walk (All The 
  Time, Greatly Impairing), and can sell back its 
  Running to 0” (-12 points). Beings with neither 
  arms nor legs get a 25-point Physical Limitation, 
  No Limbs (All The Time, Fully Impairing), and 
  probably can sell back not just Running, but most 
  of the major physical Primary Characteristics. 
  As always, this Disadvantage isn’t worth as much 
  if the alien has technological means of getting 
  around that compensate. For example, perhaps 
  an alien who relies on a powered wheelchair 
  or hover-platform has the Physical Limitation 
  Cannot Move Without Help (Infrequently, Greatly 
  Impairing; 10 points).
  MULTIPLE LIMBS
  It’s only a historical accident that land-dwell-
  ing vertebrates on Earth are descended from a 
  ﬁsh with four ﬁns. We could easily have six, eight, 
  or even more limbs, or a tail. The Extra Limbs 
  Power, naturally, is the best way to model this. 
  Use the Inherent Advantage to reﬂect the fact that 
  a limb can’t easily be “turned oﬀ.” Note that Extra 
  Limbs primarily applies to manipulatory limbs 
  like arms — if a being has a lot of extra legs or 
  other nonmanipulatory limbs, he might instead 
  buy this as some other power (such as increased 
  Running), or apply the Limited Manipulation 
  Limitation to his Extra Limbs.
  PARASITES AND SYMBIOTES
  Humans are symbiotic organisms; our intes-
  tinal bacteria help us digest materials we other-
  wise can’t process. But what if the situation was 
  reversed, and the internal symbiote or parasite 
  was the one with the brains? In a relatively hard 
  SF campaign, an intelligent symbiote or parasite 
  would be specialized to live in a particular host 
  species, in which case it is eﬀectively nothing 
  more than a “special eﬀect” or perhaps an odd 
  form of longevity (as the parasite moves from 
   IMMATERIAL 
  FORMS
  Standard Immaterial 
  Form:  Desolidiﬁcation 
  (aﬀected by attacks 
  dictated by the special 
  eﬀects of the immateri-
  ality), Reduced Endur-
  ance (0 END; +½), Per-
  sistent (+½), Inherent 
  (+¼) (90 Active Points); 
  Always On (-½), Cannot 
  Pass Through Solid 
  Objects (-½). Total cost:  
  45 points.
  Energy Form:  Deso-
  lidiﬁcation (aﬀected by 
  similar type of energy), 
  Reduced Endurance (0 
  END; +½), Persistent 
  (+½), Inherent (+¼) (90 
  Active Points); Always 
  On (-½), Cannot Pass 
  Through Solid Objects 
  (-½) (total cost:  45 
  points) plus Energy 
  Blast 5d6, Aﬀects Physi-
  cal World (+2), Damage 
  Shield (+½), Continuous 
  (+1), Reduced Endur-
  ance (0 END; +½), 
  Persistent (+½), Inher-
  ent (+¼) (144 Active 
  Points); Always On (-½) 
  (total cost:  96 points). 
  Total cost:  141 points.
  Gaseous Form:  Deso-
  lidiﬁcation (aﬀected 
  by wind/air attacks), 
  Reduced Endurance (0 
  END; +½), Persistent 
  (+½), Inherent (+¼) (90 
  Active Points); Always 
  On (-½), Cannot Pass 
  Through Solid Objects 
  Or Airtight Barriers (-
  ½). Total cost:  45 points.
  Pure Psionic Energy 
  Form:  Desolidiﬁcation 
  (aﬀected by psychoki-
  netic powers), Reduced 
  Endurance (0 END; 
  +½), Persistent (+½), 
  Inherent (+¼) (90 
  Active Points); Always 
  On (-½). Total cost:  60 
  points.
  
  119 
  Star Hero ■ Chapter Six
  body to body — similar to the Trill of Star Trek).
  In a more cinematic or pulp-oriented cam-
  paign, intelligent parasites may be able to exist 
  in a variety of hosts — even Humans. A univer-
  sal parasite which dominates its host without 
  destroying the original personality is best mod-
  eled as a bodiless being (see above) with high 
  levels of Mind Control, Limited so the parasite 
  can only use it against someone it has physical 
  contact with. A parasite which completely takes 
  over its host and destroys the original mind is 
  using a form of Killing Attack, with the “posses-
  sion” of the mindless body acting as a special 
  eﬀect for Life Support (Longevity). The Killing 
  Attack may be BOECV (for “psychic parasites” 
  and the like); other creatures may use an infec-
  tious attack or other physical means of implant-
  ing the parasite.
  Non-destructive parasites may well have a 
  willing host; in that case the host may qualify 
  as a Follower or even a DNPC. If the parasite is 
  weaker than the host, then make it the DNPC 
  or Follower. On the other hand, the host and 
  parasite may both be PCs, each with its own 
  point value and a Psychological (and/or Physical) 
  Limitation reﬂecting the attachment. Except in 
  humorous campaigns, the Gamemaster probably 
  shouldn’t let a parasite and its host be Rivals.
  SLOW BEINGS
  Humans don’t seem particularly fast, but 
  to something like a starﬁsh we move about in a 
  superfast blur. Intelligent aliens from a cold or 
  low-energy environment may be similarly slowed 
  down. Extremely slow aliens should buy down 
  DEX to no more than 5 or 6, and have SPD 1. 
  Their slow metabolism may also give them vari-
  ous types of Life Support — Extended Breathing, 
  Diminished Eating, and possibly Longevity.
  SMALL ALIENS
  It’s not clear how small a sapient creature can 
  be. Certainly Human children are fully intelligent 
  (supposedly), and creatures with a more sophis-
  ticated brain could be smaller still. As with giant-
  size beings, this is best modeled by buying down 
  the creature’s Characteristics to an appropriate 
  level and adding a Physical Limitation (see pages 
  31, 63).
  CREATING PLAYER  
  CHARACTER SPECIES
  When creating an alien species for use as a 
  player character species, the GM (or player) must 
  consider the following three questions. If you can’t 
  answer all of them “Yes,” the species probably isn’t 
  suitable for PCs.
  Can the character work with others? A water-
  breathing alien in a crew of air-breathers is going 
  to have problems, as will 
  a dinosaur-sized being 
  aboard a ship built for 
  Humans. Advanced tech-
  nology can overcome a 
  lot of restrictions — a 
  water-breather can wear a 
  liquid-ﬁlled environment 
  suit, or a sessile plant-
  creature can ride about 
  on a powered scooter 
  — but not necessarily all 
  restrictions. This is where 
  the GM’s input is crucial, 
  since he is likely to know 
  more about how the game 
  world works and what is 
  and isn’t practical. 
  Can the character function 
  in society? A member of 
  a primitive species in a 
  high-tech setting will be 
  constantly bewildered 
  by advanced technol-
  ogy; an individual from 
  a species of carnivores 
  which regards other 
  sentient beings as noth-
  ing more than food may 
  have trouble at meal-
  times. Created beings like 
  robots or androids may 
  be considered slaves. If a 
  non-Human character is 
  SPECIES WITHIN 
  SPECIES
  Even within a single 
  species there may be 
  groups suﬃciently dif-
  ferent from each other 
  as to almost qualify as 
  separate “species” for 
  game purposes. The 
  Environment Package 
  Deals on pages 28-32 
  are an example of this, 
  but the diﬀerence can be 
  racial or cultural instead 
  of environmental. If 
  there are factions with 
  their own long history, 
  secrets, and physical 
  types, they may func-
  tion like subspecies 
  — as with the diﬀerent 
  Houses in the Dune 
  novels. In a campaign 
  this is a great way to 
  provide some easy 
  variety, especially if the 
  players are still learning 
  all the background. An 
  hour’s work gives the 
  GM a selection of Pack-
  age Deals to oﬀer the 
  players, so everyone can 
  get on with the impor-
  tant business of actual 
  gaming.
  
  120 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  going to cause a brawl wherever the PCs go, the 
  GM should forbid it, or perhaps suggest changes 
  to make the character more playable:   the primi-
  tive learned about high technology from visiting 
  traders, the carnivore has a personal code against 
  eating sentients, and the robot character pretends 
  to serve another while secretly being autono-
  mous.
  Can the character have interesting adventures? 
  While this question should be asked about any 
  character, GMs should be particularly alert to 
  species designs which are either too powerful or 
  too limited. Super-powerful aliens may unbalance 
  the game, short-circuiting adventures and leaving 
  the other characters with little to do. Overly-lim-
  ited species may not be able to do much in the 
  campaign.
  Besides those points, generally speaking a 
  species suitable for use as a player character spe-
  cies needs to be two things:  ﬁrst, interesting and 
  distinctive; second, reasonably balanced in game 
  terms.
  DISTINCTIVE
  It’s easy to create a group of more or less 
  “typical” species as seen in science ﬁction gener-
  ally; that’s part of what Chapter Two of this book 
  does. The species described there are “generic,” 
  easily adapted to many diﬀerent settings, and 
  should save you the work of creating similar spe-
  cies for your own games — just adapt the Package 
  Deals as necessary, and provide some setting-spe-
  ciﬁc description and context, and you’re ready to 
  go.
  Creating an all-new species, solely for your 
  own campaign, requires a little more eﬀort. Since 
  the “standard” types of alien species are already 
  well-known, you usually need to ﬁnd a way to 
  make yours distinctive, intriguing, and in some 
  way “new.” There are two main ways to do this.
  First, you can distinguish your species 
  through its appearance and/or mannerisms. 
  Maybe your reptiloid aliens have special scale 
  coloration patterns that say certain things about 
  the individual and have signiﬁcantly inﬂuenced 
  the species’s culture. Perhaps the psionic species 
  in your setting speaks in a particularly notable 
  way, because its members aren’t used to vocal 
  communication. Maybe the bird-men from Altair 
  VI descend from a prey species and so are prone 
  to nervous behavior and constant watchfulness 
  that’s easily portrayed when playing them.
  Second, you can distinguish your species 
  through attitude and behavior. Many science ﬁc-
  tion species have their own “codes of honor,” ones 
  Humans sometimes have trouble comprehending, 
  that makes them distinctive. Others have vari-
  ous personality traits — absolute logic, paciﬁsm, 
  aggressiveness, piety — that are so ingrained, for 
  biological or cultural reasons, that the vast major-
  ity of species members display them. A unique 
  behavioral pattern often goes a long way toward 
  setting a species apart. Just be careful it doesn’t 
  become a caricature.
  BALANCED
  In HERO System game terms, it’s also impor-
  tant that a species be “balanced” — that is, provides 
  enough game-based beneﬁts and abilities to make it 
  attractive as a player character choice, but not so many 
  that every player wants his character to belong to that 
  species. No species is perfect; each should provide a 
  proper mix of advantages and drawbacks, making it 
  three-dimensional and beneﬁcial to the game.
  Fortunately, the HERO System rules make this 
  fairly easy, since characters have to pay for all promi-
  nent abilities with Character Points. If a species has 
  so many abilities that its Package Deal costs 50 points, 
  then the character only has another 100 points to 
  spend on Characteristics, Skills, and the like. A char-
  acter of a “lesser” species might only have a 4-point 
  Package Deal, but that leaves him with 146 points to 
  spend on other things. In the end, both characters 
  are built on 150 Character Points, which means that, 
  over the course of the campaign, each one should be 
  equally eﬀective. One may be better at combat, the 
  other at diplomacy, but in the end they contribute to 
  the group’s accomplishments (and the players’ fun) in 
  equal measure.
  Package Deal Components
  A Species Package Deal, such as the ones in 
  Chapter Two, consists of two parts:  abilities and Dis-
  advantages.
  ABILITIES
  “Abilities” are the Skills and other attributes 
  native to the species. They consist primarily of three 
  things:
  ■ Characteristic bonuses
  ■ Skills, Perks, and Talents possessed by every 
  member of the species
  ■ Powers
  Characteristic Bonuses
  The most common element of Species Pack-
  age Deals are Characteristic bonuses. Using Human 
  as a baseline (no additions or subtractions to the 
  base Characteristic values established by the HERO 
  System 5th Edition, Revised rulebook), decide what 
  your species is like. Is it stronger, tougher, smarter, 
  more insightful, or stronger-willed than Humans, on 
  the average? If so, a starting bonus to the appropri-
  ate Characteristic(s) may be in order. Typically these 
  bonuses range from +1 point to +3 points’ worth 
  of the Characteristic, paid for at the normal cost. 
  Bonuses above +3 points are possible, but should be 
  relatively rare.
  In most cases Characteristic bonuses are 
  assigned to Primary Characteristics; these of course 
  factor into the Figured Characteristics. Bonuses 
  directly to Figured Characteristics are uncommon, 
  though an unusually tough species may have some 
  extra PD or STUN.
  Skills, Perks, And Talents
  Skills, Perks, and Talents are much less 
  common in Species Package Deals than Charac-
  HOW MANY  
  POINTS IN A  
  PACKAGE DEAL?
  There’s no speciﬁc cost 
  requirement for Species 
  Package Deals, since 
  the cost depends on 
  how many innate abili-
  ties and traits a species 
  has. Some species have 
  many positive attributes, 
  leading to expensive 
  Package Deals (like 
  the Android Package 
  Deal on page 23, which 
  costs 92 points). Others 
  have more drawbacks 
  than beneﬁts, leading 
  to Package Deals with 
  negative costs (in other 
  words, the Disadvan-
  tages associated with the 
  Package outweigh the 
  beneﬁts).
  However, in most Star 
  Hero campaigns, Species 
  Package Deals work best 
  if they cost about three 
  to 15 Character Points. 
  That way the investment 
  of Character Points 
  is signiﬁcant, but not 
  so overwhelming that 
  players can’t personal-
  ize their characters with 
  other purchases.
  
  121 
  Star Hero ■ Chapter Six
  teristic bonuses. As the HERO System 5th Edition, 
  Revised notes on page 30, it’s unusual for every 
  member of a species to have the same Skills 
  (other, of course, than Everyman Skills). Given 
  the many diﬀerent ways characters in any setting 
  (particularly a Star Hero setting encompassing 
  entire galaxies!) can grow up and learn, it’s highly 
  unlikely that every member of the species would 
  learn the same Skills. Typically, Skills in a Package 
  Deal represent some innate ability native to the 
  species which is best represented as a Skill. For 
  example, all members of a caninoid alien species 
  might have Animal Handler (Canines) to repre-
  sent their natural ability to relate to dogs, wolves, 
  and the like. (However, Skills may be appropriate 
  for Cultural Package Deals; see page 27.)
  Perks should rarely occur in Species Package 
  Deals. They’re often appropriate for Professional 
  Package Deals, but it’s uncommon for every member 
  of an entire species to have a particular Perk.
  Talents are the same as Skills — a good way 
  to simulate innate abilities possessed by a species. 
  Most Talents are useful only for individuals, but a 
  few make good species abilities. For example, an 
  avian species might have natural Bump Of Direc-
  tion, derived from an ancient need to migrate 
  south during cold weather. On the other hand, it’s 
  relatively unlikely that every given member of a 
  species would have Lightning Reﬂexes or Speed 
  Reading.
  Powers
  Some species have Powers in their Pack-
  age Deals, to reﬂect natural abilities that can’t be 
  accurately created using other game elements. 
  Typically, these include:
  ■ natural weaponry (HAs, HKAs)
  ■ natural defenses (Armor, Damage Resistance)
  ■ unusual senses (Nightvision, Increased Arc Of 
  Perception)
  ■ enhanced or expanded forms of movement 
  (Flight, increased Swimming)
  In most cases, the Powers bought for a Spe-
  cies Package Deal have relatively few Active 
  Points, and/or are heavily Limited. There are a 
  few exceptions, such as the Android and Energy 
  Being Package Deals in Chapter Two, but keeping 
  the costs and eﬀectiveness of innate Power-based 
  abilities low is usually best for game balance.
  DISADVANTAGES
  Most Species Package Deals have two types 
  of Disadvantages:  reduced Characteristics or 
  movement; and standard Disadvantages such as 
  Physical Limitations.
  Reduced Characteristics and movement are 
  the opposite of the Characteristic bonuses dis-
  cussed above. Some species are weaker, more frail, 
  stupider, or less insightful than average (i.e., than 
  Humans), and a reduction in their starting Char-
  acteristics reﬂects this. In most cases, the reduc-
  tion should be -1 to -3 points; more than that 
  may cause problems for a starting character.
  For standard Disadvantages, it’s usually 
  best to stick to physical handicaps that would 
  obviously aﬀect every member of a species. For 
  example, all of the bat-people may have weak eye-
  sight. Mental and social restrictions should rarely 
  be a part of Species Package Deals. Characters are 
  individuals (except for certain hive-mind species 
  and the like), and shouldn’t be required to act 
  alike because of a common Psychological Limita-
  tion or the like. Even among a relatively homog-
  enous species, like the Klingons of Star Trek, 
  individuals don’t think exactly alike, or approach 
  problems the same way. However, in a speciﬁc 
  campaign setting, species which are widely dis-
  criminated against may qualify for a Hunted 
  (Watched) or Social Limitation.
  Common Alien Traits
  Individuals living in a civilization cannot 
  help but be aﬀected by it. In particular, they 
  often acquire the same Disadvantages reﬂecting 
  common attitudes and assumptions — as noted in 
  the main text, it’s all too common in SF for every 
  single member of a given alien species to have 
  certain personality traits or beliefs. Here are some 
  suggestions on how HERO System Disadvantages 
  link to various aspects of a civilization.
  Dependent NPC:  In many traditional societies, ties 
  of kinship and personal loyalty are strong. They 
  are also one of the bulwarks of hereditary gov-
  ernment. Characters from Farming or Nomadic 
  economies, or from states where rulership is 
  Hereditary, are likely to have numerous DNPCs 
  in the form of distant relations, loyal retainers, 
  liegemen, and the like. (Similarly, this can lead to 
  characters having a plethora of Contacts and/or 
  Followers; GMs might even mandate this by allot-
  ting points to those Perks in the Species Package 
  Deal.)
  Enraged/Berserk:  Warrior cultures, like Nomadic 
  economies or carnivorous species, may have this 
  Disadvantage, especially at low tech levels where 
  personal combat isn’t automatically lethal. Trig-
  gers often include “sense of honor oﬀended” or 
  “insulted.”
  Hunted:  In civilizations with intrusive govern-
  ments (Force-based rule) or repressive legal 
  systems, just about everyone may be Watched 
  at times. Those who oppose the government are 
  Hunted. If one species is at war with another, each 
  species may be Hunting its enemy.
  Psychological Limitation:  Codes of conduct are 
  the most common culture-speciﬁc Psychological 
  Limitations. Honor-bound societies have Codes 
  Of Honor, Honorable, or Vengeful; the GM and 
  players should be certain to deﬁne the boundaries 
  of such codes, to minimize disputes about how a 
  character should act in a given situation. Paciﬁst 
  cultures have Code Versus Killing. Religious soci-
  eties encourage Piety (Common, Moderate) if not 
  outright Religious Fanaticism (Common, Total). 
  Vital, expansive cultures may also encourage 
  Overconﬁdence, as with nineteenth-century Eng-
  lishmen or twenty-ﬁrst century Americans.
  
  122 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  But a society can also have built-in fears and 
  hatreds. A totalitarian society induces Paranoia in 
  most citizens. Citizens of a state with a long his-
  tory of warfare with a neighbor may develop an 
  ingrained Hatred of those people — witness the 
  remarkable persistence of Anglophobia among the 
  French.
  Social Limitation:  Societies which include racial or 
  linguistic minorities may have widepread prejudice 
  against them among the majority population; this 
  could create a common Minor Social Limitation. 
  Other minorities could be actively persecuted — sub-
  ject to constant harassment and the threat of mob 
  violence. That’s a Major or Severe Social Limitation.
  ALIEN SPECIES AS NPCs
  For species not intended as PC species, the 
  main issue is what role the species plays in the 
  campaign. Although a species consists of millions, 
  billions, or even trillions of individuals, in many 
  ways, alien species in various science ﬁction settings 
  serve as large-scale NPCs, broadly speaking. To put 
  it another way, a given species is often so associated 
  with a particular attitude, philosophy, practice, or 
  custom that it becomes one-dimensional. Some of 
  the most common “classiﬁcations” of alien species are 
  described below.
  ALLY
  Some species’s primary role is as the allies 
  of the species to which the PCs (or most of 
  them) belong (usually this means Humans, 
  of course). Examples include the Pogs in Phil 
  Foglio’s “Buck Godot” comics, and to some 
  extent the Vulcans in Star Trek. Rarely (if ever) 
  depicted on its own, this species acts primarily 
  in concert with the PCs’ species... though occa-
  sionally there’s a good story to be told when the 
  Ally species turns against the main species, or 
  objects to its conduct for some reason.
  COMIC RELIEF
  A few species appear in a setting solely 
  for the purpose of getting a laugh from the 
  audience (i.e., the players, in a Star Hero game). 
  Sometimes bumbling and clumsy, often mysti-
  ﬁed by the ways of Humans, this species usu-
  ally possesses some bizarre customs  (“No, we 
  don’t eat them; we play vrgblat with them. What 
  kind of barbarian are you?”). Being the source 
  of humor doesn’t necessarily make a spe-
  cies nonthreatening, though; in the Star Wars 
  saga, everyone laughs (or groans) at Jawas and 
  Ewoks, but both hold their own against bigger, 
  tougher species.
  CONTEMPLATIVE
  Science ﬁction is rife with philosophical 
  species brought into the story, in large part, to 
  compare and constrast with Humans so the 
  author can comment on “the Human condi-
  tion.” Star Trek’s Vulcans and Bajorans, and the 
  Minbari of Babylon 5, ﬁt this mold. A Con-
  templative species often ﬁlls other roles (such 
  as Ally or Cultural Antagonist); its members, 
  while possibly condescending or sarcastically obser-
  vant, often possess attributes of great use to the PCs 
  (advanced science or technical knowledge and skills, 
  psionic powers, martial arts prowess...).
  CULTURAL ANTAGONIST
  Similar to the Contemplative, the Cultural 
  Antagonist exists largely to set oﬀ another quality of 
  some other species (typically, but not always, Human-
  ity). Something about the two species prevents them 
  from seeing eye-to-eye; one may be logical, the other 
  passionate; one aggressive, the other paciﬁstic; one 
  greedy, the other philosophical. The Ferengi of Star 
  Trek, with their unalloyed greed contrasting so starkly 
  with the Federation’s nigh-moneyless economy and 
  social utopia, are a perfect example.
  ELDER CIVILIZATION
  “The Ancients” — an old, usually incredibly 
  advanced alien civilization that disappeared from the 
  Galaxy hundreds of thousands or millions of years 
  ago — is a staple of many science ﬁction settings. The 
  Slavers, Tnuctipun, and Pak of Larry Niven’s “Known 
  Space” stories, the Iconians of Star Trek, and the Vor-
  lons and Shadows of Babylon 5 all ﬁt into this category 
  to varying degrees. 
  Typically, an Elder Civilization was incredibly 
  powerful, possessed amazingly high-tech devices, and 
  
  123 
  Star Hero ■ Chapter Six
  ruled huge swaths of the Galaxy (or even multiple 
  galaxies). In most cases, the Elder Civilization has 
  left behind only its relics, ranging from mysterious 
  ruins on various planets to caches of extraordinarily 
  advanced technology. Player characters and NPCs 
  alike seek those relics (either to gain knowledge, or to 
  acquire money and power by selling or using them). 
  But in some settings, such as the universe of Baby-
  lon 5, a few Ancients have remained behind to help, 
  hinder, or harm Humanity and other “modern,” but 
  much less advanced, species.
  Elder Civilizations that stay around for PCs to 
  interact with are often decadent or contemplative, if 
  only because their tremendous power would other-
  wise allow them to conquer the Universe with ease. 
  Sometimes, the writer solves this problem by having 
  only one or two survivors of the species exist. But in 
  any case, individual members of an Elder Civiliza-
  tion can still go out slumming with primitives like 
  Humanity....
  In a Star Hero campaign, the existence of one 
  or more Elder Civilizations provides the GM with all 
  sorts of potential scenarios and plot hooks. Characters 
  with the Advanced Tech Perk may justify it by explain-
  ing that they once found some hidden Ancient tech-
  nology. Antagonists with access to Ancient weapons 
  may threaten the PCs’ homeworld. A race to explore 
  a world thought to contain Ancient ruins could moti-
  vate a group of characters.
  Of course, the GM should take care not to let 
  Ancient technology unbalance his campaign or 
  change his setting — unless that’s what he wants. If 
  necessary, Elder Civilization devices should only func-
  tion a few times before running out of energy, break-
  ing down, or exploding, or the competition to obtain 
  the device leads to its destruction instead. Giving 
  Elder Civilization tech to the PCs, who are constantly 
  on “center stage” in the campaign, may cause prob-
  lems, but letting an occasional adversary have it could 
  work just ﬁne... assuming the PCs don’t get their 
  hands on it after they defeat him.
  Elder Civilization species come in various 
  forms, often as Super Intellects or Energy Beings (see 
  above). Individuals are generally quite wealthy by the 
  standards of other cultures, much as American or 
  European tourists in Earth’s poorest countries would 
  be. If the GM allows players to have characters who 
  are members of an “Ancients” species, those characters 
  should take the Perk Advanced Tech (page 48), and 
  probably a Reputation as well.
  ENEMY SPECIES
  Some aliens serve mainly as enemies (two-
  dimensional or otherwise) for the PCs. See Villain 
  Archetypes, page 289, for more information.
  TRADING PARTNER
  Some alien species are known primarily for their 
  role in commercial activities. Either the entire spe-
  cies is devoted to earning money (as with Star Trek’s 
  Ferengi), or the species only enters the story when 
  matters of ﬁnance or trade are involved. The species is 
  probably actually much more diverse and multi-fac-
  eted, but all Our Heroes ever see is how it conducts 
  business. A clever GM may eventually develop a 
  Trading Partner species into a full-ﬂedged species 
  during the course of the campaign.
  
  124 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  S
  o what is a civilization, anyway? It’s the 
  way a large portion of a sentient spe-
  cies lives — their art, their economy, how 
  they govern themselves, their methods of 
  resolving disputes, their recreations, and so on. It’s 
  everything a given population does. The scale is 
  necessarily large — typically a continent, planet, or 
  multiplanet empire. Usually a civilization is self-
  contained, at least for essentials. It doesn’t have to 
  be a single political unit, although in science ﬁction 
  that’s the norm.
  This section discusses the elements of civiliza-
  tions. It includes random generation tables for GMs 
  who need to create a civilization quickly, don’t have 
  any speciﬁc ideas for what they want, or are look-
  ing for inspiration. When creating a civilization for 
  a newly-generated planet, the GM needs to note in 
  advance whether it’s an indigenous native culture 
  or a colony world (see Chapter Four regarding 
  planet creation).
  TECHNOLOGY
  Technology determines so much about how 
  a civilization looks and what it can do that it’s best 
  to start with it. This section uses general descrip-
  tions of technology levels — for other technology 
  classiﬁcation systems, see page 142. Gamemasters 
  creating a new world should assign the technol-
  ogy level based on what purpose that planet serves 
  in the campaign. A powerful spacefaring empire 
  obviously needs mature interstellar technology; a 
  “sword and planet” world should have Renaissance-
  era technology (at best). For random determina-
  tion, see the Technology Classiﬁcation Table.
  Problems can arise when there is a large diﬀer-
  ence between the technology available to the PCs 
  and that of a planet they’re visiting. If the world 
  is low-tech, the heroes’ guns and body armor can 
  give them a signiﬁcant advantage over the locals. 
  Many stories get around this problem by invoking a 
  “technology quarantine” to protect primitive societ-
  ies (see page 145). Quarantine rules may require 
  visitors to use only locally-available equipment, 
  and there may be strict penalties for introducing 
  new technologies or ideas. Such rules may not stop 
  greedy PCs or immature players, but at least they 
  give the GM an in-game means for dealing with 
  violations.
  The opposite problem can occur when an alien 
  world is far more advanced than the heroes’ own 
  civilization. This makes the PCs primitive barbar-
  ians trying to use devices they barely understand. 
  Players may ﬁnd this frustrating, and even if they 
  don’t, they’ll be trying to grab as many high-tech 
  goodies as they can. One useful technique to con-
  trol this problem is to make the aliens advanced in 
  only one or two areas rather than all ﬁelds, or to 
  create or deﬁne the technology in such a way that 
  the PCs can’t use it (or can only get limited use out 
  of it).
  POPULATION
  Once you’ve determined a civilization’s level of 
  technology, ﬁgure out how many people it includes. 
  To determine how many people a planet supports, 
  decide if they are natives or colonists. Some worlds 
  have a mix of both, and colonies which have lasted 
  for several centuries are eﬀectively “native” popula-
  tions and can be treated as such. If the planet is a 
  colony, skip down to the section on colonies below.
  POPULATION CAPACITY
  Native populations tend to be at the maximum 
  possible for a given planet (at least at prestellar 
  technology levels). When determining the native 
  population, ﬁrst determine how many people a 
  given world can support. The base surface area in 
  millions of square kilometers depends on the diam-
  eter, as shown in the accompanying table.
  Multiply the surface area by the hydrographic 
  percentage (page 92) to ﬁnd out how much of that 
  area is covered by oceans. The remainder is dry 
  ALIEN
  CIVILIZATION
  KARDASHEV  
  CLASSIFICATIONS
  The Russian astro-
  physicist V.I. Kardashev 
  classiﬁed possible alien 
  civilizations by energy 
  output, as a guideline for 
  scientists searching for 
  alien signals. 
  Type I:  A civilization 
  capable of using all the 
  energy resources of a 
  single planet. In practice 
  this means intercepting 
  and using all the avail-
  able sunlight reaching 
  the planet, about 40 
  billion megawatts. Our 
  own civilization is not 
  yet a Type I, as Earth’s 
  current energy budget is 
  far less than that. A Type 
  I civilization would be 
  detectable by radiotele-
  scope at a distance of a 
  few tens of light-years.
  Type II:  Capable of 
  using the entire output 
  of a star or star system, 
  or some 400 billion bil-
  lion megawatts. Type II 
  civilizations can move 
  planets and build struc-
  tures millions of kilome-
  ters across. They could 
  be detected hundreds of 
  light-years away.
  Type III:  Capable of 
  using the entire energy 
  output of a galaxy 
  (1037 watts). A Type III 
  civilization could create 
  structures on a scale of 
  light-years, and move 
  entire stars. It would be 
  detectable across the 
  entire observable uni-
  verse.
  PLANETARY SURFACE AREA
   
  Surface Area (millions  
  Diameter (km) 
  of square kilometers)
  1,000 
  3
  2,000 
  12
  3,000 
  28
  4,000 
  50
  5,000 
  80
  6,000 
  110
  7,000 
  150
  8,000 
  200
  9,000 
  250
  10,000 
  310
  11,000 
  380
  12,000 
  450
  13,000 
  530
  14,000 
  610
  15,000 
  700
  16,000 
  800
  17,000 
  900
  18,000 
  1,000
  19,000 
  1,130
  20,000 
  1,250
  
  125 
  Star Hero ■ Chapter Six
  land. (Note:  if the dominant species lives in water, 
  treat the oceans as “dry land” for all calculations of 
  a planet’s habitable area.)
  Next calculate how much of that dry land sur-
  face is actually usable by rolling on the Usable Land 
  Table. Even a lush world like Earth has only limited 
  regions where agriculture is possible. Mountains, 
  deserts, and polar icecaps make much of the sur-
  face unusable. Colony planets get a slight penalty 
  because no colonists are ever as perfectly suited to a 
  world as organisms which evolved there.
  Multiply the habitable fraction by the popula-
  tion density for the planet’s level of technology to 
  determine how many people can live on the world. 
  This is the planet’s carrying capacity. At lower tech-
  nology levels, the planet will have about as many 
  people as it can possibly support. But at higher 
  technology levels, beginning at the Industrial stage, 
  populations may level oﬀ as the birth rate declines. 
  With the development of object-creation devices 
  or nanotechnology, any world can support almost 
  any number of people, limited only by living space 
  and energy supply. In general, interstellar societies 
  seldom increase their population beyond that of an 
  information-age civilization; for them, once you’ve 
  determined how many people the planet has, sub-
  tract (1d6-1) times 10 percent.
  EFFECTS OF BIOLOGY
  Diet:  If the species is carnivorous, divide popula-
  tion density by ten for all levels of technology 
  before nanotech or replicator technology, to reﬂect 
  the fact that there are more intermediate steps in 
  the food chain between the basic energy source 
  and the population supported. Conversely, crea-
  tures which are able to consume energy directly 
  are vastly more eﬃcient. For all technology levels 
  TECHNOLOGY CLASSIFICATIONS TABLE
  You can use this table to randomly determine the technological level of a given civiliza-
  tion. It’s biased toward creating low-technology cultures. A look at Human history on 
  Earth indicates Humanity spent upwards of half a million years at Stone Age technol-
  ogy, and about several thousand at Bronze Age. Therefore, it’s reasonable to assume that 
  a randomly-encountered civilization is most likely low-tech.
  If the planet is a recent colony world, it is either at or below the technology level of its 
  parent world. Roll 1d6; on a 1-2 the planet is the same technology level as its founding 
  civilization, on a 3-4 it is lower (1 step on the Technology Classiﬁcation Table), and on a 
  5-6 it considerably lower (1d6 levels). If the planet is a lost colony, then its technology is 
  1d6 levels lower than the parent civilization’s. (Exclude results of 2, “Mature Interstellar,” 
  when determining lower tech levels.) For older colonies which may have diverged signiﬁ-
  cantly from their parent culture, determine technology as if the inhabitants are natives. 
  Planets which have suﬀered a major disaster may regress technologically. See the sec-
  tion on planetary disasters for their eﬀects on technology levels and population.
  Roll (2d6) Technology Classiﬁcation 
  Roll (2d6) 
  Technology Classiﬁcation
   
  2 
  Mature Interstellar 
  9 
  Iron Age
   
  3 
  Cyberpunk Era 
  10 
  Preindustrial
   
  4 
  Industrial Era 
  11 
  Industrial/Atomic Era
   
  5 
  Bronze Age 
  12 
  Early Interstellar
   
  6-8 
  Stone Age
  Advanced And Retarded Technology
  Some worlds may not have followed the same path of technological progress as Human 
  civilization. They may be more or less advanced in a given ﬁeld than their general level 
  of technology would indicate. Roll 1d6 and consult the following table:
  Roll (1d6) 
  Technological Advance Or Lag
   
  1-2 
  No deviation from the standard technology scale
   
  3 
  -1 step in one area (roll below)
   
  4 
  +1 step in one area (roll below)
   
  5 
  +1 step in one area, -1 in another
   
  6 
  +1 step in 1d6 areas, -1 in 1d6 areas (if the same area gets a +1 and a -1 
  then the net result is no change)
  The Technology Areas Table lets you determine what areas a civilization has advanced 
  or lagged in. It concentrates mostly on practical technology which aﬀects the way 
  people live, rather than pure science. A civilization might have an anomalously high 
  understanding of geology or mathematics, but that won’t have much impact on daily 
  life (as demonstrated in Arthur C. Clarke’s short story, “Second Dawn”).
  Technology Areas (roll 1d6 and 1d6)
  First 
  Second
  Die 
  Die 
  Area
  1-2 
  1 
  Agriculture
  1-2 
  2 
  Astronomy
  1-2 
  3 
  Automation or Machinery
  1-2 
  4 
  Biology
  1-2 
  5 
  Chemistry
  1-2 
  6 
  Communication
  3-4 
  1 
  Computers or Information-Handling
  3-4 
  2 
  Construction
  3-4 
  3 
  Economics
  3-4 
  4 
  Energy
  3-4 
  5 
  Manufacturing
  3-4 
  6 
  Materials
  5-6 
  1 
  Medicine
  5-6 
  2 
  Physics
  5-6 
  3 
  Sensors or Optics
  5-6 
  4 
  Transportation
  5-6 
  5 
  Weapons 
  5-6 
  6 
  Weird Technology
  Most of the headings are self-explanatory. “Weird Technology” refers to areas in which 
  the planet’s scientists have made discoveries unknown to Earthly researchers. Examples 
  include time travel, shape-shifting, immortality, and advanced robotics.
  USABLE LAND TABLE
  Roll (2d6) 
  Habitable Fraction
   0 or less 
  10 percent
   
  1 
  20 percent
   
  2 
  30 percent
   
  3 
  40 percent
   
  4 
  50 percent
   
  5 
  60 percent
   
  6 
  65 percent
   
  7 
  70 percent
   
  8 
  75 percent
   
  9 
  80 percent
   
  10 
  85 percent
   
  11 
  90 percent
   
  12 
  95 percent
  Condition 
  Modiﬁer
  Mass greater than 0.2 
  -1
  Mass greater than 1 
  -2
  Minimal axial tilt (less than 10 degrees) 
  -1
  Hydrographic 60 to 90 percent 
  -2
  Hydrographic 30 to 60 percent 
  -4
  Hydrographic less than 30 percent 
  -8
  No oceans 
  -10
  Cool climate 
  -1
  Cold climate 
  -2
  Colony world 
  -1
  
  126 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  below nanotech or replicators, use the Interstellar 
  era population density if the native life can absorb 
  energy directly.
  Size:  The size of a species also can aﬀect carry-
  ing capacity — divide the species’s average size by 
  100 kilograms, then divide the population by that 
  number. A planet inhabited by large creatures will 
  have a proportionately smaller population, while a 
  world with tiny inhabitants can support more.
  Metabolism:  Warm-blooded beings require pro-
  portionately more food than cold-blooded ones do. 
  Double the carrying capacity at all tech levels for 
  beings with a cold-blooded metabolism. 
  REGIONAL VARIATIONS
  On some worlds diﬀerent continents may 
  have civilizations with diﬀerent technology levels, 
  making for drastic diﬀerences in population. On 
  Earth, for example, Europe and Asia had approxi-
  mately a quarter-billion people in the year 1500 
  while the Americas had a tenth as many, because 
  the Eurasians had generally Preindustrial technol-
  ogy while the American civilizations were limited 
  to Stone and Bronze Age techniques. If the planet 
  has such diﬀerences, the GM may want to ﬁgure 
  the population separately for each continent. For 
  simplicity’s sake assume all continents have an 
  equal share of the habitable area.
  COLONY PLANETS
  To determine if a planet is not natively inhab-
  ited, but instead is home to a colony or colonies 
  established by a spacefaring civilization, roll 2 dice 
  and apply the modiﬁers listed below, then subtract 
  11. The result is the number of colonies. 
  Lifebearing Planet:  +3
  In Green Zone:  +1
  Gas Giant:  -4
  Spacefaring Civilization on another planet in 
  system:  +2
  Valuable Resources:  +1
  Where more than one colony exists on a 
  planet, the GM must decide if they were planted by 
  diﬀerent spacefaring civilizations. They don’t have 
  to be:  consider the ﬁfteen separate British colonies 
  established in North America on Earth. Diﬀerent 
  colonies may be the same age, or may have been 
  planted at diﬀerent times (the American colonies 
  were established over more than a century). Mul-
  tiple colonies are especially likely on lush, lifebear-
  ing worlds which are very attractive to settlers, or 
  on mineral-rich marginal or hostile worlds which 
  may experience a “gold rush” to exploit the available 
  resources. Colonies on a planet may cooperate on 
  large-scale projects and eventually form a single 
  society, or they can come into conﬂict over limited 
  resources and create a balkanized world. See the 
  Colony Size Table to determine population of each 
  colony.
  A colony’s growth can be very rapid at ﬁrst due 
  to immigration. Often the limiting factor is not how 
  fast people arrive but how fast room can be made 
  available to them. This is especially important for 
  colonies on worlds which do not have a habitable 
  environment for the colonists.
  For colonies the two most important details 
  are age and how habitable the world is. There are 
  three categories for habitability. Habitable means 
  the colonists can live on native foods or grow their 
  own crops without any form of life support or 
  environmental modiﬁcation. Growth can be fairly 
  rapid as there is always room for more settlers. 
  Marginal planets have breathable air but require a 
  lot of infrastructure to make a given area produc-
  tive — irrigation, soil treatment, terracing, or other 
  large-scale eﬀort. Lifebearing worlds are Marginal 
  if they have less than 50 percent oceans, a Cool 
  POPULATION DENSITY  
  BY TECHNOLOGY TYPE
   
  Population Density
  Technology 
  (people per square km)
  Stone Age 
  1 per square kilometer
  Bronze/Iron Age 
  5 per square kilometer
  Preindustrial 
  10 per square kilometer
  Industrial 
  30 per square kilometer
  Atomic Era 
  50 per square kilometer
  Cyberpunk Era 
  60 per square kilometer
  Interstellar 
  70 per square kilometer
  Nanotech/Replicator 
  Unlimited
  
  127 
  Star Hero ■ Chapter Six
  climate, or an average atmospheric pressure below 
  50 percent of standard (.5 atmospheres). Growth is 
  slower because new areas must be made habitable 
  before they can be settled. Hostile worlds require 
  total life support, and all growth requires expan-
  sion of the colony’s mechanical systems. Any world 
  without oxygen or native life is Hostile. 
  Some planets may be colonized by diﬀerent 
  species, or a starfaring species may plant colo-
  nists on worlds with a native civilization. The GM 
  should calculate the population levels separately 
  as described above, using the native population 
  method for the original inhabitants and the colony 
  level for the newcomers. Of course, a planet which 
  is Habitable to one species may be Marginal or even 
  Hostile to another. A Human colony on an Earth-
  like world would grow much faster than a settle-
  ment of high-temperature silicon beings. The GM 
  should also take into account the possibilities of 
  inter-species conﬂict; the natives may ﬁght back if 
  they feel threatened or taken advantage of, the way 
  American Indians did against settlers descended 
  from European colonists.
  DISASTERS
  Planetary disasters can have a negative eﬀect 
  on both population and technology. To determine 
  if the planet has suﬀered a disaster in the past 
  century and what its eﬀects have been, roll on the 
  Disasters Table.
  Any disaster which reduces population by 
  more than 10 percent can also reduce the general 
  technology level as industries and communica-
  tions centers are destroyed. Add 1d6 times 10 to the 
  percentage population loss from the disaster; if the 
  result is 80 or more, lower the technology by 1 step; 
  if the result is greater than 100, lower it by 2 steps.
  Lowering the technology level may in turn 
  reduce the planet’s carrying capacity below the 
  post-disaster population level. In that case the 
  planet suﬀers a second catastrophe in the form of 
  mass famines, reducing the population to what the 
  technology can support. This counts as a second, 
  separate disaster and can cause further technologi-
  cal collapse, reducing the technology even more 
  and possibly resulting in further famines. Thus, a 
  relatively minor disaster can throw a world into a 
  nosedive. Prompt intervention by other planets can 
  make the diﬀerence between a “mere” disaster and 
  the collapse of civilization.
  ECONOMICS
  Although accurately described as “the dismal 
  science” in many respects, economics is an impor-
  tant part of a civilization. Basic economic issues can 
  have a serious eﬀect on a Star Hero setting, and a 
  clever GM can use them in adventures in fun and 
  intriguing ways without having to know too much 
  about the real nuts-and-bolts of the subject.
  CURRENCY
  In many SF settings, the default unit of cur-
  rency is the “credit.” Typically credits are an elec-
  tronic currency, stored solely in computers and on 
  characters’ personal credit-keeping devices (be they 
  cards, sticks, chips, or the like). People don’t actually 
  hold credits in their hands, and governments don’t 
  mint or print them the way less advanced govern-
  ments do coins and paper money.
  The existence of credits raises numerous 
  issues for the GM to consider. One is the pos-
  sibility of computer robbery; a skilled hacker can 
  get away with tremendous fortunes, whereas the 
  classic “strong-arm thug” may only be able to steal 
  things like jewelry. Another is whether an “under-
  ground economy” involving “normal” money exists. 
  Because credits are electronic, every use of them 
  is easily traced — a prospect that alarms not only 
  criminals, but civil libertarians, spies, and para-
  noid player characters. Cash, on the other hand, 
  can’t really be traced at all, making it the economic 
  medium of choice for many... if there’s a way to 
  spend it.
  Of course, there’s no requirement that a spe-
  ciﬁc Star Hero setting use credits, or only credits. 
  Many SF worlds have more traditional economies, 
  where each species, planet, or even nation issues 
  its own currency. Star Trek, for example, features 
  not only the Federation credit, but gold-pressed 
  latinum (in various denominations), the Cardassian 
  lek, and dozens of other forms of currency. In such 
  a setting, the PCs may soon ﬁnd themselves caught 
  in a maze of monetary confusion while the GM 
  chuckles wickedly. “What do you mean, I can only 
  get 57 djarbecs per credit on Halana Prime? I got 
  COLONY SIZE TABLE
  Age 
  Habitable 
  Marginal 
  Hostile
  New 
  10,000 
  5,000 
  1,000
  5 years 
  15,000 
  7,000 
  2,000
  10 years 
  30,000 
  10,000 
  2,000
  20 years 
  50,000 
  17,000 
  3,000
  50 years 
  220,000 
  40,000 
  5,000
  100 years 
  2 million 
  100,000 
  7,000
  200 years 
  As natives 2 million 
  50,000
  To allow for some variation, the GM can roll 1d6, 
  multiply the result by 10%, and increase or reduce 
  the colony’s size by that percentage.
  PLANETARY DISASTERS
  Roll (2d6) 
  Disaster
   
  2-6 
  No Disaster
   
  7 
  Plague (reduce population by 1d6 
  times 10%)
   
  8 
  Global Warming (only at Industrial 
  technology or above; reduce habit-
  able area by 10 percent due to rising 
  oceans and spreading deserts, and 
  recompute population accordingly)
   
  9 
  Global War (only at Industrial tech-
  nology or above; reduce population 
  by 1d6 times 10 percent)
   
  10 
  Ice Age (reduce habitable area by 50 
  percent and recompute population)
   
  11 
  Asteroid Impact (reduce population 
  by 1d times 10 percent)
   
  12 
  Massive Solar Flares (reduce  
  population and habitable area by 50 
  percent)
  MACRO-LIFE
  The idea of “Macro-Life” 
  refers to a civilization 
  residing completely 
  aboard large mobile 
  space habitats, exist-
  ing in space the way 
  single-celled organisms 
  live in water. Even lim-
  ited to sublight speeds, 
  habitats could spread 
  through the galaxy 
  over millions of years. 
  Individual macro-life 
  habitats would grow, 
  move, react to stimuli, 
  and reproduce by creat-
  ing daughter habitats 
  from raw materials. The 
  Human crew would be 
  the equivalent of a cell’s 
  DNA. 
  A macro-life civiliza-
  tion would not be tied 
  to planets, and star 
  systems themselves 
  would be valuable only 
  as sources of matter 
  and energy. Macro-life 
  habitats could make use 
  of brown dwarf stars 
  or planet-sized bodies 
  in interstellar space, 
  comets and Kuiper Belt 
  objects on the fringes of 
  star systems, and even 
  the wispy matter of 
  nebulae.
  Macro-life cultures 
  are highly mobile and 
  focused on the interac-
  tions between diﬀerent 
  habitat cultures, and on 
  conﬂicts and politics 
  within a speciﬁc habitat. 
  In a Star Hero campaign, 
  the characters might 
  spend their whole lives 
  aboard one habitat 
  during interstellar voy-
  ages, or could visit a 
  planetary system with 
  thousands of diﬀerent 
  habitats. Since a given 
  habitat’s crewmembers 
  might modify them-
  selves with genetic engi-
  neering and cybernetics, 
  Humans from diﬀerent 
  habitats could be as dif-
  ferent as any aliens.
  Iain M. Banks’s “Cul-
  ture” series describes a 
  civilization which is at 
  Continued on next page
  
  128 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  72 per credit back on Deneb IV!” Clever merchant 
  characters may ﬁnd ways to leverage this sort of 
  situation for their own beneﬁt.
  Barter
  Last but not least, maybe there is no real form 
  of currency. Some interstellar economies could 
  revert to that oldest form of exchange, barter. 
  Rather than having to ﬁgure out the best place to 
  sell their cargo of ﬁne Guthalan diamonds based 
  on monetary exchange rates so they can buy 
  weapons, the PCs may have to ﬁnd someone who’s 
  willing to trade diamonds for weapons directly... 
  a potentially daunting prospect, even in a setting 
  involving computerized record-keeping and FTL 
  communications. But such a situation teems with 
  plot seeds and story hooks.
  COMPONENTS OF A  
  PLANETARY ECONOMY
  How the people of a given planet make a 
  living is closely related to the planet’s technology. 
  How people live says a lot about what’s important 
  to them and how they react to new situations. For 
  game purposes, a world’s economy can be deﬁned 
  as Gathering, Nomadic, Farming, Manufacturing, 
  Information, or Posteconomic. Diﬀerent parts of 
  the same planet may have diﬀerent economies.
  Gathering
  Gathering societies live on available resources 
  produced by the environment. Hunting, ﬁshing, 
  and logging are all examples. Gathering is the only 
  form of economic system possible at early Stone 
  Age technology. At more advanced technology 
  levels, gathering becomes less important but never 
  completely disappears. Mineral prospectors, who 
  gather up easily-accessible ore they can trade, are 
  also gatherers, even when they are looking for 
  radioactives on distant worlds. Because few envi-
  ronments produce lots of food or resources for 
  the taking, gathering populations tend to be small 
  and spread-out. This often means large political 
  organizations are hard to maintain, and scientiﬁc 
  progress is slow because it’s hard to share ideas 
  and there are fewer minds to have them.
  Nomadic
  Nomadic populations move with the seasons, 
  either following herds of animals or perhaps 
  moving between two areas of crop-growing (on 
  worlds with a long year or extreme seasons). They 
  require at least late Stone Age technology, and 
  usually become obsolete when improved transport 
  appears at the Industrial level. Nomads tend to 
  be quick to ﬁght — they have to be, because their 
  wealth is mobile and thus easy to steal. The best 
  way to protect your herd is to develop a reputa-
  tion for winning ﬁghts and avenging any insult. 
  This hypersensitivity tends to encourage honesty 
  and honorable behavior. Because they are both 
  warlike and mobile, nomads often conquer other 
  groups on worlds with low technology, so an oth-
  erwise placid farming society might be ruled by 
  aggressive nomads. The development of advanced 
  weaponry (bows, siege engines, ﬁrearms) enables 
  sedentary societies to ﬁght back against nomadic 
  warriors.
  Farming
  Farming economies produce food and 
  resources by manipulating the environment via 
  farming, herding animals, or digging mines. Pro-
  duction is in the hands of individuals or families, 
  and so villages or even single households are 
  largely self-suﬃcient. Farming requires at least late 
  Stone Age technology, but is likely to persist in 
  specialized forms at any technology level. Farm-
  ing makes large states possible, and allows people 
  to live together in towns. This often promotes the 
  development of writing and record-keeping. Since 
  farming is tied closely to the cycle of the seasons, 
  farming societies are usually the ﬁrst to develop 
  astronomy and other sciences.
  Farmers are less warlike because it’s almost 
  as hard to steal a ﬁeld of grain as it is to grow it. 
  On the other hand, farming is unforgiving. If you 
  don’t do everything right, the crop fails, and you 
  can’t try again for a year, so you starve to death. As 
  a result, farming cultures do not value innovation 
  highly; trying something new can be dangerous.  
  Manufacturing
  Manufacturing systems produce goods and 
  food in specialized facilities, like factories or big 
  single-crop farms. This specialization only works 
  if everything is connected by a web of eﬃcient 
  transportation. It becomes widespread after the 
  industrial technology that makes it possible 
  arrives. Specialization and economics of scale 
  mean manufacturing economies are based on 
  large organizations like corporations or collec-
  tive farms. These organizations can be privately 
  owned, controlled by shareholders, or run by the 
  government. Manufacturing spurs the growth of 
  large cities, which are hotbeds of political change 
  and scientiﬁc research.
  Urban societies at any tech level have a diﬀer-
  ent set of priorities than farmers or herders, and 
  in a Manufacturing economy the city-dwellers 
  are paramount. Townsmen have to be able to get 
  along with each other, so they can’t be too vio-
  lent, but they aren’t as tied to the cycles of nature, 
  either. They value skill and initiative, but aren’t 
  interested in codes of honor. 
  Information
  Information economies are the result when 
  technological change makes skill and knowl-
  edge more important than materials or labor. An 
  information economy depends on rapid ﬂows of 
  enormous amounts of data. Information econo-
  mies can begin to develop as soon as telegraphs 
  and telephones link distant communities, but are 
  most common once computers are widespread. 
  An information economy allows people to live 
  anywhere and still remain connected to society. 
  With everyone linked up to form a single “city,” 
  technological progress and political change can 
  take place very rapidly. Information economies 
  work best when there is little secrecy, and so tend 
  to encourage free inquiry. 
  Continued from last page
  least partly Macro-Life, 
  as much of the popu-
  lace lives aboard huge 
  sentient starships. The 
  ﬂying cities of James 
  Blish’s “Okie” series, 
  and the Ousters of Dan 
  Simmons’s “Hyper-
  ion” novels, are other 
  examples.
  
  129 
  Star Hero ■ Chapter Six
  Posteconomic
  Posteconomic systems arrive with the develop-
  ment of nanotechnology, automated microfactories, 
  or superscience “replicator” devices. Individuals can 
  basically make whatever they desire, and wealth 
  becomes almost incidental. The only trade is in 
  ideas and creative works. The worlds of Star Trek’s 
  Federation or Iain M. Banks’s Culture are Posteco-
  nomic. Posteconomic societies permit a great deal 
  of decentralization, since individuals are once again 
  almost self-suﬃcient. The fact that nearly everyone 
  can have any material possessions he wants makes 
  owning things less important.
  DISTRIBUTION OF WEALTH
  While technology determines how people 
  make a living, it doesn’t control how wealth is 
  distributed. The two main ways to allocate wealth 
  are market and command economies. In a market 
  economy, decisions about resource allocations are 
  made by individuals or private organizations; this 
  can create tremendous inequality but is ﬂexible 
  and adapts rapidly to changing conditions. In a 
  command economy all decisions about allocat-
  ing wealth are made by some central agency. The 
  results are fair (maybe), but command economies 
  are vulnerable to poor decision-making and cor-
  ruption, and often do not adapt easily. In times of 
  war or crisis, even market economies function on a 
  command basis, at least temporarily.
  Although certain economic systems are char-
  acteristic of certain technology levels (manufactur-
  ing economies in the Industrial era, posteconomic 
  in the Nanotech age, and so forth), there is no 
  reason why a society can’t have a more “primitive” 
  economy. A group of colonists on a new world 
  might be equipped with the very latest in super-
  scientiﬁc technology, but live by gathering and 
  farming simply because those systems are suited for 
  small, dispersed populations.
  When designing a planet, the GM should 
  assume that native societies usually have the most 
  “advanced” type of economy possible for their tech-
  nological level. Colony worlds generally suit their 
  economic arrangements to their population levels.
  PLANETARY TRADE
  Since no place produces everything one might 
  want or need, people trade with one another. It 
  seems likely that sentient aliens trade also. Of 
  course, trade depends on transportation — a pro-
  ducer can’t sell his goods if he can’t get them to his 
  customers. At low tech levels, when people can only 
  trade what they or their pack animals can carry, 
  trade consists of fairly compact, high-value items 
  — jewels, gold, furs, spices, wine, cloth, and so forth. 
  Boats and ships make bulk trade possible, but only 
  on short, relatively safe voyages. The risks of long 
  sea voyages mean merchants still concentrate on 
  carrying luxuries. Thus, river barges and coastal 
  schooners carry salt ﬁsh and ﬂour, but clippers and 
  galleons carry tea and treasure.
  Trading societies at lower tech levels are urban, 
  and usually rely on sea transport (though caravan 
  trade across a desert or steppe is very similar to 
  sea trading). With the coming of industrial-era 
  technology, railroads and highways make bulk 
  transport on land possible, forging the web of spe-
  cialized industry characteristic of a manufacturing 
  economy. Aircraft makes a planetary economy even 
  more interconnected, and high-tech transporta-
  tion such as hovercraft or teleportation booths only 
  extends this trend.
  SPACE TRADE
  Space transport is seldom cheap, even in the 
  most optimistic ﬁction. A spaceship is fabulously 
  expensive, and the fuel to boost payloads into orbit 
  is more expensive still. Launch costs of a thousand 
  credits per kilogram or more are often the norm. 
  Given those expenses, space trade is likely to deal 
  in very compact, high-value items in most Star 
  Hero settings. Planets and space habitats must be 
  self-suﬃcient in bulk goods and the necessities of 
  life. While highly advanced science ﬁction technol-
  ogy, like rapid, easy FTL travel or teleportation 
  devices, can make interstellar trade much easier 
  and cheaper, even then it often remains more dif-
  ﬁcult than planetary trade.
  Space traders are a staple of science ﬁction, 
  but the task is considerably harder than just land-
  ing and passing out glass beads to the natives. Any 
  obvious trade routes are probably taken already by 
  merchants who have ongoing relationships with 
  
  130 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  suppliers and markets. They may even use force 
  to discourage competitors, especially if there’s no 
  interstellar navy to keep the peace.
  Gamemasters can handle trade either of two 
  ways:  by “gaming it out” as a part of the adventure; 
  or by abstracting it to a series of die rolls. Trade 
  during an adventure means the merchant charac-
  ters meet with vendors, see their wares, negotiate 
  prices and other terms, try to avoid being cheated, 
  and have to guess what items are likely to sell for 
  a good price at the next planet. Important skills 
  include Area Knowledge, Trading, and Bureaucrat-
  ics. Often the cargo can be the hook for an adven-
  ture — the shipment is stolen, the crates don’t hold 
  what their labels say they do, the ancient artifacts 
  are actually aliens in stasis, or the Galactic Maﬁa 
  wants its goods back. There are certain pitfalls, 
  though:  the players may wonder if they can ever 
  just move a cargo from Point A to Point B without 
  getting involved in some nefarious scheme, and the 
  scenes of dickering with shippers and brokers can 
  all start to sound the same.
  Abstract trade avoids those problems, but 
  makes the whole process a bit more dry and rou-
  tine. It also means that when the GM does try to 
  play out getting a cargo, he alerts the players that 
  there is Something Diﬀerent about this one.
  Abstract trade groups items into the basic 
  resource categories, as described on page 93. Each 
  lot is 5 tons (about what can be carried in a single 
  hex of cargo space aboard ship for the heavi-
  est items). Base price for each type of resource is 
  given in the accompanying Cargo Price Table. To 
  determine the purchase price at the origin, apply 
  all modiﬁers, then roll the trader’s Trading or PS: 
  Merchant Skill. On a successful result, the trader 
  gets the desired cargo at base price, -1% for every 
  2 points by which the roll succeeded. On a failure, 
  increase the price by +1% per point by which the 
  roll failed (sometimes more). Sale price uses the 
  same modiﬁers, but the result is reversed — sub-
  tract the amount by which a roll failed from the 
  ﬁnal price, and increase the price when the roll suc-
  ceeds. (Gamemasters may adjust these numbers to 
  create higher or lower proﬁt margins, if desired.)
  Example:  Trader Vic and Trader Joe are both 
  trying to buy animal products on the planet 
  New Texas. New Texas is rich in animals and 
  has no demand for them, so the base price is 
  10% less than 1,000 credits, or 900 credits per 
  ton. Trader Vic makes his roll exactly, so he gets 
  a load of 5 tons of neobeef for 4,500 credits. 
  Trader Joe’s skill is 11- and he rolls a 14, so 
  he fails by 3. Joe pays 3% above the cost of the 
  neobeef, or 4,635 credits. The traders go their 
  separate ways.
  Trader Vic hauls his neobeef to the asteroid 
  Baikonur. Since that’s a lifeless world and poor 
  in animal products, the going rate is 1,000 plus 
  10%, or 1,100 credits. Vic makes his roll by 2 
  and sells his 5 tons of neobeef for 5,555 credits 
  (base of 5,500, +1%), pocketing the 1,055 credit 
  proﬁt. Trader Joe makes the mistake of taking 
  his neobeef to the planet Carthage, another 
  lifebearing world. It is neither rich nor poor 
  in neobeef, so there is no modiﬁer to the price. 
  Joe makes his roll exactly, so he sells it at 1,000 
  credits per ton, leaving a proﬁt of only 365 cred-
  its. While he mopes in the spaceport bar, he’s 
  approached by some shady characters oﬀering 
  a lot of money if he can get them oﬀ-planet 
  without attracting oﬃcial attention....
  Note that all these proﬁts are before expenses. 
  Traders will soon discover that moving low-value 
  items like metals or plants is a quick way to bank-
  ruptcy unless spaceships are very cheap to run.
  SPACEPORTS
  Worlds with spacefaring or interstellar tech-
  nology are likely to have some facilities available for 
  visiting starships, and these tend to be important 
  parts of the economy. They vary widely, from the 
  cleared shuttle landing ﬁeld of a new colony to vast 
  orbital spacedocks. To get an idea of the facilities 
  likely at a given planet, consult the Ship Facilities 
  Table.
  None indicates the planet has no provision for visit-
  ing spacecraft at all. Either the inhabitants don’t 
  want contact with space travelers, or they haven’t 
  been able to construct anything yet. There may 
  be places ﬂat enough to land a shuttle, but any 
  repairs must be done with onboard equipment. The 
  planet has little or no orbital traﬃc control, and the 
  inhabitants may have no way of detecting ships in 
  orbit at all. Space voyagers may have trouble get-
  ting down to the surface if their ship is not suited 
  for atmospheric ﬂight. Planets with no facilities are 
  also unlikely to have any defenses against attacks 
  from space.
  Minimal facilities are about the equivalent of a large 
  starship’s own onboard maintenance and repair 
  shops. Worlds with minimal services probably have 
  one paved “spaceport” on the surface, but no orbital 
  station or spacedock. Worlds with minimal facili-
  ties may be able to repair shuttles or small craft, 
  CARGO PRICE TABLE
  The Cargo Price Table presents suggested “average” prices for a “typical” Star Hero cam-
  paign. Speciﬁc settings may vary from this, sometimes extremely. Gamemasters should 
  decide whether this table applies to their campaigns as-is, or if they need to create a 
  setting-speciﬁc version.
  Resource Type 
  Price Per Ton 
  Demand
  Animals 
  1,000 credits (cr) 
  Crafts 
  1,000 cr
  Heavy Metals 
  100,000 cr Atomic or better technology
  Manufactures 
  10,000 cr  
  Lower tech than source of items
  Metals 
  100 cr 
   
  Ice or Rock-Ice world
  Nonmetals 
  500 cr 
   
  Organics 
  1,000 cr 
   
  Industrial or better technology
  Plants 
  100 cr
  Specialties 
  10,000 cr  
  Volatiles 
  100 cr 
   
  Vacuum or no oceans
  Modiﬁers
  Subtract 10% from the price if the planet is rich in that resource.
  Add 10% if it is poor in the resource, and another 10% if the planet has a demand for 
  the resource. All planets are considered poor in Specialties from other worlds.
  
  131 
  Star Hero ■ Chapter Six
  but it takes some time and the results probably 
  won’t meet ﬁrst-class standards. Minimal facilities 
  do usually include some form of sensors to detect 
  approaching space vessels, so ships can’t enter orbit 
  without somebody noticing.
  Average facilities are the level spaceship captains 
  expect at most civilized starfaring worlds — an 
  orbiting space station, maintenance and repair 
  available for shuttles and small starships, and rep-
  licators or stores of most standard components. 
  Fuel for normal engines is available, and major 
  systems are likely to have supplies to maintain and 
  refuel FTL drives. Worlds with average facilities are 
  almost certain to have some form of space defense, 
  even if it is only a few ﬁghter craft or perhaps some 
  surface-to-orbit missiles.
  Good facilities are the equivalent of a starbase or a 
  major port. They have orbital docking platforms 
  and possibly a spacedock for large ships, and can 
  repair almost any ship. All replacement parts are 
  easily available, and there are stocks of every kind 
  of fuel. Worlds with Good facilities can probably 
  build their own starships, though they may not 
  have shipyards currently operating. Good facilities 
  probably have long-range sensors capable of track-
  ing ships at a distance of several light-years.
  Extensive facilities are the best possible — multiple 
  spacedocks, orbital shipyards, shuttle service, and 
  probably large industries capable of manufacturing 
  anything. Systems with extensive facilities can build 
  top-of-the-line starships, and can repair any ship 
  no matter how badly damaged. Extensive facilities 
  are not common; their presence usually indicates 
  a strategically and/or economically important 
  system. Defenses are likely to be strong, often 
  including both armed spacecraft and huge weapon 
  installations.
  All starship facilities are potential targets for 
  spies and saboteurs, and can also be the subject 
  of economic rivalries. Nations on a planet may 
  compete at building spaceports to draw interstellar 
  trade, and neighboring systems can do the same. 
  Of course, space facilities are often home to exiles, 
  wanderers, and seedy characters unwelcome on any 
  planet for long. They sometimes exist apart from 
  a system’s ordinary legal jurisdictions, and clever 
  crooks can make use of that to escape prosecution.
  GOVERNMENT
  Any group of beings larger than a single family 
  needs some form of government. There is no good 
  correlation between a civilization’s advancement in 
  science and technology and its government. Some 
  brutal tyrannies have existed in very high-tech set-
  tings, while Stone Age tribes can develop highly 
  enlightened forms of government. Technology does 
  limit the size of the area a given state can control 
  — a single tribe or valley at Stone Age technol-
  ogy, a region up to a thousand kilometers across at 
  Bronze Age (larger if water transport is available), 
  entire continents by the Iron Age, and Industrial-
  era technology permits a single state to rule a 
  world.
  The Basics Of Government
  Government forms can be described by who 
  makes the decisions, how those people are chosen, 
  and what decisions they are permitted to make (i.e., 
  what the government can do). 
  WHO RULES
  To decide how a society is governed, ﬁrst con-
  sider who rules it. The rulers can be a single indi-
  vidual, a small group (1-10 members), a medium 
  group (10-100), a large group (100-1000), a subclass 
  (1000-10,000), or a ruling class (a signiﬁcant pro-
  portion of the entire population).
  Individual Rule
  Rule by one person is an extremely common 
  form of government; at times it appears that 
  Humans have an instinctive need for a “pack 
  leader” to follow, and many alien species may have 
  the same instinct. (For RPG purposes, a single 
  person who embodies “the government” is useful 
  because it keeps the GM and players from getting 
  bogged down remembering who is who in the 
  administration.)
  Individuals ruling by force are dictators or 
  emperors. They seldom leave oﬃce alive, and when 
  they die it is usually by violence. In any society 
  larger than a few thousand people, the dictator 
  must have a band of warriors or an army to sup-
  port his rule, and in advanced societies the dictator 
  supplements his soldiery with police, spies, and 
  informers.
  Single rulers who reign by virtue of heredity 
  are called monarchs. Depending on the state they 
  SHIP FACILITIES TABLE
  Roll 1d6 and index with population. Apply a +1 modiﬁer for worlds located on major 
  trade routes, -1 for pre-starfaring planets.
   
  Population
  Roll 1d6 1000 or less 1001-1 Million 
  1 Million-1 Billion 
  Over 1 Billion
   
  1 
  None 
  None 
  Minimal 
  Average
   
  2 
  None 
  Minimal 
  Average 
  Average
   
  3 
  None 
  Minimal 
  Average 
  Good
   
  4 
  None 
  Average 
  Good 
  Good
   
  5 
  Minimal 
  Average 
  Good 
  Extensive
   
  6 
  Minimal 
  Good 
  Extensive 
  Extensive
  
  132 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  rule, monarchs can also be called chiefs, barons, 
  princes, kings, or emperors. They often bolster 
  their claim to authority by appeals to religious 
  authority. In large states monarchs have to rule 
  through a bureaucracy of appointed oﬃcials, an 
  elected parliament, or a feudal structure of heredi-
  tary nobles.
  A single ruler who is chosen by merit, 
  appointment, or election may be known as a chan-
  cellor, president, premier, or governor. In all four 
  cases the problem is that the qualities which allow 
  someone to gain the position are not necessarily 
  the best ones for a ruler. In states which choose 
  leaders by election, there may be limits on who is 
  permitted to vote. Age is a common criterion, but 
  societies may also use sex, race, occupation, wealth, 
  or religion to choose who may or may not vote.
  Small Groups
  A small group holding power by force is often 
  called a junta. Usually one member of the junta is 
  dominant, but not so powerful he can overcome 
  the others if they combine against him. Each 
  member of a junta has his own military forces, and 
  may even ﬁght wars with the others.
  A small to medium group which inherits the 
  right to rule is sometimes called an oligarchy or an 
  aristocracy. One member of the ruling group may 
  hold the title of “king” but cannot rule without the 
  support of the others. A group of monarchs joined 
  together in a confederation would function as an 
  oligarchy.
  Small groups of elected rulers may be known 
  as a council or senate, but could have various other 
  titles. While elected rulers usually are considerate 
  of the wishes of the majority of voters, they can 
  still be harsh or oppressive to minorities or those 
  without the vote. How long the elected oﬃcials 
  serve also aﬀects how they behave in oﬃce. Rulers 
  elected for life don’t have to be as responsive to 
  the will of the people as those who have to get re-
  elected every few years. Of course, responsiveness 
  isn’t always a good thing — sometimes the will of 
  the people is wrong.
  Large Groups
  A medium to large group governing by force 
  could be a conquering army or the oﬃcers of a 
  military government. Such situations are rare 
  because it is hard for a large group of conquer-
  ors to work together. Either a junta or dictator 
  emerges, or the whole society collapses into anar-
  chy. If a group of conquerers can hold on for a 
  generation, the society becomes a feudal one.
  When a large group or class holds power by 
  heredity the government is called a feudal system. 
  While there may be a king at the top of the struc-
  ture, the real power lies with the local barons. In 
  their early stages, feudal governments may be little 
  better than anarchies, but over time custom and 
  tradition can act as a check on what individual 
  nobles can get away with. Governments with at 
  least some feudal aspects are popular in science 
  ﬁction, since the spread-out nature of galactic 
  society often mimics that of medieval Europe on 
  Earth.
  An extremely large hereditary group of rulers 
  may be called a ruling caste. Often they must 
  choose the actual decision-makers by voting or 
  other means, since the group itself is too large to 
  perform the day-to-day business of governing.
  Large elected governments may be called leg-
  islatures, congresses, or assemblies. Often a large 
  legislature cannot decide on every speciﬁc issue 
  and delegates power to subcommittees. Elected 
  legislatures almost always involve some form 
  of political parties or factions, as members with 
  common opinions band together. In corrupt sys-
  tems, the ruling party may rig elections or bribe 
  voters to remain in power.
  HOW THE RULER IS CHOSEN
  The way the rulers are selected can vary tre-
  mendously. The most common methods on Earth 
  have been force, heredity, appointment, merit, or 
  election. Other possibilities include no government 
  (anarchy), total participation, random selection, 
  omens or oracles, computerized government, and 
  purchase.
  Appointment
  In any government which rules by appoint-
  ment, the big question is:  who does the appoint-
  ing? A state which has been conquered by another 
  state, or which is a colony, may have an appointed 
  government. But a state might simply permit oﬃ-
  cials to choose their own replacements, or have 
  one branch of government appoint the members 
  of another branch (as the United States Supreme 
  Court’s members are appointed by the President). 
  In a one-party state, candidates for the legisla-
  ture or presidency might be hand-picked to run 
  in sham elections by the party leaders. The chief 
  problem with any appointed government is that 
  the interests of those appointing the rulers may 
  not coincide with what is best for the people.      
  Merit
  Merit-based governments vary depending 
  on how the society deﬁnes merit. It may be com-
  petence at one’s job (bureaucracy), religious faith 
  (theocracy), scientiﬁc knowledge (technocracy), 
  wealth (plutocracy), psionic power (psychocracy), 
  or sheer age (gerontocracy). There could be rituals, 
  physical ordeals, riddling contests, or gladiatorial 
  battles to select the rulers — the possibilities are 
  practically endless. Rulers chosen by merit may be 
  highly eﬀective, so long as the system for deter-
  mining merit is suﬃciently accurate and honest. 
  All large organizations have some aspects of merit-
  based selection.
  Merit-based systems are prone to two major 
  ﬂaws. The ﬁrst is that the deﬁnition of merit may 
  not have much to do with ability to rule. A theo-
  cratic government could well be staﬀed by the 
  most pious and devout members of the priesthood, 
  but that doesn’t mean they’re any good at making 
  economic or military decisions. The second prob-
  lem is that since the rulers are members of an elite 
  (however society deﬁnes that elite), it is hard for 
  them to consider the rights and wishes of the rest 
  of the people when making decisions.
  
  133 
  Star Hero ■ Chapter Six
  Other Systems
  Besides the methods described, there are 
  a variety of “Other” government types possible. 
  Some states have literally no government at all 
  — this can be either a bloody war of all against 
  all, or an enlightened civilization determined to 
  live and let live. Small groups or highly advanced 
  cultures may be governed by volunteers, or by the 
  entire population linked up in a real-time deci-
  sion-making network. Races with psionic abilities 
  or brain implants might form a single mass mind.
  Some other methods of choosing rulers 
  include random selection — drafting people to 
  govern whether they want to or not (as juries are 
  chosen in the United States; see R. A. Laﬀerty’s 
  short story “Polity And Customs Of The Camiroi” 
  for an interesting SF take on a society that func-
  tions this way). Oracles or omens might be used 
  in religious societies to choose those who should 
  rule. Technological civilizations might simple del-
  egate the job of governing to artiﬁcial-intelligence 
  computer systems. 
  WHAT THE RULER CAN DO
  What the government can do is determined 
  by the culture in general. A very open, freedom-
  loving culture is unlikely to put up with tyranny, 
  but a highly disciplined society may submit to 
  a regime which promises order. It is possible to 
  have a repressive government in a freedom-loving 
  society, but there are likely to be rebels working 
  to overthrow the tyranny.
  Usually the limits on state power are related 
  to how the rulers are chosen — a government that 
  has to worry about re-election is more likely to 
  respect the rights of voters — but there is consid-
  erable room for variation. Often a government’s 
  power is checked by the existence of powerful 
  groups or institutions outside of government, like 
  religions, business interests, labor organizations, 
  or the news media. Repressive states must con-
  centrate all power in the hands of the rulers to 
  eliminate possible rivals.
  Governments exist in layers. There is the 
  planetary government, regional or national states, 
  provincial administrations, and ﬁnally the local 
  city, county or tribal structure. Worlds without 
  a uniﬁed planetary government (“balkanized” 
  worlds) have nothing above the national level, 
  and may have regions where provinces or even 
  city-states are the largest units. Each layer has dif-
  ferent responsibilities, and may have an entirely 
  diﬀerent structure. A planet with an absolute 
  dictator in charge of planetary aﬀairs could have 
  elected councils at the regional and provincial 
  levels, and conduct local aﬀairs by town meet-
  ings. It’s also quite possible for diﬀerent parts of a 
  world to use diﬀerent systems at the same level of 
  government.
  Of course, there may be a tremendous diﬀer-
  ence between the oﬃcial system of government 
  a world (or a nation) has and the regime actually 
  in place. Most of the surviving monarchies on 
  Earth today are actually republics with a heredi-
  tary ﬁgurehead. Many nations during the Cold 
  War called themselves “Democratic Republics” or 
  something similar even though they were repres-
  sive oligarchies.
  Last but not least, GMs should consider the 
  often unusual nature of societies and cultures in 
  science ﬁction stories. Aliens may have a very 
  diﬀerent perspective on what powers a govern-
  ment should (or should not) have than Humans 
  do. An alien government might, for example, have 
  extensive power to regulate and control citizens’ 
  entertainment and leisure, but almost no military 
  authority. A truly bizarre (from a Human view-
  point) government such as that could make for an 
  interesting Star Hero adventure.
  Interstellar Governments
  Some worlds are members or possessions of 
  large interstellar states comprising multiple plan-
  ets or star systems. There are a number of ways 
  planets can organize into an interstellar state.
  A league or alliance is a voluntary collection 
  of planets, each of which remains entirely sov-
  ereign and is not subject to any interference by 
  its partners. Planets in a league often have some-
  thing in common — they may all be colonies of 
  the same civilization, they may have economic 
  ties, they may simply have a common enemy. An 
  economic league may result when a few worlds 
  are rich in a certain resource and want to prevent 
  competition. Worlds in a league may cooperate 
  on military matters but be bitter economic rivals; 
  alternately they may permit a little “gentlemanly” 
  
  134 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  warfare among members but hold the line on 
  keeping up fuel prices.
  A confederation or federation is somewhat 
  more uniﬁed, and involves more control over the 
  members by a central governing body; Star Trek’s 
  United Federation of Planets is a good example. 
  Federations are almost always voluntary, although 
  they may have rules preventing members from 
  breaking away just because they don’t agree with 
  certain policies.
  A union of worlds is tighter still, shifting 
  most of the powers and responsibilities of gov-
  ernment away from the individual planets to a 
  central administration. This means the union can 
  eﬃciently mobilize all of its resources to cope 
  with threats or solve problems. On the other 
  hand, it also means mistakes by the central gov-
  ernment aﬀect the entire union.
  Leagues, confederations and unions are all 
  voluntary associations of worlds. But unfortu-
  nately there are many interstellar states which 
  don’t much care if their member worlds want to 
  join or not. The usual term for such states is an 
  empire (or hegemony, where one nation domi-
  nates many others), although they may refer to 
  themselves by a more friendly-sounding term. 
  Empires vary in how tightly they control their 
  subject systems. Some run everything from the 
  capital world; this has the same advantages and 
  problems as a voluntary union. Other empires are 
  more decentralized or feudalistic, with powerful 
  system or planetary governors able to set policies 
  for their own districts. The trouble with those 
  arrangements is that governors sometimes rebel. 
  Permissive empires give their subject worlds a lot 
  of autonomy on internal matters, while others try 
  to impose uniformity.
  An empire does not have to have a tyrannical 
  or monarchic government. Republics can conquer 
  subject worlds as easily as dictatorships can. In 
  Earth history, extensive empires were conquered 
  by the Republics of Rome, Venice, Athens, and 
  France, to name a few. Often the imperial power 
  is motivated by altruism as much as greed or 
  aggression — “we’re not conquering them, we’re 
  bringing civilization.”
  Agencies
  Regardless of what a given ruler can and 
  cannot do, most governments have certain broad 
  powers — they enforce the law, protect the citi-
  zens from threats within and without, regulate 
  the economy, and so forth. To accomplish this, 
  they typically have agencies, departments, insti-
  tutes, and other such “sub-organizations,” each 
  with power over a speciﬁc subject or sphere of 
  authority. These organizations may or may not 
  work together well; in some regimes, each organi-
  zation is a virtual power unto itself, pursuing its 
  own agenda at the expense of the others.
  MILITARY
  The one thing which just about any govern-
  ment needs is an army. If a state can’t defend its 
  sovereignty against invaders, then it isn’t a state at 
  all. Peace-loving societies with no enemies might 
  get by without military forces, but such idyllic 
  situations are rare, and often come to grief when 
  an enemy ﬁnally does appear. Military forces in 
  science ﬁction settings can be broadly lumped 
  into two categories, planetary and space.
  Planetary Militaries
  Planetary forces are the military units famil-
  iar to contemporary readers — armies, navies, air 
  forces, and so on. They ﬁght on a planet’s surface 
  or in its atmosphere. The exact nature of the 
  forces depends on the civilization’s technology 
  level, although high-tech armies in novels tend to 
  have battlesuited troopers and hovercraft tanks, 
  while in anime ﬁlms they emphasize giant mecha.
  How a government organizes its planetary 
  forces depends a lot on accidents of history, 
  the planet’s environment, and the nature of the 
  main threats faced by the society. Environment 
  determines the mix of land and sea forces — a 
  world with lots of oceans needs more navy units. 
  Threats to the planet determine what those units 
  will be. If the enemy is a large organized force, 
  then the government needs large organized forces 
  to meet them in battle. If the enemy is guerrilla 
  units or rebels, then a light, highly mobile mili-
  tary is the order of the day. A society whose main 
  enemy is substantially more powerful might have 
  a guerrilla-style army designed to hamper and 
  resist an enemy it can’t face directly.
  Finally, much of a world’s military organi-
  zation depends on accidents of history. Armed 
  forces on Earth tend to be very tradition-bound 
  organizations, which means “because we’ve always 
  done it that way” is a fundamental principle. For 
  example, the Prussian navy at the time of German 
  uniﬁcation was commanded by an Army general, 
  simply because Prussia at the time was a land 
  power.
  Space Militaries
  Space forces are the planet’s military that can 
  ﬁght and operate in space. They are often divided 
  by into planetary-defense (orbital and suborbital 
  craft and surface-to-space weapons), system-
  defense (interplanetary craft), and interstellar 
  units (starships). The exact balance depends on 
  the planet’s position in interstellar aﬀairs — an 
  isolationist world has heavy planetary-defense 
  forces and little else, while a planet with lots of 
  merchant shipping and oﬀ-world colonies to 
  protect emphasizes interstellar forces. Often plan-
  etary and system defense are a separate service or 
  branch from the interstellar forces; a planet with 
  a powerful star ﬂeet might lump everything else 
  together with surface units as “garrison troops.” 
  A powerful space ﬂeet can have its own Marines, 
  orbital-attack vessels, atmospheric ﬁghter craft, 
  and the like.
  
  135 
  Star Hero ■ Chapter Six
  The Military’s Size
  You can calculate the size of military forces 
  from a planet’s population with some precision. Most 
  societies on Earth have supported about 1 soldier 
  per 100 citizens. The ratio is sometimes lower, either 
  in states with no need for defense or states with inef-
  ﬁcient governments, and can be as high as 5 soldiers 
  per 100 people in states on a full war footing. How-
  ever, anything above 1 percent is hard to sustain over 
  the long term. Some aggressive states get around 
  this by pillaging conquered territories — essentially 
  making their enemies support their armies. This 
  allows them to ﬁeld very large armed forces as long 
  as they have enemies to prey upon. Once the pace of 
  expansion slows, the ﬁnancial strain catches up.
  In Star Hero adventures, even a small military 
  force is probably more than any group of PCs can 
  handle. The armed forces are the GM’s big stick 
  — when they show up, the heroes should know the 
  situation is beyond them. If the PCs are in the mili-
  tary, they probably should be some sort of highly-
  trained elite force accustomed to operating alone 
  and without supervision — commandos, rangers, or 
  special forces. 
  ESPIONAGE
  Just about every state in history has had some 
  form of intelligence-gathering agency. In early soci-
  eties, this usually consisted of some scouts traveling 
  ahead of the army to locate enemy positions. Rulers 
  and commanders had small personal staﬀs of spies 
  to gather information on enemy troop movements 
  or the plots of political opponents.
  With the development of large nation-states, 
  espionage became professional and bureaucratic. 
  Every country had its intelligence agency, and spying 
  became standard practice even in peacetime. Coun-
  ter-espionage operations to thwart 
  enemy intelligence-gathering became 
  as important as spying. As wars 
  became potentially more devastat-
  ing, covert operations and inﬁltration 
  turned into an alternative to military 
  action.
  Spy agencies typically have 
  three functions. Often these jobs are 
  handled by diﬀerent sections, or by 
  entirely diﬀerent agencies. The ﬁrst, 
  obviously, is intelligence-gathering. 
  The great majority of this is done 
  perfectly openly, by analysts read-
  ing news reports, foreign technical 
  journals, trade reports, and industrial 
  statistics. They build up a picture of 
  enemy capabilities based on publicly-
  available information. Other analysts 
  focus on intercepted communica-
  tions, working with a huge staﬀ of 
  code-breakers and computers to ﬁnd 
  out what the enemy is saying. Orbital 
  and aerial reconaissance uses pictures 
  and video, often taken through large 
  space telescopes.
  When those methods fail, intel-
  ligence agencies fall back on “Human 
  intelligence” — talking to people, bribing or per-
  suading enemy oﬃcials to pass on information, 
  and sometimes inserting agents to go have a look 
  at sensitive sites. Human intelligence is the most 
  romantic and dangerous part of spying.
  The second function of an intelligence agency 
  is counterespionage. Agents seek out foreign spies 
  and operatives in the country, especially enemy 
  moles who have penetrated the counterespionage 
  agency itself. Counterspies tend to be very para-
  noid, but that doesn’t mean they’re wrong. Detect-
  ing enemy spies involves much of the same work 
  as intelligence-gathering — analyzing patterns of 
  information, intercepting communications, and 
  directly surveilling suspects.
  The third function is “covert operations,” a 
  general term for anything a government wants to 
  do that it doesn’t want to publicly admit doing. This 
  includes activities like supplying one side in a con-
  ﬂict despite being oﬃcially neutral, starting a con-
  ﬂict in a hostile state, spreading money to inﬂuence 
  an election in another state, helping foreign mili-
  tary oﬃcers stage a coup, assassinating individuals 
  who pose a threat, and generally sneaking around 
  doing unpleasant stuﬀ.
  Covert operations overlaps extensively with 
  military action, so spies sometimes wind up work-
  ing with commandos or special forces. This is by far 
  the most exciting and glamorous part of espionage 
  work, but it’s also the most dangerous and the least 
  common. If a covert operative is caught, that can 
  be a major embarrassment to the agent’s govern-
  ment. Often covert ops are handled and ﬁnanced 
  through a series of dummy corporations or friendly 
  third-party governments. This sort of “deniability” 
  sometimes means overambitious agents (or those 
  seeking personal gain) can turn an operation from 
  
  136 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  its original purpose to their own goals. This may 
  require another covert operation as Headquarters 
  seeks to secretly wipe out its rogue agent!
  In tyrannical states, spy agencies take on a 
  fourth mission:  seeking out and suppressing inter-
  nal dissent. They may inﬁltrate dissident groups 
  (or even organize their own groups to ensnare 
  anyone opposed to the regime). They arrest or 
  assassinate opposition leaders, and constantly 
  hunt for rebels and traitors. Sometimes internal 
  security agencies can have very extensive military 
  forces of their own — in Stalin’s Soviet Union, the 
  NKVD security troops were practically an entire 
  second army dedicated to making sure the Red 
  Army didn’t turn on its masters. Science ﬁction 
  oﬀers plenty of its own examples. In Star Trek, the 
  Romulan Tal Shiar and Cardassian Obsidian Order 
  are both highly-feared intelligence agencies that 
  suppress internal dissent; and in Frank Herbert’s 
  Dune universe, spies, informers, and secret security 
  personnel are everywhere. Eric Frank Russell’s 
  marvelous novel Wasp chronicles the adventures 
  of a Human spy and saboteur dropped on an alien 
  planet to disrupt its entire society by himself!
  In a Star Hero game, espionage of any sort is 
  great for roleplaying adventures. In Space Opera 
  settings, espionage follows the James Bond mode, 
  with small teams of daring operatives working 
  on their own to thwart enemy plots, inﬁltrate the 
  Galactic Tyrant’s headquarters, and disarm the 
  Doomsday Device before it goes oﬀ. Hard SF tends 
  to be more like modern-day spying, relying heavily 
  on “technical intelligence” from satellites and radio 
  intercepts. Cyberpunk focuses on the nitty-gritty 
  of computer espionage, although the spy agencies 
  may work for corporations instead of govern-
  ments. Adding psionics to the mix only livens 
  things up, as psi-agents try to get close enough to 
  read a rival leader’s mind while the enemy’s psi-
  cops attempt to stop them.
  One thing to keep in mind when running 
  espionage adventures is that some tropes of the 
  spy-story genre don’t always work as well in an 
  SF setting. How can a secret agent, no matter 
  how suave and daring, go undercover in a society 
  of non-Human aliens? What if they don’t even 
  breathe oxygen? On the opposite end, the mas-
  sive amounts of information that even near-future 
  realistic satellite snooping and communications 
  eavesdropping can gather is colossal. The answer 
  you want may be in there, buried in a mountain of 
  extraneous data.
  LAW AND JUSTICE
  If military and espionage forces are a civi-
  lization’s protection against outside threats, the 
  legal and justice system preserve order internally. 
  Systems of law tend to be extremely conservative 
  and tradition-based, since continuity and consis-
  tency are a primary goal of any legal system. Laws 
  are designed to prevent things the society doesn’t 
  LEGAL SYSTEM TABLE
  Roll (1d6) 
  Legal Structure
   
  1 
  Cases Judged by Oracles or Ordeals
   
  2 
  Judges Decide Each Case
   
  3-4 
  Judgements Based on Tradition
   
  5-6 
  Written Laws/Jury Trials
   
  7+ 
  Algorithmic Laws (cases decided 
  by application of rigid, “scientiﬁc,” 
  formulae)
  Modiﬁer:   
  +1 for Preindustrial or later  
  societies (or +2 for Cyberpunk era)
  LEGAL STRICTNESS
  Roll (2d6) 
  Strictness
   
  0-2 
  Permissive (only violent crimes 
  illegal, police tightly restricted)
   
  3-4 
  Loose (only violent and property 
  crimes illegal, police regulated)
   
  5-7 
  Moderate (laws protect citizens 
  from harm or loss, police regulated)
   
  8 
  Regulated (laws govern most 
  aspects of life, police regulated)
   
  9 
  Strict (intrusive laws, police well-
  regulated)
   
  10   
  Harsh (total control, broad police 
  powers, harsh punishments)
   11-13   
  Repressive (arbitrary arrest, severe 
  punishment without trial)
  Modiﬁers:   
  -2 for elected governments; +1 for 
  governments by force
  
  137 
  Star Hero ■ Chapter Six
  like, protect things it does, and resolve disputes 
  between individuals.
  Exactly what things a society bans and what it 
  permits vary tremendously. A culture where duels 
  are an acceptable way to resolve disputes might not 
  consider some forms of murder a crime, while a 
  society of empaths could make it a crime to merely 
  dislike someone! Gamemasters can create some 
  odd laws — all spoken communication be sung, 
  nudity is mandatory at public functions, no drink-
  ing or eating allowed between the ﬁfth and sixth 
  hours — as a way of adding color to an adventure. 
  As a rule, however, societies make laws to protect 
  their members from violence, preserve property, 
  and protect the operations of government from 
  interference — not just to be “weird.”
  Laws don’t work without some way to enforce 
  them. On Earth, this is accomplished by police 
  agencies, but many cultures still have a tradition of 
  law enforcement by the entire community... and a 
  hive-mind species may require little or no actual 
  law enforcement. The limits on what law enforce-
  ment operatives can do depend on the general tone 
  of the society and on the level of crime — a soci-
  ety that values order above freedom grants police 
  broad powers, while those that value individual 
  rights carefully restrict the police. If crime is seen 
  as “out of control” and the citizens feel threatened, 
  they will likely prefer tough, aggressive policing.
  You can use the accompanying Legal System 
  and Legal Strictness tables to randomly determine 
  the nature of law and law enforcement on a given 
  planet, or among a particular species. The tables are 
  fairly simple; once you use them to establish a basic 
  legal framework, ﬂesh it out with a few details and 
  quirks.
  Crime
  In addition to the list of crimes familiar to 
  modern-day gamers, Star Hero campaigns oﬀer the 
  opportunity to thwart (or commit) a whole new 
  range of oﬀenses. In just the past couple of decades 
  computer crime has moved from the pages of 
  cyberpunk novels to the courtrooms of America. 
  Other emerging or ﬁctional technologies will have 
  their own criminal applications.
  Aggravated Murder:  Killing a person’s physical body 
  and destroying any backup memory records may 
  be considered even worse than ﬁrst degree murder, 
  and thus merit even worse punishment.
  Biotechnology:  There are many criminal applica-
  tions of advanced biotechnology. Stealing organs 
  for transplant (“organlegging”) is a possibility (one 
  explored at length in several Larry Niven short 
  stories); so is the creation of new addictive drugs. 
  Already some nations on Earth restrict access to 
  forests and jungles to control the valuable genetic 
  material of native species; gene smuggling could 
  become a big criminal business. If life is discovered 
  on other worlds, smuggling species from planet 
  to planet would certainly be a crime in some 
  instances.
  Bodyjacking:  Illegal use of a body belonging to 
  someone else may be possible in some SF settings, 
  either via psionic powers or neurotechnology.
  Cybernetics:  Cybernetic implants allow crooks to 
  hide tools and weapons in their mechanical limbs. 
  If the weapon is built into a suspect, how do you 
  disarm him? Crooks might also do a big business 
  in stolen cyberware, and a character with especially 
  valuable equipment might get jumped by “junk-
  men” in some dark alley.
  Genetic Engineering:  Humans are already worrying 
  about the possibility of terrorist states creating new 
  diseases by genetic modiﬁcation; more advanced 
  techniques might make it possible to “target” a 
  germ against people with speciﬁc traits — maybe 
  even creating “personalized” diseases to aﬄict 
  only one person. Unethical scientists could misuse 
  cloning by taking peoples’ DNA against their will 
  (genetic piracy), creating illegal copies of celebri-
  ties, or establishing “clone farms” to keep live copies 
  of aging tycoons as a source of transplant organs. If 
  governments ban genetic modiﬁcation of Humans, 
  then “black labs” could oﬀer illegal engineering 
  — and the potential for blackmail.
  Nanotechnology:  Nanotech devices in the hands of 
  criminals or terrorists could be very dangerous. The 
  least subtle would be a “gray goo” weapon capable 
  of devastating large areas by converting all the 
  matter it encounters to more nanobots. Nanotech 
  spy devices could gather valuable or dangerous 
  information without being detected. Most insidi-
  ously, medical-type nanobots could subtly attack 
  victims by damaging parts of the brain — the 
  victim wouldn’t die, just lose his memories and 
  skills. Medical nanobots also make possible the 
  ultimate in impersonation, duplicating a person 
  right down to his ﬁnger and retina prints.
  Negligent Insentiation:  Creation of an intelligent 
  being without proper authorization or safeguards 
  might be a crime in some settings. In others, the 
  creation of an intelligent beings would only consti-
  tute a crime if done deliberately.
  Robotics:  Intelligent or nearly-intelligent robots 
  can create all kinds of headaches for law enforce-
  ment. If a robot is programmed to kill a man, who 
  is the murderer — the machine or the program-
  mer? Is it murder to kill a robot? What if it has a 
  backup chip?
  Space Travel:  Travel to other worlds allows 
  Humans to commit crimes in new places, but it also 
  creates some entirely new oﬀenses. Space piracy 
  and smuggling (both of goods and of persons) 
  are standards of Pulp SF and Space Opera stories. 
  For piracy to thrive, the technology must exist to 
  allow a pirate ship to catch and capture its prey. 
  That means either extremely eﬃcient rockets or 
  some kind of rubber-science “space drive.” Second, 
  pirates have to be able to sell what they steal, which 
  means either a neutral planet willing to ignore 
  their oﬀenses, or a well-organized system of black 
  markets and fences. Finally, piracy requires a lack of 
  law enforcement, or a way for the pirates to evade the 
  police. An eﬃcient space navy can blast the pirates out 
  of the sky, land star marines on their bases, and gener-
  ally ruin the party.
  
  138 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  Teleportation:  Teleportation, whether psionic or 
  mechanical, is a thief’s dream come true. Locked 
  doors and alarms can’t stop a teleporter, and how can 
  he be traced? Devices like Star Trek’s transporters, 
  which allow the user to snatch objects at a distance, 
  only make it easier to steal things. A society with tele-
  portation must either have some way to block it, or 
  draconian police powers to control its use.
  Theofraud:  Use of technological or psionic methods to 
  impersonate a divine being. The ultimate “con game,” 
  theofraud presents all sorts of interesting possibili-
  ties for roleplaying stories addressing the question of 
  “what is faith?”.
  Thoughtcrime:  As described in Chapter Ten, psi 
  powers create all kinds of opportunities for lawbreak-
  ing. Telepaths can spy on people’s thoughts, mind-
  control their victims (“brain slavery”), and erase all 
  memory of their crimes. Memory theft could aug-
  ment ordinary identity theft. Telekinetics make ideal 
  thieves and killers. Even ESP could be used for evil, 
  either for spying or to case the scene of a robbery. 
  Time Travel:  Time travel creates the opportunity for 
  several new crimes, including illegal time-tamper-
  ing, kidnapping people from the past (is it a crime to 
  kidnap someone who’s been legally dead for a cen-
  tury?), manipulating the stock market or gambling 
  games using future information, and murdering 
  someone by preventing his parents from ever meeting 
  (chronocide).
  Of course, as crime advances, so does crime 
  prevention and detection. Human police already have 
  access to advanced techniques involving the analysis 
  of DNA trace evidence; in the future, technology 
  might allow them to obtain and analyze the most 
  microscopic bits of DNA. Psychometry (psionically 
  reading the “emotions” and events associated with an 
  object) and retrocognition (viewing the past) could 
  make committing a crime virtually impossible — or 
  clairvoyants might have the ability to predict a crime 
  in advance, allowing them to arrest the criminal 
  before he commits his crime!
  LANGUAGE
  Language is one of the key elements of a civiliza-
  tion. In particular, the individuals and subgroups that 
  make up the civilization must be able to communi-
  cate with each other. Most civilizations have a single 
  language, or at least a common secondary language 
  known to most educated people. In Classical civiliza-
  tion, Latin and Greek were the unifying languages; in 
  Medieval and Renaissance Europe, Latin and French 
  did the job. Since the Industrial Revolution, English 
  has increasingly become the single unifying language 
  for modern Western and global civilization.
  Alien languages depend heavily on how the 
  organisms communicate and sense their environ-
  ment. Humans use sound and visual signals, and have 
  developed spoken and written language. Others are 
  possible:  a tactile language (like Braille), a language 
  based on scents or tastes (an important part of the 
  way many animals on Earth communicate), or a 
  language using color changes or light ﬂashes (like the 
  signals of squid or ﬁreﬂies). Psionic aliens might have 
  a partially or wholly telepathic or empathic language, 
  while beings with electric ﬁeld sense might use that to 
  communicate in a kind of living radio.
  Aliens who communicate in ways Humans can’t 
  perceive make for interesting situations in a science 
  ﬁction adventure. How do you say “We come in peace” 
  when the locals use color changes and scent to com-
  municate? The Universal Translator Talent can’t help if 
  a character doesn’t have the right organs to talk with 
  the natives.
  For any kind of complex civilization, some form 
  of permanent language is needed. Humans write 
  things, so they and others can read them later. As of 
  the twentieth century, they can also record sound 
  and video. The alien equivalent of writing should be 
  low-tech, and suitable for the environment. Possibili-
  ties include tying patterns of knots in cords, notch-
  ing bones or sticks in a pattern representing words, 
  punching holes in hides, and so forth. However it is 
  done, it should be relatively easy (nobody takes notes 
  by chiseling words in stone), relatively permanent, and 
  relatively portable.
  Of course, most GMs aren’t dedicated and obses-
  sive enough to create an entire alien language for a 
  campaign. Nor are most players willing to learn one. 
  So in a game, an alien language usually comes down 
  to names for things and places. There are three main 
  factors to keep in mind when inventing alien words 
  and names. Sound is the ﬁrst thing to consider. This is 
  ﬁction, so you can choose your alien words and names 
  for the way they sound. Look at some of J.R.R. Tolk-
  ien’s creations:  Rivendell sounds like a pleasant place, 
  while Mordor sounds ominous. Second, consider 
  animal sounds. In the case of aliens based on Human 
  animals, use the noises the animals make as a basis for 
  the alien speech — hisses and rasps for reptile-beings, 
  purrs and vowels for cat-people. Lastly, if you can’t be 
  evocative, at least try not to sound goofy. Many profes-
  sionals have failed at this. Don’t use thinly-disguised 
  names of real people, or jumbles of nonsense.
  In a pinch, real Human languages are a good 
  resource. Real languages have an internal logic and 
  structure of their own. Using an existing tongue for 
  aliens only creates problems if any of the players rec-
  ognizes the words, but GMs can get around that by 
  appropriating the sound and feel of a real language 
  without using speciﬁc vocabulary. An atlas is a very 
  good source for the sounds of a given language. As 
  an example, you could try to base an alien tongue on 
  Malay — appropriate for a species inhabiting a world 
  with lots of islands. A map of Malaysia provides place 
  names like Penang, Kelantan, Trengganu, Berhala, 
  and Batang. Instead of using them directly, you can 
  recombine them, getting Penggana, Kelang, Trengala, 
  Berantan, and Batanu.
  
  139 
  Star Hero ■ Chapter Six
  DIVERSITY
  Members of alien species are 
  often all depicted as alike in science 
  ﬁction television shows and movies. 
  Every Tarshalan speaks the same 
  language (Tarshalanese), practices 
  the same religion, has the same skin 
  and hair color, follows the same tra-
  ditions, and has the same attitude 
  or psychological proﬁle (they’re all 
  obsessed with honor, or violently tem-
  peramental, or paciﬁstic). While this 
  may be appropriate in some instances 
  (particularly for hive-mind species), 
  few (if any) civilizations are totally 
  uniform. Even a nation as small as 
  the United Kingdom has pronounced 
  and recognizable regional diﬀerences 
  — a Scotsman, a Midlander, and a 
  Welshman are all diﬀerent from one 
  another and from Londoners. As a 
  rule, assume any society larger than 
  100,000 people contains at least a few 
  minority groups. They may speak a 
  diﬀerent language (or have a mark-
  edly diﬀerent accent or regional dia-
  lect), follow a diﬀerent religion, or be from a diﬀerent 
  racial background. In high-tech cultures a minority 
  might be genetically engineered beings, aliens, citi-
  zen-robots, mutants, psionics, a hive mind, clones, or 
  androids. Consult the Diversity Table if you prefer to 
  determine minority percentages randomly.
  Gamemasters should note that it is a Bad Idea to 
  directly map current social problems into a science 
  ﬁction setting. Players often have strong opinions 
  which don’t match your own, and it’s extremely easy 
  to look ham-handed or silly. If you want to explore 
  themes of prejudice, assimilation versus ethnic iden-
  tity, or cultural diversity, it’s probably more eﬀective to 
  use issues which exist in the game world and are part 
  of the setting, rather than pasting in something from 
  today’s headlines. 
  CULTURE
  Culture is the way people act and the things that 
  they do, apart from the business of making a living 
  and running society. It includes things like art, litera-
  ture, food, and roleplaying games. These things can be 
  very important to the identity of a nation or civiliza-
  tion — two groups with the same kinds of govern-
  ment and economy can be bitter enemies because of 
  cultural diﬀerences.
  ARCHITECTURE
  Technology underlies most architectural styles 
  — you can’t build skyscrapers until you have steel 
  girders and cranes. Other materials depend on the 
  environment. You need trees to build with wood, 
  and usable stone to build in stone. Environment also 
  aﬀects design. Wet or snowy climates have peaked 
  roofs to shed rain, while desert settings run to ﬂat 
  roofs and thick walls for insulation. Alien architecture 
  also must ﬁt the size and shape of the builders.
  ART AND MUSIC
  The ﬁne arts depend on the senses of the artists. 
  A deaf species can’t have music, while a species able 
  to sense electric ﬁelds might create magniﬁcent works 
  of current and wiring invisible to Humans. Art is one 
  area where low-technology worlds can compete on an 
  even footing with advanced civilizations, which means 
  a successful artist might be a low-tech planet’s most 
  valuable asset in interstellar trade. What if he wants 
  to move?
  EDUCATION
  Humans, like most mammals, care for and 
  educate their young. Alien species might view 
  things diﬀerently. Juveniles might be subintelligent, 
  DIVERSITY TABLE
  Roll (2d6)  
  Diversity of Civilization
   
  0-3 
  Completely uniform:  no minority 
  groups
   
  4-5 
  Mostly uniform:  1d6% minorities, 
  no more than 1% each
   
  6-7 
  Slight diversity:  2d6% minorities, 
  1d6% each
   
  8-9 
  Some diversity:  3d6% minorities, 
  1d6% each 
   
  10 
  Diverse:  1d6 x 5% minorities, 
  2d6% each
   
  11 
  Pluralistic:  2d6 x 5% minorities, 
  3d6% each
   
  12 
  Polyglot:  No group more than 
  3d6% of population
  Modiﬁers:   
  -1 for population 100,000 or less; 
  -4 for 10,000 or less; -6 for less than 
  1,000
  
  140 ■ Alien And Future Civilizations
  HERO SYSTEM 5TH EDITION
  little better than pets or vermin, and so only worth 
  educating if they survive to adulthood.
  Methods of education vary, often with the eco-
  nomic system — in farming cultures children learn 
  at home or in a small village school, while in manu-
  facturing societies kids learn in big schools which 
  even look like factories. An information-age society 
  might switch to decentralized  home education. 
  Science ﬁction technology makes other methods 
  possible — learning via virtual-reality instruction, 
  uploading through a cybernetic brain link, or direct 
  implanting by psionics.
  CUISINE
  A species’s diet is obviously the most impor-
  tant part of cuisine. Carnivores eat meat dishes, 
  herbivores eat vegetables, and omnivores like 
  Humans combine the two. Science ﬁction has a 
  long tradition of devising weird and disgusting 
  things for aliens to eat. Imagine a species of car-
  rion-eaters like intelligent vultures, with a whole 
  cuisine based on carefully-controlled decay.
  As with art, cooking is an area where wealthy 
  high-tech societies don’t have much advantage over 
  more primitive civilizations. A remote backwater 
  world could suddenly become the culinary center 
  of the Galaxy if its local cuisine is delicious enough. 
  Problems may arise if local plants or creatures are 
  in demand enough to become endangered species. 
  In an advanced society that has machines to pre-
  pare food, cooking might be an art form.
  LITERATURE AND DRAMA
  Humans tell stories, and it seems likely any 
  alien beings capable of language will do the same. 
  Literature is written stories, drama is stories acted 
  out on stage or on ﬁlm. Again, the senses and com-
  munication methods of a species are important 
  here — blind creatures won’t make movies, but may 
  have sophisticated versions of radio plays. Often a 
  culture’s stories and works of literature are major 
  sources of inspiration and identity. Reading 
  indigenous literature instead of the crass com-
  mercial products of galactic mass media would 
  be a way to show one’s identity as a member of 
  a planetary culture.
  MASS MEDIA
  Printing (or its equivalent) is the ﬁrst 
  mass medium, allowing the rise of newspapers, 
  magazines, and books for a general audience. 
  Telephones could have been a broadcast-style 
  system, a kind of “cable radio,” but on Earth 
  that never caught on widely. Radio and televi-
  sion were the deﬁning media of the twentieth 
  century, allowing people all over the world 
  to experience major events in near-realtime. 
  Mass media are also a powerful tool of con-
  trol in totalitarian societies. Futuristic media 
  in SF include holovideo (Images), full-body 
  simulated reality (Images or Mental Illusions), 
  or direct brainlink feeds (Mind Link). Psionic 
  societies could have “psi-casts” beaming 
  thoughts directly at the audience.
  RECREATION
  All young mammals play, and Humans 
  play even in adulthood. Technology allows for 
  all kinds of new ways to have fun. Virtual reality 
  and direct brain-link “dream ﬁlms” combine ﬁlm 
  and computer games, taking both to the limits of 
  realistic experience. More active sorts can engage 
  in high-tech sports — orbital skydiving with a per-
  sonal heat-shield, zero-gravity football, or magma 
  surﬁng. Improved medicine may bring back dan-
  gerous pastimes like gladiatorial combat or duel-
  ling. Alien planets will have their own sports, like 
  skiing down the thousand-mile slopes of Olympus 
  Mons on Mars, or ballooning in the atmosphere of 
  Jupiter. Hunting alien beasts on distant planets can 
  get very exciting. Other species might enjoy hunt-
  ing Humans, as in Jack Vance’s novel The Dirdir.
  RELIGION AND PHILOSOPHY
  While science ﬁction has long explored ideas 
  of religion and ethics, this is a very tricky subject 
  to handle. Gamemasters need to be careful not to 
  step into the mineﬁeld of players’ personal faith and 
  beliefs. Presenting alien religions is one way to keep 
  things safely distant from real-world controversies. 
  Treatments of religion in SF span the gamut from 
  Christian allegories (in the works of C.S. Lewis or 
  Gene Wolfe), to eﬀorts to deﬁne an alien religion 
  and work its tenets into the story as important plot 
  elements (as on Star Trek:  Deep Space Nine), to 
  quasi-anthropological studies of the phenomenon 
  (by Ursula K. LeGuin), to outright attacks (by H.G. 
  Wells or Greg Egan). In Pulp SF and Space Opera, 
  alien religions usually come equipped with jewel-
  studded idols, beautiful sacriﬁcial victims waiting 
  for rescue, and sinister high priests. One recurring 
  theme is ancient technology disguised as super-
  natural power, so the idol may turn out to be a 
  superscience matter replicator or weather-control 
  system.
  
  141 
  Star Hero ■ Chapter Seven
  T
  echnology is the means by which 
  most sentient species do things. 
  Humans are almost helpless with-
  out some kind of tool, even if it’s 
  nothing more than a rock or a 
  stick. Science ﬁction came of age when 
  technological change became something 
  that happened on a time scale of years or 
  decades rather than centuries. The name is 
  “science ﬁction” but a better one might be 
  “tech ﬁction,” since at its heart, most SF is 
  all about the eﬀects of new technologies on 
  people and their world, and the interaction 
  between people and technology.
  This chapter discusses issues related to 
  technology in science ﬁction gaming, and 
  includes plenty of example devices. How-
  ever, it’s not a comprehensive equipment 
  catalog — that requires a speciﬁc setting 
  and deﬁned type and level of technology, 
  which this book does not have. Instead, 
  Star Hero gamers should use the informa-
  tion in this chapter to help them develop 
  the technology used by their characters 
  and in their campaigns, and thus create 
  equipment catalogs of their own.
  Many of the sample technological 
  items have a price listed in “credits,” cal-
  culated using the formulas suggested on 
  page 177. These prices are just suggestions; 
  feel free to change a price to suit your own 
  campaign’s economics, the situation the 
  characters are in, and so forth.
  
  142 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  B
  efore running or playing in a Star Hero 
  campaign, gamers should take some time 
  to consider the impact of technology on 
  the characters and the setting.
  TECHNOLOGY LEVELS
  A useful concept in science ﬁction gaming is the 
  technology level (or “tech level”), denoting what a given 
  world or society can create or do, technologically. On 
  contemporary Earth, we tend to use decades as rough 
  indicators of technology — the United States boasts a 
  “twenty-ﬁrst century” military, while poorer and less 
  advanced countries have “1960s-era” forces.
  Technology classiﬁcations tend to either be very 
  broad or very narrow. An example of a broad schema 
  is the notion of “Ages”:  Stone Age, Bronze Age, Iron 
  Age, Industrial Age, Information Age, PostHuman 
  Age, and so forth. Broad technology schemes cover 
  centuries or millennia, and they describe a whole suite 
  of interrelated technologies and social structures. This 
  usually implies that cultures develop along a similar 
  path. Broad tech classiﬁcations also encourage cin-
  ematic-style invention and gadgeteering — if you’re 
  an Industrial Age mechanic you can ﬁx anything from 
  an early steamship to a World War II ﬁghter plane.
  Narrow tech scales are more useful in eras when 
  technology changes quickly. A real-world example of 
  this is the Gulf War of 1990, in which the 1990s-tech 
  Coalition forces just walked over the 1980s-tech Iraqi 
  army — using equipment which, by the standards of 
  2002, is often inferior or obsolete. This sort of system 
  is appropriate to Cyberpunk or technothriller-style SF, 
  in which hackers breeze through last year’s defensive 
  software, and getting a beta-test copy of new intru-
  sion programs can make a kid from the projects into a 
  heavy hitter in cyberspace — for a few weeks, anyway. 
  Obviously, narrow tech bands make it harder for a 
  specialist trained in one tech level to work in others, 
  and a character’s skills can get rusty in just a few years 
  if he doesn’t study and stay current in the ﬁeld.
  Tech Scales
  Most technology-rating schemes have a “signa-
  ture” technology which is the ultimate yardstick. If 
  you have technology X, then you are tech level Y. The 
  signature technology in a tech level rating system 
  says as much about the people devising the system as 
  it does about the cultures described. Archaeologists 
  once classiﬁed Earth cultures by their artifacts, giving 
  rise to the system of Stone, Bronze, and Iron Age. This 
  works for archaeologists because they learn about cul-
  tures by examining things left in middens and tombs. 
  By contrast, the Russian astronomer Kardashev clas-
  siﬁed civilizations by energy output, because energy 
  emissions are what astronomers can detect. A culture 
  interested in trade would rate civilizations by what 
  they can make, while an aggressive conquering empire 
  would be interested in the military potential of alien 
  planets. Frequently space ﬂight or interstellar travel 
  are major demarcations in tech level. Sometimes a 
  system combines two or more signature technologies 
  for higher resolution.
  Creating A Tech Scale
  Gamemasters devising a tech scale need to 
  make three decisions:  
  ■ Will the scale be narrow or broad?
  ■ What will the signature technologies be?
  ■ How will the levels be identiﬁed and/or labeled?
  TECHNOLOGY IN 
  THE CAMPAIGN
  SIGNATURE  
  TECHNOLOGIES
  Here are some (but by 
  no means all) of the 
  important break-points 
  in technology, organized 
  by related ﬁelds. “Rubber 
  science” inventions are 
  listed in parentheses.
  Energy Production
  Fire
  Animal Power
  Wind and Water Power
  Steam Power
  Internal Combustion
  Atomic Power
  Fusion Power
  Antimatter Reactors
  (Cold Fusion)
  (Zero-Point Energy)
  Continued on next page
  
  143 
  Star Hero ■ Chapter Seven
  As an example, suppose Jim is creating 
  the Terran Empire’s technology classiﬁcation 
  scale, known oﬃcially as the Available Technical 
  Resource Index, or ATRI number.
  Narrow or broad? Well, the Empire is a type 
  of Space Opera campaign setting, so technology 
  changes aren’t a major element. Characters will visit 
  worlds at a variety of tech levels, but Jim doesn’t 
  want to handicap the low-tech NPCs too much. So, 
  he aims for no more than about a dozen levels on 
  the scale, so that even with the -3 per level Skill Roll 
  penalty (see below), mechanics on primitive worlds 
  can still work with advanced gear.
  Signature technologies? Weapon tech is an 
  obvious choice, but on an interstellar scale almost 
  any technology has some military value. Instead, 
  Jim pegs the ATRI scale to Energy Production and 
  Transportation. Since Humans run the Empire, Jim 
  sets the scale according to Human history (other 
  species might invent things in diﬀerent order). 
  Here’s the basic ATRI scale:
  0:  No Technology
  1:  Fire
  2:  Animal Power/Riding Animals/Boats
  3:  Wind Power/Sailing Ships/Balloons
  4:  Steam Power/Steamships/Railroads
  5:  Electric Power/Submarines
  6:  Internal Combustion/Aircraft
  7:  Atomic Power/Jet Aircraft/Orbital Spacecraft
  8:  Solar Power/Interplanetary Spacecraft
  9:  Fusion Power/FTL Travel
  10:  Cold Fusion/Fast FTL
  11:  Antimatter Power/Antigravity Vehicles
  12:  Teleportation
  Alternate Tech Paths
  Human beings invented sailing ships before 
  gunpowder, balloons before the germ theory of 
  disease, and steam power before rocketry. But 
  there’s no reason things had to happen in that 
  order. The Greek scientists of Alexandria devised 
  toys which contained all the principles of steam 
  power almost two millennia before James Watt. An 
  Egyptian doctor might have mixed saltpeter, sulfur, 
  and charcoal thousands of years before the Chi-
  nese invented gunpowder. Hot-air balloons were 
  possible a thousand years before the Montgolﬁer 
  Brothers.
  Gamemasters can have a lot of fun mixing and 
  matching technologies. Early development of steam 
  power allows naval battles between steam-powered 
  Roman galleys ﬁring catapults at each other. Early 
  ballooning lets one have knights, castles, and aerial 
  reconaissance. But don’t forget that some technolo-
  gies depend on others — germ theory requires 
  microscopes, airplanes need internal-combustion 
  motors, and submarines aren’t practical until they 
  can use electric batteries.
  More exotic alternate technology paths could 
  skip entire areas of knowledge — one common 
  way to make an alien civilization alien is to give 
  them a technology based on biology rather than 
  inanimate materials and machinery. Instead of 
  making a device to do something, they would breed 
  an organism for it. Or maybe the aliens lack some 
  device common on Earth. H.G. Wells’s Martians, for 
  example, didn’t have the wheel.
  Varying Tech Paths
  Within a given civilization, it’s entirely possible 
  for the tech levels to vary from place to place. For 
  example, the most advanced nations or regions on 
  a particular planet might have Tech Level Theta 
  devices, whereas less advanced or more isolated 
  locations might only have reached Tech Level 
  Delta. Similarly, Kalidar IV might possess extremely 
  advanced technology, while Haroldson’s Planet is 
  much less developed technologically. Not only is 
  this realistic, it’s dramatic — it provides the GM 
  with a lot of potential story and character hooks, 
  all centered around the issue of why the diﬀerences 
  exist. Do the Tech Level Theta regions actively 
  oppress their neighbors, preventing technologi-
  cal development from occurring? Are those areas 
  inhabited by two diﬀerent species, with the more 
  advanced imposing a technology embargo on itself 
  to keep from interfering with the other? Has Kali-
  dar IV historically been a haven for scientists and 
  free thinkers, while Haroldson’s Planet persecutes 
  them... or is Haroldson’s Planet a young colony on 
  the fringes of the Galactic Commonwealth, whereas 
  Kalidar IV is a Commonwealth core world?
  Nor do tech levels have to be uniform from 
  one type of technology to another. Ordinarily 
  advances in one ﬁeld tend to lead to advances in 
  other ﬁelds, so that technology progresses in a 
  broadly uniform sort of way. But that’s not inevi-
  table. A civilization could have, for example, Tech 
  Level 15 computers and communications equip-
  ment, but only Tech Level 10 weapons. Again, the 
  intriguing question is why this state of aﬀairs exists. 
  By considering and answering that question, the 
  GM and players can develop the setting further, 
  creating more opportunities for adventures and 
  enjoyable characters.
  Obsolete And  
  Advanced Technology
  Often technologies introduced at an earlier 
  tech level remain in use for long periods. Humans 
  still use automatic pistols designed before 1900 
  (and still manufacture some, with minor improve-
  ments). Axes and hammers are among the earliest 
  known tools, and are still available at the hardware 
  store. In general, characters get no penalty using 
  equipment from an earlier tech level. There are 
  exceptions to this:  some technologies become so 
  obsolete that characters accustomed to a more 
  advanced tech landscape are completely unfamiliar 
  with them. Firemaking is a good example — until 
  the invention of matches just about everyone could 
  kindle a ﬁre with ﬂint and steel; now it’s something 
  to study in wilderness-survival courses or historical 
  reenactment workshops. Forgotten tech imposes a 
  minimum -3 Skill Roll penalty, or the GM may not 
  allow the character to make a roll at all.
  Continued from last page
  Information
  Writing
  Printing
  Telegraph
  Photography
  Mechanical Computers
  Telephone
  Sound Recording
  Motion Pictures
  Radio
  Television
  Electronic Computers
  Video Recording
  Computer Networks
  Pocket Computers
  Biocomputers
  Artiﬁcial Intelligence
  Medicine
  Herbal Medicine
  Surgery
  Antiseptics
  Vaccination
  Antibiotics
  Transplants
  Genetic Medicine
  Cybernetics
  Cloning
  Nanotech Medicine
  Transportation
  Riding Animals
  Boats
  Sailing Ships
  Balloons
  Steamships
  Submarines
  Airplanes
  Orbital Spacecraft
  Interplanetary  
  Spacecraft
  (Interstellar Spacecraft)
  (Antigravity)
  (Teleportation)
  Weaponry
  Clubs and Axes
  Spears
  Bows
  Swords
  Pikes
  Crossbows
  Cannon
  Muskets
  Breech-loading Riﬂes
  High-Velocity Artillery
  Automatic Riﬂes
  Guided Missiles
  Atomic Weapons
  Lasers
  Gauss Guns
  (Particle Weapons)
  (Antimatter Warheads)
  (Plasma Weapons)
  (Disintegrators)
  
  144 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Advanced technology is much harder to use. 
  The standard skill penalty is -3 for each Tech 
  Level beyond that with which the character is 
  familiar. This is for equipment based on under-
  standable principles — an Industrial-Age steam 
  engineer trying to ﬁx an Atomic Age chemical 
  rocket motor, for example. If the technology 
  involves new concepts unknown to the low-tech 
  person, there is an additional -5 penalty. So our 
  steam engineer would be at -8 to ﬁx a nuclear 
  power plant, because the whole phenomenon of 
  nuclear ﬁssion is outside his worldview. Charac-
  ters can use the Cramming Skill to quickly famil-
  iarize themselves with local technology.
  The modiﬁers work in reverse when char-
  acters are using high-tech skills and knowledge 
  against low-tech equipment — like a computer 
  hacker breaking into an obsolete system or a 
  weapon oﬃcer on a modern warship trying to 
  hit a target with old-fashioned countermeasures. 
  Advanced tech gets a +3 bonus per Tech Level of 
  diﬀerence, with an additional +5 if the high-tech 
  equipment uses principles unknown to the build-
  ers of the low-tech target.
  Alert readers may be wondering which Tech 
  Levels are meant — Star Hero doesn’t include a 
  list of oﬃcial Tech Levels, so how to ﬁgure these 
  modiﬁers? The answer is it depends on your 
  campaign’s tech system. If the game has narrow 
  tech levels — a Cyberpunk or technothriller set-
  ting — then things rapidly go obsolete and tech 
  levels are single years. If the campaign has broad 
  technology levels, then obviously tech diﬀerences 
  aren’t that important. 
  Alien Technologies
  Characters in Star Hero settings may also 
  run into tech level-related problems when they 
  encounter alien technology that’s highly diﬀer-
  ent from what they’re used to. Maybe the alien 
  devices and systems require a diﬀerent size, type, 
  or arrangement of hands than the character’s, 
  involve senses the character lacks, or are simply 
  so diﬀerent that the character can’t fully or prop-
  erly comprehend them.
  At the GM’s discretion, a character dealing 
  with suﬃciently alien technology suﬀers a -1 to 
  -5 Skill Roll penalty. Over time, this penalty may 
  diminish for a speciﬁc character as he becomes 
  accustomed to the odd tech, or a character can 
  eliminate the penalty altogether by having a KS or 
  PS in the alien technology on at least an 11- roll.
  What constitutes “suﬃciently alien” is up to 
  the GM. In a setting that mixes and mingles a 
  wide variety of humanoid aliens, they may all be 
  able to use each other’s technology (or the tech 
  may automatically adapt itself to the species of 
  the user). Large galactic federations and empires 
  automatically spread technological knowledge 
  among their citizens (unless they want to keep 
  them ignorant for purposes of repression). On the 
  other hand, a secretive alien species may refuse to 
  teach anyone about its tech.
  TECHNOLOGY COMPATABILITY
  Gamemasters and characters may also have 
  to deal with situations where technology created 
  by diﬀerent species doesn’t work together well. 
  If the PCs’ ship has a Human-built hyperdrive 
  thruster, a D-coil manufactured by the Perse-
  ids may not quite ﬁt or work right. A group of 
  characters could easily ﬁnd itself in the frustrat-
  ing situation of having access to plenty of spare 
  parts... that don’t work with their equipment!
  In this situation, GMs have to decide on the 
  relative compatability of two species’ technology, 
  using the following classiﬁcations:
  Fully Compatible:  The two species’s tech is totally 
  compatible; it works together automatically, with-
  out the need for Skill Rolls.
  Mostly Compatible:  The two species’s tech is 
  largely, but not entirely, compatible. Typically 
  characters have to make an appropriate Skill 
  Roll at -2 to get the two types of tech to func-
  tion together properly. Even then, there may be 
  a loss of 2-12% eﬃciency (measured in terms of 
  dice/points of eﬀect, Active Points, or the like, as 
  chosen by the GM).
  Partly Compatible:  The two species’s tech is some-
  times compatible, sometimes not. Typically char-
  acters have to make an appropriate Skill Roll at -4 
  to get the two types of tech to function together 
  properly. Even then, there is deﬁnitely a loss of 
  4-24% eﬃciency, and possibly as much as 10-60% 
  eﬃciency.
  Barely Compatible:  The two species’s tech works 
  together properly only on rare occasions. Typi-
  cally characters have to make an appropriate Skill 
  Roll at -8 to get the two types of tech to function 
  together properly. Even then, there is deﬁnitely a 
  loss of 10-60% eﬃciency, and possibly as much as 
  40-90% eﬃciency.
  Incompatible:  The two species’s tech is not com-
  patible in any way, and cannot be made to work 
  together at all.
  LOW-TECH SF
  Some science ﬁc-
  tion stories and ﬁlms 
  depict worlds in which 
  the technology is less 
  advanced than present-
  day equipment, either 
  in some areas or overall. 
  One example is the 
  Dune series by Frank 
  Herbert, in which the 
  “Butlerian Jihad” wiped 
  out all computer tech-
  nology. Gamemasters 
  who want science ﬁction 
  without super-advanced 
  technology can use 
  various methods to put 
  the brakes on scientiﬁc 
  progress.
  Decadence:  A very rich 
  and advanced culture 
  might become the 
  victim of its own suc-
  cess, if everyone studies 
  the arts or spends their 
  lives immersed in vir-
  tual-reality games. The 
  machines make every-
  thing, and the robots ﬁx 
  everything, and nobody 
  bothers to understand 
  how or why — until 
  Something Goes Wrong.
  Disaster:  Some tremen-
  dous catastrophe might 
  knock whole planets 
  or sectors back into a 
  Dark Age of low tech-
  nology. An interstellar 
  war might devastate 
  industries and disrupt 
  trade, leaving planets 
  to struggle on alone. 
  A powerful supernova 
  explosion could fry elec-
  tronics for light-years in 
  every direction. A run-
  away nanovirus might 
  selectively destroy inte-
  grated circuits, creating 
  a civilization dependent 
  on vacuum tubes and 
  slide rules.
  Fiat:  A much more 
  advanced civiliza-
  tion could decide that 
  Humanity simply “isn’t 
  ready” for high technol-
  ogy, and back up that 
  decision with ﬁrepower. 
  The initial stage of an 
  enforced ban would be 
  like a war, followed up 
  Continued on next page
  ADVANCED, OBSOLETE, AND 
  ALIEN TECH MODIFIERS
  Skill Roll Modiﬁer 
  Situation
  -3 per Tech  
  Working with Advanced 
  Level diﬀerence 
  Tech
  -5  
  Working with advanced 
  tech using unknown  
  principles
  -3 
  Working with forgotten tech
  +3 per Tech  
  For high tech versus low
  Level diﬀerence 
  tech contests
  +5 
  For high tech with new 
  principles versus low tech 
  contests
  -1 to -5 
  Working with suﬃciently 
  alien technology
  
  145 
  Star Hero ■ Chapter Seven
  PRIME DIRECTIVES  
  AND QUARANTINES
  Earth history has several unfortunate examples 
  of what can happen when high-tech and low-tech 
  collide. While the Spanish conquest of Mexico may 
  have been due more to political instability in the 
  Aztec Empire than Spanish matchlock muskets, 
  the European colonial expansion in Africa and the 
  South Paciﬁc was based solidly on Maxim guns and 
  steamboats. Even benign applications of high tech-
  nology can have unintended ill eﬀects:  eradication 
  of malaria in tropical regions led to rapid popula-
  tion increases, straining food production and social 
  structures in those areas.
  To prevent both empire-building and unhelp-
  ful “help,” many insterstellar societies in science 
  ﬁction have rules prohibiting the introduction or 
  use of advanced technology on low-tech planets. 
  Star Trek’s “Prime Directive” is the most famous, 
  but L. Sprague De Camp’s Viagens Interplanetarias 
  enforced Regulation 268, and C. J. Cherryh’s Union 
  was guided by the Gehenna Doctrine to similar 
  eﬀect. Conveniently, technology embargo rules 
  mean space-faring heroes can go about having 
  sword-swinging adventures on low-tech planets, 
  which many writers and readers consider a plus. 
  Less conveniently, they mean unscrupulous NPCs 
  can smuggle high-tech weapons to primitive peo-
  ples, causing all sorts of problems the PCs have to 
  resolve.
  The exact details of the technology quarantine 
  rules in a given campaign setting are up to the GM, 
  of course. Some possible rules are listed below:
  Total Embargo:  All contact with the inhabitants of 
  the planet is forbidden. This is often done to prevent 
  the tremendous shock to a culture’s world-view 
  created by the knowledge that they are not alone. 
  For roleplaying purposes, this lends itself to daring 
  attempts to evade the blockade, “gods from space” 
  encounters with the natives, and so forth. Some 
  covert contact by explorers in native disguise may 
  be allowed.
  Local Tech Only:  Aliens can visit the planet, but are 
  restricted to locally-available technology. Often this 
  is enforced by extremely strict methods:  De Camp’s 
  Viagens Interplanetarias used brainwashing devices 
  (the St.-Remy treatment) to make it impossible for 
  oﬀworlders to even discuss advanced technology 
  with the natives. This is best for “sword and planet” 
  adventures.
  Personal Tech Only:  Space travelers can visit a low-
  tech world and bring advanced devices for personal 
  use, but are not allowed to introduce technologies 
  to the planet. Thus, a visiting spacer can pack his 
  trusty blaster, but can’t open a blaster factory. This 
  lends itself to smuggling, enterprising locals devel-
  oping knockoﬀ technology, and oﬀworld mercenar-
  ies conquering kingdoms.
  Restricted Technologies:  Introducing some technol-
  ogies is permitted, but others are strictly controlled. 
  Advanced medicine and clean energy sources are 
  okay, but weapons are not. (This matches the real-
  world technology export controls in America and 
  elsewhere.) The trouble with this is that just about 
  anything can have military applications, either 
  directly or indirectly. Adventures in these settings 
  may involve hairsplitting deﬁnitions of “weapons” 
  and the social eﬀects of advanced alien tech on 
  primitive societies.
  TECHNOLOGY  
  IMPROVEMENTS
  Improved technology makes better gadgets. 
  But how? Technological improvements tend to 
  fall into two categories — incremental changes 
  and replacements. Incremental changes are small, 
  gradual improvements which increase the useful-
  ness or eﬀectiveness of a device. The rubber grip on 
  a hammer is one example — it’s still a hammer, but 
  you can hit harder with it because your hand won’t 
  get numb. Things like stronger alloys, ergonomic 
  design, and improved energy eﬃciency are all incre-
  mental changes. As a rule of thumb, devices tend to 
  get lighter, more durable, and more energy-eﬃcient 
  as time goes on.
  By contrast, replacement creates entirely new 
  devices which perform the function in a diﬀerent 
  way. Often they add new functions as well. So air-
  planes replaced ocean liners for long-range travel, 
  and also transformed warfare and business. Com-
  puters replaced adding machines and typewriters, 
  and added things like computer games, e-mail, and 
  the Internet.
  Characters using incrementally improved 
  technologies can easily familiarize themselves with 
  advanced versions of devices they already know 
  how to use. A hammer is a hammer, after all, rubber 
  handle or no. An automobile of 2002 is vastly dif-
  ferent under the hood from one made in 1932, but 
  a driver skilled with one could get behind the wheel 
  of the other, take a spin around the block to famil-
  iarize himself with the car, and zoom oﬀ. Replace-
  ment technologies require completely new skills. 
  Knowing how to use an adding machine means 
  nothing when you’re using a computer.
  One area where replacement technology fre-
  quently revolutionizes things is warfare. Modern-
  day weapons are incredibly powerful, even when 
  compared with systems only a couple of decades 
  old. A recognizable trend in weapon tech is not so 
  much greater destructive power but superior accu-
  racy and ease of use. Battleship shells of the First 
  World War packed about as much explosive power 
  as a modern antiship missile, but nowadays one 
  missile can take out a ship because it can seek out a 
  weak point. That’s an accuracy issue.
  Ease of use is demonstrated by the replacement 
  of the longbow by crossbows and guns. Properly 
  handled, a longbow had much better range and hit-
  ting power than early muskets did. But as the old 
  English expression put it, to train a longbowman 
  you begin by training his grandfather, whereas a 
  few weeks of training could turn plowboys into 
  gunmen. “Smart” missiles take the burden of aiming 
  and controlling a weapon away from the soldier, so 
  Continued from last page
  by technology policing 
  by the advanced civi-
  lization and desperate 
  attempts by Humans 
  to get around the ban. 
  (See Arthur C. Clarke’s 
  short story “Loophole,” 
  in which Humans invent 
  teleportation technol-
  ogy to strike back at the 
  Martians, who have for-
  bidden them to develop 
  rockets.)
  Rejection:  For whatever 
  reason, people have 
  deliberately rejected 
  advanced technology. 
  This may be a single 
  world where Humans 
  are trying to “get back to 
  nature,” or a pan-Galac-
  tic movement to ban 
  technologies which are 
  seen as threatening. This 
  could be the result of a 
  revolt of the robots, or 
  some nanotech plague. 
  Or perhaps people just 
  become convinced there 
  really are limits to the 
  beneﬁts of technology. 
  Will the PCs accept 
  that notion, or rebel 
  against it? This is an 
  especially good way to 
  limit certain power-
  ful technologies like 
  Artiﬁcial Intelligence or 
  nanotechnology, with-
  out throwing the whole 
  campaign back into the 
  Stone Age.
  
  146 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  that anyone who can point and shoot can use one.
  Of course, sheer power does play a role. 
  Nuclear weapons pack more ﬁrepower than entire 
  battles of preatomic munitions. But it’s worthwhile 
  to note that nuclear weapons may simply be too 
  powerful to be useful.
  IMPROVING TECHNOLOGY IN THE GAME
  The HERO System rules generally only 
  account for aspects of technology that may have 
  some aﬀect on game play. There are no Advantages 
  for simulating rubber grips on hammers, or for 
  miniaturizing devices which started out large and 
  clunky. Those things rarely factor into the game, 
  and so are simply assumed as part of the “special 
  eﬀect” of a particular device.
  However, there are several ways, in game 
  terms, to reﬂect the development of technol-
  ogy over time. The ﬁrst, and most obvious, is to 
  increase the Active Points in the Power(s) used to 
  build a device. Doing so makes it more powerful, 
  stronger, more durable, able to broadcast a stron-
  ger signal, or what have you. This is often a good 
  way to represent relatively crude initial techno-
  logical breakthroughs, since adding raw power is 
  often the most primitive way to increase the utility 
  of a device.
  Second, you can remove Limitations. Early or 
  primitive versions of a particular type of technol-
  ogy are often loaded with Limitations — Activa-
  tion Roll, Charges, Costs Endurance/Increased 
  Endurance Cost, Extra Time, Side Eﬀects, and the 
  like. Removing these inconvenient hurdles to ease 
  of use is an excellent way to simulate the march of 
  technological progress.
  Third, you can add Advantages. This works 
  particularly well for weapons, since so many of 
  the Advantages primarily aﬀect combat, but it can 
  be just as important for other devices. A life sup-
  port suit may get more Fuel Charges, for example, 
  or a radio adds MegaScale so it can transmit to 
  the stars. If you can apply an Advantage in incre-
  ments, or buy it multiple times, usually it’s best to 
  take it only once to begin with, then add more of 
  it later on as the technology becomes even better.
  Fourth, you can expand the device’s func-
  tions. This has the eﬀect of increasing the Active 
  and Real Point costs, but without necessarily 
  making any single function of the device more 
  powerful. For example, a simple wrist-radio 
  (Radio Perception/Transmission) later adds vid-
  eoconferencing (increase the points to “trade” that 
  Sense for HRRP), and then includes computer 
  functions (add a small, simple Computer). Some-
  times this requires you to convert a single-Power 
  gadget into a Power Framework-based gadget. 
  For example, a force ﬁeld belt (Force Field) might 
  develop the capacity to project barriers of force 
  away from the wearer (now it’s a Multipower with 
  two slots, one Force Field and the other Force 
  Wall).
  RUBBER SCIENCE
  You’ve got a problem. You want to run a Star 
  Hero campaign, but you want to include stuﬀ like 
  forceﬁelds, faster-than-light travel, and antigravity. 
  Modern physics is mean and won’t let you have any 
  of those things in a realistic campaign. Looks like 
  it’s time for rubber science!
  Rubber science is imaginary science, but not 
  quite fantasy. It looks like science and sounds like 
  science, but it assumes some things are possible 
  that present-day science considers impossible. Now, 
  scientists themselves freely admit they don’t know 
  everything, so it’s just barely conceivable that some 
  rubber sciences may turn out to be true. That’s all 
  the loophole you need.
  Examples of rubber sciences are Gravitics (the 
  science of gravity, antigravity, and artiﬁcial gravity), 
  Hyper-Physics (the study of hyperspace and faster-
  than-light travel), Psionic Engineering (creation of 
  psionic machinery), and Temporal Mechanics (the 
  science of time travel). (In some campaigns, Hyper-
  Physics and Temporal Mechanics are combined 
  into one discipline, Dimensional Engineering.)
  To create a good rubber science, the GM 
  should think it through. Take teleportation as an 
  example. Jim (the GM of the Galactic Federation 
  campaign) wants characters to be able to blip from 
  an orbiting spaceship down to the surface of a 
  planet in the wink of an eye, without landing the 
  whole ship. Now he has to ﬁgure out “how it works.” 
  This doesn’t mean devising the actual equations 
  and technology for teleporting, but it does mean 
  coming up with a rough idea of what happens 
  when someone steps into the teleporter. Does it 
  scan them at the molecular level and reconstruct 
  them somewhere else? Does it open a tube through 
  hyperspace connecting the ship and the target? 
  Does the passenger make a sudden quantum dis-
  placement to the destination?
  Based on that, think through the implications 
  and choose the method which best ﬁts the cam-
  paign world you want. The scan-and-reconstruct 
  method requires some way to rebuild the passenger 
  at the destination, which isn’t suitable if the charac-
  ters are visiting unexplored planets. It also means 
  the teleporter could be used as a “Human photo-
  copier” to make duplicates of passengers. Scanning 
  teleporters could also function as replicators and 
  immortality machines. That isn’t what Jim wants, so 
  he rejects that approach.
  The Hyperspace Tube and Quantum Displace-
  ment methods both avoid those problems, so he 
  decides to use one of them. How do they ﬁt with 
  the rest of the campaign’s technology? If interstellar 
  travel uses ships voyaging through hyperspace, then 
  a Hyperspace Tube becomes a natural outgrowth of 
  hyperphysics. That’s good, because it’s always useful 
  to keep the total number of imaginary sciences in a 
  setting low.
  What other applications are there for tubes 
  that join distant points in space? If spaceships use 
  fuel, one can imagine putting a hypertube in the 
  fuel tank, connected directly to the reﬁnery, giving 
  them inﬁnite fuel supplies! Tubes could link places 
  Continued on next page
  ...AND I WANT MY 
  OWN STARSHIP, TOO!
  A recurring problem in 
  Star Hero is the way the 
  heroes tend to get over-
  shadowed by their stuﬀ. 
  Instead of individual skill 
  and ability, problems are 
  solved by hauling out the 
  right toy. And since char-
  acters can buy new toys, 
  this quickly turns into an 
  “arms race” in which they 
  buy cool equipment to 
  earn the money to buy 
  more cool equipment to 
  earn more money to buy 
  cooler equipment....
  There are ways for GMs 
  to keep things from get-
  ting out of hand. The 
  ﬁrst is a matter of player 
  expectations — make 
  sure the GM and the 
  players have the same 
  idea of what the cam-
  paign is about. If they’re 
  going to be heroic space 
  knights battling Evil, well 
  by golly heroic space 
  knights don’t rely on 
  gadgets. Other methods 
  include:
  Prevention:  Put charac-
  ters in situations where 
  they can’t buy equipment 
  (or replace lost equip-
  ment) — or at the very 
  least, have to expend lots 
  of resources (money, 
  favors, and so forth) to 
  get what they want. If the 
  campaign mainly takes 
  place out in the galactic 
  hinterlands, it’s not as 
  easy for the PCs to ﬁnd 
  replacement warp drive 
  parts or the latest weap-
  ons for sale.
  Countermeasures:  Any 
  powerful technology 
  soon calls forth a way 
  to foil it. Police radar 
  guns begat radar detec-
  tors, which in turn begat 
  police using laser speed 
  detection. If the PCs 
  abuse a particular tech-
  nology in the game, it’s 
  likely other people do, 
  too... and that a counter-
  measure will soon hit the 
  market, if it hasn’t already.
  
  147 
  Star Hero ■ Chapter Seven
  on a planet’s surface, allowing people to live any-
  where they like and step to work on the other side 
  of the world. Hypertube weapons could bypass a 
  ship’s defenses and place bombs inside the hull.
  Obviously Jim needs to limit his campaign’s 
  hyper-technology; some of those results, while 
  plausible, aren’t much fun in game terms. A Rubber 
  Science which allows anything to happen is just 
  magic. Jim doesn’t like the inﬁnite fuel idea, and 
  doesn’t want hypertube commuting. So he decides 
  on some limits to the technology:  hypertubes are 
  unstable; they only exist for short periods and 
  become exponentially harder to maintain the 
  longer they last. This means the crew can open a 
  tube for one second — long enough for an explor-
  ing party to jump through — but every additional 
  second requires a Systems Operation roll with a 
  penalty of 2 times the duration in seconds. So one 
  additional second is at -2, two seconds is -4, three 
  is -6, and so on. A miracle-working ship’s engineer 
  can keep the tube open when the captain’s life is at 
  stake, but tubes can’t be permanent. (If necessary, 
  Jim can also impose penalties based on the “length” 
  of the tube; the longer the tube, the harder it is to 
  keep stable.)
  To keep hypertubes from making all space 
  battles into very short contests of who can pop a 
  bomb into the other’s bridge fastest, the campaign 
  needs a defense against hypertubes. Since they’re 
  unstable anyway, Jim can justify “hyperspace damp-
  ing generators” which create destructive interfer-
  ence and prevent tube formation. Ships can still 
  use tube-boosted missile launchers and railguns to 
  reduce the range to the target, making space battles 
  very large-scale aﬀairs, with ships millions of miles 
  apart able to strike at one another. Once a lucky hit 
  takes out one side’s damping generator, the attacker 
  can send the Marines through the tube — or a 
  Nova Bomb.
  This is going to aﬀect space tactics and ship 
  design. Since ships can ﬁght at very long range, 
  the model for space warships is likely to resemble 
  modern-day missile cruisers or nuclear submarines. 
  There won’t be “carriers” because the ﬁgher craft 
  they carry won’t be able to mount hypertube damp-
  ers or projectors.
  Rubber sciences, like real ones, need a 
  vocabulary. A good set of consistent-seeming 
  technobabble can make a rubber science sound as 
  real as plumbing. Often new sciences borrow or 
  redeﬁne existing words — to describe the ﬂow of 
  electricity, early inventors called it a “current,” like 
  a ﬂow of water. Since hyperspace is a concept from 
  geometry, Jim decides to use a lot of terms evok-
  ing shapes and geometric concepts:  tubes, folds, 
  ripples, holes, and so forth. He can also just tack 
  the preﬁx “hyper-“ onto a lot of existing terms to 
  get hyperengineering, hyperphysics, hyperdynam-
  ics, hypertechnology, and so on. It’s easy to overdo 
  this:  a hyperengineer using a hyperspanner to ﬁx 
  the hyperdrive is getting silly. Instead, the Spatial 
  Engineer has to use his spacetime curvature meter 
  to adjust the hyperdrive. Sounds much better.
  Training:  As anyone with 
  a blinking VCR clock 
  knows, having a cool 
  gadget and knowing how 
  to use it are very diﬀerent 
  things. Instead of letting 
  heroes use things right 
  out of the box, impose 
  a training period, or a 
  penalty for untrained use. 
  Sure, your targeting com-
  puter gives you an OCV 
  bonus with riﬂe ﬁre, but 
  if you didn’t read the 
  manual, you won’t get the 
  full beneﬁt. For military-
  grade equipment, training 
  may not be easy to come 
  by, and asking about it 
  can attract the attention 
  of the police.
  Compatibility:  Are you 
  sure your gadgets work 
  together? Does your 
  targeting computer plug 
  ﬁt your night-vision 
  goggle socket? GMs 
  can have a lot of fun 
  with the potential for 
  incompatible devices, 
  especially if they’re made 
  by diﬀerent species. At 
  the very least, characters 
  must make Electronics, 
  Weaponsmith, or even 
  Inventor rolls to jury-rig 
  connectors and patch the 
  software bugs. (See page 
  144.)
  Continued from last page
  
  148 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  W
  eapons are among Humanity’s oldest 
  technology, and are an area where prog-
  ress is still rapid. Oﬀensive systems and 
  defenses are locked in a never-ending 
  round of escalation.
  MELEE WEAPONS
  As advanced as weapons may get, sometimes 
  nothing beats a good, old-fashioned club or axe. 
  Melee weapons crop up in SF frequently, both in 
  the ﬁsts of primitive natives and in the hands of 
  characters also versed in the use of blasters and 
  teleporters.
  ALIEN BLADES
  It has become common in recent ﬁlm and televi-
  sion SF to give alien cultures their own unique bladed 
  weapons. This usually allows for a certain amount of 
  “ethnic bad-ass” eﬀect — someone from another cul-
  ture armed with a weird or archaic weapon is always 
  more eﬀective than a regular guy with a regular sword 
  or knife.
  Most alien weapons are simply varieties of HKA 
  with spiky bits for added coolness. There are some 
  principles to keep in mind, however. One is that size 
  matters — an alien species uses weapons appropri-
  ate to its members’ average size and strength. About 
  1/20 of lifting capacity is right. Another factor is alien 
  anatomy. Boneless or tentacled aliens go for swinging 
  weapons like axes and broadswords; short-limbed 
  species may prefer thrusting weapons. It’s also worth 
  considering the anatomy of what the aliens usually 
  ﬁght. Aliens with natural body armor may develop 
  armor-piercing hand weapons like rapiers and dag-
  gers, or whips and garrotes to entangle and strangle.
  ENERGY BLADES
  A mainstay of Space Opera SF ever since Star 
  Wars, energy blades have a variety of names:  light-
  sabers, force swords, laser-blades, and so forth. Typi-
  cally, they are rare, diﬃcult to build, and/or restricted 
  to a limited group of warriors. Possible explanations 
  for them include molecularly-thin force-ﬁelds or 
  energy ﬁelds, molecularly-thin wire stiﬀened by an 
  internal force-ﬁeld, and force-ﬁelds containing a laser 
  bolt or superheated plasma. The blade can cut through 
  any matter with its subatomically sharp “edge”; only 
  another energy blade, or a force-ﬁeld of some sort, can 
  stop an energy blade. See page 44 for a possible Mar-
  tial Arts style for energy blades.
  A character armed with an energy blade can 
  often use it to do other things besides cut, slash, and 
  block. He may be able to deﬂect energy bolts (Mis-
  sile Deﬂection), or even ﬁre them himself from his 
  blade (EB, RKA). A skilled user can weave such a 
  “web” around himself that anyone who comes close 
  gets hurt (RKA, Area Of Eﬀect: One Hex, Trigger, No 
  Range).
  Presented below are two examples. One is a basic 
  Energy Sword, which damages not only that which it 
  strikes, but any matter which strikes it. The other is a 
  more sophisticated Force Blade, that can also project 
  a protective force screen around its wielder. Both 
  require WF: Energy Blades.
  Energy Sword:  RKA 3d6, NND (defense is 
  ED Force Field/Force Wall, or being blocked 
  by another energy blade; +1), Does BODY 
  (+1), Reduced Endurance (0 END; +½) (157 
  Active Points); OAF (-1), No Range (-½) (total 
  cost:  63 points) plus RKA 2d6, NND (defense 
  is ED Force Field/Force Wall, or being blocked 
  by another energy blade; +1), Does BODY 
  (+1), Continuous (+1), Damage Shield (+½), 
  Reduced Endurance (0 END; +½) (150 Active 
  Points); OAF (-1), Linked (-¼), Only Aﬀects 
  Material Objects Which Strike Blade (-½) 
  (total cost:  54 points). Total cost:  117 points. 
  Price:  184,200 credits, or more.
  Cost Force Blade
  117 
  Force Blade:  As Energy Sword, above
  12 
  Force Screen:  Force Field (6 PD/10 ED), 
  Reduced Endurance (0 END; +½)  
  (24 Active Points); OAF (-1)
  Total cost:  129 points. Price:  198,600 credits, or 
  more
  RANGED WEAPONS
  As popular as melee weapons may be, in most 
  cases they can’t beat a ranged weapon, whether it’s 
  a chemical-propellant gun or the most advanced 
  disintegrator available. Here are some of the types of 
  ﬁrearms available in Star Hero settings.
  ADVANCED FIREARMS
  During the past few centuries, guns have steadily 
  improved in several areas:  rate of ﬁre, range, accuracy, 
  and hitting power. But there’s still plenty of room 
  for improvement. Some of these can be combined, 
  making for really devastating weapons.
  Rate Of Fire:  Early twenty-ﬁrst century automatic 
  riﬂes can ﬁre half a dozen rounds per second, empty-
  ing a clip in less than a minute. More compact ammu-
  nition and other new technologies could improve 
  Continued on next page
  ALIEN BLADE 
  WEAPONS
  Here are a few alien 
  blade weapons from the 
  Terran Empire setting:
  Ackálian Sickle:  The 
  traditional hand weapon 
  of the Ackálians, this is a 
  one-handed sharp blade 
  curved forward to strike 
  point-ﬁrst. The outer 
  edge is sometimes saw-
  toothed for backhand 
  slashes. Ackálians are 
  strong enough to ﬁght 
  with one in each hand, 
  and normally carry 
  sickles in scabbards 
  strapped to the thighs. 
  Price:  660 credits, or 
  more.
  HKA 1d6 (plus STR), 
  Reduced Endurance (0 
  END; +½) (22 Active 
  Points); OAF (-1), STR 
  Minimum (12; -½), Real 
  Weapon (-¼). Total cost:  
  8 points.
  Mon’dabi Cha’shur:  The 
  cha’shur is a weapon 
  similar to an axe, but 
  with a slightly down-
  ward-curving spike 
  attached to the upper 
  outer edge of the blade, 
  pointing forward. Heavy, 
  and often unwieldy, the 
  weapon was originally 
  designed to punch 
  through the thick skins 
  of Mon’da’s many fear-
  some reptilian preda-
  tors. Price:  1,350 credits, 
  or more.
  HKA 2d6 (plus STR), 
  Reduced Endurance (0 
  END; +½) (45 Active 
  Points); OAF (-1), STR 
  Minimum (15; -¾), Real 
  Weapon (-¼). Total cost:  
  15 points.
  WEAPONS AND 
  DEFENSES
  
  149 
  Star Hero ■ Chapter Seven
  both rate of ﬁre and ammo capacity.
  Range:  Improved propellants, like liquid-explosive 
  guns (which inject propellant into the barrel behind 
  the bullet so it continues to accelerate until it leaves 
  the muzzle) could dramatically increase the range 
  (and damage) of riﬂes. The drawback is bulkier 
  ammunition and fewer shots, though other improve-
  ments may mitigate these diﬃculties.
  Accuracy:  Electronic sights and targeting computers 
  built into a riﬂe or a soldier’s helmet could improve 
  accuracy, especially at long range. As electronics get 
  smaller, “smart bullets” become possible. They would 
  have tiny sensors, a miniscule computer brain, and 
  ﬁns for guidance. The bullet could actually correct for 
  wind, avoid tumbling in ﬂight (unless that’s desired), 
  and even track a moving target to hit. Naturally, smart 
  bullets wouldn’t be cheap.
  Damage:  High-velocity bullets from a liquid-
  propellant gun would naturally hit harder and do 
  more damage. Scientists are also working on tiny 
  shaped-charge warheads to blast through armor. 
  Science ﬁction bullets could incorporate all of these 
  advances, and ones as yet unforeseen. Some might 
  have cores of degenerate matter, making each one 
  hit like a cannonball. The ultimate bullet would 
  hold a small amount of antimatter in magnetic sus-
  pension — literally a “pocket nuke.”
  Example Advanced Firearms Technology
  All of the example bullets assume an advanced 
  round roughly the same size as a .45 cartridge. You 
  can easily create other such rounds by altering the 
  damage done.
  Liquid-Propellant Sniper Riﬂe:  This big gun ﬁres 
  extremely high-velocity rounds doing substantial 
  damage at long range. It is large and clumsy, best 
  used from a prepared concealed position. Later 
  versions make the weapon smaller, lighter, and 
  easier to handle, and eventually add automatic ﬁre 
  features. If you want to make the weapon inher-
  ently more accurate at range, add some Range Skill 
  Levels on a Focus. Price:  2,100 credits, or more 
  (Early and Later versions); 3,300 credits, or more 
  (Autoﬁre version).
  Early Version:  RKA 2½d6, Armor Piercing 
  (+½), Increased Maximum Range (1,500”; 
  +¼) (70 Active Points); OAF Bulky (-1½), 
  Real Weapon (-¼), STR Minimum (18; STR 
  Minimum Doesn’t Add To Damage; -1½), 
  Two-Handed Weapon (-½), 6 Charges (-¾). 
  Total cost:  13 points. (Later version is STR Min 
  12, and non-Bulky; total cost is 15 points.)
  Autoﬁre Version:  RKA 2½d6, Armor Piercing 
  (+½), Autoﬁre (5 shots; +½), Increased Maxi-
  Continued from last page
  Se’ecra Wrist-Blades:  
  Worn by the insectoid 
  Se’ecra, this weapon con-
  sists of a heavy leather 
  or metal wrist-band 
  with one or more blades 
  projecting outward. The 
  shape and number of 
  blades varies, but most 
  have one to three blades 
  that curve forward. 
  Price:  450 credits, or 
  more.
  HKA ½d6 (plus STR), 
  Reduced Endurance (0 
  END; +½) (15 Active 
  Points); OAF (-1), STR 
  Minimum (7; -½), Real 
  Weapon (-¼). Total cost:  
  5 points.
  MISCELLANEOUS STAR  
  HERO MELEE WEAPONS
  Here are a few more example melee weapons. 
  Each requires its own WF to use properly.
  Electric Whip:  Also known as an Energy Whip, this 
  weapon looks like a whip made out of a glowing 
  strand of energy. Essentially, it’s a blaster with a 
  highly limited range, since the energy lash can 
  only reach so far; however, skilled users can wrap 
  the energy-strand around a target, causing him 
  to keep taking damage until freed. Price:  3,000 
  credits, or more.
  EB 8d6, Reduced Endurance (0 END; 
  +½) (60 Active Points); OAF (-1), Limited 
  Range (4”; -¼) (total cost:  27 points) plus 
  Continuous (+1) for power (40 Active 
  Points); OAF (-1), Requires A Sleight Of 
  Hand Roll (-½), Victim May Cancel Eﬀect 
  By Spending One Full Phase Unwrapping 
  Self (-½) (total cost:  13 points). Total cost:  
  40 points.
  Inertial Gloves:  These are heavy gauntlets 
  equipped with rubber science inertia-enhancing 
  generators. The user triggers the eﬀect in mid-
  swing, so the gloves hit like a freight train. Price:  
  1,680 credits, or more.
  HA +5d6, Double Knockback (+¾), 
  Reduced Endurance (0 END; +½) (56 
  Active Points); OIF (-½), Hand-To-Hand 
  Attack (-½). Total cost:  28 points.
  Stun Rod:  Law enforcement agents and soldiers 
  on peacekeeping missions have long wished for 
  a reliable way to subdue people without deadly 
  force. Stun rods are the answer — a short baton 
  with a contact-triggered neural stun pulse. The 
  victim feels no pain, only numbness and weak-
  ness. Price:  2,250 credits.
  EB 6d6, NND (defense is ED Force Field; 
  +1), Reduced Endurance (0 END; +½) (75 
  Active Points); OAF (-1), No Range (-½). 
  Total cost:  30 points.
  
  150 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  mum Range (2,500”; +¼), 60 Charges (+½) 
  (110 Active Points); OAF (-1), Real Weapon  
  (-¼), STR Minimum (14; STR Minimum 
  Doesn’t Add To Damage; -1), Two-Handed 
  Weapon (-½). Total cost:  29 points.
  Targeting Computers:  Mounted in a visor and linked 
  to a small camera on the weapon, a targeting com-
  puter shows the shooter exactly where his weapon 
  is pointing. Early versions are relatively simplistic; 
  more advanced targeting computers can take into 
  account target movement, ﬁrer movement, wind, and 
  other conditions for even greater accuracy. Price:  200 
  credits, or more (basic version); 400 credits, or more 
  (expert system).
  Basic Targeting Computer:  +2 OCV (10 Active 
  Points); OAF Fragile (-1¼). Total cost:  4 points.
  Expert System Targeting Computer:  +4 OCV (20 
  Active Points); OAF Fragile (-1¼). Total cost:  9 
  points.
  Homing Bullets:  These rounds have tiny ﬁns, onboard 
  sensors, and a built-in guidance chip to keep them 
  ﬂying straight. A dedicated targeting computer built 
  into the weapon even allows the shooter to direct the 
  bullets to ﬁre around walls and other obstacles! Price:  
  2,250 credits, or more, per bullet.
  RKA 2½d6, +1 Increased STUN Multiplier 
  (+¼), Indirect (always originates from shooter, 
  but can strike target from any angle; +½), No 
  Range Modiﬁer (+½) (90 Active Points); OAF (-
  1), STR Minimum (10; STR Minimum Doesn’t 
  Add To Damage; -1), Real Weapon (-¼), 12 
  Charges (-¼) (total cost:  26 points) plus +1 
  OCV (5 Active Points); OAF (-1), Real Weapon 
  (-¼) (total cost:  2 points). Total cost:  28 points.
  Shaped-Charge Bullets:  These rounds contain a tiny 
  shaped-charge warhead for better armor penetration. 
  As with Homing Bullets, determine the round’s base 
  damage normally. Price:  2,250 credits, or more, per 
  bullet.
  RKA 2½d6, Armor Piercing (+½), +1 Increased 
  STUN Multiplier (+¼) (70 Active Points); 
  OAF (-1), STR Minimum (10; STR Minimum 
  Doesn’t Add To Damage; -1), Real Weapon (-¼), 
  12 Charges (-¼) (total cost:  20 points) plus +1 
  OCV (5 Active Points); OAF (-1), Real Weapon 
  (-¼) (total cost:  2 points). Total cost:  22 points.
  Antimatter Bullets:  The ultimate in handheld ﬁre-
  power, these cinematic rounds carry a microscopic 
  fragment of antimatter magnetically contained in 
  the tip. On impact the antimatter contacts matter 
  and annihilates itself in a tremendous bang. Should 
  only be used at long ranges, due to blast eﬀects. Price:  
  6,000 credits, or more, per bullet.
  EB 20d6, Explosion (-1 DC/3”; +1) (200 Active 
  Points); OAF (-1), STR Minimum (10; STR 
  Minimum Doesn’t Add To Damage; -1), Real 
  Weapon (-¼), 4 Charges (-1). Total cost:  47 
  points.
  GAUSS WEAPONS
  Gauss weapons, or electromagnetic slugthrowers, 
  use powerful magnetic ﬁelds to launch metal projec-
  tiles at high speeds. They have the advantange of being 
  much quieter than chemical-propellant riﬂes, and can 
  sustain very high rates of ﬁre. Gauss weapons typically 
  use very small caliber rounds, making their attacks 
  Armor Piercing.
  The chief disadvantage of Gauss weaponry is that 
  like lasers and other energy weapons, they require a 
  lot of energy. Early gauss weapons have disposable 
  chemical-energy cartridges in a power pack; later ones 
  have highly eﬃcient batteries or capacitors. Heavy 
  gauss guns use dedicated generators to achieve really 
  massive rates of ﬁre.
  Early Gauss Cannon:  This is a heavy gauss “assault 
  cannon” intended for Cyberpunk-era games. It’s not 
  commercially available, but may be a top-secret mili-
  tary prototype or the latest from a megacorporation’s 
  laboratories. It has a very high rate of ﬁre but requires 
  large ammunition clips and an external power pack 
  which pumps out a lot of waste heat. Price:  27,000 
  credits, or more (includes “cutting edge” modiﬁer).
  RKA 2d6, Armor Piercing (+½), Autoﬁre (10 
  shots; +1), 4 clips of 30 Charges each (+½) (90 
  Active Points); OAF Bulky Fragile (-1¾), STR 
  Minimum (17; STR Minimum Doesn’t Add To 
  Damage; -1¼), Real Weapon (-¼), Two-Handed 
  Weapon (-½), Side Eﬀect (automatic Change 
  Environment +3 Temperature Levels over a 6” 
  radius area, -1 Temperature Level per 2”; -¼). 
  Total cost:  18 points.
  Gauss Riﬂe:  This is a more compact and handy gauss 
  weapon with a lower rate of ﬁre but more reasonable 
  power requirements. It is a common military weapon 
  in its time, and is highly accurate. Price:  2,250 credits, 
  or more.
  RKA 2d6, Armor Piercing (+½), Autoﬁre (5 
  shots; +½), 4 clips of 30 Charges each (+½) (75 
  Active Points); OAF (-1), STR Minimum (13; 
  STR Minimum Doesn’t Add To Damage; -1), 
  Real Weapon (-¼), Two-Handed Weapon (-½). 
  Total cost:  20 points.
  Gauss Pistol:  A gauss pistol is more compact than 
  the riﬂe, but sacriﬁces the high rate of ﬁre and hitting 
  power. Gauss pistols are very popular sidearms in mil-
  itary and police forces. Price:  1,320 credits, or more.
  RKA 1½d6, Armor Piercing (+½), Autoﬁre (3 
  shots; +¼) (44 Active Points); OAF (-1), STR 
  Minimum (10; STR Minimum Doesn’t Add 
  To Damage; -1), Real Weapon (-¼), 15 Charges  
  (-0). Total cost:  13 points.
  Heavy Gauss Gun:  Designed to take on armored foes 
  and light vehicles, the heavy gauss gun ﬁres relatively 
  large projectiles at tremendous velocity. It is somewhat 
  clumsy to carry, but the tremendous hitting power 
  makes up for it. Price:  2,700 credits, or more.
  RKA 3d6, Armor Piercing (+½), Autoﬁre (5 
  shots; +½) (90 Active Points); OAF Bulky (-1½), 
  
  151 
  Star Hero ■ Chapter Seven
  STR Minimum (16; STR Minimum Doesn’t 
  Add To Damage; -1¼), Real Weapon (-¼), Two-
  Handed Weapon (-½), 15 Charges (-0). Total 
  cost:  20 points.
  LASERS
  Lasers are real technology; probably all HERO 
  System players have lasers in their homes, in the form 
  of CD players or laser pointers. As of 2002, the Pen-
  tagon is developing real laser antimissile systems, and 
  laser rangeﬁnders and target designators are standard 
  military gear. Lasers emit beams of coherent light, 
  in which all the light waves are in phase with one 
  another. They are perfectly straight, and remain tightly 
  concentrated over long distances. Higher-powered 
  lasers use more energetic photons, like ultraviolet 
  light, x-rays, or gamma rays.
  As weapons, lasers do damage by suddenly 
  superheating the surface of whatever they hit. The 
  energies are modest, but concentrated into so tiny an 
  area that they cause signiﬁcant damage. Solid materi-
  als melt and shatter, and living tissue burns. More 
  powerful lasers pierce better, and x-rays do additional 
  damage from radiation eﬀects. In combat, lasers are 
  useful because it is very hard to detect where they 
  were ﬁred from (they only show up in the air if smoke 
  or other particulates render them visible), there is no 
  recoil, and they can ﬁre as long as the power holds out.
  The main limitation for lasers (as with any 
  directed-energy weapon) is power. Early optical lasers 
  use chemical reactions for sudden bursts of energy; 
  later ultraviolet ones are powered by advanced capaci-
  tors. Hand-held X-ray lasers depend on micro-fusion 
  powercells (in other words, “rubber science” power). 
  Most laser weapons have built-in laser sights, using a 
  low-power beam to paint a spot on the target before 
  ﬁring.
  In game terms, lasers are Killing Attacks with 
  the Beam Limitation. Ultraviolet lasers are Armor 
  Piercing, and X-Ray or Gamma-Ray lasers are Armor 
  Piercing and Penetrating. Early lasers are bulky and 
  fragile, but over time they become more compact and 
  durable.
  Optical and ultraviolet lasers are blocked by 
  smoke and steam (reﬂected by a Limitation, since 
  these phenomena are common); X-ray and gamma 
  ray lasers are not, but special anti-laser aerosols do 
  interfere with them normally.
  Experimental Laser Riﬂe:  This is an early optical laser 
  weapon, suitable for Cyberpunk or near-future games. 
  It’s fragile and bulky, and depends on chemical power 
  cartridges in a backpack power unit connected to the 
  weapon by an armored hose. Price:  13,500 credits, or 
  more (includes “cutting edge” modiﬁer).
  RKA 2d6, Increased Maximum Range (750”; 
  +¼) (37 Active Points); OAF Bulky Fragile 
  (-1¾), Beam (-¼), Real Weapon (-¼), STR 
  Minimum (15; STR Minimum Doesn’t Add 
  To Damage; -1¼), Two-Handed Weapon (-½), 
  Blocked By Smoke Or Steam (-¼), 8 Charges  
  (-½). Total cost:  6 points.
  Laser Riﬂe:  This is a dependable optical laser, widely 
  used for hunting and as a light military weapon. It is 
  self-contained, although that reduces the number of 
  shots it can ﬁre. Price:  1,350 credits, or more.
  RKA 2d6, Increased Maximum Range (750”; 
  +¼) (37 Active Points); OAF (-1), Beam (-¼), 
  Real Weapon (-¼), STR Minimum (10; STR 
  Minimum Doesn’t Add To Damage; -1), Two-
  Handed Weapon (-½), Blocked By Smoke 
  Or Steam (-¼), 8 Charges (-½). Total cost:  6 
  points.
  Laser Pistol:  This early laser pistol is connected to 
  a belt power pack by a cable. It is used as a military 
  sidearm by vehicle pilots and artillery crews, or by 
  police in situations calling for deadly force. It lacks the 
  advanced focusing of its bigger siblings, and so is only 
  useful at relatively short range. Price:  750 credits, or 
  more.
  RKA 1d6+1 (20 Active Points); OAF Fragile 
  (-1¼), Beam (-¼), Real Weapon (-¼), STR 
  Minimum (8; STR Minimum Doesn’t Add To 
  Damage; -1), Blocked By Smoke Or Steam (-¼), 
  16 Charges (-0). Total cost:  5 points.
  UV Laser Pistol:  An advanced laser pistol, this weapon 
  is self-contained and can ﬁre only a few times before 
  recharging. Its beam can stop even armored oppo-
  nents, making it a popular weapon among mercenar-
  ies and smugglers.  Price:  1,050 credits, or more.
  RKA 1d6+1, Armor Piercing (+½) (30 Active 
  Points); OAF (-1), Beam (-¼), Real Weapon  
  (-¼), STR Minimum (8; STR Minimum Doesn’t 
  Add To Damage; -1), Blocked By Smoke Or 
  Steam (-¼), 8 Charges (-½). Total cost:  7 
  points.
  Military UV Riﬂe:  A rugged and powerful laser riﬂe 
  used by front-line infantry, this weapon can punch 
  through body armor and even damage some vehicles. 
  Price:  9,000 credits, or more.
  RKA 2d6, Armor Piercing (+½), Increased Max-
  imum Range (1,125”; +¼) (52 Active Points); 
  OAF (-1), Beam (-¼), Real Weapon (-¼), STR 
  Minimum (12; STR Minimum Doesn’t Add 
  To Damage; -1), Two-Handed Weapon (-½), 
  Blocked By Smoke Or Steam (-¼), 8 Charges  
  (-½). Total cost:  11 points.
  Sustained-beam Laser Riﬂe:  This is an old-style opti-
  cal laser riﬂe upgraded with advanced power systems 
  and cooling to allow a continuous high-power beam 
  rather than a series of individual pulses. It is most 
  eﬀective as a way to burn through the defenses of 
  large armored targets like military vehicles. Price:  
  3,150 credits, or more.
  RKA 2d6, Continuous (+1), 30 Continu-
  ing Charges lasting up to 1 Turn each (+¾) 
  (82 Active Points); OAF (-1), Limited Range 
  (100”, -¼), Beam (-¼), Real Weapon (-¼), STR 
  Minimum (14; STR Minimum Doesn’t Add 
  To Damage; -1), Two-Handed Weapon (-½), 
  Blocked By Smoke Or Steam (-¼). Total cost:  
  18 points.
  
  152 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  X-Ray Laser Riﬂe:  The ultimate hand-held laser 
  weapon, the X-Ray riﬂe can bore through even tank 
  armor and is strictly limited to military use in all but 
  the most anarchic societies. Note that portable X-Ray 
  lasers require very “rubbery” science, as currently 
  the only known way to excite an X-Ray laser eﬀect 
  involves nuclear explosions! Price:  16,800 credits, or 
  more.
  RKA 3d6, Armor Piercing (+½), Penetrat-
  ing (+½), Increased Maximum Range (2,250”; 
  +¼) (101 Active Points); OAF (-1), Beam (-¼), 
  Real Weapon (-¼), STR Minimum (14; STR 
  Minimum Doesn’t Add To Damage; -1), Two-
  Handed Weapon (-½), 10 Charges (-¼). Total 
  cost:  24 points.
  BLASTERS
  Blasters are energy guns. In science ﬁction ﬁlms 
  and stories, they come in a myriad of forms — plasma 
  guns, ion guns, particle guns, electron beams. Film 
  blasters shoot big glowing bolts like tracer bullets and 
  are just called “blasters.”
  Electron Beams
  These are real technology — every television set 
  has an electron beam generator inside it. A powerful 
  beam of electrons traveling along a laser “pilot beam” 
  (to create an ionized pathway for the electrons) would 
  damage the target by heat and electrical eﬀects. Mag-
  netic ﬁelds deﬂect electron beams, and any kind of 
  closed metal protection lets the charge pass around 
  the target without doing any harm. In a vacuum the 
  electrons repel one another, turning the deadly beam 
  into a harmless spray; water also disperses the blast. 
  Electron beams can be ﬁred on both lethal and “stun” 
  settings, with the latter delivering a shock strong 
  enough to knock out opponents without doing per-
  manent damage. All electron blasters have Boostable 
  Charges.
  Electron Riﬂe/Pistol:  The ﬁrst-generation electron 
  weapon, an Electron Riﬂe is reasonably robust, and 
  can be boosted for extra eﬀect. Its pilot beam acts as a 
  laser sight. Price:  2,400 credits, or more.
  The pistol version of the same weapon (16 Boost-
  able Charges, STR Min 10, not a two-handed weapon) 
  costs 2 points less. It’s a more reﬁned development of 
  the electron riﬂe, commonly used as a law-enforce-
  ment weapon.
  Cost Electron Riﬂe
  10 
  Electron Riﬂe:  Multipower, 30-point reserve,  
  20 Boostable Charges (+½) for entire Multip-
  ower; all OAF (-1), Does Not Work In  
  Vacuum, In Water, In Magnetic Fields, Or 
  Against Targets Encased In Metal (-¾), Real 
  Weapon (-¼), STR Minimum (14; STR Mini-
  mum Doesn’t Add To Damage; -1),  
  Two-Handed Weapon (-½)  
  1u 
  1)  Standard Setting:  EB 6d6; OAF (-1),  
  Beam (-¼), Does Not Work In Vacuum, In 
  Water, In Magnetic Fields, Or Against Targets 
  Encased In Metal (-¾), Real Weapon (-¼), 
  STR Minimum (see above; -1), Two-Handed 
  Weapon (-½)  
  1u 
  2)  Stun Setting:  EB 3d6, NND (defense is 
  being in vacuum, water, a magnetic ﬁeld, or a 
  metal casing, or having an ED Force Field;  
  +1); OAF (-1), Real Weapon (-¼), STR  
  Minimum (see above; -1), Two-Handed 
  Weapon (-½)  
  2 
  Laser Pilot Beam:  +1 OCV; OAF (-1), Real 
  Weapon (-¼)
  Total cost:  14 points
  Ion Beams
  These weapons ﬁre a beam of ionized gas at the 
  target, doing damage by heat, impact, and secondary 
  electrical eﬀects. They are very close to the cinematic 
  blaster weapon in terms of special eﬀects. The ionized 
  beam does glow brightly as it ﬁres, and the bolts, while 
  fast, do not travel at the speed of light. A disadvantage 
  is that ion beams need both a supply of gas (usually 
  argon or neon) to ionize and a power supply; most 
  ion guns use special cartridges which are not compat-
  ible with other energy weapons or electrical devices. 
  They cannot be “set to stun” and have no pilot beam 
  as a sighting aid. At the GM’s option, characters can 
  substitute the equivalent DC in Killing Damage for 
  the weapons’ standard Normal Damage.
  Early Ion Gun:  This is a heavy, delicate device based 
  on ion-motor technology, suitable as a gadgeteer’s 
  prototype or a special weapon to take down the Ion 
  Creature in a “Bug Eyed Monsters” adventure. Price:  
  1,500 credits, or more.
  EB 10d6 (50 Active Points); OAF Bulky Fragile 
  (-1¾), Real Weapon (-¼), STR Minimum (15; 
  STR Minimum Doesn’t Add To Damage; -1¼), 
  Two-Handed Weapon (-½), 12 Charges (-¼). 
  Total cost:  10 points.
  Ion Riﬂe:  Basically a more durable version of the early 
  ion gun, this weapon boasts improved rate of ﬁre and 
  ammunition capacity. Price:  1,860 credits, or more.
  EB 10d6, Autoﬁre (3 shots; +¼) (62 Active 
  Points); OAF (-1), Real Weapon (-¼), STR 
  Minimum (12; STR Minimum Doesn’t Add 
  To Damage; -1), Two-Handed Weapon (-½), 15 
  Charges (-0). Total cost:  16 points.
  Ion Pistol:  Often just called a “blaster,” this is a smaller 
  version of the ion riﬂe, with slightly less hitting power 
  and greatly reduced range. A very popular sidearm in 
  many SF settings. Price:  1,500 credits, or more.
  EB 8d6, Autoﬁre (2 shots; +¼) (50 Active 
  Points); OAF (-1), Limited Range (50”; -¼), Real 
  Weapon (-¼), STR Minimum (9; STR Mini-
  mum Doesn’t Add To Damage; -1), 12 Charges 
  (-¼). Total cost:  13 points.
  Pocket Ion Pistol:  A cut-down version of the standard 
  blaster, suitable for concealment on one’s person. 
  Price:  1,050 credits, or more.
  EB 7d6 (35 Active Points); OAF (-1), Limited 
  Range (30”; -¼), Real Weapon (-¼), STR 
  Minimum (9; STR Minimum Doesn’t Add To 
  Damage; -1), 12 Charges (-¼). Total cost:  9 
  points.
  LASER FLASHING
  Although it rarely 
  turns up in science ﬁc-
  tion ﬁlms or stories, 
  one application of 
  laser weapons in the 
  real world is as “dazzle 
  lasers” to blind and 
  disorient enemy troops. 
  Gamemasters or players 
  who like this option can 
  convert laser weapons 
  into Multipowers, with 
  one slot for the Kill-
  ing Attack described 
  above, and the other 
  for a Sight Group Flash 
  with DCs equal to the 
  laser’s Killing damage. 
  This setting may involve 
  such a a low-powered 
  beam that it is 0 END 
  (requiring no Charges), 
  or the entire Multipower 
  may have one pool of 
  Charges.
  
  153 
  Star Hero ■ Chapter Seven
  Particle Guns
  Particle guns are small hand-held proton accel-
  erators. They function in much the same way electron 
  beams do, but the proton beam has more penetrating 
  power, and cannot be set to stun. Like electron beams, 
  proton beams use a laser pilot beam to create an ion-
  ized pathway through the air. In vacuum and water the 
  protons disperse into a harmless stream. The proton 
  riﬂe and particle blaster depend on as-yet-undiscov-
  ered power sources.
  Particle guns cause damage through surface 
  blasting and radiation eﬀects. Characters may substi-
  tute equivalent DCs in Killing Damage with the GM’s 
  permission.
  Accelerator Pack:  This could be used by near-future 
  ghost-ﬁghters to deal with weird menaces immune to 
  ordinary weapons. The actual accelerator is in a back-
  pack, with only the targeting magnets and pilot beam 
  in the hand unit. Price:  1,980 credits, or more.
  EB 7d6, Armor Piercing (+½), 20 Charges (+¼) 
  (61 Active Points); OAF Bulky (-1½), Beam (-¼), 
  Does Not Work In Vacuum Or Water (-½), Real 
  Weapon (-¼), STR Minimum (14; STR Mini-
  mum Doesn’t Add To Damage; -1), Two-Handed 
  Weapon (-½) (total cost:  12 points) plus +1 OCV 
  (5 Active Points); OAF (-1), Real Weapon (-¼) 
  (total cost:  2 points). Total cost:  14 points.
  Proton Riﬂe:  This weapon is a fairly standard particle 
  gun, common to many SF settings. Price:  1,980 credits, 
  or more.
  EB 7d6, Armor Piercing (+½), 30 Charges (+¼) 
  (61 Active Points); OAF (-1), Beam (-¼), Does Not 
  Work In Vacuum Or Water (-½), Real Weapon (-
  ¼), STR Minimum (12; STR Minimum Doesn’t 
  Add To Damage; -1), Two-Handed Weapon (-½) 
  (total cost:  13 points) plus +1 OCV (5 Active 
  Points); OAF (-1), Real Weapon (-¼) (total cost:  
  2 points). Total cost:  15 points.
  Particle Blaster:  A heavy pistol that squeezes a proton 
  accelerator into the smallest possible space, this weapon 
  has limited power but is almost as eﬀective as a proton 
  riﬂe. Price:  1,350 credits, or more.
  EB 6d6, Armor Piercing (+½) (45 Active 
  Points); OAF (-1), Beam (-¼), Does Not Work 
  In Vacuum Or Water (-½), Real Weapon (-¼), 
  STR Minimum (10; STR Minimum Doesn’t Add 
  To Damage; -1), 10 Charges (-¼) (total cost:  11 
  points) plus +1 OCV (5 Active Points); OAF (-1), 
  Real Weapon (-¼) (total cost:  2 points). Total cost:  
  13 points.
  Plasma Guns
  Plasma weapons are an outgrowth of fusion 
  power technology. They generate a tiny fusion reaction 
  which releases superhot plasma; the gun then directs 
  this plasma at the target via magnetic ﬁelds. The plasma 
  spreads quickly over a wide area, which gives it a large 
  area eﬀect but limits the weapon’s range. Designers can’t 
  scale them down to pistol size easily, but they’re quite 
  powerful as battleﬁeld weapons. Plasma guns use deu-
  terium pellets, similar to those used in fusion rockets, as 
  their fuel — in pre-fusion societies the weapons cannot 
  be refueled. Assuming portable fusion generators are 
  possible at all, plasma weapons don’t involve any major 
  violations of the laws of physics.
  Early Plasma Gun:  Even in experimental form, plasma 
  guns are devastatingly eﬀective, making this a good 
  “ultimate weapon” for Cyberpunk-period and “early 
  interstellar exploration” campaigns. Its chief disad-
  vantage is that if it fails, the results are catastrophic for 
  bystanders. Price:  22,500 credits, or more (includes 
  “cutting edge” modiﬁer).
  EB 10d6, Explosion (+½) (75 Active Points); OAF 
  Bulky Fragile (-1¾), Activation 15-, Jammed  
  (-¾), Limited Range (30”; -¼), Real Weapon 
  (-¼), Side Eﬀect (5d6 EB Explosion; -½), STR 
  Minimum (15; STR Minimum Doesn’t Add To 
  Damage; -1¼), Two-Handed Weapon (-½), 12 
  Charges (-¼). Total cost:  11 points.
  Single-shot Plasma Gun:  Filling the same role as a 
  bazooka or antitank rocket, this is a single-shot dispos-
  able plasma weapon. It can give Space Marines extra 
  punch against armored foes, or be used to blast holes in 
  fortiﬁcations. Price:  3,360 credits, or more.
  EB 15d6, Explosion (+½) (112 Active Points); 
  OAF (-1), Limited Range (50”; -¼), Real Weapon 
  (-¼), STR Minimum (14; STR Minimum Doesn’t 
  Add To Damage; -1), Two-Handed Weapon (-½), 
  1 Charge (-2). Total cost:  19 points.
  Plasma Riﬂe:  This is the smallest practical plasma 
  weapon, a large riﬂe with a barrel big enough to shoot 
  grapefruit. It features improved fail-safe containment, 
  so that misﬁres no longer blow up the user. Price:  2,610 
  credits, or more.
  EB 10d6, Explosion (+½), 20 Charges (+¼) (87 
  Active Points); OAF (-1), Limited Range (30”;  
  -¼), Real Weapon (-¼), STR Minimum (12; STR 
  Minimum Doesn’t Add To Damage; -1), Two-
  Handed Weapon (-½). Total cost:  22 points.
  Plasma Battle Riﬂe:  A serious infantry support weapon, 
  the plasma battle riﬂe uses a large backpack both for 
  fuel storage and extra cooling. The result is a rapid-ﬁre 
  plasma gun which can do massive damage. Price:  4,950 
  credits, or more.
  EB 12d6, Explosion (+½), Autoﬁre (5 shots; +½), 
  100 Charges (+¾) (165 Active Points); OAF Bulky 
  (-1½), Limited Range (40”; -¼), Real Weapon (-
  ¼), STR Minimum (13; STR Minimum Doesn’t 
  Add To Damage; -1), Two-Handed Weapon (-
  ½). Total cost:  37 points (or 41 points for a non-
  Bulky version).
  Plasma Pistol:  For campaigns not worried about real-
  ism, scientists can make practical pistol-sized plasma 
  guns. Price:  2,010 credits, or more.
  EB 9d6, Explosion (+½) (67 Active Points); OAF 
  (-1), Limited Range (25”; -¼), Real Weapon  
  (-¼), STR Minimum (10; STR Minimum Doesn’t 
  Add To Damage; -1), 12 Charges (-¼). Total cost:  
  18 points.
  
  154 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  DISINTEGRATORS
  Disintegrators are a beloved weapon in science 
  ﬁction, with almost no basis in reality. Most of them 
  work by somehow suppressing the atomic forces 
  which hold matter together — one hit, and the target 
  ﬂies apart! Other seem to apply energy damage on 
  an atomic level uniformly to a target to thoroughly 
  destroy it. The phasers of the old Star Trek series are, 
  in part, a type of disintegrator; so are the disintegra-
  tor “tools” in Niven’s Ringworld. In a campaign with 
  disintegrators, GMs must consider the problems they 
  create — murderers could literally make their victims 
  disappear!
  Disintegrator Pistol:  A large pistol with a complicated 
  emitter at the front, the disintegrator pistol is only 
  eﬀective at short range because the beam energy rap-
  idly dissipates. Price:  8,100 credits, or more.
  RKA 6d6, NND (defense is ED Force Field; 
  +1), Does BODY (+1) (270 Active Points); 
  OAF (-1), -1 Decreased STUN Multiplier (-¼), 
  Reduced By Range (-¼), Real Weapon (-¼), 
  STR Minimum (10; STR Minimum Doesn’t 
  Add To Damage; -1), 8 Boostable Charges  
  (-¼). Total cost:  67 points.
  Disintegrator Riﬂe:  A big riﬂe version of the disinte-
  grator pistol. Price:  8,100 credits, or more.
  RKA 6d6, NND (defense is ED Force Field; +1), 
  Does BODY (+1) (270 Active Points); OAF (-1), 
  -1 Decreased STUN Multiplier (-¼), Reduced 
  By Range (-¼), Real Weapon (-¼), STR 
  Minimum (12; STR Minimum Doesn’t Add 
  To Damage; -1), Two-Handed Weapon (-½), 12 
  Boostable Charges (-0). Total cost:  63 points.
  MULTI-PURPOSE ENERGY WEAPON
  In Space Opera and Pulp SF settings, it’s easy to 
  create a weapon that features multiple settings usable 
  for a variety of purposes — disintegration, stunning, 
  blasting, even projecting a low-power burst at a rock 
  or metal wall to provide heat in cold climates. Each 
  of its eﬀects comes with multiple settings, including 
  wide-beam settings; the more powerful the eﬀect, 
  the more energy it uses. Here’s an example in HERO 
  System terms; it’s so high-tech and sophisticated it 
  doesn’t qualify as a Real Weapon, or have a STR Mini-
  mum — even a small child can pick it up, press the 
  trigger-button, and wreak havoc. Price:  60,810 credits, 
  or more.
  Cost Multi-Purpose Energy Weapon
  433 
  Multi-Purpose Energy Weapon:  Multipower, 
  315-point reserve, 1,000 Boostable Charges  
  for entire reserve (+1¾); all OAF (-1)
  2u 
  1)  Light Stun:  EB 4d6, NND (defense is ED 
  Force Field; +1); OAF (-1)
  2u 
  2)  Light Stun, Wide-Beam Setting:  EB 4d6, 
  NND (defense is ED Force Field; +1), Area  
  Of Eﬀect (4” Radius; +1); OAF (-1), Requires  
  3 Charges Per Use (-½)
  2u 
  3)  Medium Stun:  EB 6d6, NND (defense  
  is ED Force Field; +1); OAF (-1), Requires 3 
  Charges Per Use (-½)
  4u 
  4)  Medium Stun, Wide-Beam Setting:  EB  
  6d6, NND (defense is ED Force Field; +1),  
  Area Of Eﬀect (6” Radius; +1); OAF (-1), 
  Requires 6 Charges Per Use (-½) 
  3u 
  5)  Heavy Stun:  EB 8d6, NND (defense is  
  ED Force Field; +1); OAF (-1), Requires 6 
  Charges Per Use (-½) 
  4u 
  6)  Heavy Stun, Wide-Beam Setting:  EB  
  8d6, NND (defense is ED Force Field; +1),  
  Area Of Eﬀect (8” Radius; +1); OAF (-1), 
  Requires 12 Charges Per Use (-¾)
  1u 
  7)  Light Blast:  EB 6d6; OAF (-1), Requires  
  6 Charges Per Use (-½)
  2u 
  8)  Light Blast, Wide-Beam Setting:  EB 6d6, 
  Area Of Eﬀect (6” Radius; +1¼); OAF (-1), 
  Requires 12 Charges Per Use (-¾)
  2u 
  9)  Medium Blast:  EB 9d6; OAF (-1),  
  Requires 12 Charges Per Use (-¾)
  3u 
  10)  Medium Blast, Wide-Beam Setting:  EB  
  9d6, Area Of Eﬀect (10” Radius; +1¼); OAF 
  (-1), Requires 24 Charges Per Use (-1¼)
  2u 
  11)  Heavy Blast:  EB 12d6; OAF (-1),  
  Requires 24 Charges Per Use (-1¼)
  4u 
  12)  Heavy Blast, Wide-Beam Setting:  EB  
  12d6, Area Of Eﬀect (12” Radius; +1¼);  
  OAF (-1), Requires 48 Charges Per Use (-1½)
  7u 
  13)  Disintegrate:  RKA 6d6, NND (defense  
  is ED Force Field; +1), Does BODY (+1);  
  OAF (-1), -1 Decreased STUN Multiplier  
  (-¼), Requires 48 Charges Per Use (-1½)
  8u 
  14)  Disintegrate, Wide-Beam Setting:  RKA  
  6d6, NND (defense is ED Force Field; +1), 
  Does BODY (+1), Area Of Eﬀect (1 Hex;  
  +½); OAF (-1), -1 Decreased STUN  
  Multiplier (-¼), Requires 96 Charges Per  
  Use (-1¾)
  1u 
   15)  Heat Rocks:  Life Support (Safe  
  Environment:  Intense Cold), Area Of Eﬀect  
  (2” Radius; +¾); OAF (-1), Nonpersistent  
  (each Charge’s eﬀect lasts for 1 Minute; -¼), 
  Requires Appropriate Substance To Be  
  Heated (-¼).
  Total cost:  480 points
  GRENADES AND ROCKETS
  Hand grenades are reaching the limit of 
  improvement as of the early twenty-ﬁrst century 
  — since they must be thrown, they can’t be too pow-
  erful or they injure the user. Although a few SF set-
  tings do feature energy grenades — which through 
  rubber science means emit contained energy ﬁelds 
  similar to those created by blasters — or like weap-
  ons, for the most part the emphasis is on nonlethal 
  grenades and rocket grenades. The ultimate develop-
  ment of the rocket-propelled grenade is the Rocket 
  Gun, which appears as a rival to ﬁrearms in many 
  SF settings (particularly Low SF, or stories set in the 
  early days of interplanetary exploration). Rocket guns 
  launch tiny solid-fuel missiles with a variety of war-
  heads. Improvements in electronics make them highly 
  accurate, and their larger size makes them far deadlier 
  than bullets (or allows them to carry other, nonlethal, 
  payloads).
  Energy Grenades:  These thrown weapons create 
  deadly energy ﬁelds, causing great destruction but in 
  
  155 
  Star Hero ■ Chapter Seven
  a more controlled manner than an explosive grenade. 
  Price:  2,700 credits, or more (Standard); 6,750 credits, 
  or more (Disintegrenade).
  Standard Energy Grenade:  RKA 2½d6, Area Of 
  Eﬀect (8” Radius; +1¼) (90 Active Points); OAF 
  (-1), Range Based On STR (-¼), 4 Charges (-1). 
  Total cost:  28 points.
  Disintegrenade:  RKA 4d6, NND (defense is 
  ED Force Field; +1), Does BODY (+1), Area Of 
  Eﬀect (2” Radius; +¾) (225 Active Points); OAF 
  (-1), -1 Decreased STUN Multiplier (-¼), Range 
  Based On STR (-¼), 4 Charges (-1). Total cost:  
  64 points.
  Early Rocket Gun:  A descendant of rocket-propelled 
  grenade launchers, this weapon lobs unguided explo-
  sive missiles. Price:  1,560 credits, or more.
  RKA 2d6, Explosion (-1 DC/2”; +¾) (52 Active 
  Points); OAF (-1), Real Weapon (-¼), STR 
  Minimum (14; STR Minimum Doesn’t Add 
  To Damage; -1), Two-Handed Weapon (-½), 6 
  Charges (-¾). Total cost:  11 points.
  Military Rocket Pistol:  Issued to soldiers on many 
  worlds, this weapon ﬁres homing rockets with explo-
  sive warheads. Price:  10,500 credits, or more.
  RKA 2½d6, Explosion (-1 DC/2”; +¾) (70 
  Active Points); OAF (-1), Real Weapon (-¼), 
  STR Minimum (9; STR Minimum Doesn’t Add 
  To Damage; -1), 6 Charges (-¾). Total cost:  17 
  points.
  Military Rocket Riﬂe:  A riﬂe-sized version of the 
  Rocket Pistol, capable of fully automatic ﬁre. Price:  
  15,000 credits, or more.
  RKA 2½d6, Explosion (-1 DC/2”; +¾), Autoﬁre 
  (5 shots; +1½), 30 Charges (+¼)  (140 Active 
  Points); OAF (-1), Real Weapon (-¼), STR 
  Minimum (14; STR Minimum Doesn’t Add To 
  Damage; -1), Two-Handed Weapon (-½). Total 
  cost:  37 points.
  DEFENSES
  The race between oﬀense and defense has been 
  going on since the ﬁrst Stone Age warrior made a 
  shield to block spear thrusts. Since then, personal 
  armor and personal weapons have seesawed back and 
  forth in eﬀectiveness. For a time after the invention 
  of gunpowder it appeared that oﬀense had won the 
  race, but in recent decades super-strong synthetics like 
  Kevlar have restored armor to the battleﬁeld. In the 
  future, the race is likely to continue, and to progress to 
  things like force ﬁelds.
  Force ﬁelds and their ilk are an entirely “rubber 
  science” defense, but one which is quite common, 
  especially in Space Opera and Pulp science ﬁction. 
  Often the force ﬁeld can do more than just protect 
  an individual; it may also provide Life Support 
  capabilities or the like. Note that powerful force 
  shields change the face of combat at high tech levels 
  — instead of remaining hidden and launching deadly 
  all-or-nothing attacks from concealment, charac-
  ters go back to engaging in stand-up slugfests more 
  reminiscent of ﬁstﬁghts or superhero battles than 
  gunﬁghts.
  NEAR-FUTURE BODY ARMOR
  Early twenty-ﬁrst century Human policemen 
  and soldiers can rely on the likes of Kevlar, Spectra, 
  and defensive ceramics to protect them from bullets. 
  As technology improves and develops, even stronger 
  materials are likely to become available. Here are a 
  few examples of possible near-future body armors. 
  All provide 12 PD/ED Armor, though it’s possible that 
  advanced materials could oﬀer even more protection.
  Armored Vest:  A standard vest, covering Hit Locations 
  11-13. Price:  540 credits, or more.
  Armor (12 PD/12 ED) (36 Active Points); OIF 
  (-½), Activation Roll 9- (-1½), Mass (half mass; 
  -½), Real Armor (-¼). Total cost:  10 points.
  Combat Suit:  This is a battleﬁeld outﬁt of helmet, 
  upper body covering (typically a jacket and/or vest), 
  gauntlets, and high boots, covering Hit Locations 3-14 
  and 16-18. Price:  540 credits, or more.
  Armor (12 PD/12 ED) (36 Active Points); OIF 
  (-½), Activation Roll 15- (-¼), Mass (half mass; 
  -½), Real Armor (-¼). Total cost:  14 points.
  Full Body Armor:  A full suit of polymer armor with a 
  helmet and gloves, providing total protection. Price:  
  540 credits, or more.
  Armor (12 PD/12 ED) (36 Active 
  Points); OIF (-½), Mass (half mass; 
  -½), Real Armor (-¼). Total cost: 
  16 points.
  ABLATIVE AND  
  REFLECTIVE ARMORS
  As energy weapons 
  become more common, 
  synthetic materials like 
  Kevlar get vulnerable. 
  One solution is to cover 
  the armor with a layer 
  of ablative material which 
  absorbs and disperses the energy of 
  a beam weapon attack. The disadvan-
  tage to ablative armor is that each shot 
  burns away a little more protection.
  Related to ablative armor, but 
  without the drawback of being 
  removed by attacks, are reﬂec-
  tive armors. These are ordinary 
  body armors with a layer of 
  thin mirror-ﬁnish plastic 
  which reﬂects much of the 
  energy of laser, ultraviolet 
  laser, and plasma attacks. 
  Unfortunately, wearing a 
  bright shiny suit makes one 
  very visible.
  
  156 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Ablative Vest:  A standard vest, covering Hit Locations 
  11-13. Price:  540 credits, or more.
  Armor (6 PD/6 ED) (18 Active Points); OIF (-
  ½), Activation Roll 9- (-1½), Mass (half mass; 
  -½), Real Armor (-¼) (total cost:  5 points) plus 
  Armor (+12 ED) (18 Active Points);  OIF (-½), 
  Activation Roll 9- (-1½), Ablative (-1), Mass (half 
  mass; -½), Real Armor (-¼) (total cost:  4 points). 
  Total cost:  9 points.
  Ablative Foam:  A cheap way to get some anti-laser 
  protection, ablative foam sprays onto a person or 
  vehicle, forming a thick, ﬂexible layer. It is packaged 
  in cans holding enough foam to coat 3 men (or, at 
  the GM’s discretion, a single vehicle no larger than an 
  automobile). It is not waterproof. Price:  180 credits, 
  or more.
  Armor (+8 ED), 3 Continuing Charges lasting 
  1 Hour each (removed by water or being shot 
  oﬀ; -¼) (15 Active Points); OIF (-½), Ablative 
  (-1). Total cost:  6 points.
  Reﬂective Undervest:  This is a small vest covering Hit 
  Locations 12-13 only, worn by dignitaries or secret 
  agents who want a little protection but can’t wear 
  combat gear. Price:  270 credits, or more.
  Armor (4 PD/4 ED) (12 Active Points); IIF 
  (-¼), Activation Roll 8- (-2), Mass (half mass; 
  -½), Real Armor (-¼) (total cost:  3 points) 
  plus Armor (+4 ED) (6 Active Points); IIF 
  (-¼), Activation Roll 8- (-2), Only Protects 
  Against Laser And Plasma Attacks (-½), Mass 
  (half mass; -½), Real Armor (-¼) (total cost:  1 
  point). Total cost:  4 points.
  Reﬂective Coverall:  This is worn over other armor 
  by combat personnel who have to face laser-armed 
  opponents. It is a light hooded coverall providing only 
  anti-laser protection. Price:  270 credits, or more.
  Armor (+12 ED) (18 Active Points); OIF (-½), 
  Activation Roll 15- (-¼), Only Protects Against 
  Laser Attacks (-1), Real Armor (-¼). Total cost:  
  6 points.
  BATTLE ARMOR
  This is a full-body suit of rigid armor, suitable 
  for future infantrymen. Traditionally, good guys use 
  transparent faceplates while bad guys’ are opaque. 
  The suit is sealed and has a ﬁlter to keep out chemi-
  cal agents, but is not space-rated. It may be ﬁtted 
  with a superconducting surface, and sometimes 
  with other equipment suitable for a full powered 
  battlesuit. Price:  855 credits, or more.
  Cost Battle Armor
  20 
  Protective Armor:  Armor (15 PD/15 ED)  
  (45 Active Points); OIF (-½), Mass (half 
  mass; -½), Real Armor (-¼)
  8 
  Limited Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environment:   
  High Radiation) (12 Active Points); OIF (-½)
  Total cost:  28 points
  POWERED BATTLESUIT
  This is a very powerful and high-tech suit of 
  armor, akin to what’s depicted in Robert Heinlein’s 
  Starship Troopers or the many books inﬂuenced by 
  that novel. It makes an average Space Marine into 
  something like a comic-book superhero. The limbs 
  are powered to boost the user’s strength, the legs 
  have boost-jets for great leaps, and the suit mounts 
  a built-in arsenal of guns, beams, and missile 
  launchers (the user can also carry weapons in his 
  hands, of course). Naturally, such a supersuit isn’t 
  cheap; they are usually reserved for commandos or 
  elite assault troops. Price:  34,650 credits, or more 
  (cost assumes battlesuit has two weapons of 45 
  Active Points each).
  Cost Powered Battlesuit
  34 
  Protective Armor:  Armor (20 PD/20 ED)  
  (60 Active Points); OIF (-½), Real Armor 
  (-¼)
  13 
  Life Support:  Life Support (Self-Contained 
  Breathing; Safe Environments:  High Pres-
  sure, High Radiation, Intense Cold, Intense 
  Heat, Low Pressure/Vacuum) (19 Active 
  Points); OIF (-½)
  7 
  Boost-Jets:  Leaping +10” (10 Active Points); 
  OIF (-½)
  3 
  Visual Sensors:  Infrared Perception (Sight 
  SUPERCONDUCTING 
  SURFACE
  A more high-tech 
  way to defeat energy 
  weapons comes from 
  developments in super-
  conductive materials. 
  These are substances 
  which instantly conduct 
  electricity or heat with 
  no resistance. A suit of 
  superconducting armor 
  spreads an attack over 
  the entire surface of the 
  suit, radiating it harm-
  lessly away. Characters 
  can add a supercon-
  ducting surface to any 
  other armor; it provides 
  Energy Damage Reduc-
  tion, Resistant, 75% (60 
  Active Points) (apply the 
  appropriate Limitations 
  for that type of armor 
  to determine the ﬁnal 
  cost). Price:  900 credits 
  for a full suit.
  
  157 
  Star Hero ■ Chapter Seven
  Group) (5 Active Points); OIF (-½)
  3 
  Visual Sensors:  Ultraviolet Perception (Sight 
  Group) (5 Active Points); OIF (-½)
  2 
  Auditory Sensors:  Ultrasonic Perception  
  (Hearing Group) (3 Active Points); OIF (-½)
  7 
  Onboard Radar:  Radar (Radio Group)  
  (15 Active Points); OIF (-½), Aﬀected As  
  Sight Group As Well As Radio Group (-½)
  6 
  Communicator System:  HRRP (Radio  
  Group) (12 Active Points); OIF (-½),  
  Aﬀected As Sight And Hearing Group As  
  Well As Radio Group (-½)
  8 
  Onboard Computer:  Absolute Range Sense, 
  Absolute Time Sense, Bump Of Direction, 
  Lightning Calculator; OIF (-½)
  Total cost:  83 points
  Cost Powered Battlesuit Options
  20 
  Laser:  RKA 2d6, Increased Maximum Range 
  (925”; +¼), 32 Charges (+¼) (45 Active 
  Points); OIF (-½), Beam (-¼), Real Weapon 
  (-¼), Blocked By Smoke Or Steam (-¼)
  62 
  Rocket Gun:  RKA 2½d6, Explosion (-1 DC/ 
  2”; +¾), Autoﬁre (5 shots; +1½), 30 Charges 
  (+¼)  (140 Active Points); OIF (-½), Real 
  Weapon (-¼), 8 Charges (-½)
  48 
  Heavy Missile:  RKA 6d6, Explosion (-1 DC/
  2”; +¾) (157 Active Points); OIF (-½), Real 
  Weapon (-¼), 2 Charges (-1½)
  112 
  Plasma Cannon:  EB 12d6, Explosion (+½), 
  Autoﬁre (5 shots; +1½), 100 Charges (+¾)  
  (225 Active Points); OIF (-½), Limited Range 
  (40”; -¼), Real Weapon (-¼)
  BIOPLASTIC ARMOR
  Instead of the rigid armor beloved of 1950s 
  science ﬁction, this is organic-looking bioplastic, 
  made of materials spawned from the meeting of 
  nanotechnology and genetic 
  engineering. It is a deceptively 
  thin and ﬂexible suit of smart 
  nanoﬁbers which can react 
  instantly to impacts or energy 
  attacks, going rigid or reﬂec-
  tive as needed. Elastic ﬁbers 
  and liquid microtubules rap-
  idly disperse the energy of an 
  attack, and semi-autonomous 
  nanomachines can actually 
  “heal” damage to the suit. The 
  suit is fully capable of operat-
  ing in space or underwater, 
  with an adaptive life-support 
  system. Price:  1,710 credits, 
  or more.
  Cost Bioplastic Armor
  34 
  Protective Armor:  
  Armor (20 PD/20 ED) 
  (60 Active Points); OIF 
  (-½), Real Armor (-¼)
  23 
  Protective Armor:  Phys-
  ical and Energy Damage 
  Reduction, Normal, 50% 
  (40 Active Points); OIF 
  (-½), Real Armor (-¼)
  9 
  Limited Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environments:  
  Intense Cold, Low Pressure/Vacuum)  
  (14 Active Points); OIF (-½)
  ■ Total cost:  66 points.
  FORCE FIELD TECHNOLOGY
  In Space Opera SF, and other stories involving 
  extremely advanced technology, force ﬁelds usu-
  ally replace physical defenses such as body armor. 
  Ranging from personal “force screens” to large force 
  shields conﬁgurable into a variety of shapes, their 
  generating equipment often weighs little. However, 
  they do require some source of power to keep func-
  tioning, and thus are vulnerable to attacks which 
  deplete their energy reserves.
  Personal Force Screen:  This creates a shield which 
  hugs the user and stops incoming attacks. A vari-
  ant only blocks high-speed projectiles and energy 
  beams (a -½ Limitation), leaving the wearer free 
  to engage in melee combat. Price:  450 credits, or 
  more.
  Force Field (10 PD/10 ED), Protects Carried 
  Items (30 Active Points); OIF (shield belt; -½), 
  1 Continuing Fuel Charge (fueled by electric-
  ity, recharge is easily obtained; 20 Minutes; 
  -¼). Total cost:  17 points.
  Advanced Personal Force Screen:  This version of 
  the shield belt creates a ﬁeld strong enough to hold 
  in atmosphere. When combined with a small air 
  puriﬁer and oxygen tank, it works just like a space 
  suit.  Price:  660 credits, or more.
  
  158 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Force Field (10 PD/10 ED), Protects Carried 
  Items (30 Active Points); OIF (shield belt; -½), 
  1 Continuing Fuel Charge (fueled by electric-
  ity, recharge is easily obtained; 20 Minutes; 
  -¼) (total cost:  17 points) plus Life Support 
  (Self-Contained Breathing; Safe Environments:  
  Intense Cold, Low Pressure/Vacuum) (14 Active 
  Points); OIF (-½), Linked (-½), 1 Continuing 
  Fuel Charge (fueled by air supply, resupply is 
  easily obtained; 20 Minutes; -¼) (total cost:  6 
  points). Total cost:  23 points.
  Force Shield Projector:  A force shield projector is 
  usually arm-mounted, and creates a force barrier in 
  front of the user. Price:  450 credits, or more.
  Force Wall (6 PD/6 ED) (30 Active Points); OIF 
  (shield bracer; -½), Self Only (-½), No Range  
  (-½), 1 Continuing Fuel Charge (fueled by elec-
  tricity, recharge is easily obtained; 20 Minutes; 
  -¼). Total cost:  11 points.
  Force Dome:  This portable but bulky device creates 
  an 8-meter radius force dome. The dome is airtight, 
  and the life support unit in the device creates a tem-
  porary habitat in hazardous environments (though 
  the more people that are within the dome, the 
  quicker the air gets used up). Price:  1,455 credits, or 
  more.
  Force Wall (8 PD/8 ED; 12” long) (62 Active 
  Points); OAF Bulky (-1½), No Range (only 
  works in radius around generator; -½), 
  Restricted Shape (dome only; -¼), 1 Continu-
  ing Fuel Charge (fueled by electricity, recharge 
  is easily obtained; 1 Hour; -0) (total cost:  19 
  points) plus Life Support (Self-Contained 
  Breathing; Safe Environments:  Intense Cold, 
  Low Pressure/Vacuum), Area Of Eﬀect (ﬁlls 
  entire area beneath dome; +1½) (35 Active 
  Points); OIF (-½), Linked (-½), 1 Continuing 
  Fuel Charge (fueled by air supply, resupply 
  is easily obtained; 1 Hour; -0) (total cost:  17 
  points). Total cost:  36 points.
  MILITARY TECHNOLOGY
  Technology has always had a great eﬀect on 
  the battleﬁeld, and that is likely to continue into the 
  future. There are three areas of particular interest in 
  military tech:  heavy weapons, mobility, and infor-
  mation handling.
  HEAVY WEAPONS
  Most of the weapons described above have their 
  battleﬁeld-scale equivalents. A “quick and dirty” way 
  to make an artillery version of a personal weapon is 
  to add the MegaScale Advantage to range (and per-
  haps the Area Of Eﬀect/Explosion, if applicable), and 
  make it Immobile. Gamemasters willing to do a little 
  more work can make Automaton weapons, such as 
  artillery launchers with built-in AI computers and 
  the ability to drive, ﬂy, or even teleport themselves.
  Even in the early twenty-ﬁrst century, there’s 
  already almost no upper limit to the destructive 
  power of battleﬁeld weapons — high explosive 
  shells lead to fuel-air explosive bombs, which can 
  be as powerful as low-end nuclear weapons. In the 
  worlds of science ﬁction, this trend can easily con-
  tinue, as basic nukes evolve into smaller and more 
  powerful versions. Other possible weapons of mass 
  destruction include new explosives based on high-
  tech chemistry, biological and chemical weapons 
  that make today’s gases and plagues look mild, FTL 
  kinetic weapons, antimatter bombs, teleporting 
  weapons and weapon launchers, black hole genera-
  tors, and more. The problem, as on modern Earth, is 
  not how how to destroy something, but how to ﬁnd 
  it and hit it.
  Dimensional Missile:  This missile is launched 
  through a nearby higher-order dimension, using 
  transdimensional sensors to home in on its target. 
  When it gets close enough, it drops into normal 
  space and attacks from the most advantageous angle. 
  Price:  57,300 credits, or more (includes “military 
  technology” multiplier).
  RKA 6d6, Explosion (-1 DC/3”; +1), Indirect 
  (+¾), Invisible Power Eﬀects (Fully Invisible; 
  +1), Increased Maximum Range (42,125”, or 
  about 52 miles; +½) (382 Active Points); OAF 
  (-1), 1 Charge which Never Recovers (-4). Total 
  cost:  64 points.
  Emplaced Plasma Cannon:  This weapon, usually 
  mounted on a moon or satellite and used for plan-
  etary defense, projects an enormous burst of plasma. 
  Price:  97,500 credits, or more (includes “military 
  technology” multiplier).
  EB 40d6, Explosion (-1 DC/4”; +1¼), Increased 
  Maximum Range (1,406,250”, or about 1,748 
  miles; +1) (650 Active Points); OIF Immobile (-
  1½), 12 Charges (-¼). Total cost:  236 points.
  Self-Propelled Nuclear Bomb:  Small enough for an 
  average Human to carry easily in a backpack, this 
  devastating device packs a one megaton nuclear 
  punch. (This is an extremely simplistic representa-
  tion of how nuclear weapons work — it doesn’t 
  include things like the radiation blast, ﬂash eﬀect, 
  or electromagnetic pulse — but it should suﬃce 
  for most game purposes.) Price:  101,250 credits, or 
  more (includes “military technology” multiplier).
  RKA 20d6, Explosion (+½), MegaRange (1” = 
  10 km; +½), MegaArea (1” = 1 km; +¼) (675 
  Active Points); OAF (-1), 1 Charge which Never 
  Recovers (-4). Total cost:  112 points.
  MOBILITY
  Because of the great power of battleﬁeld weap-
  ons, if you stay in one place you’re dead. But if you 
  move, you become visible, and then you’re dead 
  again. Fighting vehicles have had to get very fast just 
  to survive — an early twenty-ﬁrst century heavy 
  main battle tank can move across open country 
  almost as swiftly as a car on a highway. In the air, 
  new ﬁghter designs envision planes which can cruise 
  around at supersonic speeds rather than ﬂying that 
  fast just in combat.
  
  159 
  Star Hero ■ Chapter Seven
  In the future, battleﬁeld hovercraft may 
  be able to roar around the battleﬁeld at more 
  than 200 kilometers per hour; a couple of 
  generations later, the diﬀerence between a 
  tank and a combat helicopter may disap-
  pear. At sea, “supercavitating” submarines 
  will be able to go almost as fast underwater. 
  It’s likely that vertical take-oﬀ airplanes will 
  make submarine carriers feasible, so the sur-
  face will be left to hydrofoils, hovercraft, and 
  the super-fast “Ekranoplans” (a hybrid of air-
  plane and hovercraft developed in Russia). 
  See page 205 for more on hovercraft.
  What about the poor, bloody infantry 
  amid all this fast and powerful technology? 
  Well, already soldiers ride instead 
  of march, and some of those fast 
  vehicles will be personnel carriers 
  or landing craft. Jetpacks, jump-
  jets, personal teleporters, and other 
  such movement technology may also 
  exist in an SF setting. The development of 
  compact power systems to drive an armored 
  battlesuit will let the infantry compete once 
  again, as soldiers on foot take over some of a 
  tank’s duties.
  INFORMATION
  The idea that knowledge and information are 
  paramount on the battleﬁeld is not new. What is 
  new is that improved communications and comput-
  ers are ﬁnally making it possible for commanders 
  and troops to know exactly what is happening and 
  where, in real time. Soldiers “paint” a target with 
  lasers and a plane makes the attack, or artillery does 
  the job from kilometers away. Or the information 
  is relayed to a missile platform, which launches a 
  cruise missile from over the horizon. What makes 
  it all work is control of space:  spy satellites for rec-
  onaissance, GPS satellites to give everyone highly 
  accurate position data, and communications satel-
  lites to put everyone in touch. This works very well 
  when one side has air and space command and the 
  other doesn’t — a conﬂict between two modern-day 
  armies might be a lot more confused and bloody. In 
  a science ﬁction setting, communications and infor-
  mation-gathering become even more advanced, pos-
  sibly incorporating rubber science explanations that 
  expand battleﬁeld options even further.
  The ﬂip side of perfect information is stealth. 
  If you can be seen you can be killed, so everyone 
  spends a lot of time not being seen. Airplanes now 
  have stealth design and radar-absorbent coating; 
  submarines have silent propellors and sound-baf-
  ﬂing hulls. It’s likely the next generation of surface 
  ships (if there are any) will be low and stealthy (right 
  now carriers and their escorts rely on electronic jam-
  ming and the ability to wipe out all possible threats). 
  Stealthy tanks are also likely. Soldiers wear camou-
  ﬂage, but infrared vision gear is making that almost 
  irrelevant. Future soldiers may wear chameleon cam-
  ouﬂage and some form of infrared masking. Finally, 
  countermeasures and jamming to interfere with 
  all that elaborate real-time information streaming 
  would do a lot to even the odds.
  Military Communicator:  Typically worn on the wrist, 
  this device transmits both video and audio, and is 
  hardened to prevent it from being jammed. Price:  
  2,100 credits, or more (includes “military technol-
  ogy” multiplier).
  HRRP (Radio Group), Diﬃcult To Dispel (x8 
  Active Points; +¾) (21 Active Points); OIF 
  (-½), Aﬀected As Sight And Hearing Group 
  As Well As Radio Group (-½). Total cost:  10 
  points.
  Personal Teleporter:  This device (possibly a mesh 
  woven into armor) allows a soldier to teleport him-
  self brief distances on mental command. It typically 
  requires access to positioning and power-generating 
  satellites, so anything that cuts oﬀ that access (being 
  deep underground, Darkness to Radio Group) stops 
  it from functioning. Price:  6,200 credits, or more 
  (includes “military technology” multiplier).
  Teleportation 20”, x8 Noncombat, Reduced 
  Endurance (½ END; +¼) (62 Active Points); 
  OIF (-½), Does Not Work If Cut Oﬀ (see text; 
  -¼). Total cost:  35 points.
  Stealth Field:  This device, incorporated into a sol-
  dier’s armor or uniform, bends energy waves around 
  him, providing eﬀective invisibility. However, some-
  one standing close enough may notice the “bending” 
  eﬀect (i.e., the Fringe), or see physical traces the 
  soldier leaves behind (footprints, dust). Price:  2,500 
  credits, or more (includes “military technology” mul-
  tiplier).
  Invisibility to Sight and Radio Groups (25 
  Active Points); IIF (-¼), 1 Continuing Fuel 
  Charge (fueled by electricity, recharge is easily 
  obtained; 1 Hour; -0). Total cost:  20 points.
  
  160 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  N
  ow that the business of blowing stuﬀ up is 
  out of the way, what else can technology do? 
  Almost anything, it turns out.
  COMPUTERS
  The HERO System rules for computers (pages 
  459-61 of the 5th Edition, Revised rulebook) allow 
  construction of both simple and artiﬁcial intel-
  ligence devices. In most Star Hero games, normal 
  computers are “equipment,” bought with money 
  rather than Character Points, while AI computers are 
  typically NPCs. It is possible to purchase an AI (if 
  the local laws allow it), but the machine won’t have 
  any particular loyalty to the heroes unless one of 
  them spends Character Points to buy it as a Follower, 
  part of a Base, or the like.
  SENSES
  Computers cannot, by themselves, “perceive.” 
  Unlike Automatons, they don’t come with the basic 
  suite of Senses for free. They have to be hooked into 
  sensory systems (like the security cameras at a Base, 
  or the sensors on a starship) to give them the ability 
  to perceive, or the builder has to buy speciﬁc senses 
  for the Computer (using the costs from the sidebar 
  on page 161 of the HERO System 5th Edition, Revised 
  for normal Senses). If bought with the ability to per-
  ceive, a Computer can make PER Rolls based on its 
  INT, and can recall things it has perceived with an 
  INT Roll.
  PROGRAMS
  The distinction between Skills and computer 
  programs is subtle. Skills allow the use of equipment, 
  Powers, and abilities. Programs tell the computer 
  what to do with those Skills.
  Creating proper Programs requires a little bit of 
  planning and forethought. Ideally, you should be able 
  to phrase the Program in one short, simple sentence 
  — one subject, one verb, and one object. If you can’t 
  describe the Program in a single simple sentence, 
  you should split it into multiple Programs (or, if 
  appropriate, buy it as a Skill). However, a Program 
  can allow for some simple variables.
  For example, “Pilot Ship From Location A 
  To Location B” is a proper Program. It’s simply 
  expressed, and uses Navigation (Space) and Trans-
  port Familiarity. It allows the user to input two 
  easily-deﬁned variables (Location A and Location 
  B). However, “Pilot Ship From Location A To Loca-
  tion B And Avoid Star Patrol Ships” should be two 
  Programs — one to ﬂy the ship (using the Skills 
  mentioned above) and one for avoiding the Star 
  Patrol (using Combat Piloting, Concealment, and/or 
  Stealth). The “and” in the second Program is a clear 
  indicator that two Programs are necessary; the Pro-
  gram attempts to include two commands into one 
  Program, which is improper in most cases.
  Some players may want to set up triggering 
  conditions, so that their computers take action or 
  activate programs in the event of certain circum-
  stances. Examples of this would include “If I am 
  knocked out, get us to safety.” Again, that’s really 
  two Programs — the trigger is one Program, and 
  can activate the other. The computer needs two 
  Programs:  “If I Am Knocked Out, Activate Pilot 
  Ship Program”; and Pilot Ship. Since Pilot Ship takes 
  the ship from one speciﬁed location to another, the 
  player should decide in advance where the ship 
  heads if he is rendered unconscious (in this case, 
  Location A is “ship’s current location”).
  Of course, the GM may, in his discretion, allow 
  a program to combine two closely-related functions 
  — such as “Monitor Sensors; Report Anomalies 
  Detected.” The decision depends on how tightly 
  linked the functions are, how frequently the program 
  is used, and other factors.
  Undeﬁned Programs
  Obviously, it’s diﬃcult for players and GMs 
  to think up all the possible actions and contingen-
  cies a computer might need to take into account. If 
  appropriate, the GM can allow characters to create 
  computers with a pool of Character Points set aside 
  for Programs which aren’t yet deﬁned. When a situa-
  tion arises where the computer should be able to act 
  in a certain way, but no speciﬁc Program covers that 
  situation, the GM may (if he wishes) let the player 
  assign one of the “unspent” points to a new Program 
  speciﬁcally for that contingency.
  COMPUTERS AS CHARACTERS 
  One familiar trope in science ﬁction is the 
  perky ship’s computer, which is just as much a char-
  acter as the crew. With the GM’s permission, players 
  may run computer characters. Because this may 
  unbalance the campaign, and often makes it diﬃcult 
  to get the computer character involved in scenarios, 
  the GM should consider very carefully before allow-
  ing computer PCs into his Star Hero campaign.
  Computer characters are built on the normal 
  Base Points + Disadvantages for the campaign; they 
  do not get to divide their total cost by 5 to determine 
  the Real Point cost, as with standard computers. 
  They do not receive Senses for free; as noted above, 
  they must buy Senses or be connected to sensory 
  devices. All computer characters are considered AI 
  computers; they have EGO and may have Psycho-
  logical Limitations.
  CLARKE’S LAW
  Famed science ﬁction 
  author Arthur C. Clarke 
  once made a statement 
  that SF fans have come 
  to call Clarke’s Law. It 
  states:  “Any suﬃciently 
  advanced technology 
  is indistinguishable 
  from magic.” In other 
  words, when technology 
  becomes high enough, 
  most people — particu-
  larly “primitive” people 
  — can’t really tell it apart 
  from “magic.” Eventually, 
  the two sort of become 
  one.
  Beyond the classic 
  impress-the-natives-
  with-a-cigarette-lighter 
  trick, Clarke’s Law has 
  some interesting rami-
  ﬁcations Star Hero GMs 
  could explore. At what 
  point does technology 
  become magic? Could 
  a Star Hero campaign 
  really be, or become, 
  a Fantasy Hero cam-
  paign... or vice-versa? 
  Were the magicians of 
  ancient legend actually 
  time travelers? Could a 
  Star Hero setting feature 
  “tech-mages” command-
  ing technology far more 
  advanced than the cam-
  paign norm, but cloaked 
  in a veneer of mysticism?
  COMPUTERS AND 
  MENTAL POWERS
  Mental Powers bought to 
  aﬀect the Machine class 
  of minds can aﬀect both 
  normal and AI com-
  puters (see the HERO 
  System 5th Edition, 
  Revised, page 117). The 
  GM may, if he chooses, 
  apply some of the rules 
  for robots and Mental 
  Powers (see page 165) to 
  computers as well.
  OTHER  
  TECHNOLOGY
  
  161 
  Star Hero ■ Chapter Seven
  Characteristics And Skills
  Depending on how you deﬁne a computer 
  character, it may be able to sell back many of its 
  Primary Characteristics. On the other hand, some 
  (particularly INT) need to be quite high.
  Skills for a computer character represent its 
  stored/programmed knowledge and abilities. Com-
  puter characters do not require Programs; as PCs, 
  they have as much free will and self-control as any 
  other character (but perhaps some important Psy-
  chological Limitations also; see below).
  Perks And Talents
  Computer characters rarely have Perks; it’s more 
  likely they’ll suﬀer from restrictions on their status 
  and activities than have special beneﬁts (see Disad-
  vantages, below). However, some may be appropri-
  ate. A computer with ﬁnancial skills could amass its 
  own private fortune and have Money. One that can 
  “download” its personality into a robotic body might 
  build that body as a Vehicle.
  On the other hand, many Talents are highly 
  appropriate for computer characters. Almost all 
  computer PCs should have Absolute Time Sense, 
  Bump Of Direction, Eidetic Memory, Lightning Cal-
  culator, and Speed Reading, which represent various 
  built-in functions common to computers. Universal 
  Translator is also appropriate in Space Opera-style 
  campaigns.
  Powers
  A computer character’s Powers, if any, depend 
  primarily on his “body” and how the GM wants him 
  to access it. The GM must consider the issue of what 
  the computer controls. If it’s wired into every system 
  aboard a starship and can use them as easily as a 
  person uses his body, then he may require the com-
  puter character to pay Character Points for those 
  abilities, rather than allowing it to have them for free 
  just because the campaign features a PC-owned star-
  ship. Alternately, the GM may require the computer 
  character to buy the Vehicle (or Base) itself, so that 
  (like any character who owns a Vehicle or Base) it 
  pays for the resources it controls.
  Similarly, a computer character may have a 
  robotic body it uses. In that case, the character 
  should pay for the body’s abilities. In some cases, the 
  “computer” character is really a sentient robot for 
  game purposes, even if it conceives of itself as a com-
  puter (see page 165).
  One power common to most computer charac-
  ters is the ability to make a “backup” copy of them-
  selves in the event they’re destroyed. The easiest way 
  to build this is as Resurrection Healing; the Resur-
  rection can be stopped by any means that destroys or 
  tampers with the backup copy. Alternately, it could 
  be deﬁned as Duplication with appropriate Limita-
  tions, including Cannot Recombine and Duplicate 
  Only Becomes Active Upon Original’s Death (-1). In 
  either case, the backup only possesses the character’s 
  memories and abilities up to the last time a backup 
  was made; if the character doesn’t take the time to 
  update his backups frequently, he may experience 
  signiﬁcant losses.
  Another ability often possessed by computer 
  characters is the power to “download” themselves 
  into “vessels” such as robotic bodies, or even other 
  computers. There are many ways to represent this 
  ability. It might be a form of Duplication, if the char-
  acter has a brigade of robotic forms it can use. Multi-
  form might be appropriate, if the computer character 
  is ordinarily conﬁned to a “body” (such as a star-
  ship). For transferring into and taking over another 
  computer, a Linked combination of Teleportation 
  and Mind Control would do the trick.
  Computer characters naturally are skilled at 
  working with other computers. They can access 
  THE GALACTIC 
  COMPUTERNET
  Many SF settings feature 
  a vast, star-spanning 
  computer and commu-
  nications network for 
  use by the inhabitants of 
  those settings. Typically 
  any citizen can have at 
  least basic access to the 
  network, though this 
  depends on the society 
  in question — and of 
  course some people 
  (government oﬃcials, 
  military oﬃcers, and the 
  like) have much greater 
  degrees of access. (See 
  page 49 for more infor-
  mation on buying this as 
  a Perk.)
  The Galactic Comput-
  ernet provides its users 
  with access to vast reams 
  of information. Think 
  of it as KS: Everything 
  This Society Knows 60- 
  and SS: Every Science 
  This Society Knows 40-. 
  But of course, searching 
  for any particular fact 
  entails massive penalties 
  in such a broad data-
  base. On the average, 
  the ’Net can provide an 
  answer to any simple 
  question in just 1-3 Seg-
  ments; this requires no 
  roll. The more esoteric 
  or complex the query, 
  the longer it takes to 
  ﬁnd it out, and the 
  harder the Skill Roll. An 
  esoteric/complicated 
  question probably 
  requires around a 15- 
  roll and up to an hour 
  of time; a very esoteric/
  complicated one a 12- 
  roll and up to a day; and 
  an extremely estoteric/
  complicated one an 8- 
  and up to a week.
  The Computernet also 
  provides users with 
  HRRP with a range 
  suﬃcient to cover the 
  entire area controlled by 
  the ’Net’s creators and 
  overseers. Long dis-
  tances may entail time-
  lags, especially if FTL 
  communication doesn’t 
  exist.
  HAND COMPUTER
  Many SF characters carry this device, or something 
  like it. It’s a small computer used to store personal 
  data and download information (the “Database” KSs 
  represent whatever music, video material, and read-
  ing material the user currently has installed on the 
  device). While this version is a discrete unit (an OAF), 
  it’s possible to build one into a bracelet or other piece 
  of jewelry (OIF or IIF), or even to weave the neces-
  sary circuitry into clothing (IIF).
  Cost 
  Hand Computer
  5 
  Communications Function:  HRRP (Radio 
  Group); OAF (-1), Flashed As Sight And  
  Hearing Group As Well As Radio Group (-½)
  8 
  Computer:  Computer (see below); OAF (-1)
   Val Char 
  Cost
   15 INT 
  5
   10 DEX 
  0
   2 
  SPD 
  0
  Cost 
  Skills
  11 
  AK: Milky Way Galaxy 20-
  2 
  KS: Archived Recent News 11-
  5 
  KS: Current News 14-
  3 
  KS: Contact Information 12-
  11 
  KS: Known Sentient Species 20-
  1 
  KS: Literature Database 8-
  1 
  KS: Movies Database 8-
  1 
  KS: Music Database 8-
  4 
  PS: Personal Assistant 13-
  2 
  Systems Operation (Communications 
  Systems) 12-
   
  Programs
  1 
  Alert Owner Regarding Scheduled  
  Appointments
  1 
  Prioritize Incoming Calls According To User 
  Preferences
  1 
  Search Reference Material For Information 
  On A Topic
  1 
  Send Communication To Recorded  
  Identicode On Spoken Cue
  1 
  Send Emergency Call To Emergency  
  Authorities If Speciﬁed Protocols Are Not Met
   
  Talents
  3 
  Clock:  Absolute Time Sense
  5 
  Memory:  Eidetic Memory
  3 
  Calculator:  Lightning Calculator
  3 
  Instant-On Feature:  Lightsleep
  20 
  Translator:  Universal Translator 12-
  Total Computer Cost:  85/5 = 17
  Total cost:  13 points
  
  162 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  cyberspace, if it exists, eﬀortlessly (Extra-Dimen-
  sional Movement), often have powerful programs 
  for “hacking,” and perhaps even Mental Powers that 
  aﬀect the Machine class of minds. (See below for more 
  information about cyberspace).
  Disadvantages
  As powerful as computer characters can be, they 
  also suﬀer from some signiﬁcant restrictions.
  With the GM’s permission, a computer character 
  who’s “built in” to a starship or base and cannot leave 
  that facility at all can take a Physical Limitation, Built-
  In (typically this is Frequently, Greatly Impairing; 
  15 points). However, a computer character with this 
  Disadvantage may cause problems for the campaign; 
  GMs should only allow it after careful consideration.
  Another possible Physical Limitation is Program-
  ming (typically this is Frequently, Greatly Impairing; 
  15 points). This represents the fact that the computer 
  character is “hard-wired” to do (or not do) certain 
  things, and that even Mind Control can’t override 
  these instructions. The GM and player should deﬁne, 
  in at least vague terms, what’s included in the charac-
  ter’s programming, keeping common sense and dra-
  matic sense in mind. Science ﬁction television shows 
  and movies provide lots of examples:
  “I’m sorry, you cannot override the engine’s safety 
  restrictions without command authorization.”
  “I’m afraid I can’t let you do that, Dave... it’s against 
  regulations.”
  “My prime programming requires me to steer this 
  vessel to a safe location regardless of your commands, 
  sir.”
  Computer characters usually have one or more 
  Psychological Limitations. Programming can consti-
  tute a Psychological Limitation as well as a Physical 
  one; the diﬀerence is that Psychological Limitation 
  programming can be overridden with Mind Control 
  (or, in the GM’s judgment, a Computer Program-
  ming roll made at the same penalty imposed on the 
  character’s EGO Rolls to overcome the Limitation). 
  Typically Programming is Common, Strong (and thus 
  worth 15 points).
  Many computer characters have the Psycho-
  logical Limitation Emotionless (Common, Total; 20 
  points). This signiﬁes that they have no emotions, 
  approach all situations from the standpoint of logic 
  and reason, and usually have diﬃculty understanding 
  decisions other characters make for emotional reasons 
  (often resulting in a -3, or greater, penalty on Interac-
  tion Skills). Other Psychological Limitations common 
  to computer characters include:
  Considers Self Superior To Organic Beings 
  (Common, Moderate; 10 points)
  Must Obey Orders From Crew (Common, Total; 20 
  points)
  Wishes To Experience Emotions (Common, Strong; 
  15 points)
  In many science ﬁction societies, computers, 
  even sentient ones, aren’t considered “citizens” or 
  accorded full civil rights. This constitutes a Social 
  Limitation (typically one that’s Very Frequently, 
  Minor; 15 points).
  CYBERSPACE
  Depictions of “cyberspace” vary tremendously 
  in SF. Some writers base it on modern computer 
  networks, with most information moving via text or 
  graphics, and battles of hackers and security fought 
  through keyboards. That’s best modeled as characters 
  pitting their Computer Programming Skills against 
  each other.
  More exotic visions of cyberspace see it as a 
  “place” in which avatars of the characters interact with 
  other people and programs in a kind of metaphori-
  cal landscape. Gamemasters can make this a version 
  of Extra-Dimensional Travel (see below). A modem 
  or dataport becomes the portal to another realm. 
  Combat in cyberspace is mostly a matter of oﬀensive 
  and defensive programs, with various eﬀects (see 
  below). Since most of the “people” one meets in cyber-
  space are computer systems, programs tend to focus 
  on attacking their abilities. Security programs which 
  can do actual harm to a Human user exist, but they 
  are illegal in many jurisdictions.
  While adventuring in cyberspace, characters 
  exist as software avatars, and protect themselves and 
  attack others with software as well. A character’s avatar 
  lacks his STR, Skills other than Computer Program-
  ming, physical abilities, Mental Powers, and the like, 
  but retains all his other Characteristics (including 
  Figured Characteristics based on his STR). Characters 
  
  163 
  Star Hero ■ Chapter Seven
  who want STR or higher Characteristics that only 
  work with their avatars, or Skills and abilities for use 
  only in cyberspace, buy them with the Limitations 
  Only In Cyberspace (-2) and OAF (the disk, computer, 
  cyberdeck, or other system the character stores his 
  cyberspace utilities on; computer and robotic charac-
  ters don’t take this Limitation). Thus, to create a secu-
  rity-penetration utility, a character might go for the 
  stealthy approach (Stealth or Invisibility), the puzzle-
  solving approach (Lockpicking and Security Sys-
  tems), or the brute force approach (HKA). His choice 
  depends not only on personal preference, but on how 
  the target system deﬁnes its security utilities.
  A character can run a number of cyberspace 
  utilities equal to either his or his computer’s INT/5, 
  whichever is lower. Computer characters and AIs who 
  buy utilities as innate abilities can run as many as 
  they wish, which is one reason they’re so fearsome in 
  cyberspace.
  Cyberspace Movement
  Characters “move” in cyberspace in two ways. 
  Narratively, characters can move from any location 
  in cyberspace to any other location in one Phase. 
  This assumes no impediments to movement, such as 
  access-blocking security utilities; the GM must judge 
  the eﬀects of those individually. For “combat” pur-
  poses, all avatars move at a standard rate of Flight 6” 
  per Phase. The “inches” in this case don’t involve literal 
  movement (the character’s body remains where it is 
  in the physical world), but rather “virtual movement” 
  through the electronic world (they’re deﬁned as Flight 
  so characters can soar up to the top of towers of data 
  and so forth). They represent relative speed between 
  avatars, for the purposes of virtual chases and the like, 
  not an actual restriction on movement. A character 
  visiting the cyberspace home of a bank in New York 
  City can switch to a virtual nightclub in Tokyo in 
  one Phase, as described above... but a more powerful 
  avatar that’s bought Flight +3” can “chase” and catch 
  the character (and also do more damage with virtual 
  Move Throughs). The inches of Flight simply reﬂect 
  relative movement skill and speed within the virtual 
  realm.
  Cyberspace Perception And Combat
  Avatars have the standard perception abilities of 
  a normal character, though in cyberspace usually only 
  Sight, Hearing, and Touch are of any use. They may 
  buy Enhanced Senses as utilities.
  Avatars may use all Standard Combat Maneu-
  vers, and any Optional Combat Maneuvers the GM 
  allows, at STR 0. If they want more STR, Martial 
  Maneuvers, Combat Skill Levels, or attack abilities 
  like a “virtual gun,” they must buy them as cyberspace 
  utilities.
  Accessing Cyberspace
  Modem:  “Realistic” forms of SF use a device like a 
  modem, built into a computer, to access cyberspace. 
  The user is limited to what he sees “on the screen”; he 
  doesn’t actually “enter” cyberspace, but rather “opens 
  a window” that lets him view and participate in the 
  online world.
  Extra-Dimensional Movement (any location in 
  the Cybernet, as deﬁned by the location of the 
  computer containing the modem), Reduced 
  Endurance (0 END; +½) (37 Active Points); 
  OAF (-1). Total cost:  18 points.
  Jacking In:  More common than an ordinary modem 
  is the ability to “jack in” to cyberspace directly, via a 
  “dataport” implanted in the character’s brain. The 
  character’s body remains in the “real world,” but 
  cannot sense anything there or act, leaving it vulner-
  able. Moreover, deadly computer security programs 
  can kill the character by killing his cyber-self.
  Extra-Dimensional Movement (any location 
  in the Cybernet, as deﬁned by the location 
  of the computer where the character jacks 
  in), Reduced Endurance (0 END; +½) (37 
  Active Points); OIF (dataport; -½), Meat Body 
  (character’s body remains in the real world, but 
  cannot move, perceive, or act, and damage to 
  either the virtual form [in cyberspace] or the 
  real body [in the real world] can hurt or kill the 
  character; -1). Total cost:  15 points.
  Example Cyberspace Utilities
  Avatar Defense:  This standard defense utility protects 
  an avatar from the eﬀects of deadly security utilities. 
  Price:  400 credits, or more.
  +10 ED and Damage Resistance (up to 20 ED) 
  (20 Active Points); OAF (cyberdeck; -1), Only in 
  Cyberspace (-2). Total cost:  5 points.
  Connection Jammer:  A very frustrating attack, this 
  utility slows down one’s opponent’s net connection. 
  Price:  900 credits, or more.
  Drain SPD 3d6, Reduced Endurance (0 END; 
  +½) (45 Active Points); OAF (cyberdeck; -1), 
  Only in Cyberspace (-2). Total cost:  11 points.
  Cyberattack:  This is a basic brute-force attack pro-
  gram, allowing an avatar to smash through virtual 
  walls and assault other avatars. Price:  800 credits, or 
  more.
  EB 8d6 (40 Active Points); OAF (cyberdeck; -1), 
  Only in Cyberspace (-2). Total cost:  10 points.
  Deadly Security:  These collection of security utilities 
  actually cause power surges which can injure Humans 
  jacked in to the ’net. The computer the character 
  uses has a surge protector, and so is not aﬀected itself 
  (though rumors exist of security utilities powerful 
  enough to fry shielded systems as well as users).
  Light Deadly Security:  RKA 2d6, Reduced 
  Endurance (0 END; +½) (45 Active Points); 
  OAF (cyberdeck; -1), Only in Cyberspace (-2), 
  No Range (-½). Total cost:  10 points. Price:  900 
  credits.
  Heavy Deadly Security:  RKA 4d6, Reduced 
  Endurance (0 END; +½) (90 Active Points); 
  OAF (cyberdeck; -1), Only in Cyberspace (-2), No 
  Range (-½). Total cost:  20 points. Price:  1,800 
  credits.
  
  164 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Cutting-Edge Deadly Security:  RKA 3d6, NND 
  (defense is appropriate defense program, typically 
  deﬁned as Life Support [Immunity]; +1), Does 
  BODY (+1), Reduced Endurance (0 END; +½) 
  (157 Active Points); OAF (cyberdeck; -1), Only 
  in Cyberspace (-2), No Range (-½). Total cost:  35 
  points. Price:  31,400 credits, or more (includes 
  “cutting edge” multiplier).
  Decompiler:  This utility scrambles other cyberspace 
  utilities, shutting them down. Each Decompiler is tar-
  geted against a speciﬁc other utility. Price:  540 credits, 
  or more.
  Dispel [Deﬁned Utility] 6d6, Reduced Endur-
  ance (0 END; +½) (27 Active Points); OAF 
  (cyberdeck; -1), Only in Cyberspace (-2), No 
  Range (-½). Total cost:  6 points.
  Decoys:  This utility creates fake avatars to confuse 
  opponents and security programs. Price:  440 credits, 
  or more.
  Sight Group Images, Increased Size (8” radius; 
  +¾), Reduced Endurance (0 END; +½) (22 
  Active Points); OAF (cyberdeck; -1), Only in 
  Cyberspace (-2), Set Eﬀect (up to 6 duplicates of 
  avatar; -1). Total cost:  4 points.
  Interface Editor:  This utility changes the appearance of 
  a character’s immediate surroundings to an interface 
  style of his own choice — so in a cyberspace of glow-
  ing lines and abstract shapes, suddenly there is a car-
  toon landscape. This often confuses opponents. The 
  eﬀects fade in 1d6 Segments unless maintained. The 
  programmer chooses the speciﬁc eﬀect in advance. 
  Price:  700 credits, or more.
  Change Environment 64” radius, -1 to opposing 
  OCV (35 Active Points); OAF (cyberdeck; -1), 
  Only in Cyberspace (-2), No Range (-½). Total 
  cost:  8 points.
  Kung Fu:  This program enhances an avatar’s HTH 
  Combat abilities, making it more likely he can defeat 
  other avatars he encounters. Price:  700 credits, or 
  more.
  +20 STR and Martial Maneuvers (15 points’ 
  worth, deﬁned when program is purchased) (35 
  Active Points); OAF (cyberdeck; -1), Only in 
  Cyberspace (-2). Total cost:  9 points.
  Location Defense:  The chief form of defense for vir-
  tual locations (like the “vault” where a bank keeps 
  electronic records of deposits, withdrawals, and 
  accounts). It’s big enough to block one “door” or other 
  point of access (the “walls” of the location would be 
  deﬁned as part of a virtual Base, with at least as much 
  DEF as this program). Price:  1,500 credits, or more.
  Force Wall (10 PD/10 ED), Reduced Endurance 
  (0 END; +½) (75 Active Points); OAF (cyber-
  deck; -1), Only in Cyberspace (-2), No Range 
  (-½). Total cost:  17 points.
  Masking:  This program renders an avatar invisible to 
  most other avatars and cyberspace “sensors.” Price:  
  900 credits, or more.
  Invisibility to Sight Group, No Fringe, Reduced 
  Endurance (0 END; +½) (45 Active Points); 
  OAF (cyberdeck; -1), Only in Cyberspace (-2). 
  Total cost:  11 points.
  Program Defense:  The chief form of defense against 
  Decompiler utilities. Price:  600 credits, or more.
  Power Defense (30 points) (30 Active Points); 
  OAF (cyberdeck; -1), Only in Cyberspace (-2). 
  Total cost:  7 points.
  Pulse:  This emits a blast of virtual light which blinds 
  other avatars in the vicinity. Price:  1,500 credits, or 
  more.
  Sight Group Flash 5d6, Explosion (-1 DC/3”; 
  +1), Personal Immunity (+¼), Reduced Endur-
  ance (0 END; +½) (69 Active Points); OAF 
  (cyberdeck; -1), Only in Cyberspace (-2), No 
  Range (-½). Total cost:  15 points.
  Relocate:  This utility allows an avatar to move much 
  faster in cyberspace. Price:  600 credits, or more.
  Flight +10”, Reduced Endurance (0 END; +½) 
  (30 Active Points); OAF (cyberdeck; -1), Only in 
  Cyberspace (-2). Total cost:  7 points.
  Trace:  Feared by all hackers, this lets security software 
  ﬁnd out where an avatar originates in the real world, 
  which often reveals a hacker’s real identity. Price:  160 
  credits, or more.
  
  165 
  Star Hero ■ Chapter Seven
  Detect Cyberspace Connection Address (INT 
  Roll) (Radio Sense Group), Tracking (8 Active 
  Points); OAF (cyberdeck; -1), Only in Cyber-
  space (-2). Total cost:  2 points.
  ROBOTS
  Robots in science ﬁction go back a long way, 
  possibly to Frankenstein, or even to the Golem of 
  Prague. The term comes from the SF play R.U.R. by 
  Karl Capek; it’s a Czech word meaning “worker.”
  Generally speaking, robots come in two cat-
  egories:  robots and androids. True robots can be 
  just about any type of fully automated machine, 
  ranging from tiny ﬂying spy-bots, to a collection 
  of mechanical arms on a wheeled base, to human-
  oid servant-robots. The Star Wars ﬁlms provide 
  an excellent example of the possible diversity of 
  robots (or “droids,” as they’re called). Androids, on 
  the other hand, are humanoid-shaped mechanical 
  constructs, sometimes distinguishable from true 
  Humans (or other species) only upon detailed 
  examination. Data, from Star Trek:  The Next Gen-
  eration, is an android.
  In HERO System terms, robots are usually 
  Automatons with normal computer “brains.” They 
  don’t have EGO or Psychological Limitations. 
  Androids have AI brains, or in the case of the most 
  advanced types, may simply be built as normal 
  characters with appropriate abilities. In that case, 
  STUN represents how easy it is for the character’s 
  systems to become temporarily disoriented due to 
  damage or impact, EGO the sophisticated nature of 
  their computer brains, and so forth.
  Like other Automatons, robots and 
  androids are recognizably artiﬁcial and/or 
  machines. If you want one to pass as 
  Human, he needs certain Skills or 
  Powers (see below). Androids not built 
  as Automatons can pass for ﬂesh-and-
  blood Humans unless they take a Dis-
  tinctive Feature indicating otherwise.
  ROBOT CHARACTERS
  With the GM’s permis-
  sion, players can play robots or 
  androids as PCs (there’s even a 
  suggested Android Package Deal 
  on page 23). However, GMs 
  should consider this carefully. 
  Robots and androids often 
  present the same potential 
  for unbalancing the game 
  as computer characters (see 
  above), but to an even greater 
  degree, since they’re mobile. 
  They are powerful, tough, 
  smart, and highly capable — 
  so much so, in fact, that players 
  may not be able to build a “real-
  istic” robot or android on the 
  campaign’s starting Base Points 
  + Disadvantages. In that case, 
  they should either design a robot 
  or androids with more limited functions (and then 
  gradually expand his abilities), or ﬁnd some way to 
  explain why he’s temporarily “crippled.”
  Robot and android characters should not be 
  built as Automatons; that poses too many game 
  balance problems. They should be sophisticated 
  enough to function like ordinary characters.
  Suggestions for powers, abilities, and Disad-
  vantages for computer characters (see above) gen-
  erally apply to robot and android characters, too.
  Characteristics And Skills
  Robots and androids usually have high Char-
  acteristics across the board. They’re not only stron-
  ger and tougher than Humans, but smarter, too. 
  However, their EGO, PRE, and COM may all be 
  low; they don’t necessarily understand “organics” or 
  relate to them well.
  Skills, similarly, should have fairly high rolls. 
  They represent the character’s extensive knowledge 
  and programming. Technical Skills (such as Com-
  puter Programming and Systems Operation) are 
  the most common, but many others are possible.
  Some robots and androids may have high 
  Disguise Skills, so they can pass as normal organic 
  beings.
  Perks And Talents
  Robots and androids approach Perks and Tal-
  ents the same as computer characters. In almost all 
  cases they should have the Talents listed for com-
  puter characters.
  Powers
  Robots and 
  androids tend to have 
  certain powers — call 
  Continued on next page
  THE LAWS OF 
  ROBOTICS
  Renowned science 
  ﬁction author Isaac 
  Asimov devised, with 
  the help of John W. 
  Campbell, three famous 
  Laws of Robotics 
  — standing orders with 
  which the robots in 
  his stories were pro-
  grammed. They are:
  The First Law:  A 
  robot may not injure 
  a human being or, 
  through inaction, allow 
  a human being to come 
  to harm.
  The Second Law:  A 
  robot must obey orders 
  given to it by human 
  beings, except where 
  obeying an order would 
  conﬂict with the First 
  Law.
  The Third Law:  A robot 
  must protect its own 
  existence, provided 
  doing so does not con-
  ﬂict with the First and 
  Second Laws.
  In various forms, these 
  laws have been incor-
  porated, to one degree 
  or another, into many 
  diﬀerent settings, and 
  science ﬁction fans 
  (including Star Hero 
  gamers) often know 
  about them. Gamemas-
  ters who wish to use 
  them, or allow their 
  use, can simply give 
  robots the Psycho-
  logical Limitation, Must 
  Obey Laws Of Robot-
  ics (Very Common, 
  Total; 25 points). (You 
  could also make this a 
  Physical Limitation so 
  it cannot be “overrid-
  den.”)
  Of course, GMs can 
  alter these laws to suit 
  their campaigns, or 
  come up with their 
  own sets of laws that 
  don’t resemble these 
  at all. Regardless of 
  what the laws are like 
  in the game, inevita-
  bly a scenario or two 
  
  166 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  them “Everyrobot Powers,” if you will. These include:
  Robot/Android Form:  The character’s mechanical/
  artiﬁcial form is more resistant to damage than ﬂesh.
  Armor (6 PD/6 ED). Total cost:  18 points. 
  (Alternately, Damage Resistance (6 PD/6 ED), 
  total cost:  6 points.)
  Robot/Android Form:  Robots and androids can sur-
  vive in situations that kill organic beings.
  Life Support:  Total. Total cost:  45 points. 
  (Long-lasting robots and androids may also 
  have Longevity.)
  Sensors:  Most robots and androids have senses 
  organic beings lack. They should have at least 10 
  points’ worth of Enhanced Senses, if not more.
  Beyond these abilities, a robot or android could 
  have just about any Power — built-in weapons 
  (Attack Powers), the ability to alter form to resemble 
  an ordinary organic being (Shape Shift), “backup” 
  powers such as those described for computer charac-
  ters, enhanced movement abilities, you name it. The 
  main limits are what the setting’s technology allows, 
  what the GM permits, and what the character can 
  aﬀord.
  Disadvantages
  Here are a few examples of Disadvantages 
  common to robot and android player characters:
  Distinctive Features:  Android (Concealable With 
  Eﬀort; Noticed And Recognizable; 10 points)
  Physical Limitation:  Sophisticated Computer Brain 
  (aﬀected by Mental Powers 
  that work against either 
  the Human or Machine 
  classes of minds) (cost 
  varies depending on 
  the commonality of 
  Mental Powers in the 
  campaign)
  Physical or Psycho-
  logical Limitation:  Pro-
  gramming (see page 
  162).
  Social Limitation:  Android 
  (restricted civil rights, suf-
  fers from prejudice) (Very Fre-
  quently, Minor; 15 points)
  EXAMPLE ROBOTS
  The HERO System Bestiary has, 
  on pages 207-10, three example 
  robots:  a Duplicator Android, a 
  General Purpose Robot, and a 
  Hunter-Seeker Drone. Here are 
  two more examples:
  CARGO LOADER/HEAVY LABOR ROBOT
   Val Char 
  Cost 
  Roll 
  Notes
   30 STR 
  20 
  15- 
  Lift 1,600 kg; 6d6 [3]
   12 DEX 
  6 
  11- 
  OCV:  4/DCV:  4
   10 CON 
  0 
  11-
   15 BODY 10 
  12-
   10 INT 
  0 
  11- 
  PER Roll 11-
   0 EGO 
  0 
  — 
  ECV:  N/A
   10 PRE 
  0 
  11- 
  PRE Attack:  2d6
   10 COM 
  0 
  11-
   4 PD 
  6 
   
  Total:  4 PD (4 rPD)
   4 ED 
  9 
   
  Total:  4 ED (4 rED)
   2 SPD 
  0 
   
  Phases:  6, 12
   8 REC 
  0
   0 END 
  -10
   —  STUN — 
  Total Characteristics Cost:  41 
  (+10 with NCM)
  Movement: 
  Running: 
  6”/12”
   
  Leaping: 
  6”/12”
  Cost Powers 
  END
  22 
  Tractor Beam:  Telekinesis (10 STR),  
  Reduced Endurance (0 END; +½) 
  0
  15 
  Android Body:  Does Not Bleed 
  0
  45 
  Android Body:  Takes No STUN 
  0
  15 
  Tireless:  Reduced Endurance  
  (0 END; +½) on 30 STR 
  0
  6 
  Tireless:  Reduced Endurance  
  (0 END; +½) on Running 
  0
  3 
  Tireless:  Reduced Endurance  
  (0 END; +½) on Leaping 
  0
  1 
  Tireless:  Reduced Endurance  
  (0 END; +½) on Swimming  
  0
  12 
  Android Body:  Damage Resistance  
  (4 PD/4 ED) 
  0
  45 
  Android Body:  Life Support:  Total 
  0
  5 
  Visual Sensors:  Infrared Perception  
  (Sight Group) 
  0
  5 
  Visual Sensors:  Ultraviolet Perception  
  (Sight Group) 
  0
  10 
  Visual Sensors:  x100 Microscopic for  
  Sight Group 
  0
  3 
  Auditory Sensors:  Ultrasonic Perception 
  (Hearing Group) 
  0
  12 
  Radio Sensors:  HRRP (Radio Group) 
  0
   
  Talents
  32 
  Onboard Computer Systems:  Absolute  
  Range Sense, Absolute Time Sense, Bump  
  Of Direction, Lightning Calculator,  
  Universal Translator 11-
   
  Skills
  1 
  Climbing 8-
  2 
  Language (GM’s choice)
  2 
  PS: Warehouse Operations 11-
  Total Powers & Skills Cost:  236
  Total Cost:  277
  75+ Disadvantages
  0 
  Dependence:  must recharge every 6 Hours 
  or suﬀer Weakness, and eventually total shut-
  turns around the issue 
  of whether a robot 
  violated one of them 
  (typically the First Law, 
  in murder mystery sto-
  ries). The Doctor Who 
  episode “The Robots 
  Of Death” provides one 
  good horror-mystery 
  example of such a story, 
  but there are plenty 
  of others out there for 
  GMs to draw inspira-
  tion from.
  Continued from last page
  
  167 
  Star Hero ■ Chapter Seven
  down (Very Common)
  10 
  Physical Limitation:  Aﬀected By Cyberkine-
  sis (has EGO 10 for purposes of cyberkinetic 
  powers, and can be aﬀected by cyberkine-
  sis-based Presence Attacks) (Infrequently, 
  Greatly Impairing)
  15 
  Physical Limitation:  Enormous (four times 
  Human mass, and sometimes size) (Fre-
  quently, Greatly Impairing)
  25 
  Psychological Limitation:  Must Obey 
  Programmer’s/Owner’s Commands (Very 
  Common, Total)
  25 
  Psychological Limitation:  Must Not Cause 
  Or Allow Harm To Humans (Very Common, 
  Total)
  127 
  Experience Points
  Total Disadvantage Points:  277
  Description:  Warehouses, starport cargo bays, and 
  other such businesses need a lot of heavy lifting 
  done. Why should Humans strain their backs and 
  put themselves at risk of injury, when they can get 
  a Cargo Loader robot to do the work for them? 
  Equipped with powerful arms, and even a tractor 
  beam, this robot can perform all sorts of hard labor 
  without the need for a coﬀee break. Some versions 
  have multiple limbs (Extra Limbs, +5 points) to 
  enhance their carrying capacity.
  ■ Price:  55,400 credits.
  GUARDIAN ROBOT
   Val Char 
  Cost 
  Roll 
  Notes
   20 STR 
  10 
  13- 
  Lift 400 kg; 4d6 [2]
   20 DEX 
  30 
  13- 
  OCV:  7/DCV:  7
   10 CON 
  0 
  11-
   15 BODY 10 
  12-
   10 INT 
  0 
  11- 
  PER Roll 11-
   0 EGO 
  0 
  — 
  ECV:  N/A
   20 PRE 
  10 
  13- 
  PRE Attack:  4d6
   10 COM 
  0 
  11-
   6 PD 
  15 
   
  Total:  6 PD (6 rPD)
   6 ED 
  15 
   
  Total:  6 ED (6 rED)
   3 SPD 
  0 
   
  Phases:  4, 8, 12
   6 REC 
  0
   0 END 
  -10
   —  STUN — 
  Total Characteristics Cost:  80
  Movement: 
  Running: 
  9”/18”
   
  Leaping: 
  4”/8”
  Cost Powers 
  END
  52 
  Hand Blaster:  EB 7d6, Reduced  
  Endurance (0 END; +½) 
  0
  15 
  Robot Body:  Does Not Bleed 
  0
  45 
  Robot Body:  Takes No STUN 
  0
  10 
  Tireless:  Reduced Endurance  
  (0 END; +½) on 20 STR 
  0
  9 
  Tireless:  Reduced Endurance  
  (0 END; +½) on Running 
  0
  2 
  Tireless:  Reduced Endurance  
  (0 END; +½) on Leaping 
  0
  1 
  Tireless:  Reduced Endurance  
  (0 END; +½) on Swimming  
  0
  18 
  Robot Body:  Damage Resistance  
  (6 PD/6 ED) 
  0
  45 
  Robot Body:  Life Support:  Total 
  0
  6 
  Robot Legs:  Running +3” (9” total) 
  0
  5 
  Visual Sensors:  Infrared Perception  
  (Sight Group) 
  0
  5 
  Visual Sensors:  Ultraviolet Perception  
  (Sight Group) 
  0
  15 
  Visual Sensors:  x1000 Microscopic for  
  Sight Group 
  0
  9 
  Visual Sensors:  +6 versus Range Modiﬁer  
  for Sight Group 
  0
  3 
  Auditory Sensors:  Ultrasonic Perception 
  (Hearing Group) 
  0
  15 
  Sonar Unit:  Active Sonar (Hearing Group) 0
  12 
  Radio Sensors:  HRRP (Radio Group)  
  0
  15 
  Radar Unit:  Radar (Radio Group) 
  0
  3 
  Sensor Enhancements:  +1 PER with all  
  Sense Groups 
  0
   
  Talents
  32 
  Onboard Computer Systems:  Absolute  
  Range Sense, Absolute Time Sense, Bump  
  Of Direction, Lightning Calculator,  
  Universal Translator 11-
   
  Skills
  6 
  +3 OCV with Hand Blaster
  12 
  Suite of Skills speciﬁcally programmed into 
  robot
  1 
  Climbing 8-
  2 
  Language (GM’s choice)
  3 
  Stealth 13-
  6 
  WF: Beam Weapons, Energy Weapons,  
  Small Arms
  Total Powers & Skills Cost:  347
  Total Cost:  427
  75+ Disadvantages
  5 
  Physical Limitation:  Aﬀected By  
  Cyberkinesis (has EGO 15 for purposes of 
  cyberkinetic powers, and can be aﬀected by 
  cyberkinesis-based Presence Attacks) (Infre-
  quently, Slightly Impairing)
  0 
  Physical Limitation:  Human Size
  25 
  Psychological Limitation:  Must Obey 
  Programmer’s/Owner’s Commands (Very 
  Common, Total)
  322 
  Experience Points
  Total Disadvantage Points:  427
  Description:  Guardian robots are used as soldiers, 
  security personnel, and bodyguards by many com-
  panies, people, and governments. This writeup rep-
  resents a typical guardian robot; many other types 
  are possible.
  Since each guardian robot is programmed 
  with a selection of Skills speciﬁc to it, this char-
  acter sheet simply speciﬁes the amount of points 
  allotted for Skills, allowing the GM to assign the 
  appropriate ones. Common guardian robot Skills 
  include Bugging, Combat Driving, Combat Pilot-
  ing, Combat Skill Levels, Computer Programming, 
  
  168 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Deduction, Electronics, Mechanics, Navigation, 
  Penalty Skill Levels, Shadowing, Systems Opera-
  tion, Tactics, Transport Familiarity, and Weapon 
  Familiarity.
  ■ Price:  85,400 credits.
  BIOTECHNOLOGY
  Discoveries in biology in recent years point to 
  amazing possibilities for the future. Humans may be 
  able to transform themselves and other species, for 
  good or ill. 
  CLONING
  A clone is a genetic copy of another individual. 
  That doesn’t mean it’s an exact duplicate — many fea-
  tures are not genetically determined. Fingerprints and 
  retina prints would be diﬀerent, for instance. And the 
  clone would be younger than the original — cloning 
  an adult would give you a baby who’ll look like that 
  adult in a couple of decades. A clone naturally has 
  diﬀerent memories from the original, which means 
  it’s likely to have a diﬀerent personality. If nothing else, 
  the clone is aﬀected by the experience of growing up 
  as a clone, which the original lacked.
  Clones grow up at the same rate as other babies, 
  which means an “invincible clone army” would take 
  some 20 years to raise. It’s usually easier to go out and 
  hire people. Moreover, clones still have to be carried to 
  term by host mothers, which means an army of clones 
  would require an army of young women willing to 
  have babies at the same time.
  Of course, all of this assumes a relatively “realis-
  tic” approach to cloning, which many SF stories and 
  settings don’t take. In some Star Hero campaigns, 
  rapid-growth and memory-implantation technology 
  may allow for the swift creation of clones who are 
  almost indistinguishable from the original.
  In game terms, cloning is usually built as Dupli-
  cation with a host of Limitations (see page 54). How-
  ever, in some cases the GM may prefer for characters 
  to use Summon, or even to buy clones as Followers.
  There are interesting possibilities for adven-
  tures involving clones and cloning. Being genetically 
  identical, clones would be ideal candidates for organ 
  transplant for their originals. The clone might know 
  this fate is in store, but accept it as his duty — or he 
  might decide he doesn’t want to be a walking organ 
  bank, and ﬂee. If you ignore the idea that ﬁngerprints 
  and retina prints diﬀer in a clone, a clone makes the 
  perfect way to frame someone for murder (or to fake 
  someone’s death). In the early years of the technology, 
  clones are certain to face all kinds of public hostility; 
  cloning is one of the more misunderstood forms of 
  biotechnology.
  GENETIC ENGINEERING
  “Genetic engineering” is a general term for mod-
  ifying living beings by altering their genes in some 
  way. Genetic modiﬁcation of species isn’t new — look 
  at what people managed to do with horses and dogs 
  by sheer persistence and selective breeding. Genetic 
  modiﬁcation of sentient species will probably proceed 
  by slow stages rather than massive transformations — 
  get one new system working right before you tinker 
  with the others. Some writers have depicted Human 
  genetic engineering creating entire new species, vastly 
  diﬀerent from the current models (including Humans 
  speciﬁcally adapted for high-gravity worlds, water 
  worlds, and the like). Others suggest a more cautious 
  approach, with modiﬁcations limited to curing inher-
  ited diseases and modest improvements by borrowing 
  from other mammals.
  In HERO System terms, low-key genetic engi-
  neering simply means no Physical Limitations for 
  characters, and possibly high Characteristics or a few 
  Talents (like Eidetic Memory). More exotic methods 
  bestow Talents and low-level Powers.
  In the campaign, genetic engineering has a 
  variety of uses. Entire subraces of Humanity may be 
  created by modiﬁcation, leading to all sorts of exotic 
  cultures as they strive to be diﬀerent and prove their 
  superiority. The unmodiﬁed majority may view them 
  as monsters, leading to conﬂict — which side are the 
  heroes on? If tinkering with your kids’ genes is no dif-
  ferent from paying to get their teeth straightened, the 
  variation among Humans may be tremendous, with 
  no “normals” left.
  On the other hand, modiﬁcation of animals and 
  plants is often routine in SF settings. New variants and 
  subspecies optimized for other worlds help interstel-
  lar colonization, for example. On a more sinister note, 
  creatures might be engineered into “living weapons.”
  Genetic Modiﬁcations
  Cerebral Enhancement:  The character’s brain processes 
  and remembers information more eﬃciently.
  +3 INT and Eidetic Memory and Lightning Cal-
  culator. Total cost:  11 points.
  Enhanced Musculature:  The character’s muscles and 
  skeletal system are enhanced, making him stronger 
  and faster.
  
  169 
  Star Hero ■ Chapter Seven
  +3 STR and Running +2”. Total cost:  7 points.
  Sensory Enhancements:  The character’s senses are far 
  more acute than a normal person’s.
  +2 PER with all Sense Groups. Total cost:  6 
  points.
  Spatial Analysis:  The character’s mind has the ability 
  to gauge distances and spaces more accurately than 
  normal.
  Absolute Range Sense and Detect Size Of Area 
  (INT Roll) (Sight Group). Total cost:  6 points.
  NANOTECHNOLOGY
  Nanotechnology is a term coined by futurist 
  Eric Drexler to describe a new ﬁeld of engineering 
  dealing with extremely tiny machines — devices 
  on the same scale as cells or viruses. The advantage 
  to such miniscule machinery is it can work with 
  and manipulate single molecules of material. As it 
  has moved from being just a neat theoretical idea 
  toward practicality, “nanotech” has become syn-
  onymous with “magic” in some circles — perhaps 
  because of inﬂated gee-whiz claims by enthusiasts.
  By manipulating matter at the molecular level, 
  nanotechnology allows the use to reﬁne and syn-
  thesize extremely pure substances (even the highly 
  complex molecules of drugs or hormones) or exotic 
  crystals. Nanotech devices can operate within living 
  things at the cellular scale, performing surgery 
  on microscopic nerves or blood vessels from the 
  inside, or patrolling the body like robot cops, look-
  ing for rogue cells. By putting nanomachines to 
  work making more nanomachines, a small “seed” 
  unit can leverage itself up into a vast swarm of tiny 
  devices, working together en masse. Incorporat-
  ing nanotech-scale machinery and systems into 
  Human-scale technology allows all sorts of amaz-
  ing “smart” or “living” materials — structural mate-
  rials able to adapt to changing conditions, repair 
  damage, or transform on command.
  The combination of nanotechnology and 
  advanced biotechnology makes the distinction 
  between living and nonliving completely arbitrary. 
  When tools can heal and animals are designed, 
  what’s the diﬀerence? This suggests that a lot of 
  things twenty-ﬁrst century Humans consider “natu-
  ral” products will be manufactured using nanotech-
  nology — food could come from solar-powered 
  nanofabricators which look nothing like growing 
  plants. By the same token, many “manufactured” 
  items might be grown.
  Used in weapons, nanotech combines all the 
  nastier features of biological and chemical weapons 
  with “smart” guidance and insidious armor pen-
  etration. The ultimate nanoweapon is the dreaded 
  “grey goo” — an unstoppable mass of tiny machines 
  mindlessly converting all matter they ﬁnd into 
  more machines just like them.
  However, nanotechnology isn’t infallible. Since 
  it’s fundamentally matter-based, it can’t manipulate 
  large amounts of energy. Nanotech requires raw 
  materials — it can’t create something out of noth-
  ing, although in many cases waste, air, and dirt are 
  all the matter needed.
  Making nanotech work at large scales is very 
  tricky — a nanotech skyscraper would have to grow 
  from the ground up, and making the construc-
  tion microbots follow the building plan would be a 
  matter of pruning and training, like working with 
  plants. Because of the small scale, nanotech is slow. 
  Individual devices move at the speed of cells or ants 
  — minutes per meter. A horde of nanobots building 
  a skyscraper would start out quickly, but soon would 
  be spending days just hauling tiny amounts of mate-
  rial up to the top. Growing objects using nanoma-
  chines would proceed like growing living creatures 
  — a time scale of days, at least. No “instant cars,” in 
  other words, unless you want to use total rubber sci-
  ence.
  Nanotech is also limited by the laws of phys-
  ics. Nanobots can’t stop a bullet in midair any more 
  than a swarm of gnats can (but the nanomachines 
  could repair the bullethole fairly quickly, or stabi-
  lize someone who’s been shot). Nanotech can’t defy 
  gravity (although at small scales, air is thick enough 
  to swim in). And nanotech, like any other technol-
  ogy, needs energy. The amounts are tiny, but just 
  as having a swarm of a million nanobots at work 
  speeds up a job, the energy requirement of a million 
  tiny workers gets large. So does their waste heat and 
  other byproducts — a “nanofactory” the size of a 
  dishwasher would emit heat like a furnace, requiring 
  a steady stream of coolant and raw materials.
  NANOTECH IN THE CAMPAIGN
  In Star Hero campaigns, nanotech can be part 
  of the background or an exciting new technologi-
  cal “MacGuﬃn” driving the plot of an adventure. 
  Societies with high nanotech tend to also emphasize 
  the biological and information sciences:  lots of 
  computer implants, synthetic beings, wonder drugs, 
  and brain hacking. Nanotech devices are mostly self-
  maintaining and self-repairing, which may eliminate 
  some Limitations ordinarily associated with technol-
  ogy.
  One colorful aspect of an advanced nanotech 
  campaign is that just about everything is potentially 
  “alive.” Chairs may be able to walk about, clean 
  themselves, and adjust to ﬁt diﬀerent users. Houses 
  may be living or semi-living systems. Combine this 
  with widespread artiﬁcial intelligence (running on 
  extremely compact nanotech computers) and the 
  result is almost like a fantasy setting — Clarke’s Law 
  in action.
  Another likely result of advanced nanotech is 
  longevity, even immortality. The ability to provide 
  medical treatments at the cellular level means doc-
  tors could retard or reverse the causes and results of 
  aging. Even resurrection may be possible, if swarms 
  of nanobots can perform a brain scan and recover 
  the memories and personality of a person before 
  decay sets in. In a nanotech world, death may be no 
  more than an inconvenience.
  The economics of a nanotech society are hard 
  to predict. It’s easy to get optimistic and envision a 
  day of inﬁnite material abundance for everybody. It 
  THE GOO  
  SPECTRUM
  Besides the deadly “grey 
  goo” mentioned in the 
  text, scientists have 
  speculated about other 
  nanotech weapons/tools 
  that might become fea-
  sible in the future. They 
  include:
  Blue Goo:  Beneﬁcial/
  protective nanotechnol-
  ogy designed to coun-
  teract grey goo.
  Green Goo:  Nanotech 
  designed to sterilize 
  Humans through the 
  use of otherwise harm-
  less infections. Could 
  be used by repressive 
  governments engaging 
  in forced population 
  control, eco-terrorists, 
  or the like.
  Golden Goo:  Designed to 
  ﬁlter gold from seawater, 
  golden goo could cause 
  problems (both ecologi-
  cal and economic) if it 
  was not carefully con-
  trolled.
  Khaki Goo:  Another 
  term for grey goo or 
  other military nanotech-
  nology.
  LOR Goo:  “LOR” stands 
  for “Lake Ocean River”; 
  the term refers to nano-
  tech that would clean 
  pollution, and harvest 
  usable resources, from 
  bodies of water. Poses 
  the same dangers as 
  golden goo.
  Red Goo:  Various forms 
  of grey goo deliberately 
  created and used as a 
  weapon.
  
  170 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  is likely that a nanotech society would be wealthier 
  than the present day, just as we are richer than our 
  Victorian forebears. But nanotech can’t do everything. 
  Land remains valuable (though speciﬁc parcels may 
  change:  a toxic landﬁll might become quite desireable 
  for nanotech mining of heavy metals). Intellectual 
  property won’t change unless society wants it to. 
  Energy is still important, though nanotech certainly 
  changes how a society uses and distributes it.
  Nanotechnology Devices
  Disassembler Grenade:  The basic nanotech weapon:  
  a canister of voracious nanomachines which reduce 
  everything around them to individual atoms. Fortu-
  nately, the machines don’t reproduce, so in time the 
  spray stops working. Price:  1,350 credits per grenade, 
  or more
  RKA 1d6, Area Of Eﬀect (1 Hex; +½), Continu-
  ous (+1), Penetrating (+½) (45 Active Points); 
  OAF (-1), 1 Continuing Charge lasting 1 Turn 
  (neutralized by ﬁre or any other area-aﬀecting 
  damage-causing phenomenon; -1¼), Range 
  Based On STR (-¼). Total cost:  13 points.
  Grey Goo Grenade:  This horrible nanoweapon, used 
  only as a desperation measure because it remains 
  on the battleﬁeld so long, converts all the matter it 
  encounters into more nanobots. Price:  2,370 credits 
  per grenade, or more.
  RKA 1d6, NND (defense is ED Force Field, being 
  surrounded by ﬁre, or having counter-nanobots; 
  +1), Does BODY (+1), Area Of Eﬀect (6” Radius; 
  +1), Continuous (+1), 1 Continuing Charge last-
  ing 1 Day (neutralized by ﬁre or any other area-
  aﬀecting damage-causing phenomenon; +¼) (79 
  Active Points); OAF (-1), Range Based On STR 
  (-¼). Total cost:  35 points.
  Medical Nanobots:  These are microscopic machines 
  which remain dorman in the patient’s tissues and 
  bloodstream until the body suﬀers serious injury, at 
  which point they go to work stabilizing the patient’s 
  condition and repairing damage. Price:  400 credits, 
  or more.
  Healing 1d6 (Regeneration; 1 BODY per Turn), 
  Reduced Endurance (0 END; +½), Persistent 
  (+½) (20 Active Points); Extra Time (1 Turn; 
  -1¼), Self Only (-½). Total cost:  7 points.
  Protective Nanoswarm:  A cloud of ﬂea-sized nanobots 
  patrolling the air around the character, checking for 
  enemy nanomachines, germs, and pests. Price:  645 
  credits, or more.
  Force Field (12 PD), Hardened (+¼), Invisible 
  Power Eﬀects (Sight Group; +½), Reduced Endur-
  ance (Reduced Endurance (0 END; +½) Uncon-
  trolled (removed by ﬁre, any other area-aﬀecting 
  damage-causing phenomenon, suﬃciently strong 
  winds, or the like; +½) (33 Active Points); Only 
  Versus Nanotech Attacks (-1) (total cost:  16 
  points) plus Life Support (Immunity:  all terres-
  trial diseases and biowarfare agents) (10 Active 
  Points); Only Versus Airborne Diseases/Agents 
  (-½), Linked (-½) (total cost:  5 points). Total cost:  
  21 points.
  POWER AND ENERGY  
  TECHNOLOGY
  Science ﬁction technology is versatile and pow-
  erful — when it works. Many gadgets and weapons 
  require a lot of energy from a compact source. In 
  HERO System terms there are three primary ways to 
  model power supplies.
  Devices which need only small amounts of 
  power and can operate for weeks or months between 
  battery changes are simply bought with the Reduced 
  Endurance (0 END) Advantage. Changing batteries 
  and recharging them is just part of the normal main-
  tenance implicit in the Focus Limitation. (Alternately, 
  Fuel Charges may be appropriate for these devices.)
  Devices with batteries or power cells that do get 
  drained after only a few uses are best designed with 
  the Charges Power Modiﬁer. Getting new Charges is a 
  matter of putting in new power cells or plugging the 
  device into a recharger overnight.
  Large devices and vehicle or base systems may 
  need a constant power supply. In HERO System terms, 
  powerplants and the like are typically the special 
  eﬀects of the Endurance Reserve Power, producing 
  END points in the form of electricity. These Endur-
  ance Reserves typically have REC equal to their 
  END; this simulates how they work in “real-world” 
  terms, and makes for easier bookkeeping. At the 
  GM’s option, since Fuel Charges don’t work well 
  with Endurance Reserves, you may apply a Requires 
  Fuel Limitation to represent the fact that they need 
  refueling at least once a month or so. This Limitation 
  
  171 
  Star Hero ■ Chapter Seven
  is worth -0 or -¼ for Very Common or very easily 
  obtained fuels, -½ for Common or easily-obtained 
  fuels, and -1 for Uncommon fuels (or fuels which are 
  diﬃcult and/or extremely expensive to obtain). If the 
  Endurance Reserve doesn’t require refuelling on at 
  least a monthly basis, it doesn’t qualify for this Limita-
  tion.
  REAL WORLD POWER SUPPLIES
  Some sources of power found in SF stories actu-
  ally exist in real life, or could plausibly be developed in 
  the future.
  Solar Power
  Solar power is abundant, especially in space, 
  and requires no fuel, but the solar panels to collect 
  it are often large and bulky — the larger the panels, 
  the more power they can generate. However, the 
  primary diﬃculty with solar power is not panel size, 
  but the fact that the farther away the panels are from 
  a star, the less power they generate. For example, a 
  solar panel at the orbit of Mars produces only half 
  the power of the same-size panel in Earth’s orbit; at 
  Jupiter, the same panel generates 1/25 of the energy it 
  generates at Earth.
  In game terms, a solar power array is an Endur-
  ance Reserve. The Reserve’s END and REC depend on 
  its size. Both take a -½ Limitation, Requires Solar Prox-
  imity, to reﬂect the fact that the energy output drops 
  as the panels get further away from a star. The listed 
  END and REC for a solar power Reserve indicate its 
  maximum power-generating capacity at a distance of 
  up to 1 AU. For each AU (or fraction thereof) beyond 
  that distance, halve the Reserve’s END and REC. (In 
  some respects, this is a form of the Limited Recovery 
  Limitation for Endurance Reserves, so those taking 
  Requires Solar Proximity may not also take that Limi-
  tation to simulate the need for proximity to a star.)
  A one-hex solar power array (2.6 square meters) 
  can generate up to 12 END/12 REC. Add at least one 
  hex to the array for each additional point of END and 
  REC (keep the two equal).
  As of the early twenty-ﬁrst century, each hex of 
  solar cells has a mass of 10 kilograms and costs 1,000 
  credits. Advanced technology makes cells lighter 
  and cheaper:  by the middle twenty-ﬁrst century, a 
  one-hex panel masses only 5 kilograms and costs 500 
  credits per hex, and the weight and price in most set-
  tings continue to go down from there as the decades 
  progress.
  Solar Panel:  This is a 25-hex panel generating enough 
  power for a small space station or spaceship. Price:  
  25,000 credits, or more.
  Endurance Reserve (36 END/36 REC) (40 Active 
  Points); OAF Immobile Fragile (-2¼), Only 
  Powers Electrical Devices (-¼), Requires Solar 
  Proximity (-½). Total cost:  10 points.
  Fuel Cells
  Fuel cells burn hydrogen and oxygen to produce 
  electricity. Some versions can run on other combina-
  tions of reactive gases, but hydrogen-oxygen cells are 
  popular because their waste is fresh water. While fuel 
  cells are compact and powerful, they do require fuel 
  on a monthly basis, making them less useful on long-
  duration voyages. The Space Shuttle gets its power 
  from fuel cells, since its missions typically last less 
  than two weeks.
  A basic fuel cell has a mass of approximately 1 
  kilogram and costs 25 credits (not counting fuel). It 
  can produce up to 4 END/4 REC, and uses 1 liter of 
  fuel per hour in the process. For up to each +4 END/
  +4 REC, double the number of cells.
  Fuel Cell Generator:  This array of fuel cells includes 
  enough fuel for a month’s operation, has a total mass 
  of 2,500 kg, and costs 8,000 credits (including fuel, 
  fuel tanks, pumps, and so forth).
  Endurance Reserve (20 END/20 REC) (22 Active 
  Points); OAF Immobile (-2), Only Powers Electri-
  cal Devices (-¼), Requires Fuel (-¼). Total cost:  
  6 points.
  Radiothermal Generators
  For missions to the outer solar system, space 
  probes use compact radiothermal generators which 
  produce electricity from the heat given oﬀ as radioac-
  tive materials decay. These are extremely reliable and 
  long-lasting, but don’t produce a great deal of power 
  and would need radiation shielding on manned 
  spacecraft.
  At the earliest stage of this technology, a radio-
  thermal power plant generates 2 END/2 REC of 
  power per kilogram of weight, and costs 400 credits 
  per kilogram. As radiothermal generator technology 
  improves, increase the power output while reducing 
  the weight.
  Small Radiothermal Powerplant:  This is a small radio-
  thermal generator, such as a space probe might carry. 
  Price:  400 credits, or more.
  Endurance Reserve (2 END/2 REC) (3 Active 
  Points); OAF (-1), Only Powers Electrical Devices 
  (-¼). Total cost:  1 point.
  Nuclear Fission
  This is what most people mean by “nuclear 
  power” — a tested and reliable technology which 
  generates power by splitting atoms. As of the early 
  twenty-ﬁrst century, nuclear ﬁssion supplies a quarter 
  of the United States’s electricity and allows France 
  to be an energy exporter without oil. Modern Earth 
  nuclear reactors are large and bulky, useful only when 
  really huge amounts of power are needed. They can 
  run for up to 5 years between refuelling. A reactor 
  masses about 10 metric tons per 20 END/20 REC 
  produced and costs 500,000 credits per metric ton of 
  mass.
  Technology can improve reactors somewhat, 
  reducing the mass of shielding and the cost. Halve 
  the weight, volume, and cost of a ﬁssion power plant 
  at near-future (Cyberpunk) technology levels, and 
  again a generation later. After that stage of technologi-
  cal development, fusion powerplants replace ﬁssion 
  powerplants.
  Nuclear Reactor:  A modern reactor (such as a subma-
  rine or interplanetary spacecraft might carry) masses 
  about 100 metric tons. Price:  50 million credits, or 
  more.
  BEAMED POWER
  Many SF stories, par-
  ticularly ones written 
  in the early decades 
  of the genre, featured 
  robots, vehicles, and 
  other devices running 
  on beamed power rather 
  than batteries or other 
  built-in power sources. 
  Beamed power involves 
  a central power-generat-
  ing station of massive 
  capacity, which can then 
  “beam” the power out 
  as invisible, intangible 
  waves of energy to any 
  device capable of receiv-
  ing it.
  In game terms, you can 
  simulate beamed power 
  in either of two ways:
  1.  Buy devices and Vehi-
  cles with the Advantage 
  Reduced Endurance (0 
  END), with the beamed 
  power functioning as 
  the special eﬀect of the 0 
  END cost.
  2.  Buy the central power 
  station as an enormous 
  Endurance Reserve with 
  the Usable By Others 
  (a lot of others!) and 
  Ranged Advantages, 
  and then have devices 
  requiring power draw 
  from the Reserve. The 
  larger the number of 
  devices that draw power 
  from the Reserve, the 
  more END and REC it 
  needs — amounts in 
  the tens of thousands of 
  points’ worth are often 
  necessary.
  The intriguing thing 
  about beamed power 
  from a storytelling view-
  point is the possibility 
  that the power gets shut 
  oﬀ. How does society, 
  deprived of power, 
  react? Could charac-
  ters responding to an 
  emergency be stranded 
  when their powerless 
  hovercars settle on the 
  ground? Could terror-
  ists hold the power gen-
  erating facility hostage? 
  A clever GM can come 
  up with lots of similar 
  ideas.
  
  172 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Endurance Reserve (204 END/204 REC) (225 
  Active Points); OAF Immobile (-2), Only Powers 
  Electrical Devices (-¼). Total cost:  69 points.
  SPECULATIVE AND RUBBER SCIENCE 
  POWER SUPPLIES
  Science ﬁction writers and space scientists have 
  suggested several possibilities for new power sources. 
  Some of them will probably become practical, while 
  others remain in the realm of rubber science. Since 
  all of these are highly speculative, mass and cost are 
  just estimates.
  Fusion Power
  Nuclear fusion power is the most likely candi-
  date for a new type of power generation, at least in 
  the near future. Current research is creeping towards 
  a fusion reactor which produces more power than it 
  consumes. A fusion powerplant would need only a 
  few kilograms of deuterium or helium-3 to produce 
  large amounts of power for long periods. Just like 
  ﬁssion plants, fusion generators require some fairly 
  heavy shielding.
  A fusion powerplant when the technology 
  ﬁrst becomes available in the early-mid twenty-ﬁrst 
  century has a mass of 500 kilograms per 20 END/20 
  REC generated (fusion reactors are lighter than ﬁs-
  sion powerplants, but bulkier). They cost 1,000 cred-
  its per kilogram.
  Technology rapidly improves fusion power-
  plants. At late Cyberpunk-era tech the output per 
  kilogram increases, while the cost is halved (500 
  credits per kilogram). By early starfaring technology 
  the cost is 250 credits per kilogram, and at mature 
  starfaring tech the cost drops to 100 credits per kilo-
  gram of power plant.
  Early Starship Fusion Plant:  This fusion plant is suit-
  able for early interstellar spacecraft. It has a 10-year 
  supply of deuterium fuel and a mass of 4 metric tons. 
  Price:  1 million credits, or more.
  Endurance Reserve (156 END/156 REC) (172 
  Active Points); OAF Immobile (-2), Only Powers 
  Electrical Devices (-¼). Total cost:  53 points.
  Personal Fusion Unit:  Built with late starfaring-era 
  technology, this is a portable fusion plant weighing 
  100 kilograms and occupying about as much space 
  as a ﬁling cabinet. It can run for a decade on one 
  supply of fuel. Price:  25,000 credits, or more.
  Endurance Reserve (108 END/108 REC) (119 
  Active Points); OAF Bulky (-1½), Only Powers 
  Electrical Devices (-¼). Total cost:  43 points.
  Cold Fusion
  A variant form of fusion power, “cold fusion” 
  was announced with great fanfare in the late 1980s 
  and then quietly dropped when the researchers 
  discovered ﬂaws in their experiment. Cold fusion 
  uses as-yet-undiscovered chemical or electrochemi-
  cal means to cause fusion a few atoms at a time. The 
  energy given oﬀ is low, but cold fusion generators 
  don’t need any shielding and are very compact.
  When they ﬁrst appear, cold fusion cells weigh 
  1 kilogram per 2 END/2 REC, and 100 credits per 
  kilogram. The heavy water in a cold fusion cell 
  lasts 1 year before replenishing. Technology rapidly 
  improves cold fusion cells, increasing the output 
  more than decreasing the size.
  Cold Fusion Generator:  This is a second-generation 
  cold fusion device, providing enough power for a 
  household or a personal vehicle. Price:  10,000 cred-
  its, or more.
  Endurance Reserve (72 END/72 REC) (80 
  Active Points); OAF Bulky (-1½), Only Powers 
  Electrical Devices (-¼). Total cost:  29 points.
  Antimatter Power
  Well-known to SF fans from its use on Star 
  Trek, antimatter power is the ultimate form of 
  nuclear energy, because it converts all the mass of 
  its fuel into energy. Tiny amounts of matter com-
  bined with antimatter would result in immediate 
  annihilation of both in a reaction releasing immense 
  amounts of power. Aside from containing and chan-
  nelling this immensely powerful reaction, the chief 
  problem is that antimatter doesn’t occur naturally. 
  Civilizations can’t mine it, they must manufacture it. 
  It may someday be used as a means of storing and 
  transporting energy, with huge solar-powered anti-
  matter factories in remote star systems generating 
  antimatter by the gram for distribution to planets 
  and starbases. Handling antimatter is extremely 
  tricky — it requires magnetic force-ﬁelds and the 
  like — and an accident could wipe out an entire 
  facility, continent, or planet.
  Given the rubber science involved, an antimat-
  ter reactor usually doesn’t need heavy shielding in 
  addition to the special containers for the antimatter. 
  Early antimatter generators weigh 1 ton per 20 END/
  20 REC, and cost 10 million credits (or more) per 
  ton; the antimatter fuel costs 100,000 (or more) cred-
  its per gram, with a single gram suﬃcient to run the 
  plant for a year. Technological advances can improve 
  antimatter power substantially. Divide the cost of the 
  fuel in half for each tech level beyond introduction 
  (or, if the GM prefers, for every decade). The cost of 
  the plant itself reaches 1 million credits per ton, with 
  the plant weighing 1 ton per 40 END/40 REC gener-
  ated. Power output may increase, and cost decrease, 
  beyond that.
  Experimental Antimatter Reactor:  This is a ﬁrst-gen-
  eration antimatter power plant, too expensive to 
  compete commercially with fusion powerplants, but 
  suitable as the goal of an adventure. It costs 90 mil-
  lion credits (or more), plus another 100,000 credits 
  (or more) for the antimatter fuel.
  Endurance Reserve (168 END/168 REC) (185 
  Active Points); OAF Fragile Immobile (-2¼), 
  Activation Roll 14-, Burnout (-¼), Only Powers 
  Electrical Devices (-¼). Total cost:  49 points.
  Starship Antimatter Reactor:  This is a large, power-
  ful reactor capable of running a major spacecraft. 
  It weighs six tons, and costs six million credits (or 
  more).
  Endurance Reserve (228 END/228 REC) (251 
  Active Points); OAF Immobile (-2), Only Powers 
  
  173 
  Star Hero ■ Chapter Seven
  Electrical Devices (-¼). Total cost:  77 points.
  Singularity Power
  Singularity power sources make use of tiny black 
  holes, either artiﬁcially created in giant particle accel-
  erators or left over from the early days of the universe, 
  contained in special force-ﬁelds. Feeding mass into 
  the black hole causes the matter to release almost all 
  its energy. This means a singularity powerplant can 
  use anything for fuel. On the other hand, all the mass 
  remains in the singularity, which makes it gain weight 
  over time (at the rate of 1 kg per year). Singularity 
  power sources don’t scale down well — they can pro-
  vide energy for a large starship or even a whole planet, 
  but not a car or a personal energy weapon.
  The singularity inside a power plant is an 
  extremely valuable object — salvagers and pirates 
  may want to recover or steal it, and ﬁnding a singular-
  ity is an excellent adventure hook. However, it’s also 
  extremely dangerous. If the force-ﬁelds and other 
  safeguards holding it “inert” are shut oﬀ, the black hole 
  “manifests” in real space, destroying objects on an 
  interstellar scale.
  At ﬁrst introduction a singularity plant gener-
  ates 400 END/400 REC and masses 400 metric tons 
  or more (plus the mass of the singularity, which starts 
  at 1 billion metric tons). As technology progresses, 
  the plant becomes smaller and lighter, and the power 
  output doubles, then triples.
  Zero Point Power
  Zero Point Energy is a theoretical method of 
  using the energy inherent in space itself. If this could 
  actually be accomplished, it would eﬀectively be 
  perpetual motion — free energy from nothing at all. 
  It could also be a terrifying weapon if the release of 
  energy could be triggered from a distance. This is seri-
  ous “rubber science” at present, although it has a basis 
  in real physics. Power output, costs, and weights are 
  pure guesswork, but should eventually become better 
  than fusion (though probably not as good as antimat-
  ter or singularity power).
  TELEPORTATION
  The concept of teleportation has been around 
  for a while, but it was Star Trek which made “beam 
  me up” part of everyday slang. In science ﬁction, tele-
  portation devices work in various diﬀerent ways, and 
  each has its unique side eﬀects.
  All teleporters create the problem that everyplace 
  is instantly “next door” to everyplace else, for good 
  or ill. Injured patients arrive directly in a hospital in 
  zero time, soldiers deploy to a war zone (or the enemy 
  leader’s command post) in a ﬂash — and places like 
  the Grand Canyon or Florence become overwhelmed 
  with even more tourists than they already have to 
  cope with. Larry Niven suggested teleportation might 
  create “ﬂash crowds” at major events, a prediction sup-
  ported by the way Internet users crowd popular Web 
  sites at times.
  Most forms of technological teleportation also 
  create a host of other problems. Can a character’s 
  “teleportation pattern” be stored, thus leading to eﬀec-
  tive immortality, and possibly instant healing? Can 
  multiple “copies” of a person or object be created, on 
  purpose or by accident? Could teleportation cause 
  physical or brain injuries over repeated use? Could 
  two people be “merged,” accidentally or on purpose, 
  via teleportation? Gamemasters should consider these 
  issues carefully before allowing teleportation technol-
  ogy into their Star Hero campaigns, or else they may 
  soon ﬁnd that they’ve unleashed a force they can’t 
  control. Players, unlike TV SF writers, aren’t likely to 
  ignore nifty new weapons and tools once they’ve cre-
  ated them.
  MATTER FAXES
  The most realistic form of teleportation would be 
  a kind of “fax” system — the device scans the passen-
  ger down to the atomic level and then creates a dupli-
  cate at the receiving end. Often the scan destroys the 
  original, which means any interruption in the process 
  is fatal. A matter fax has interesting side eﬀects:  you 
  can presumably beam the signal to multiple receivers, 
  creating as many duplicates as you wish. You can also 
  store the “blueprint” on disk, making this a convenient 
  method of immortality. Matter faxes are by deﬁni-
  tion “replicators” capable of manufacturing anything 
  which can ﬁt into the scanning booth, so this kind of 
  teleportation not only creates immortality but inﬁnite 
  wealth as well. Most matter faxes require a transmitter 
  and a receiver, and realistically need insane amounts 
  of power.
  Matter Fax Booth:  A standard MFB, found on many 
  developed worlds.  (Technically, to create multiple  
  “copies” of a person, this system also need a Duplica-
  tion eﬀect.) Price:  1,900 credits per device, or more.
  Teleportation 10”, x16 Increased Mass (1.6 
  metric tons), MegaScale (1” = 1,000 km, scalable 
  down to 1” = 1 km; +1¼) (90 Active Points); OIF 
  Immobile (-1½), Can Only Teleport To Fixed 
  Locations (-½), Extra Time (1 Turn, -1¼) (total 
  cost:  21 points) and 1 Floating Fixed Location 
  (any other matter fax booth, chosen at the time of 
  use) (5 Active Points); OIF Immobile (-1½) (total 
  cost:  2 points). Total cost:  23 points. 
  QUANTUM DISPLACEMENT
  This is slightly more rubbery science than matter 
  faxes. Quantum displacement somehow makes all 
  the particles in the passenger’s body “jump” to the 
  destination. It is the closest to classic teleportation, 
  and probably would work best over short distances. It 
  would not need a receiver, and so shouldn’t have Fixed 
  Locations. This makes quantum displacement a natu-
  ral military technology:  instead of launching missiles, 
  quantum displace those warheads right into the ene-
  my’s bases. Guns might even be replaced with ranged 
  quantum displacement devices to “pop” rounds into 
  protected areas.
  As a transport system, quantum displacement 
  would be simplest as an individual device — put on 
  your teleport belt and go hopping about. It would 
  make theft ridiculously easy, and jails impossible to 
  keep people in. The combination of social chaos and 
  military value might keep quantum displacement a 
  Top Secret technology until some form of barrier or 
  countermeasure becomes available.
  
  174 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Quantum Displacement Transporter:  A standard tele-
  poration device found on starships, space stations, and 
  developed worlds. It typically consists of a chamber 
  containing one or more “teleportation pads” on which 
  the users stand, while another character operates 
  the controls. It’s particularly handy for teleporting 
  personnel and objects to and from a planet’s surface 
  without the need to land a starship or use shuttles. 
  (If characters want to Teleport over shorter ranges, 
  add two non-MegaScaled slots.) It requires similarly 
  MegaScaled sensors to locate the destination (or the 
  objects to be teleported to the device). Price:  14,000 
  credits, or more.
  Cost Quantum Displacement Transporter
  80 
  Quantum Displacement Transporter:  Multi-
  power, 240-point reserve, all OIF Immobile 
  (-1½), Extra Time (Full Phase; -½)
  4u 
   1)  Teleporting Away:  Teleportation 10”, x8 
  Increased Mass, Position Shift, MegaScale (1”  
  = 100,000 km, scalable down to 1” = 1 km; 
  +1¾); OIF Immobile (-1½), Extra Time  
  (Full Phase; -½)
  8u 
   2)  Teleporting To:  Teleportation 10”, x8 
  Increased Mass, Position Shift, MegaScale  
  (1” = 100,000 km, can scale down to 1” = 1  
  km; +1¾), Usable As Attack (+1), Ranged  
  (+½), MegaRange (1” = 100,000 km, can  
  scale down to 1” = 1 km; +1¾); OIF  
  Immobile (-1½), Extra Time (Full Phase; -½)
  Total cost:  92 points.
  FOLDED SPACE
  Using essentially the same rubber science as 
  warp drives (page 192), folded space teleporters bend 
  the fabric of the Universe to put your current loca-
  tion next to your target. It needs a transmitter and a 
  receiver, and can cover interstellar distances. If the 
  cost is low enough, houses could have portals built 
  into doorways, so that diﬀerent rooms might be in 
  diﬀerent places, or even on diﬀerent planets (as shown 
  in, for example, Dan Simmons’s Hyperion). Of course, 
  if the system breaks down while you’re in a room on 
  a distant world, it might take months or years for a 
  repairman to arrive by starship.
  Teleportal Network:  This is a network of standard 
  space-folding device, connecting points on diﬀerent 
  worlds. Price:  11,000 credits per device, or more.
  Teleportation 20”, x16 Increased Mass (1.6 
  metric tons), MegaScale (1” = 1 light-year; +3½) 
  (270 Active Points); OIF Immobile (-1½), Can 
  Only Teleport To Fixed Locations (-½) (total 
  cost:  90 points) and 1 Floating Fixed Location 
  (any other teleportal, chosen at the time of use) (5 
  Active Points); OIF Immobile (-1½) (total cost:  2 
  points). Total cost:  92 points. 
  MISCELLANEOUS  
  EQUIPMENT
  Here are a few items Star Hero characters might 
  ﬁnd useful that don’t ﬁt into any of the categories 
  described above.
  Survival Devices
  Star Hero characters often have to work in some 
  pretty hostile environments. These devices help them 
  survive the rigors of open space or heavy atmo-
  spheres.
  Spacesuit:  Anyone venturing into Trace atmospheres 
  or outer space needs a spacesuit. This version repre-
  sents early twenty-ﬁrst century Human models, with 
  a rigid chest section for easy access to controls. It pro-
  vides pressure and temperature support indeﬁnitely, 
  and oxygen for up to six hours. Price:  300 credits, or 
  more.
  Cost Spacesuit
  3 
  Environment Protection:  Life Support  
  (Safe Environments:  Intense Cold, Low 
  Pressure/Vacuum) (4 Active Points);  
  OIF (-½)
  7 
  Breathing Gases:  Life Support (Self- 
  Contained Breathing) (10 Active Points);  
  OIF (-½), 1 Continuing Fuel Charge  
  (easily obtained; 6 Hours; -0)
  2 
  Protection:  Armor (2 PD/2 ED) (6 Active 
  Points); OIF (-½); Activation Roll 11- (-1)
  Total cost:  12 points
  Advanced Spacesuit:  As space travel becomes more 
  common, people want suits which are less bulky and 
  allow more freedom of movement. Skinsuits are the 
  
  175 
  Star Hero ■ Chapter Seven
  solution — instead of wearing a pressurized balloon, 
  the user wears a suit that hugs the skin, turning his 
  own skin into a “spacesuit.” The helmet is a clear 
  bubble, and the backpack can provide oxygen for up 
  to a day. (Use the ﬁrst two powers for the standard 
  Spacesuit, above, but the Breathing Gases last for 1 
  Day.) Price:  200 credits, or more.
  Armored Spacesuit:  For environments like the atmo-
  sphere of Jupiter, characters need a space suit that’s 
  also designed to keep pressure out, and to provide 
  more protection in general. This particular suit 
  resists up to 90 atmospheres of pressure (see page 
  283), enough to allow a character to walk on the 
  surface of Venus. It also works ﬁne as a deep-diving 
  suit in the oceans of Earth or Europa. Price:  1,380 
  credits, or more.
  Cost Armored Spacesuit
  5 
  Environment Protection:  Life Support  
  (Safe Environments:  High Pressure,  
  Intense Cold, Intense Heat, Low Pressure/
  Vacuum) (7 Active Points); OIF (-½)
  7 
  Breathing Gases:  Life Support (Self- 
  Contained Breathing) (10 Active Points);  
  OIF (-½), 1 Continuing Fuel Charge  
  (easily obtained; 6 Hours; -0)
  50 
  Protection:  Armor (30 PD/20 ED) (75  
  Active Points); OIF (-½)
  Total cost:  62 points
  Medical Devices
  Characters in SF settings often get hurt, or fall 
  victim to mysterious alien maladies. Here are some 
  of the devices the doctors of the future use to treat 
  their patients.
  Autodoctor:  A marvel of Space Opera technol-
  ogy, this device is a small chamber on a pedestal. A 
  person seals himself in, and the computers operat-
  ing the Autodoctor go to work, using its built-in 
  diagnostic systems and medical technology to repair 
  injured bodies, cure illnesses, and otherwise restore 
  the character to good health. This often takes a long 
  time — a minimum of 1 Minute, but usually one 
  hour to one day per BODY lost. Price:  3,200 credits, 
  or more.
  Simpliﬁed Healing 8d6 (80 Active Points); 
  OAF Immobile (-2), Extra Time (see text; -1½), 
  Requires A Paramedics Roll (-½). Total cost:  16 
  points.
  Medkit:  The standard ﬁrst-aid pack in futuristic set-
  tings, a Medkit includes bandages which function 
  like stitches, drugs to stop bleeding and prevent 
  shock, stimulants, and immunoboosters. Price:  400 
  credits, or more (this price assumes the user has 
  access to a free source of resupply, like a starship’s 
  sickbay; if not, he may buy reﬁlls for 75 credits 
  apiece).
  Simpliﬁed Healing 2d6 (20 Active Points); 
  OAF (-1), Extra Time (1 Turn, -1¼), Requires 
  A Paramedics Roll (-½), 6 Charges (-¾). Total 
  cost:  4 points.
  Multisyringe:  This handheld device contains an 
  extensive supply of diﬀerent medicines its user can 
  inject into a sick person to cure him. The Activation 
  Roll represents the fact that the multisyringe might 
  not have quite the right medicine for a speciﬁc ill-
  ness (or a speciﬁc species); if characters know in 
  advance what illnesses they may encounter, they can 
  load the multisyringe with the appropriate medica-
  tions and ignore the roll.
  Note that the multisyringe does not provide 
  any sort of Healing — it simply stops the course of 
  a disease or illness. Characters who have lost BODY, 
  STUN, or other Characteristics to an illness must 
  recover them normally (or with the help of other 
  medical technology). Price:  1,600 credits, or more.
  Minor Transform 8d6 (standard eﬀect:  24 
  BODY) (sick persons into well persons) (80 
  Active Points); OAF (-1), Activation Roll 11- (-
  1), No Range (-½), All Or Nothing (-½), Limited 
  Target (sentient beings; -¼). Total cost:  19 
  points.
  Communications And  
  Sensor Devices
  Comm Button:  The descendant of modern cell phones 
  and portable radios — a tiny unit no bigger than a 
  nickel, with a sensitive microphone and voice-acti-
  vated controls, capable of automatically linking up to 
  the local wireless network to allow instant commu-
  nication with anyone else on the planet (or in orbit). 
  They need no maintenance because they’re cheap 
  enough to be disposable. Price:  15 credits, or more.
  Radio Perception/Transmission (3 Active Points); 
  IAF (-½). Total cost:  2 points.
  Electronic Binoculars:  Serious vision aids used by sol-
  diers, scientists, and explorers, these devices provide 
  light ampliﬁcation, thermal sensing, magniﬁcation, 
  and real-time image enhancement. Price:  740 credits, 
  or more.
  Cost Electronic Binoculars
  2 
  Basic Nightsight:  Nightvision (5 Active Points); 
  OAF (-1)
  2 
  Thermal Sensing:  Infrared Perception  
  (Sight Group) (5 Active Points); OAF (-1)
  9 
  Magniﬁcation:  +12 versus Range for Sight 
  Group (18 Active Points); OAF (-1)
  3 
  Image Enhancement:  +2 PER with Sight Group 
  (6 Active Points); OAF (-1)
  1 
  Rangeﬁnder:  Absolute Range Sense  
  (3 Active Points); OAF (-1)
  Total cost:  17 points.
  Holoprojector:  A very common gadget used for enter-
  tainment, advertising, “telepresence,” and various other 
  purposes ranging from deadly serious to silly. It proj-
  ects visual images, either realtime feeds from a camera 
  or recorded. Price:  440 credits, or more.
  Sight and Hearing Group Images, 1” radius, 
  Reduced Endurance (0 END; +½) (22 Active 
  
  176 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  Points); OAF (-1), Set Eﬀect (recorded or broad-
  cast images only; -½). Total cost:  9 points.
  Nightsight Glasses:  Next-generation descendants of 
  modern night-vision goggles, these are as light and 
  comfortable as a pair of thick sunglasses and adjust 
  automatically to ambient light, providing both night 
  vision and glare protection. Price:  500 credits, or 
  more.
  Cost Nightsight Glasses
  2 
  Basic Nightsight:  Nightvision (5 Active Points); 
  OAF (-1)
  2 
  Thermal Sensing:  Infrared Perception  
  (Sight Group) (5 Active Points); OAF (-1)
  2 
  Ultraviolet Sensing:  Ultraviolet Perception 
  (Sight Group) (5 Active Points); OAF (-1)
  5 
  Glare Protection:  Sight Group Flash  
  Defense (10 Active Points); OAF (-1)
  Total cost:  11 points.
  Personal Sensor Unit:  Carried by explorers, scientists, 
  detectives, and anyone who needs to gather informa-
  tion from a locale, this handy device includes spec-
  trographic scanners to analyze materials, a battery of 
  electromagnetic radiation detectors, and a powerful 
  built-in analytic computer. Scanning takes some time, 
  but the results can be recorded and studied later. Price:  
  700 credits, or more.
  Detect Electromagnetic Radiation And Physi-
  cal Objects 14- (Radio Group), Discriminatory, 
  Analyze, Range (35 Active Points); OAF (-1), 
  Requires A Systems Operation Roll (-½), Aﬀected 
  As Sight And Hearing Group As Well As Radio 
  Group (-½) (total cost:  12 points) and Eidetic 
  Memory (5 Active Points); OAF (-1), Requires A 
  Systems Operation Roll (-½), Only To Remember 
  Things Detected (-½) (total cost:  2 points). Total 
  cost:  14 points.
  Tools
  Characters often have important tasks to per-
  form, and sometimes the right tool is just what they 
  need to get the job done quickly and well.
  Forcebeam Tool:  An outgrowth of force-ﬁeld tech-
  nology, this versatile gadget is a cutter, a short-range 
  forcebeam projector, and an all-purpose tool. Price:  
  410 credits, or more.
  Cost Forcebeam Tool
  12 
  Forcebeam Tool:  Multipower, 25-point reserve, 
  all OAF (-1), 1 Continuing Fuel Charge (refuels 
  by recharging; 1 Hour; -0)
  1u 
  1)  Cutter:  RKA 1d6; OAF (-1), No Range (-½)
  1u 
  2)  Tractor Beam:  Telekinesis (10 STR),  
  Fine Manipulation; OAF (-1), Reduced By 
  Range (-¼)
  1u 
  3)  Toolbox-In-One:  +3 with Mechanics;  
  OAF (-1)
  Total cost:  15 points.
  Gravity Lifter:  The development of antigravity technol-
  ogy makes moving heavy objects easy. A gravity lifter 
  is simply an antigravity module and a strong clamp. 
  Attach it to a load, switch on the module, and sud-
  denly a child can lift the heaviest cargo. Price:  200 
  credits, or more.
  +20 STR (20 Active Points); OAF (-1), 1 Continu-
  ing Fuel Charge (refuels by recharging; 1 Hour; 
  -0), Only for Lifting (-1). Total cost:  7 points.
  Multitool:  Instead of carrying a whole toolbox, why 
  not use a Multitool? Made of “smart matter” and a 
  mini-computer with a database of hundreds of diﬀer-
  ent conﬁgurations, the Multitool can take just about 
  any shape needed. Price:  150 credits, or more.
  +3 with all Construction/Mechanical Skills (15 
  Active Points); OAF (-1). Total cost:  7 points.
  Powered Exoskeleton:  This bulky and powerful open-
  frame suit gives the wearer the strength for heavy jobs. 
  Typically used for construction, cargo loading, rescue 
  work, and various rough-and-tumble sports, it also 
  serves as an eﬀective hand-to-hand combat weapon in 
  some instances. Price:  400 credits, or more.
  Cost Powered Exoskeleton
  13 
  Clamps, Grips, And Servos:  +30 STR (30 
  Active Points); OIF Bulky (-1), Character 
  Cannot Use Own STR (-¼)
  5 
  Battery:  Endurance Reserve (20 END/8 
  REC) (10 Active Points); OIF Bulky (-1).
  Total cost:  18 points.
  Sonic Multitool:  This variant on the Multitool uses 
  focused sound waves and other forms of electro-
  magnetic radiation to assist with work on elec-
  tronic devices.
  +3 with all Electronic/High-Tech Skills (15 
  Active Points); OAF (-1). Total cost:  7 points.
  Towel:  An essential utility item for space travelers. 
  Price:  10 credits, or more.
  Cosmetic Transform 1d6 (wet things to dry 
  things), Reduced Endurance (Reduced Endur-
  ance (0 END; +½) (7 Active Points); OAF (-1), 
  No Range (-½). Total cost:  3 points.
  
  177 
  Star Hero ■ Chapter Seven
  S
  ince Star Hero is a Heroic-level game, char-
  acters typically obtain equipment by pur-
  chasing it with money instead of spending 
  Character Points. General exceptions to this 
  include cyberware, which gives the character innate 
  powers, and Vehicles/Bases in some campaigns (see 
  page 184). However, some Star Hero GMs allow 
  character to purchase even those technologies with 
  money. (See page 127 for more on money and eco-
  nomics in Star Hero.)
  BUYING STUFF
  There are limits to buying equipment. Is 
  the device available where the heroes happen to 
  be? Often gear from a higher technology level is 
  unavailable on low-tech planets. If it can be found, 
  multiply the price by a factor of 10 for each Tech 
  Level diﬀerence between the item and the place.
  And that’s assuming the authorities let you 
  buy it. Weapons and armor are likely to be strictly 
  controlled, especially in societies which are more 
  interested in order than the right to bear arms. As 
  a general rule, nonlethal weapons (like polymer 
  guns or sonic stunners) are available in all but the 
  most repressive societies. Armor allowed to civil-
  ians includes expedition suits and possibly ablative 
  foam.
  Civilian weapons for hunting or personal 
  protection (like a defensive rocket pistol, stun rod, 
  alien blades, ordinary shotgun, inertial gloves, 
  and possibly an electron pistol) are allowed with a 
  permit and background check — how easy it is to 
  get the permit and what background information 
  disqualiﬁes a buyer depends on the society. In a 
  repressive state anyone who isn’t an active sup-
  porter of the regime may be denied a permit. These 
  rules also apply to most armor (except battle armor 
  or battlesuits), and items like stealth suits, teleport-
  ers, medical equipment, and any powerplant over 
  60 END/60 REC output. Force tools may also be 
  controlled because they can do lethal damage.
  Actual military gear (any of the weapons or 
  armor not already listed, plus most of the ﬁrearms 
  in the HERO System rulebook) is closely controlled 
  even in open societies. Anyone buying gear like that 
  — or trying to buy it — attracts oﬃcial attention 
  and should have a legitimate need for the items. 
  The nature of a legitimate need varies, of course. 
  If the campaign has interstellar mercenaries, then 
  being a licensed merc is probably suﬃcient. Some 
  societies may allow export of military gear, but 
  again, only if the buyer has a legitimate purpose. 
  Selling guns to criminals or rebels in another 
  country is a good way to get into a war with that 
  country’s government. Characters may be able to 
  bluﬀ or con their way around these rules by means 
  of Bureaucratics, Bribery, or Forgery.
  OTHER PEOPLE’S STUFF
  Often the characters get their gear from other 
  people, either directly or by borrowing money. 
  Patrons sometimes issue special equipment 
  to adventurers for a speciﬁc job — heavy weapons 
  for a military operation, or specialized netrunning 
  software for a Cyberpunk scenario. Usually the 
  gear is expensive, and often the boss wants it back 
  after the job is done. If the heroes make keeping the 
  equipment part of their terms of employment, they 
  may well discover their pay gets cut in proportion. 
  Heroes who “lose” or “break” stuﬀ because they 
  want to keep it may ﬁnd themselves gaining a nega-
  tive reputation as sticky-ﬁngered weasels. Game-
  masters need to be sure both sides understand the 
  conditions of the deal and what is supposed to 
  happen to the gear afterwards.
  For big-ticket items like spaceships, characters 
  may wind up having to borrow money. This is a 
  Disadvantage for the vehicle — Hunted (Watched) 
  ACQUIRING 
  EQUIPMENT
  Continued on next page
   STAR HERO  
  PRICING GUIDE
  Since Star Hero is a 
  genre sourcebook rather 
  than a speciﬁc cam-
  paign setting, it can’t 
  give a deﬁnite price list 
  for every technological 
  item. Instead, here’s a 
  meta-system, used in 
  this book to compute 
  the cost of equipment. 
  Gamemasters can allow 
  it into their campaigns 
  as-is, modify it as 
  desired, or come up with 
  their own.
  To use this price guide, 
  ﬁrst determine the base 
  price of the desired item. 
  If a device has multiple 
  powers or functions 
  (like a weapon deﬁned 
  as a Multipower), add 
  the Active Costs of all 
  Powers together. (If 
  the Power Framework 
  has Advantages on its 
  reserve or base cost, 
  apply those to the most 
  expensive slot when 
  determining its Active 
  Points.) If the device 
  combines powers or 
  functions from diﬀerent 
  classes, like a weapon 
  that also provides 
  defense, use the most 
  expensive credit value 
  for any of its categories 
  to calculate the base 
  price. Then apply any 
  appropriate modiﬁers. If 
  two or more modiﬁers 
  apply, use them all; for 
  example, cutting-edge 
  military technology 
  would be (x5 x x10) 50 
  times base price.
  Most of the base price 
  calculations derive from 
  an item’s Active Point 
  cost. However, GMs 
  should keep in mind 
  STAR HERO PRICING GUIDE
  Class Of Item 
  Base Price
  Communications 10 credits x Active Points
  Computers 
  20 credits x Active Points
  Defenses  
  15 credits x Active Points
  Electronics 
  20 credits x Active Points
  Medical 
  20 credits x Active Points
  Robots 
  200 credits x total Character 
  Points
  Sensors 
  20 credits x Active Points
  Tools, general 
  10 credits x Active Points
  Vehicles 
  1,000 (or more) credits x total 
  Character Points
  Weapons 
  30 credits x Active Point
  Modiﬁer 
  Multiplier
  Cutting-edge technology 
  x10 base price
  Demand for item exceeds supply 
  x2 base price, or 
  more
  Illegal items 
  x2 base price, or 
  more
  Luxury or high-quality 
  x4 base price
  Military or military-grade 
  x5 base price, or 
  more
  Rare or handmade items 
  x2 base price
  Supply of item exceeds demand 
  x½ base price, or 
  less
  Tech Level diﬀerence 
  x10 per level (see 
  text)
  Vehicle/base technology other  
  x2 base price, or
  than weapons and defenses 
  more
  
  178 ■ Computers, Blasters, And Robots: Technology
  HERO SYSTEM 5TH EDITION
  by the bank. The temptation to skip out on pay-
  ments can be strong. After all, the bank is only on 
  one planet, and there are so many planets out there. 
  The GM can discourage this kind of behavior with 
  social sanctions in the campaign:  deadbeats can be 
  pursued by bounty hunters and repo men, they can 
  lose their licenses and permits (and who will hire 
  them or take passage on their ship then?) — they 
  may even ﬁnd themselves pursued by the Interstel-
  lar Navy.
  HOW MUCH FOR THE ARMOR-PIERCING 
  AMMO?
  Star Hero characters often want to know the 
  price for diﬀerent types of ammunition, energy 
  cells, batteries, or fuel cartridges for various weap-
  ons. This poses some diﬃculties, because in the 
  HERO System, the cost of the ammunition isn’t a 
  discrete value; it depends on the overall cost of the 
  weapon.
  If you want to allow characters to buy diﬀerent 
  types of ammunition separate from their weapons, 
  here’s a simple method for determining the cost. 
  First, calculate the price of the weapon using its 
  ordinary ammunition. Then calculate the cost using 
  the diﬀerent type of ammunition the characters 
  want to buy. Subtract the ﬁrst cost from the second 
  cost, and multiply the result by 30 credits (as for all 
  weapons). That’s the cost of one standard “clip” of 
  the diﬀerent ammunition.
  Example:  Garrett Starbow owns a pistol that’s 
  built as follows:
  RKA 2d6, Autoﬁre (3 shots; +¼), 20 
  Charges (+¼) (45 Active Points); OAF 
  (-1), Real Weapon (-¼), STR Minimum 
  (10; STR Minimum Doesn’t Add To 
  Damage; -1).  Total cost:  14 points.
  He wants to buy a clip of armor piercing 
  ammunition for his pistol. To determine 
  the cost, the GM calculates the cost of the 
  pistol with the AP ammo:
  RKA 2d6, Armor Piercing (+½), Auto-
  ﬁre (3 shots; +¼), 20 Charges (+¼) 
  (60 Active Points); OAF (-1), Real 
  Weapon (-¼), STR Minimum (10; STR 
  Minimum Doesn’t Add To Damage; -1).  
  Total cost:  18 points.
  The GM subtracts the ﬁrst result (14) 
  from the second (18), for a total of 4. 
  Then he multiplies that by the cost of 
  a weapon (x30), for 120 credits. So, if 
  Garret wants a clip with 20 rounds of 
  AP ammo, he’ll have to shell out 120 of 
  his hard-earned credits.
  that Active Points may 
  not always tell the whole 
  story. As the examples 
  earlier in this chapter 
  show, sometimes a 
  more sophisticated or 
  advanced device has 
  the same Active Points 
  as an earlier, cruder 
  model — the diﬀerence 
  is that the earlier version 
  has more Limitations. 
  Similarly, sometimes a 
  powerful eﬀect doesn’t 
  end up costing many 
  Active Points. In these 
  cases, the GM may want 
  to adjust the price to 
  reﬂect the circumstances 
  and/or utility of the 
  equipment. For example, 
  many starship defenses 
  base their cost partly 
  on the size of the ship, 
  and some equipment 
  designed to aﬀect a large 
  area bases its cost partly 
  on the size of that area.
  Continued from last page
  
  179 
  Star Hero ■ Chapter Eight
  W
  hen many people think of “sci-
  ence ﬁction,” the ﬁrst thing 
  they think of is starships. 
  From the gleaming super-sci-
  ence vessels of Star Trek to the 
  grimy, oddly-shaped, clunky-looking STL 
  craft of Aliens, starships are an integral 
  part of the genre. They provide not only a 
  way for characters to cross the vast reaches 
  of space, but for many characters, a home.
  On the other hand, in SF settings, 
  many characters do live in space — on 
  starbases, space stations, orbital fortresses, 
  and other such habitats-in-space. Many 
  science ﬁction novels, TV shows, and 
  movies (including Star Trek:  Deep Space 
  Nine and Babylon 5) take place primarily 
  aboard a speciﬁc space station, and Star 
  Hero GMs can create similar campaigns if 
  they wish.
  This chapter discusses how to build 
  and use starships and space stations using 
  the HERO System rules. The information 
  provided should cover most situations, but 
  of course GMs should adapt it as necessary 
  to their speciﬁc campaign settings and 
  preferences — after all, there’s a whole uni-
  verse full of ships and stations out there. 
  This chapter also includes information on 
  ground vehicles, including mecha (giant 
  combat vehicle-robots).
  
  180 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  S
  pace travel is a central concept in science 
  ﬁction. Writers have been writing about 
  voyages to other worlds since Jules Verne 
  sent a trio of explorers around the Moon 
  by means of a huge cannon. Space hardware has 
  improved since then, but the dream remains the 
  same.
  In science ﬁction stories, starships range 
  from tiny, one-person vessels to planet-sized ships 
  capable of devastating entire solar systems. The 
  types of ships available to characters are virtually 
  unlimited; the only restrictions are the technology 
  available in the campaign and the GM’s limits on 
  what’s allowed.
  GENERAL STARSHIP  
  CONSIDERATIONS
  Designing a starship can be a diﬃcult process, 
  since such complicated vessels require a lot of dif-
  ferent systems (and thus a lot of Character Points!). 
  Here are a few things to consider and keep in mind.
  A Brief History Of  
  Human Space Travel
  Space travel was science ﬁction until October 
  of 1957. That was when the Soviet Union placed 
  the satellite Sputnik I in orbit about the Earth. 
  The ﬁrst living being in space was the dog Laika, 
  launched a month later. The ﬁrst Human to leave 
  Earth was Yuri Gagarin in 1961, aboard Vostok I. 
  The ﬁrst Human to reach another celestial body 
  was Neil Armstrong, who set foot on the Moon in 
  1969. Since then, Humans have mostly conﬁned 
  their activities to low Earth orbit, aboard a series 
  of space stations (Skylab, Salyut, Mir, and the 
  International Space Station) and the Space Shuttle.
  On the other hand, robot space probes have 
  ventured to the farthest reaches of the Solar 
  System. The Soviet Luna 3 probe returned the ﬁrst 
  pictures of the Moon’s far side in 1959, Venera 2 
  reached Venus in 1966, and Mariner 10 surveyed 
  Mercury in 1974. Mars has been a frequent target 
  of space probes, though more than half of them 
  have failed for various reasons (space engineers 
  half-joke about the “Great Galactic Ghoul” which 
  lurks between Earth and Mars). The ﬁrst success-
  ful Mars probe was NASA’s Mariner 4 in 1964, and 
  the Russian Mars 3 probe landed on the surface 
  successfully (though the lander failed soon after). 
  In 1976 the Viking probes analyzed Martian soil 
  for signs of life, and in 1996 the Pathﬁnder probe 
  and Sojurner rover expanded on the Viking dis-
  coveries. Meanwhile the Mars Global Surveyor 
  mapped the planet with spy-satellite precision.
  The outer Solar System was explored by a 
  series of probes launched in the late 1970s to 
  take advantage of a rare alignment of the planets. 
  Pioneer 11 ﬂew by Jupiter in 1973 and Saturn in 
  1979. Its bigger cousins Voyager 1 and Voyager 2 
  followed. Voyager 1 reached Jupiter in 1979 and 
  Saturn in 1980, before swinging out into deep 
  space. Voyager 2 reached Jupiter just four months 
  after its twin, encountered Saturn in 1981, and 
  went on to study Uranus in 1986 and Neptune in 
  1989, making it far and away the most success-
  ful space mission ever. Those probes dramatically 
  changed Humans’ knowledge of the outer solar 
  system. Following in the footsteps of the Voyagers, 
  specialized probes were launched to the two larg-
  est planets — Galileo to study Jupiter and Cassini 
  to Saturn.
  Human Space Travel In The Future
  The near future of Human space travel 
  depends a great deal on the willingness of Earth’s 
  governments to pay for projects. The technol-
  ogy to send Humans to Mars exists as of 2002; 
  the political willpower does not. Plans currently 
  on the drawing board envision missions to Mars 
  which would rely heavily on “In-Situ Resource 
  Utilization” — living oﬀ the land, so to speak, by 
  producing rocket fuel and oxygen from Martian 
  resources. Apollo astronaut Buzz Aldrin has pro-
  posed a permanent “cycler” spaceship to provide 
  regular service between Earth and Mars, thus 
  saving the cost of launching an interplanetary 
  spacecraft for each trip.
  Other space planners have proposed a return 
  to the Moon, using it as the site for radio observa-
  tories or mining operations to extract Helium-3 
  (an isotope with great potential value as a fuel for 
  nuclear fusion powerplants).
  Lunar mines could also support the construc-
  tion of permanent habitats in high Earth orbit or 
  located at the Lagrange positions (see page 101). 
  The engineer Gerard K. O’Niell envisioned huge 
  self-suﬃcient space colonies at L-4 and L-5, pro-
  viding homes for millions of permanent citizens 
  of space. (The Babylon series of space stations 
  in the television series Babylon 5 are essentially 
  O’Niell colonies in another solar system.)
  The biggest technical hurdles to overcome in 
  near-future space travel are propulsion and life 
  support. Engineers are trying to develop compact 
  and powerful rocket engines which can cut down 
  the travel time for interplanetary voyages. So far 
  STARSHIP
  CREATION
  
  181 
  Star Hero ■ Chapter Eight
  the best candidates are nuclear-thermal rockets, 
  which use a small nuclear reactor to superheat 
  hydrogen fuel; and the brand-new VASIMR drive, 
  which heats hydrogen to plasma with microwaves 
  and can switch between a high-thrust mode and a 
  more fuel-eﬃcient setting.
  Life support is a bigger problem than space 
  visionaries once realized. It’s prohibitively expen-
  sive to launch all the food and oxygen a crew 
  would use on a ﬁve-year Mars mission, so nowa-
  days NASA scientists are trying to develop “regen-
  erative life support systems” using compact green-
  houses or hydroponic farms to recycle wastes into 
  food and oxygen.
  Radiation levels in space also pose a problem. 
  Current methods of reducing the radiation hazard 
  focus on either minimizing the exposure time (by 
  building faster rockets) or ﬁtting spacecraft with 
  small “storm shelters” where the crew can wait 
  during radiation storms.
  Space Vehicle Types
  Spaceships in science ﬁction are usually clas-
  siﬁed by size, range, purpose, or a combination of 
  the three. In this book, “starship” refers speciﬁcally 
  to ships capable of interstellar travel while “space-
  craft” or “space vehicle” means anything that can 
  travel in space. Some settings distinguish between 
  “ship” (starship) and “boat” (spaceship). A vehicle’s 
  preﬁx may tell what it can do:  starships may be 
  called “I.S.” (for interstellar ship) or “S.V.” (star 
  vehicle), while spaceships are “S.S.” (space ship) or 
  “P.V.” (planetary vehicle).
  Size is of course a relative term — one 
  setting’s giant spaceship may be middle-sized or 
  small in a diﬀerent Star Hero campaign. In gen-
  eral, larger vehicles are more durable and self-suf-
  ﬁcient than small ones, allowing them to go on 
  longer voyages.
  Range often relates to size; larger vehicles can 
  travel further and stay in space longer. Range clas-
  siﬁcation is particularly important if interstellar 
  travel requires a diﬀerent drive system than inter-
  planetary voyages.
  Purpose is considerably broader than size. 
  There are dozens of potential roles for spacecraft. 
  People mostly use civilian ships to move things 
  from place to place. Freighters are ships carrying 
  general freight, often in large container modules. 
  Bulk carriers are freighters carrying homogeneous 
  cargoes like grain or hydrogen in large quantities. 
  Passenger liners transport passengers in varying 
  degrees of comfort, ranging from luxury liners to 
  tightly-packed colony transports or refugee ships. 
  Tugs are ships with powerful motors designed to 
  move other spacecraft, unpowered barges, or simi-
  lar massive objects.
  Science and exploration ships learn things in 
  space. Scout ships venture into unknown space, 
  often spending years on a mission. Research ves-
  sels come equipped with laboratories to study 
  speciﬁc planets or phenomena. Support vessels 
  are mobile repair and resupply ships. A few long-
  range exploration ships (such as the various U.S.S. 
  Enterprises of Star Trek) combine aspects of all 
  three.
  Warships are any kind of spaceship designed 
  for combat. They can be broadly categorized into 
  battle craft (which ﬁght other space vehicles) and 
  attack craft (which attack planets and similar 
  targets). Large warships (battleships or dread-
  noughts) carry massive armor and powerful 
  defenses, along with weapons which can blast 
  through the protection of enemy ships. Smaller 
  ones (destroyers or frigates) tend to rely on speed 
  and stealth for defense, and mount the most 
  powerful weapons they can ﬁt on board. Fighters 
  are small ships, often with a single pilot and no 
  passengers, designed to harass and attack larger 
  ships or dogﬁght with enemy ﬁghters. Carriers 
  are a way to combine these concepts:  a big, well-
  protected mother ship and a squadron of fast, 
  expendable combat units. Cruisers or patrol ships 
  are warships not designed to ﬁght other combat 
  units — they tend to be fast, long-range vessels 
  intended for commerce raiding and peacetime law 
  enforcement.
  In game universes with “hyperspace” or some 
  other dimension accessible from our own, there 
  may be the equivalent of submarines — spacecraft 
  which lurk “outside space” and appear suddenly to 
  attack. Cloaking devices or other invisibility gad-
  gets allow the same style of operation.
  Military ships also include equivalents of var-
  ious civilian ship types. Tenders are a kind of sup-
  
  182 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  port ship, usually supporting small independent 
  warships like cruisers or a destroyer squadron. 
  Assault transports are military passenger liners, 
  carrying troops and landing craft for planetary 
  assault operations. Spy ships are military versions 
  of scouts or research vessels, dedicated to gathering 
  information about enemy operations and capabili-
  ties.
  Combining size and role produces a dazzling 
  variety of ship types, which can be as broad or 
  narrow as the GM wishes. In campaigns with lots 
  of specialized ship types, the classiﬁcations will be 
  precise and detailed; in worlds where all spacecraft 
  can do a little of everything, classiﬁcations will be 
  simpler. Space Opera campaigns sometimes borrow 
  terms from the Age of Sail for the proper swash-
  buckling feel:  “Star Galleons” for the big ships, 
  “Clippers” for rapid passenger liners, and “Caravels” 
  for smaller vessels. If ships come in a few distinct 
  classes, they may simply be named for the proto-
  type ship (as the British battleship “Dreadnought” 
  gave her name to an entire type of warship).
  Obtaining A Space Vehicle
  Gamemasters and players need to consider 
  both campaign and rules matters when deciding 
  how to acquire a vessel.
  Setting considerations include things like 
  the monetary cost of a space vehicle, the avail-
  ability of the type of ship the character wants, and 
  governmental restrictions on spacecraft owner-
  ship. Space vehicles are large, powerful, important 
  things; it’s unlikely the characters can simply walk 
  into a dealership and buy one, the way Humans 
  buy automobiles. This is even more true if the PCs 
  want a ship that’s armed. While many ships prob-
  ably have “blasters” with which to destroy space 
  debris and the like, few come with military-grade 
  weaponry. The authorities probably take a dim 
  view of private citizens ﬂying around with enough 
  ﬁrepower to ravage planets. Unless the characters 
  have some sort of governmental authorization 
  (maybe they’re special government operatives, or 
  privateers), there are probably going to be some 
  restrictions on what space vehicles they can and 
  cannot own, and how those vessels are equipped. 
  Whether they try to evade those restrictions, and 
  whether they succeed, are great plot hooks for the 
  GM.
  In game terms, characters can acquire a 
  ship in one of three ways. First, since Star Hero 
  games are Heroic campaigns, they can buy them 
  with money. However, even the cheapest space 
  vehicle is likely to cost millions, if not billions, 
  of credits, and a high-end vessel outﬁtted with 
  military-grade systems and luxury appointments 
  could cost even more. That means it’s unlikely 
  PCs will have the wherewithal to buy a ship out-
  right (unless they’ve spent a lot of points on the 
  Money Perk). Instead, they may have to do a favor 
  for someone who rewards them by giving them a 
  space vehicle, steal one, or ﬁnd some other way to 
  get the credits they need.
  Second, characters can spend Character 
  Points, buying spacecraft as Vehicles as described 
  in the HERO System 5th Edition, Revised rulebook. 
  This neatly avoids the whole “Where do I get the 
  money?” problem, but comes with problems of its 
  own. Since spacecraft need all sorts of systems to 
  function, and PCs are likely to want to add a lot 
  more things that aren’t necessary but sure are fun 
  (mega-blasters, cloaking devices, teleporters...), 
  these Vehicles can end up costing a lot of points, 
  even after you divide the Vehicle’s total cost by 5. 
  In fact, they may cost so many points a starting 
  character can’t aﬀord them. In this case, the GM 
  has several options. First, he can follow the rules 
  as-is, forcing the characters to skrimp and save 
  Character Points until they can aﬀord the ship 
  they want. Second, he can make it easier on them 
  some way. Maybe he changes the divisor to 10 
  or 20, thus substantially reducing the cost, or he 
  could include only some of the ship’s systems in 
  the cost of what the PCs have to pay for (maybe 
  they get basics, like artiﬁcial gravity and com-
  munications systems, for free as “Everyvehicle 
  Equipment”). Or he could let the characters buy 
  IMPERIAL SHIP CLASSIFICATION
  Here’s an example of a space vehicle classiﬁcation system — the one used by the Terran 
  Empire in the Hero Universe future history. Since the Empire is large and has lots of 
  specialized vehicles, the system is fairly detailed. The tone is intended to echo modern 
  naval ship designations. It uses three letters to denote ship types:   the ﬁrst denotes 
  range, the second role, and the third size.
   First Letter 
  Type 
  Notes 
   
  O 
  Orbiter 
  Vehicles limited to planetary orbit
   
  S 
  Spaceship 
  Vehicles capable of interplanetary ﬂight
   
  I 
  Starship 
  Vehicles capable of interstellar travel
   Second Letter Type 
  Notes
   
  A 
  Attack 
  Warship to attack planets or bases
   
  B 
  Battle 
  Warship to attack other space vehicles
   
  C 
  Carrier 
  Vessel carrying smaller ships
   
  E 
  Exploration 
  Scout or explorer ships
   
  F 
  Freighter 
  Freighter or containership
   
  H 
  Heavy Lift 
  Tugs or boosters
   
  I 
  Intelligence 
  Espionage or intelligence-gathering
   
  L 
  Lander 
  Surface-to-orbit transport
   
  M 
  Merchant 
  Passenger liner or passenger-cargo ship
   
  P 
  Patrol 
  Patrol ship or cruiser
   
  Q 
  Covert 
  Covert-operations or decoy ship
   
  R 
  Research 
  Scientiﬁc ships
   
  S 
  Support 
  Support ships or tenders
   
  T 
  Transport 
  Bulk transport or tanker
   
  U 
  Utility 
  General-purpose vehicle
   
  X 
  Experimental Experimental ship
   
  Y 
  Yacht 
  Personal vehicle
   Third Letter 
  Type 
  Notes
   
  P 
  Personal 
  Approximately 100 cubic meters; single pilot
   
  S 
  Small 
  Approximately 1000 cubic meters; 10 crew
   
  M 
  Medium 
  Approximately 10,000 cubic meters; 50 crew
   
  L 
  Large 
  Approximately 100,000 cubic meters; 500 crew
   
  V 
  Very Large 
  One million cubic meters, or more
  Thus, an IMS is a small merchant starship, an SBL is a system-defense monitor, and an 
  OBP is a space ﬁghter. Other common ship types are OHS (orbital tugs), OLS (stan-
  dard orbital shuttles), SMM (common interplanetary liners), SPS (in-system Customs 
  cutters), STL (large interplanetary tankers), IBS (commerce escorts), IBV (super-battle-
  ships), ICL (carrier starships), IES (scouts), and so on. Individual vessels follow this 
  preﬁx with a unique registry or hull number. Often a class of ships gets numbers in 
  series.
  
  183 
  Star Hero ■ Chapter Eight
  the Vehicle “on credit” and require them to spend 
  50% of their Experience Points on the ship until 
  it’s paid oﬀ.
  Third, the GM can simply give the characters 
  the ship. Maybe he wants to ensure they remain 
  together as a group, and uses the ship as the “glue” 
  binding the team together. Or perhaps he arranges 
  the campaign so that sometime within the ﬁrst few 
  adventures, the PCs have the chance to ﬁnd, steal, 
  or otherwise acquire their own ship. However he 
  explains or justiﬁes giving the PCs a ship, the GM 
  can then use the ship as the basis for all sorts of 
  stories.
  BASIC SPACECRAFT 
  DESIGN
  Designing Vehicles in the HERO System is a 
  matter of purchasing the eﬀects you desire, rather 
  than stuﬃng components into a box until it’s full. 
  Consequently the design rules in this chapter 
  describe the sorts of eﬀects (equipment) characters 
  might want for space vehicles (with notes about 
  making them “realistic,” if desired), and then discuss 
  how to create that eﬀect in rules terms. The listing 
  of equipment and systems isn’t comprehensive, of 
  course; no listing could be. But it covers most of the 
  things commonly seen in diﬀerent types of SF.
  It’s important to remember that the HERO 
  System rules don’t impose speciﬁc requirements of 
  “realism,” or use “realistic” guidelines for things like 
  space vessel equipment. The size and weight of a 
  system isn’t relevant; depending on the technology 
  level, a given system might be huge or tiny. Where 
  this book lists dimensions or other such “realistic” 
  information for equipment, that information is just 
  a guideline. Feel free to ignore it or change it, as 
  desired and appropriate for the campaign.
  SIZE
  The Vehicle Size Table on page 463 of the HERO 
  System 5th Edition, Revised covers vehicles up to the 
  size of a destroyer — but in science ﬁction, spacecraft 
  are often much larger than that. The accompanying 
  Expanded Vehicle Size Table provides the cost and 
  game attributes for really large vessels.
  OTHER VEHICLE CHARACTERISTICS
  The STR and BODY of a spacecraft usually 
  depend solely on its Size, but this varies. Spacecraft 
  in general often have more BODY than listed, 
  since they have to survive the rigors of space. Tugs, 
  freighters, carriers, and the like usually have much 
  greater STR than normal, because their whole raison 
  d’etre is to haul large, heavy things around.
  Spacecraft usually need lots of DEF — 5 points 
  or more — because of those same rigors of space. 
  Military vessels usually have even more.
  SPACE VEHICLE EQUIPMENT
  Typically, Vehicle equipment automatically 
  counts as Bulky, as described on page 469 of the 
  HERO System 5th Edition, Revised. Given the 
  enormous size of many space vehicles, some of 
  EXPANDED VEHICLE SIZE TABLE
   
  Length 
  Width 
  Area
  Cost (hexes) 
  (hexes) 
  (hexes) 
  Mass 
  DCV 
  STR 
  KB 
  BODY
  0 
  1 
  .5 
  .5 
  100 kg 
  0 
  10 
  0 
  10
  5 
  1.25 
  .64 
  .8 
  200 kg 
  0 
  15 
  -1 
  11
  10 
  1.6 
  .8 
  1.25 
  400 kg 
  -1 
  20 
  -2 
  12
  15 
  2 
  1 
  2 
  800 kg 
  -2 
  25 
  -3 
  13
  20 
  2.5 
  1.25 
  3.2 
  1.6 ton 
  -2 
  30 
  -4 
  14
  25 
  3.2 
  1.6 
  5 
  3.2 ton 
  -3 
  35 
  -5 
  15
  30 
  4 
  2 
  8 
  6.4 ton 
  -4 
  40 
  -6 
  16
  35 
  5 
  2.5 
  12.5 
  12.5 ton 
  -4 
  45 
  -7 
  17
  40 
  6.4 
  3.2 
  20 
  25 ton 
  -5 
  50 
  -8 
  18
  45 
  8 
  4 
  32 
  50 ton 
  -6 
  55 
  -9 
  19
  50 
  10 
  5 
  50 
  100 ton 
  -6 
  60 
  -10 
  20
  55 
  12.5 
  6.4 
  80 
  200 ton 
  -7 
  65 
  -11 
  21
  60 
  16 
  8 
  125 
  400 ton 
  -8 
  70 
  -12 
  22
  65 
  20 
  10 
  200 
  800 ton 
  -8 
  75 
  -13 
  23
  70 
  25 
  12.5 
  320 
  1.6 kton 
  -9 
  80 
  -14 
  24
  75 
  32 
  16 
  500 
  3.2 kton 
  -10 
  85 
  -15 
  25
  80 
  40 
  20 
  800 
  6.4 kton 
  -10 
  90  
  -16 
  26
  85 
  50 
  25 
  1,250 
  12.5 kton 
  -11 
  95  
  -17 
  27
  90 
  64 
  32 
  2,000 
  25 kton 
  -12 
  100 
  -18 
  28
  95 
  80 
  40 
  3,200 
  50 kton 
  -12 
  105 
  -19 
  29
  100 
  100 
  50 
  5,000 
  100 kton 
  -13 
  110 
  -20 
  30
  105 
  125 
  64 
  8,000 
  200 kton 
  -14 
  115 
  -21 
  31
  110 
  160 
  80 
  12,500 
  400 kton 
  -14 
  120 
  -22 
  32
  115 
  200 
  100 
  20,000 
  800 kton 
  -15 
  125 
  -23 
  33
  120 
  250 
  125 
  32,000 
  1.6 mton 
  -16 
  130 
  -24 
  34
  125 
  320  
  160 
  50,000 
  3.2 mton 
  -16 
  135 
  -25 
  35
  130 
  400 
  200 
  80,000 
  6.4 mton 
  -17 
  140 
  -26 
  36
  135 
  500 
  250 
  125,000 
  12.5 mton 
  -18 
  145 
  -27 
  37
  140 
  640 
  320 
  200,000 
  25 mton 
  -18 
  150 
  -28 
  38
  145 
  800 
  400 
  320,000 
  50 mton 
  -19 
  155 
  -29 
  39
  150 
  1,000 
  500 
  500,000 
  100 mton 
  -20 
  160 
  -30 
  40
  155 
  1,250 
  640 
  800,000 
  200 mton 
  -20 
  165 
  -31 
  41
  160 
  1,600 
  800 
  1.25 million 400 mton 
  -20 
  170 
  -32 
  42
  165 
  2,000 
  1,000 
  2 million 
  800 mton 
  -21 
  175 
  -33 
  43
  170 
  2,500 
  1,250 
  3.2 million 
  1.6 gton 
  -22 
  180 
  -34 
  44
  175 
  3,200 
  1,600 
  5 million 
  3.2 gton 
  -22 
  185 
  -35 
  45
  180 
  4,000 
  2,000 
  8 million 
  6.4 gton 
  -23 
  190 
  -36 
  46
  185 
  5,000 
  2,500 
  12.5 million 12.5 gton 
  -24 
  195 
  -37 
  48
  190 
  6,400 
  3,200 
  20 million 
  25 gton 
  -24 
  200 
  -38 
  48
  195 
  8,000 
  4,000 
  32 million 
  50 gton 
  -25 
  205 
  -39 
  49
  200 
  10,000 
  5.000 
  50 million  100 gton 
  -26 
  210 
  -40 
  50
  205 
  12,500 
  6,400 
  80 million 
  200 gton 
  -26 
  215 
  -41 
  51
  210 
  16,000 
  8,000 
  125 million 400 gton 
  -27 
  220 
  -42 
  52
  215 
  20,000 
  10,000 
  200 million 800 gton 
  -28 
  225 
  -43 
  53
  220 
  25,000 
  12,500 
  320 million 
  1.6 tton   
  -28 
  230 
  -44 
  54
  225 
  32,000 
  16,000 
  500 million 
  3.2 tton 
  -29 
  235 
  -45 
  55
  230 
  40,000 
  20,000 
  800 million 
  6.4 tton 
  -30 
  240 
  -46 
  56
  235 
  50,000 
  25,000 
  1.25 billion 
  12.5 tton 
  -30 
  245 
  -47 
  57
  240 
  64,000 
  32,000 
  2 billion 
  25 tton 
  -31 
  250 
  -48 
  58
  245 
  80,000 
  40,000 
  3.2 billion 
  50 tton 
  -32 
  255 
  -49 
  59
  250 
  100,000 
  50,000 
  5 billion 
  100 tton 
  -32 
  260 
  -50 
  60
  255 
  125,000 
  64,000 
  8 billion 
  200 tton 
  -33 
  265 
  -51 
  61
  260 
  160,000 
  80,000 
  12.5 billion 
  400 tton 
  -34 
  270 
  -52 
  62
  265 
  200,000 
  100,000 
  20 billion 
  800 tton 
  -34 
  275 
  -53 
  63
  270 
  250,000 
  125,000 
  32 billion 
  1.6 pton 
  -35 
  280 
  -54 
  64
  275 
  320,000 
  160,000 
  50 billion 
  3.2 pton 
  -36 
  285 
  -55 
  65
  280 
  400,000 
  200,000 
  80 billion 
  6.4 pton 
  -36 
  290 
  -56 
  66
  285 
  500,000 
  250,000 
  125 billion 
  12.5 pton 
  -37 
  295 
  -57 
  67
  290 
  640,000 
  320,000 
  200 billion 
  25 pton 
  -38 
  300 
  -58 
  68
  295 
  800,000 
  400,000 
  320 billion 
  50 pton 
  -38 
  305 
  -59 
  69
  300 
  1 million 500,000 
  500 billion 
  100 pton 
  -39 
  310 
  -60 
  70
  kton:  kiloton (1,000 metric tons)
  mton:  megaton (1 million metric tons)
  gton:  gigaton (1 billion metric tons)
  tton:  teraton (1 trillion metric tons)
  pton:  petaton (1 quadrillion metric tons)
  
  184 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  their equipment may qualify as Immobile instead. 
  It moves with the vehicle, of course, but within 
  the vehicle it stays put. A Teleportation Platform 
  located on Deck 37 Aft remains there all the time; 
  it can’t show up on Deck 15 Starboard, even if 
  the characters desperately need it there. The GM 
  determines when Immobile applies; the equipment 
  described in this book provides some guidelines. 
  Typically only Vehicles that are large enough to 
  have crews in the dozens or hundreds should have 
  Immobile equipment; smaller ships are suﬃciently 
  maneuverable and traversable that their equipment 
  remains simply Bulky. And of course, the equip-
  ment/system itself must be both large and ﬁrmly 
  attached to the ship to qualify as Immobile.
  In some cases, a space Vehicle’s equipment 
  only aﬀects its crew, not the Vehicle itself. Often, 
  Vehicle powers aﬀect the vehicle itself, and anyone 
  inside it. For example, a Vehicle with Teleportation 
  can Teleport itself and all its passengers, equipment, 
  and cargo, without having to pay for the Increased 
  Mass Adder. However, a Vehicle might have a 
  Teleportation Platform for use by the crew. Obvi-
  ously, this sort of system does not allow the Vehicle 
  itself to Teleport. In most cases GMs can control 
  this situation through the simple application of 
  common sense, but if necessary, they may apply a 
  -0 Limitation, Only Aﬀects Passengers/Crew, to any 
  such abilities.
  POWER SYSTEMS
  The ﬁrst thing to consider when building a 
  spacecraft is power. Space vehicles need a lot of 
  power — to run the drives, maintain life support, 
  operate the sensors and control panels, ﬁre weap-
  ons, and so forth. The bigger the ship, the more 
  power it needs.
  Chapter Seven provides some information 
  on possible Star Hero power sources. Realistically, 
  solar power, radiothermal generators, and fuel cells 
  are most likely for present-day and near-future 
  spaceships. Nuclear ﬁssion power would be used 
  on near-future missions to the outer Solar System. 
  Fusion or cold fusion takes over in the next century, 
  to be supplanted by antimatter or singularity power. 
  Zero-point energy is the ultimate “rubber science” 
  power source — it requires no fuel and runs indeﬁ-
  nitely.
  There are two primary ways to represent 
  spacecraft power in HERO System terms:  Endur-
  ance Reserves and equipment bought to cost no 
  END.
  ENDURANCE RESERVES
  The ﬁrst, and most common, way to simulate 
  ship’s power is for the ship to have an Endurance 
  Reserve. Virtually every system on the ship, even 
  basics like artiﬁcial gravity and life support, runs oﬀ 
  this power. Therefore, when determining the END 
  and REC of the Endurance Reserve, you need to 
  take into account both the “basic” systems (things 
  the ship needs to run all the time, like life support) 
  and things that aren’t always in use (defensive 
  shields, weapons, propulsion, and so forth). For 
  story purposes, ideally the ship should have enough 
  power to run its basic and a few military systems 
  at normal strength without diﬃculty. But if it starts 
  Pushing weapons, using lots of weapons, or the like, 
  it has to dip into “power reserves” (smaller, backup 
  Endurance Reserves), or conserve power, lest it risk 
  running out of energy.
  For “basics” the spacecraft needs to maintain 
  constantly (like gravity and life support), and which 
  aﬀect the entire spacecraft (or a signiﬁcant part of 
  it), consider them the equivalent of Constant Area 
  Of Eﬀect attacks. They aﬀect the entire “area” (the 
  ship), and remain in existence on the Segments 
  between the ship’s Phases. However, the ship only 
  pays END for them on its Phases. For equipment 
  not in constant use, like weapons and cloaking 
  devices, END expenditure depends on the SPD of 
  the computer or character operating them.
  Ordinarily, a character with an Endurance 
  Reserve speciﬁes whether a power uses personal 
  END or Reserve END. A spacecraft (or starbase) 
  has no personal END, so it always uses Reserve 
  END. If a Vehicle or Base has multiple Endurance 
  Reserves (typically deﬁned as “auxiliary” power or 
  the like; see below), it may draw END from any of 
  them without paying for an Advantage or the like. 
  (Sometimes, Limitations on the Reserve restrict 
  which systems can draw END from it.)
  Pages 170-73 have numerous examples of 
  Endurance Reserve-based power systems for Star 
  Hero campaigns, many of them suitable for space-
  craft. If none of those work for the ship you have 
  in mind, you can easily use them as examples for 
  designing your own.
  NO ENDURANCE
  Alternately, characters can buy all the equip-
  ment on their spacecraft as costing no END. 
  The advantage to this is it’s simpler; it eliminates 
  END bookkeeping. The drawbacks are that (a) 
  it increases the expense of the ship, and (b) it 
  removes the potential drama and fun of the ship 
  running out of power in crucial situations. How-
  ever, if the GM and players are willing to roleplay 
  “we’re runnin’ outta power, Cap’n!” situations with-
  out regard for the rules, this option may work best 
  for the campaign.
  “I NEED MORE POWER!”
  A common trope in many science ﬁction 
  stories is for characters to increase the power to a 
  system on their spacecraft to improve that system’s 
  performance — they boost the sensors to detect 
  something at greater range, increase the strength of 
  their ship’s weapons to punch through an enemy’s 
  defenses, or enhance the shields to withstand the 
  eﬀects of a radiation storm.
  In HERO System terms, increasing equipment 
  performance by pumping in more power is best 
  reﬂected by Pushing. Pushing in Heroic campaigns 
  is normally limited to 5 Character Points’ worth of 
  eﬀect (plus bonuses based on the EGO Roll). That 
  rule works ﬁne for characters, but for spacecraft, 
  GMs should normally allow at least 10 Character 
  Points’ worth of Pushing, with no need for an EGO 
  STARSHIP DESIGN 
  AND FOCUS
  Most equipment aboard 
  a starship is built with 
  the Focus Limitation 
  (plus Bulky, as usual for 
  vehicular equipment). 
  If the Focus is Inacces-
  sible, that means it’s not 
  only diﬃcult to move, 
  but diﬃcult to disable 
  — just shutting it oﬀ at 
  one point on the ship 
  isn’t necessarily going to 
  stop it from function-
  ing throughout the ship, 
  because the ship has 
  backup systems or some 
  other method of main-
  taining that system even 
  if a particular part of the 
  ship gets damaged or 
  disabled. It takes 1 Turn 
  of eﬀort to disable/break 
  such a system through-
  out the ship.
  An Accessible star-
  ship system also prob-
  ably isn’t easy to move 
  (though it may be, 
  depending upon the 
  nature of technology in 
  the setting). However, it’s 
  easy to deprive the ship 
  (and its crew) of the use 
  of that system, whether 
  by reprogramming it, 
  damaging it, or some 
  other method.
  Unless the GM prefers 
  otherwise, starship 
  equipment uses the 
  standard rules for Dura-
  bility (HERO System 5th 
  Edition, pages 189-90) 
  to determine whether a 
  particular attack stops a 
  system from function-
  ing. At the GM’s option, 
  characters may deﬁne 
  a particular system as 
  Unbreakable, with the 
  special eﬀect being not 
  that it’s totally undam-
  ageable, but that it’s so 
  diﬀused throughout 
  the ship, has so many 
  backup systems, or is 
  otherwise so protected 
  that only massive 
  amounts of damage to 
  the ship as a whole can 
  destroy or disable it.
  Starship systems built 
  Continued on next page
  
  185 
  Star Hero ■ Chapter Eight
  Roll. However, the GM may require a Systems 
  Operation roll to route the power successfully, and/
  or an Electronics or Mechanics roll to keep from 
  damaging the system with the pulse of extra power.
  Gamemasters may even want to consider 
  allowing spacecraft equipment to be Pushed for 
  more than 10 points’ worth of eﬀect. There are sev-
  eral ways to approach this. First, GMs can require 
  spacecraft to pay for the privilege — they buy extra 
  points’ worth of eﬀect for their equipment, with the 
  Limitations Only When Pushing (-1) and Increased 
  Endurance Cost (x10 END; -4). However, that 
  can get expensive, and clutters up the spacecraft’s 
  character sheet. Second, GMs can simply increase 
  the Pushing threshold — perhaps to 20 points, or 
  maybe varying from system to system (“In this 
  campaign, you can Push sensors for 10 points’ 
  worth of eﬀect, weapons for 20 points, and defenses 
  for 30 points, at the standard END cost for Push-
  ing”). Alternately, the eﬀect may depend on the 
  appropriate roll:  a character who makes the neces-
  sary Skill Roll (typically Systems Operation, Elec-
  tronics, Mechanics, or Computer Programming) 
  exactly can Push for 10 points of eﬀect, with +5 
  points per point the roll is made by, to a predeﬁned 
  maximum. The exact parameters depend on the 
  dramatic eﬀect the GM wants to achieve — some 
  campaigns beneﬁt from the dramatic scenes where 
  a character says, “More power to the shields!”, 
  others don’t.
  Reserve And Auxiliary Power
  Many spacecraft have one or more backup 
  power sources, usually referred to as reserve 
  power, auxiliary power, batteries, or the like. Some 
  also have speciﬁc power sources dedicated to one 
  system or weapon, to keep it functioning when 
  the rest of the ship’s power has dwindled or been 
  exhausted. In HERO System terms, these are just 
  other Endurance Reserves, with much less END 
  and REC than the ship’s main power system, and 
  sometimes other Limitations (such as Only Powers 
  Speciﬁc System, typically a -¼).
  REALISTIC MOVEMENT ENDURANCE
  The HERO System does not base the END cost 
  for Movement Powers on the weight of the object 
  being moved — but “realistically,” the greater a 
  ship’s mass, the more END it should require to ﬂy 
  through space. If you want to simulate this in your 
  game, divide the cost of the spacecraft’s Size by 5 
  and add the result to the END cost for Movement 
  Powers. This would also apply to Bases, if they have 
  thrusters or the like.
  PROPULSION SYSTEMS
  Propulsion systems are the devices used to 
  move spacecraft around, whether puttering along 
  between a planet and its moon or zipping across 
  the Galaxy at many times the speed of light. 
  Moving through space typically involves the Powers 
  Flight or Faster-Than-Light Travel, though in some 
  rare cases Teleportation or Extra-Dimensional 
  Movement may be involved (with their special 
  eﬀect being “really fast ﬂight,” dimensional portals, 
  or the like).
  Under the standard HERO System rules, 
  Vehicles’ movement automatically does not cost 
  END. Since many spacecraft do have to “power” 
  their movement through fuel, a power plant, or the 
  like, they often take the Costs Endurance Limita-
  tion for it.
  Acceleration
  Given the incredibly high velocities at which 
  spacecraft move, acceleration and its eﬀects could 
  become an issue in your Star Hero game. Many 
  GMs prefer not to clutter a game session with these 
  concerns; they assume ship technology and/or the 
  crew automatically takes care of any problems. On 
  the other hand, some Hard SF gamers like to pay 
  close attention to these issues and devise realistic 
  solutions to them.
  In game terms, 1 G (one gravity) of accelera-
  tion equals 5” of Flight... roughly speaking. Since 
  the HERO System uses SPD and Phases to deter-
  mine when vehicles move, what really matters is a 
  vehicle’s velocity per Turn. One G of acceleration 
  actually amounts to 60” Flight per Turn. For a vehi-
  cle with SPD 12, or for the natural force of grav-
  ity which acts every Segment, 1 G therefore does 
  equal 5” Flight. On the other hand, a ship with SPD 
  3 needs to ﬂy 20” per Phase (either 20” Combat 
  Movement, or 10” with a standard Noncombat 
  Continued from last page
  without Focus are 
  usually so diﬀuse (as 
  described above), or so 
  intrinsically a part of 
  the Vehicle, that they 
  don’t qualify for the 
  Limitation — characters 
  cannot normally destroy 
  or disable them without 
  doing the same to the 
  entire Vehicle. A space-
  craft’s Movement is the 
  most common example. 
  But don’t forget the 
  special eﬀects involved; 
  even without a Focus 
  Limitation on a system, 
  an invader or crazed 
  crewmember may be 
  able to damage or dis-
  able a system by attack-
  ing its access panels, 
  causing it to overload, or 
  the like.
  
  186 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  Multiple) to achieve 1 G acceleration.
  As the text below describes the diﬀerent meth-
  ods of normal propulsion used in science ﬁction 
  settings, it oﬀers suggestions for the maximum 
  speeds attainable with various engines. These rep-
  resent “average” ﬁgures for “average-sized” engines 
  and spacecraft with “average” SPDs. In reality, the 
  amount of thrust an engine can generate, and thus 
  the maximum speed it can attain, depends not only 
  on the type of engine, but on the relationship of 
  the power/size of the engine to the size/mass of the 
  spacecraft.
  Engine ratings are also chosen to reﬂect their 
  usefulness in combat. That’s the main situation in 
  which gamers need to determine precisely how fast 
  and maneuverable a ship is; the rest of the time, 
  knowing a ship’s exact velocity is usually unimport-
  ant. Typically, the more advanced an engine, the 
  more eﬃcient it should be at moving a spacecraft 
  around in combat, and the more maneuverability it 
  should provide. Therefore, more advanced engines, 
  such as fusion drives and antimatter drives, allow 
  for faster normal Flight relative to engines like 
  chemical rockets.
  G FORCES
  High rates of acceleration or deceleration, or 
  abruptly sharp turns, can put a lot of extra gravi-
  tational or centrifugal force on a character in a 
  vehicle. This doesn’t happen very often in every-
  day life, but when space travel or vehicular combat 
  are involved, it can happen repeatedly.
  Forces greater than normal Earth gravity (1G, 
  or 60” per Turn) can cause characters to suﬀer 
  momentary blackouts (not enough blood to the 
  brain) and redouts (too much blood to the brain). 
  The greater the acceleration (or deceleration, or 
  centrifugal force), the greater the G forces on the 
  character, and the greater his chances of experi-
  encing problems or suﬀering injury.
  To determine the eﬀects of G force on the 
  characters in a vehicle, determine the vehicle’s rate 
  of movement per Turn (don’t forget to account 
  for moving straight “up” or “down” compared to 
  the local gravity; see page 279). Then consult the 
  accompanying G Forces Table.
  In the G-Forces Table, the STR column 
  provides a STR rating for the pull of gravity. If a 
  character tries to move in the increased gravity, he 
  has to succeed with a STR Versus STR Roll against 
  the force of the gravity. If he fails, he can’t move. 
  (For “realism” purposes, the GM may not want to 
  allow characters to use STR gained from Density 
  Increase or Growth when making the STR Versus 
  STR Roll).
  The Damage done to the character is Attack 
  Versus Limited Defense damage; the defense is 
  one of the methods of protection from G forces 
  (see below). The character takes this damage on 
  each of his Phases that the increased “gravity” 
  remains in eﬀect.
  If the damage would cause the character to 
  lose consciousness, he may attempt a CON Roll 
  at the indicated modiﬁer to maintain quasi-con-
  sciousness. The Roll may only be attempted if 
  the character would be at -0 STUN or worse. If 
  it’s successful, the character can stay conscious 
  enough to operate his controls (he can take no 
  other actions), though at -1 to Skill Rolls per -
  2 STUN below 0 he is at. A character may only 
  attempt this Roll to overcome damage from G 
  forces; it must be the most recent damage done, 
  and the only damage that’s put the character 
  below 0 STUN.
  Any Skills requiring physical movement 
  (including Control Rolls) are at the same penalty 
  as the CON Roll; this is in addition to overcoming 
  the STR of the gravity (see above).
  Protection From G Forces
  Obviously, it’s better for the characters in 
  a fast-moving vehicle if they don’t suﬀer any 
  damage from acceleration — especially when FTL 
  travel becomes possible, since rapid acceleration 
  to velocities of that magnitude reduces characters 
  to pulp (as shown in Dan Simmons’s novel Endy-
  mion, where characters must be resurrected after 
  each FTL journey).
  In most cases, it’s easiest to simply assume 
  that spacecraft come with “G Force Dampers” as 
  part of their “Everyvehicle Equipment,” and that a 
  vehicle’s Damper suﬃces to protect its occupants 
  from movement-related G force damage. That way 
  characters only have to worry about acceleration-
  related issues when the Damper malfunctions or 
  is destroyed. (The example ships later in this chap-
  ter use this method.)
  If the GM prefers that each spacecraft pay 
  Character Points for its G Force Damper, you can 
  build one in several diﬀerent ways. The simplest 
  is to buy a PD Force Field that provides 2 points 
  of PD per dice of AVLD damage the acceleration 
  could cause. The Force Field takes the Limita-
  tion Only To Protect Occupants Against G Force 
  Damage (-1). Thus, a ship capable of 5 G accelera-
  tion (5d6 damage) can protect all the occupants 
  from G forces with a 10 PD Force Field costing 
  5 Real Points. (Of course, a ship could have a 
  Damper providing less than full protection for its 
  maximum acceleration.)
  Alternately, the GM might prefer that space-
  craft use some other Defense Power for their 
  Dampers. For example, Damage Reduction would 
  counteract some of the acceleration, but not all; 
  Power Defense might be more appropriate than 
  Force Field in some settings or for some types of 
  technology.
  LIGHT DISTANCES
  Here’s a quick reference 
  to distances traveled 
  by light in given time 
  periods.
  One light-second 
  (or light-Segment) 
  is 300,000 kilome-
  ters (186,000 miles), 
  or150,000,000”.
  One light-Turn is 
  3,600,000 kilometers, or 
  1.8 billion hexes.
  One light-minute is 
  18,000,000 kilometers, 
  or nine billion hexes.
  One light-hour is a little 
  over 1 billion kilometers, 
  or 540 billion hexes.
  One light-day is about 26 
  billion kilometers, or13 
  trillion hexes.
  One light-year is 
  9,467,000,000,000 kilo-
  meters, or 4.73 quadril-
  lion hexes.
  LIMITED  
  MANEUVERABILITY
  As dramatically por-
  trayed in Arthur C. 
  Clarke’s short story 
  “Hide and Seek,” some 
  starships, particularly 
  those using rocket pro-
  pulsion, can be diﬃcult 
  to maneuver. You can 
  simulate this with the 
  Limited Maneuverabil-
  ity Limitation (HERO 
  System 5th Edition, page 
  316). The GM could 
  even expand the Limita-
  tion, making maneuver-
  ability worse in -1/4 
  increments (only one 
  turn per Phase for -1/2, 
  1 turn per Turn for -3/4, 
  and so forth down the 
  Time Chart).
  G FORCES TABLE
   
   
   
  CON 
  AVLD
  Movement 
  G 
  STR 
  Roll 
  Damage
  60” per Turn 
  1 
  5 
  -0 
  None
  61-120” per Turn 
  2 
  10 
  -1 
  1d6
  121-180” per Turn 
  3 
  15 
  -2 
  2d6
  181-240” per Turn 
  4 
  20 
  -3 
  3d6
  241-300” per Turn 
  5 
  25 
  -4 
  4d6
  301-360” per Turn 
  6 
  30 
  -5 
  5d6
  ...and so on
  
  187 
  Star Hero ■ Chapter Eight
  OPTIONAL REALISTIC SPACE  
  ACCELERATION RULES
  In space, acceleration is constant — as long as 
  a vessel keeps generating thrust in some fashion, it 
  keeps moving faster and faster. That doesn’t work 
  well in the HERO System, where movement rates 
  are ﬁxed. A HERO System Vehicle with Flight 10” 
  moves at Flight 10” every Phase, not Flight 10” the 
  ﬁrst Phase, Flight 20” the second Phase, and so on. 
  While not realistic, this is much easier for gaming 
  purposes.
  If you want to more closely simulate realistic 
  (Newtonian) acceleration with rules, you can use 
  a variant of the Cumulative Advantage. Instead of 
  buying up the total eﬀect, you buy up the inches of 
  Flight — each +¼ Advantage after the ﬁrst doubles 
  the number of inches of Flight the Vehicle can 
  attain (see the accompanying sidebar for Cumula-
  tive multipliers). The upper limit of the Cumula-
  tive is as fast as the ship can go; this may represent 
  a limit on its fuel supply, its equipment, its struc-
  tural integrity, or the like. (For even greater real-
  ism, establish a ﬂat cost for the Cumulative Advan-
  tage for Flight, but impose no upper limit, other 
  than just under the speed of light. The only other 
  restriction would be how much fuel the ship had; it 
  has to stop accelerating when it runs out of fuel.)
  The acceleration for a ship using Cumulative 
  Flight increases constantly — it adds its inches of 
  Flight each Phase until it reaches the maximum. 
  In the example above, the ship would ﬂy as a rate 
  of 10” the ﬁrst Phase, 20” its second Phase, 30” its 
  third Phase, and so on until it reaches 2,000”. The 
  GM may rule that a ship adds velocity at a slower 
  rate, such as inches per Turn.
  The drawback to this is that the ship can’t 
  decelerate any more quickly. It can only remove 
  velocity at the same rate it adds velocity. That usu-
  ally means ships have to start braking at roughly 
  the halfway point to their destination. Vehicles 
  using these optional rules cannot apply the 
  Increased Acceleration/Deceleration Advantage to 
  their Flight. This form of acceleration only works 
  in the vacuum of space; if a ship can enter atmo-
  spheres, it uses normal movement rules in them.
  None of the propulsion systems described in 
  this book use these optional rules, unless speciﬁ-
  cally noted.
  ESCAPE VELOCITY
  Planets exert gravity on objects on or near 
  them, including spacecraft. This means space-
  craft that cannot accelerate continuously (such as 
  twenty-ﬁrst century rockets) have to exceed the 
  force of gravity to get into orbit or leave a planet. 
  If they can’t ﬂy fast enough, they’re stuck there... or 
  they may crash into the planet!
  Earth’s escape velocity is 11.1 km/second. You 
  can determine other planets’ escape velocities with 
  the following formula:
  1.  Determine the planet’s gravity (G), relative to Earth. 
  Thus, a planet with twice Earth’s gravity has 2 G.
  2.  Determine the planet’s radius (R), relative to 
  Earth (Earth’s radius = 6,400 km). Thus, a planet 
  with a radius of 8,952 kilometers has 1.4 R.
  3.  Multiply G x R.
  4.  Determine the square root of the result of Step 3.
  5.  Multiply the result of Step 4 by 11.1. That tells 
  you the escape velocity in kilometers per second.
  Thus, VE = 11.1 x (square root of (G x R)) in 
  kilometers per second.
  For the planet described above, the escape 
  velocity would be 11.1 x 1.67 (the square root of 2 
  x 1.4), or 18.5 km/sec.
  To convert kilometers per second into inches 
  of Flight per Phase, use the following formula:
  1.  Multiply the kilometers per second rating by 12. 
  This tells you how many kilometers the vehicle has 
  to move per Turn.
  2.  Divide the result of Step 1 by the Vehicle’s SPD. 
  That tells you how many kilometers it has to move 
  per Phase to achieve that velocity.
  3.  Multiply the result of Step 2 by 500; that converts 
  kilometers per Phase to game inches per Phase. 
  That’s how fast the vehicle has to move (using Non-
  combat movement) to achieve escape velocity.
  For example, Earth’s escape velocity is 11.1 
  km/sec. That equals 133.2 km/Turn. For a Vehicle 
  with SPD 3, that’s 44.4 km/Phase, or 22,200” per 
  Phase (call it 22,000” for ease of calculation). That 
  equates to Flight 11”, x2000 Noncombat (total cost:  
  72 points). MegaScale might provide a cheaper way 
  to build this in some cases (e.g., Flight 5”, MegaS-
  cale [1” = 10 km; +½] [total cost:  15 points]), if the 
  GM allows it.
  SPACE ELEVATORS
  To overcome the energy cost and other dif-
  ﬁculties associated with achieving escape velocity, 
  some scientists have suggested the concept of a 
  “space elevator.” Also known, in science ﬁction 
  terms, as a “beanstalk,” a space elevator is a miles-
  tall structure that reaches from the planet’s surface 
  to a geostationary orbit in outer space. Passengers 
  and cargo ferry up and down the stalk in elevators, 
  while ships remain docked to it in outer space and 
  never have to worry about entering the atmosphere, 
  landing on the planet, or getting out of the planet’s 
  gravity well.
  In HERO System terms, you can deﬁne a 
  beanstalk as Flight Usable By Others, with the Extra 
  Time Limitation to represent how long it takes to 
  get from the surface to a docked ship. Naturally, the 
  structure also shelters users, providing Life Support. 
  Assuming an Earth-size planet (with a geostation-
  ary orbit of 35,880 km), it might look something 
  like this:
  Space Elevator:  Flight 4”, Usable Simultane-
  ously (up to 800 kg worth of people and cargo; 
  +¾), MegaScale (1” = 10,000 km; +1 ¼) (24 
  Active Points); Extra Time (1 Hour; -3) (total 
  cost:  6 points) plus Life Support (Self-Con-
  tained Breathing, Safe Environments:  High 
  Radiation, Intense Cold, Intense Heat, Low 
  Pressure/Vacuum), Usable Simultaneously (up 
  OPTIONAL  
  CUMULATIVE 
  FLIGHT  
  MULTIPLIERS
  Value 
  Multiplier
  +¼ 
  x2
  +½ 
  x4
  +¾ 
  x8
  +1 
  x16
  +1 ¼ 
  x32
  +1 ½ 
  x64
  +1 ¾ 
  x125
  +2 
  x250
  +2 ¼ 
  x500
  +2 ½ 
  x1,000
  +2 ¾ 
  x2,000
  +3 
  x4,000
  +3 ¼ 
  x8,000
  +3 ½ 
  x16,000
  +3 ¾ 
  x32,000
  +4 
  x64,000
  +4 ¼ 
  x125,000
  +4 ½ 
  x250,000
  +4 ¾ 
  x500,000
  +5 
  x1,000,000
  For multipliers not indi-
  cated on the table (such 
  as x200), use the next 
  highest multiplier.
  Here’s an example:
  Flight 10”, Cumula-
  tive (+½), Increased 
  Cumulative Inches 
  (x200, or 2,000”; +2). 
  Total cost:  70 points.
  
  188 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  to 800 kg worth of people and cargo; +¾) (total 
  cost:  31 points). Total cost:  37 points.
  Normal Propulsion
  “Normal propulsion” refers to engines and 
  drives which move spacecraft in normal space at 
  STL speeds. In Star Hero there are two ways to 
  represent normal spacecraft movement. The ﬁrst 
  is the Hard Science path, using rocket motors 
  and following Newtonian mechanics. The second 
  is the grand tradition of Space Opera, in which 
  spacecraft behave like ﬁghter planes and the 
  objections of science purists are drowned out by 
  the whooshing of engines in vacuum.
  DELTA-V
  The main currency of realistic space travel 
  is “delta-V,” or how much change in velocity a 
  spacecraft’s engines can impart to it with a given 
  load of fuel. This is important because veloc-
  ity determines what orbit a spacecraft follows, 
  whether it can escape from a given planet’s grav-
  ity well, and how fast it can make the transit to 
  another world.
  In HERO System terms, this is best repre-
  sented by using the ship’s movement as its delta-
  V:  if a spacecraft has Flight 12”, it can change its 
  velocity by 12” per Phase. This assumes rockets 
  use Noncombat Movement whenever possible, 
  throttling down to “battle speed” only when 
  maneuvering and evading becomes important. 
  This converts to kilometers per second by divid-
  ing total Move per Turn by 6000. For really high-
  speed rockets, the MegaScale Advantage simpliﬁes 
  calculation — buy the ﬁnal delta-V as MegaScale 
  Flight and then apply the Extra Time Limita-
  tion to get the time needed for a “full burn” (i.e., 
  to burn the fuel and accelerate the vessel to full 
  speed).
  ROCKETS
  In the real world, the only way to make 
  yourself move in space is by Newton’s Third Law:  
  for every action there is an equal and opposite 
  reaction. Rockets make use of this by throwing 
  their exhaust away at high speed, imparting an 
  equal momentum to the rocket in the opposite 
  direction. Solar sails take the opposite approach 
  — they catch fast-moving particles streaming out 
  from the Sun, and thereby gain momentum in the 
  same direction.
  Realistically, rockets are likely to remain 
  the most popular method of getting around in 
  normal space:  they’re compact, powerful, and 
  allow people to move relatively heavy loads. They 
  come in several types.
  Chemical Rockets
  These are the oldest, and still the most 
  common, form of normal space propulsion. They 
  burn chemicals in energetic reactions to produce 
  thrust. Chemical rockets come in two main types:  
  solid-fuel and liquid-fuel. Solid-fuel rockets con-
  tain energetic solid compounds like gunpowder, 
  which burn once ignited. They are simple and 
  dependable, but can’t be turned oﬀ once lit. This 
  makes them most suitable as boosters or missiles. 
  In HERO System terms, you can represent a solid-
  fuel rocket as Flight with 1 Continuing Charge; 
  typically the Charge Never Recovers.
  Liquid-fuel rockets combine chemicals like 
  liquid hydrogen and oxygen, or kerosene and 
  oxygen. Unlike solid rockets, pilots can throttle 
  them down, or switch them on and oﬀ. In HERO 
  System terms, you can simulate liquid-fuel rockets 
  with Fuel Charges.
  Chemical rockets intended for manned 
  spaceﬂights usually cannot exceed 180” per Turn 
  (3 G), since more would endanger the passengers. 
  Chemical rockets for unmanned craft can attain 
  velocities of 420” per Turn (7 G).
  A rough guideline for the size of chemical 
  rockets depends on acceleration. High-accelera-
  tion rockets (like the ones used to boost oﬀ Earth 
  or other planets) take up about 1 hex times the 
  required delta-V in kilometers per second, per 
  hex (5 tons) of payload (deﬁned as everything 
  that isn’t the rocket motor or fuel). This means 
  chemical boosters are really big — a Saturn moon 
  rocket was as tall as a skyscraper, for example.
  Thermal Rockets
  Thermal rockets take a ﬂuid fuel (usually 
  hydrogen gas) and superheat it. As the fuel gets 
  hot it expands, and this produces thrust. Thermal 
  thrust usually isn’t enough to lift a rocket oﬀ a 
  planet, but the rocket has good fuel eﬃciency, 
  making this a favored choice for future interplan-
  etary missions. Of course, thermal rockets need a 
  heat source.
  Nuclear thermal rockets direct the fuel 
  through a compact nuclear ﬁssion reactor. This 
  provides a lot of heat, but unfortunately both the 
  reactor and the exhaust pose a radiation hazard. 
  In HERO System terms, Nuclear Thermal rockets 
  have up to 60” Flight per Turn with a Side Eﬀect 
  (automatic Change Environment to increase 
  radiation levels; -¼).
  Solar thermal rockets focus sunlight directly 
  onto the fuel heating chamber with giant mirrors. 
  This is more eﬃcient than a solar-powered elec-
  trothermal rocket, but it drops oﬀ in eﬀectiveness 
  as the intensity of sunlight decreases. The large 
  mirrors are also fragile and bulky. Solar thermal 
  propulsion is up to 6” per Turn Flight (0.1 G) 
  bought with the Limitations OAF Bulky Fragile 
  and Requires Solar Proximity (use full inches 
  within 1 AU of a star, halve the inches of Flight 
  for each AU beyond that; -½).
  All thermal rockets are bulky, taking up at 
  least 2 hexes each, and use about ½ hex of fuel 
  per hex of payload per kilometer per second of 
  delta-V. Low-thrust rockets either buy Flight at 
  low velocities to simulate a long slow burn, or else 
  buy MegaScale Flight with a lot of Extra Time.
  Ion and Plasma Rockets
  These highly eﬃcient rocket motors use 
  extremely tiny amounts of fuel, but accelerate it to 
  tremendous speeds using electrical or magnetic 
  
  189 
  Star Hero ■ Chapter Eight
  ﬁelds. The motors are fairly compact, 
  but they do need lots of power. Ion 
  motors can only manage very low 
  accelerations — no more than 1” 
  Flight per Turn (0.017 G). Plasma 
  rockets can get up to 30” Flight per 
  Turn (0.5 G). Fuel use for ion motors 
  is very eﬃcient; they need about 1 hex 
  of fuel for up to 20 hexes of vehicle. 
  Plasma rockets need more:  about 1/5 
  of the vehicle hexes per kilometer per 
  second of delta-V. 
  VASIMR Rocket
  This is a real-world space propul-
  sion system, developed for near-future 
  Mars missions. It is popular among 
  space engineers because it combines 
  the relatively high thrust of a thermal 
  rocket with the eﬃciency of an ion 
  drive. It can’t do both at once, but can 
  switch between modes. Price:  6,000 
  credits, or more.
  Flight 30” (60 Active Points); 1 Con-
  tinuing Fuel Charge (easily-obtained 
  fuel; 1 Month; -0). Total cost:  60 
  points.
  RUBBER SCIENCE ROCKETS
  Science ﬁction writers have come up with a 
  variety of space propulsion systems using tech-
  nology that doesn’t exist yet. They range from 
  things which may ﬂy in a few years to completely 
  imaginary technologies.
  Fusion Rockets
  If you have fusion power, then a fusion reac-
  tor with a nozzle on one end is a pretty eﬀective 
  rocket. Thrust would be high, at least as good as 
  nuclear-thermal rockets and probably better. Fuel 
  consumption would rival VASIMR or ion drives. 
  Fusion rockets are extremely common in science 
  ﬁction.
  Realistically, a fusion rocket can reach 
  velocities of 180” per Turn for manned ﬂights 
  and 420” per Turn for unmanned ships; in Space 
  Opera and the like, they can go much faster. Fuel 
  requirement is 1/100 of the ship’s hexes per kilo-
  meter per second of delta-V.
  Antimatter Rockets
  For real oomph, drop a pellet of antimat-
  ter in your fuel and stand back. Since antimatter 
  releases staggering amounts of energy, exhaust 
  velocities are very high and so thrust and fuel 
  economy reach amazing levels. This is probably 
  the most powerful rocket possible. However, the 
  drive itself may be fairly large because of shield-
  ing requirements (assume ¼ of vehicle hexes), not 
  to mention expensive to run (assume antimat-
  ter costs 1,000,000 credits per hex of drive per 
  month). In game terms it can reach just about any 
  level of STL acceleration; the issue is how much 
  G force the crew and contents of the ship can 
  withstand.
  Reactionless Drives
  These completely blow the laws of conserva-
  tion of energy out of the water, and are entirely 
  Rubber Science. A reactionless drive moves the ship 
  in a given direction without squirting anything out 
  the back. Their convenience makes them popular 
  in science ﬁction games — no worrying about 
  fuel consumption. Reactionless drives are pretty 
  compact (1/10 of vehicle hexes), but do use a lot of 
  power. They can have as many inches of Flight per 
  Turn as you want.
  SPACE SAILS
  Rockets need so much fuel because they accel-
  erate by shooting stuﬀ out the back. But instead of 
  shooting stuﬀ out at high speeds, a spacecraft can 
  try catching stuﬀ that’s already moving fast. That’s 
  what a sail does.
  Space sails come in three varieties. Solar sails 
  ride the solar wind — the pressure of light and 
  particles streaming out from the Sun. Obviously 
  this wind isn’t very strong, so sails must be huge 
  and delicate to carry even a small payload. The 
  advantage is that they can accelerate indeﬁnitely, 
  building up speed over long periods. Solar sails 
  could be used for unmanned cargo hauling within 
  the Solar System, especially on trips out to the giant 
  planets. A sail ship could also keep going, aiming 
  for Proxima Centauri or some other nearby star. 
  It would take a while — top speed for a solar sail 
  would be around 300 kilometers per second (1.8 
  million inches per Turn), or 1,000 years per light-
  year. Sails have about 1 hex of payload per square 
  kilometer of sail.
  A second sail design starts with the basic solar 
  sail and adds a huge laser built on Mercury or the 
  Moon. The laser shines on the sail, boosting it as it 
  ﬂies outward. The laser would have to be gigantic, 
  
  190 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  but it doesn’t have to be mobile and is entirely re-
  usable. Laser-boosted sails could reach 1 percent of 
  the speed of light, making star probes or trips to the 
  Oort Cloud possible.
  The ﬁnal type of sail is a “plasma sail.” Instead 
  of a thin sheet of silvery plastic, a plasma sail is a 
  web of wires and a bubble of hydrogen. The wires 
  carry power to turn the hydrogen into a plasma, 
  which is contained by the magnetic ﬁeld generated 
  by current ﬂowing through the wires. The advan-
  tage is that the sail itself is lighter, and can interact 
  with the Sun’s magnetic ﬁeld for extra thrust and 
  maneuverability — but at the cost of requiring an 
  on-board source of power. 
  Solar Sail
  This is a typical solar sail, built using the 
  optional space acceleration rules (the vehicle with 
  the sail is assumed to have SPD 2). Price:  12,000 
  credits per square kilometer, or more.
  Flight 1”, Cumulative (+½), Increased Cumu-
  lative Inches (x900,000, or 900,000”; +5), 
  Reduced Endurance (0 END; +½) (14 Active 
  Points); OIF Bulky Fragile (-1 ¼), Requires 
  Solar Proximity (use full inches within 1 AU 
  of a star, halve the inches of Flight for each AU 
  beyond that; -½). Total cost:  5 points.
  ROCKETS TO THE STARS
  To reach other stars, you don’t need a faster-
  than-light starship; all you really need is one of the 
  rockets described above and a whole lot of fuel. It 
  may take a while, though. Chemical and thermal 
  rockets can’t really power a ship to anything above 
  1 percent of the speed of light (3,000 kilometers 
  per second [18 million inches per Turn]). Even that 
  would take a gargantuan ship and a long time to 
  accelerate a tiny payload on its way. At 1 percent of 
  the speed of light, a probe to Alpha Centauri would 
  take more than 400 years to make the trip — which 
  suggests it would be better to wait for someone to 
  invent a faster rocket.
  Fusion and antimatter rockets would be able 
  to reach speeds on the order of 10 percent of light-
  speed (30,000 kilometers per second [180 million 
  inches per Turn]). That would put Alpha Centauri 
  within reach for an unmanned probe. Humans 
  traveling at those speeds would need some way to 
  pass the decades in ﬂight. There are two possibili-
  ties:
  Generation Ships
  Who cares how long it takes? Launch a large 
  self-contained space colony at the stars, and entire 
  generations can grow up and grow old before the 
  ship reaches its destination. By the time Humans 
  can launch something big at thousands of kilome-
  ters per second, they should have solved the prob-
  lems of maintaining a self-contained environment 
  for decades. Generation ships would carry popula-
  tions of hundreds or thousands (carefully chosen 
  for genetic diversity), and everything a colony 
  might need, because it’s going to be a one-way trip.
  The two main problems with generation ships 
  are:  why go, and why stop? Why go — why expend 
  the unimaginable sums to build and launch a gen-
  eration starship when nobody alive at the launch 
  lives to see its arrival? One possible reason is a ter-
  rible calamity which promises to make the home 
  planet uninhabitable. It has to be a calamity which 
  can’t be solved by the kind of eﬀort needed to 
  launch a starship. Perhaps a black hole or neutron 
  star is due to pass through the Solar System, dis-
  rupting orbits and ﬂinging homeworld into its sun 
  or deep space.
  Why stop — if the starship is comfortable and 
  has everything the crew needs for long-term sur-
  vival, why should they bother stopping at the target 
  system for the tedious job of colonizing a planet? 
  After generations in space, they might prefer life 
  aboard ship. Of course, the crew may not have any 
  say in the matter, if the ship is controlled by a com-
  puter system following instructions programmed 
  by the ship’s builders. Or the natural Human 
  (Venusian, Denebian...) inclination to explore new 
  places might make the inhabitants want to get oﬀ 
  the ship.
  Hibernation
  Bears do it, brine shrimp do it, why not 
  Humans? If a way could be found to put the crew 
  into stasis, the whole project of interstellar travel is 
  greatly simpliﬁed. Crew in hibernation (sometimes 
  referred to as “cold sleep”) use less life support, 
  don’t get bored, don’t die of old age before the trip 
  is over, and don’t care how long the journey takes. 
  With hibernation equipment and a suﬃciently 
  long-lived power supply, ships could take decades 
  or centuries to travel between stars. Hibernation is 
  a fairly common means of interstellar ﬂight in Low 
  SF settings.
  Hibernation Unit:  This is a one-person “cold sleep 
  pod.” It requires external power, but so little that it 
  can run for decades without maintenance — the 
  need for power is a special eﬀect, not an END cost. 
  Price:  160 credits, or more.
  Life Support (Longevity:  age at one-eighth 
  normal rate) (3 Active Points); OIF Immobile 
  (-1 ½). Total cost:  1 point.
  Faster-Than-Light Propulsion
  All faster-than-light (FTL) travel is currently 
  beyond the laws of physics as we understand 
  them. This means GMs are free to select their FTL 
  drives on the basis of how they aﬀect the campaign 
  structure, rather than strict realism (though once 
  a method is chosen, the GM should try to discern, 
  make clear to the players, and follow its “realistic” 
  implications). Factors to consider are the speed of 
  interstellar travel, the cost and reliability of FTL 
  ﬂight, what constraints on operation exist, and how 
  ships interact with the universe while traveling.
  SPEED
  Speed of FTL ﬂight in a star-spanning cam-
  paign is a relative matter. The question is how 
  quickly characters can go from one inhabited star 
  system to another. If inhabited systems are close 
  BUSSARD RAMJETS
  For a time in the 1960s 
  it seemed the stars 
  might be easy to reach 
  after all. Aerospace 
  engineer Robert Bus-
  sard envisioned a fusion 
  rocket which would 
  use magnetic “scoops” 
  to collect interstellar 
  hydrogen for fuel. A 
  Bussard ramjet would 
  thus be a slower-than-
  light starship with no 
  need for fuel tanks, 
  and could accelerate 
  almost arbitrarily close 
  to lightspeed. Time 
  dilation would make 
  voyages seem quick to 
  the people on board, 
  allowing expeditions to 
  nearby stars.
  Only it doesn’t really 
  work that way. Scooping 
  up even the thin hydro-
  gen of interstellar space 
  means friction, and the 
  friction goes up with 
  speed. The maximum 
  velocity for a ramjet 
  would be about 12 per-
  cent of the speed of light 
  — not bad, certainly, 
  but not fast enough for 
  easy interstellar travel. 
  If some rubber sci-
  ence method could be 
  devised to negate fric-
  tion, the Bussard ramjet 
  is the way to go.
  In HERO System terms, 
  a Bussard drive is FTL 
  Travel at the speed of 
  light, with the Extra 
  Time Limitation to 
  reﬂect the time required 
  to boost up to full speed 
  (at least a year, assuming 
  acceleration is limited 
  to 1 G).
  
  191 
  Star Hero ■ Chapter Eight
  together, on the order of 10 light-years or so, then 
  a drive capable of 100 to 1000 times the speed of 
  light makes them easy to reach. Greater distances 
  require faster drives.
  Speed of travel aﬀects the structure of inter-
  stellar governments, the conduct of trade, and a 
  host of other issues. If star travel is as rapid as, say, 
  modern air transport, then interstellar society can 
  be fairly uniform — the same fast food outlets on 
  every planet. Quick starﬂight also allows highly 
  centralized government, eﬃcient interstellar law 
  enforcement, and a well-integrated web of com-
  merce.
  Slow FTL travel creates a situation more like 
  the Age of Sail. Interstellar empires are possible, 
  but the local rulers or governors have a lot of 
  autonomy because they can’t wait for instructions 
  from home in a crisis. Military forces can’t react 
  quickly, either. Trade is possible, but becomes 
  much more speculative and risky, since market 
  conditions can change during the voyage.
  Another point to consider is how fast ships 
  are compared to each other. Can a ship with 
  bigger engines go faster in FTL mode than an 
  underpowered one... or is there a set FTL speed, 
  with the engine size varying only to match the size 
  of the ship? If big ships can go faster, then they 
  may act as “carriers” for smaller vessels. If crowd-
  ing the ship with engines and power makes it 
  faster, then governments and businesses can build 
  dedicated courier ships to carry messages and 
  important passengers. Warships will be either fast 
  and lightly-armored or slow and well-protected.
  As a useful guideline, the GM should look 
  at the astrographical scope of his campaign and 
  decide how quickly he wants characters to travel 
  across it. If, for example, a campaign uses the 
  entire Milky Way Galaxy (100,000 light-years in 
  diameter), and the GM wants characters to have 
  the ability to cross from one edge of the Galaxy to 
  the other in one year, then the fastest FTL drives 
  have to be 100,000 times the speed of light.
  COST AND DIFFICULTY
  If star ﬂight is expensive or dangerous, it 
  becomes a lot less common, even if travel is fairly 
  rapid. The best modern-day analogy is orbital 
  spaceﬂight — a Space Shuttle reaches orbit in less 
  than an hour, but the cost is astronomical and the 
  danger is real. Instead of interstellar tourism, star 
  travel becomes the province of highly-trained 
  and dedicated explorers like modern astronauts. 
  Colonies in other star systems are smaller, without 
  a ﬂow of poor immigrants looking for a better 
  life. Instead, colonies begin with small but well-
  equipped groups, and grow by their own eﬀorts. 
  This tends to create highly diverse colony worlds 
  after a few centuries, since diﬃcult star travel 
  makes it hard for the mother world to retain 
  control. Trade is limited to extremely high-value 
  items worth the risk and expense.
  Expensive and dangerous interstellar travel 
  also encourages the development of less-than-
  habitable planets in colonized star systems. It may 
  be easier, and cheaper, to terraform a diﬃcult 
  planet (like Venus) than try to establish colonies 
  on Earth-like worlds that are too far away to travel 
  to easily. Campaigns in such a setting may spend 
  long periods in one system.
  On the other hand, if star ﬂight is cheap 
  and easy, it’s more like air travel on twenty-ﬁrst 
  century Earth:  it takes place constantly; even rela-
  tively low-income people can aﬀord to ﬂy occa-
  sionally; many companies or institutions compete 
  for travelers’ credits; trade and contact between 
  worlds is commonplace. That makes for a very dif-
  ferent campaign setting, one in which the PCs can 
  ﬂit from one planet to another without trouble.
  CONSTRAINTS
  Gamemasters can make FTL travel subject 
  to whatever limits they desire. Many drives in ﬁc-
  tion don’t work near a planetary mass (or within 
  the gravity well of a star), requiring a voyage in 
  normal space to the “jump point” or “warp limit” 
  before activating the FTL drive. This has useful 
  dramatic eﬀects:  space pirates can waylay ships in 
  normal space, an invading armada can’t material-
  ize directly above a planet, and star travelers can’t 
  just jump away from problems.
  Some drives require a living pilot, possibly 
  with a psionic talent or cybernetic modiﬁcations. 
  This has two eﬀects:  designers cannot build auto-
  mated starships, which makes interstellar message 
  drones and FTL missiles impossible; and it gives 
  the pilots a great deal of leverage. Pilots’ organiza-
  tions (like the Spacing Guild of Frank Herbert’s 
  Dune) become major players in interstellar poli-
  tics if star travel is a limited monopoly. Characters 
  with the right Talent (see page 51) can always ﬁnd 
  work, even if they have serious personality ﬂaws 
  or a checkered past.
  Alternately, the interstellar drive may depend 
  on a very rare substance, like Star Trek’s dilithium 
  crystals or the psychoactive spice melange in 
  Dune. Whoever controls this resource controls the 
  Galaxy, or at least travel between planets. Sources 
  of “unobtainium” become the galactic equivalent 
  of oil ﬁelds or gold mines. A remote frontier world 
  can boom overnight if prospectors ﬁnd a useful 
  lode. If only one civilization or species knows 
  about the magic ingredient, all the others will try 
  as hard as they can to learn the secret and break 
  the monopoly.
  Some methods of star travel rely on natural 
  features of the Galaxy — wormholes connect-
  ing distant star systems, stargates (either natural 
  or left by an ancient civilization), or just regions 
  where light moves faster. This kind of “geography” 
  determines how colonies spread and where an 
  interstellar empire’s ﬂeets can conquer. Star sys-
  tems on wormhole routes are “valuable real estate” 
  and will be settled even if they aren’t especially 
  inviting. Remote systems without stargates may be 
  home to weird and isolated societies.
  INTERACTIONS
  Some FTL drives evade Einstein’s speed limit 
  by taking short cuts through other universes or 
  dimensions. A ship in hyperspace or jumpspace is 
  BREAKING THE  
  FTL MONOPOLY
  A very interesting cam-
  paign hook is to set up 
  the society with one set 
  of rules for FTL travel... 
  and then introduce 
  a technology which 
  changes them. Suppose 
  interstellar travel has 
  been the monopoly of 
  psionic star pilots for 
  centuries; now some 
  genius has found a way 
  to let anyone pilot a ship. 
  Suddenly the long peace 
  enforced by the Guild is 
  over:  the wealthy indus-
  trial planets are building 
  space ﬂeets to conquer 
  their neighbors. But 
  the economic malaise 
  has ended, too:  trad-
  ers are venturing out in 
  search of markets, and 
  explorers are ﬁnding 
  new worlds. The char-
  acters could rediscover 
  lost colonies forgotten 
  by the Guild, and there 
  are great opportunities 
  for anyone with a ship, 
  a trusty blaster, and an 
  adventurous spirit.
  
  192 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  completely cut oﬀ from the normal universe. This 
  has a number of interesting implications. Enemy 
  ﬂeets may be able to travel undetected to the 
  heart of an interstellar empire; this means each 
  planet has heavy defenses, creating a situation like 
  castle-studded feudal Europe or Japan.
  Ships in hyperspace may also be cut oﬀ from 
  communication or help, which means the passen-
  gers and crew are entirely on their own if some-
  thing goes wrong. This makes a ship in jumpspace 
  a great location for a “whodunit” style mystery or 
  a “mad slasher” horror scenario.
  An interstellar civilization linked by ships 
  jumping through hyperspace is like a group 
  of islands connected by air routes. The empty 
  expanses of space between the stars can hold all 
  kinds of surprises — brown dwarf stars too dim 
  to see, drifting relics of ancient alien cultures, or 
  space-dwelling life forms. Hyperspace may have 
  similar features, or be home to even stranger 
  things....
  FICTIONAL STARDRIVES
  Over time, science fiction stories and films 
  have created a suite of fictional star drives with 
  interesting properties. 
  Warp Drive
  The FTL drive made famous by Star Trek, a 
  warp drive works by distorting (“warping,” so to 
  speak) the space-time continuum in ways that 
  allow the ship to propel itself at superluminal 
  speeds. Similar to warp drives are “folded space 
  drives,” which compress the distance the ship 
  travels as it moves. The ship moves at a modest 
  speed, but covers great distances because the 
  drive “shrinks” the space in front of it.
  Warp drives usually allow starships to 
  interact with the rest of the universe, though 
  slower-than-light weapons aren’t very useful 
  against a ship in warp drive. Warp drives aren’t 
  usually limited by natural conditions, but some-
  times depend on rare elements. Distorting space 
  requires a lot of energy (and the faster you go, 
  the more energy you need). This means warp 
  travel is fairly expensive for all but the most 
  advanced and affluent Space Opera civilizations.
  Movement with a warp drive is non-Newto-
  nian — the ship moves forward while the drive is 
  on, and stops when the drive is shut off. Naviga-
  tion is fairly simple:  the crew can look out of the 
  cockpit window and see where it’s going. Warp 
  drive units in fiction are bulky, requiring as 
  much as half the total hexes of the ship.
  Warp Drive:  This is a typical warp drive engine, 
  able to drive its ship at the rate of one light-year 
  per day. Price:  28,000 credits, or more.
  FTL Travel (1 LY per day) (28 Active Points); 
  Costs Endurance (-½), Increased Endurance 
  Cost (x10; -4). Total cost:  5 points.
  Hyperdrive
  Hyperdrive works by going “around” normal 
  space, through another universe or dimension 
  where distances are shorter. The exact nature 
  of “hyperspace” is up to the GM — it can be a 
  featureless void, or a universe of its own with 
  bizarre natural laws (and possibly inhabitants). 
  There may be different “levels” of hyperspace 
  allowing faster travel with greater risk or energy 
  expenditure. Hyperspace may be easily navigable, 
  or ships could instantly become lost without a 
  beacon to follow (and communications equip-
  ment to follow it with). It may have no planets 
  or inhabitants, or it could be the realm of bizarre 
  creatures whose very appearance drives Humans 
  insane.
  Navigating in hyperspace can be tricky. 
  Often the ship emerges only generally near the 
  target system, and hazards in hyperspace itself 
  may push the starship off course. Gamemas-
  ters may require characters to buy Navigation 
  (Hyperspace) to find their way, or may forbid 
  them to have any such Skill, forcing them to rely 
  on established beacons or landmarks.
  Hyperdrive usually requires a large pulse of 
  energy when entering and leaving hyperspace. 
  Some types of hyperdrive need a large fixed 
  portal (like a star gate; see below) to enter or 
  leave hyperspace (and usually beacons to guide 
  ships between portals). This naturally makes the 
  portals very important and well-protected loca-
  tions, but makes it possible for any spaceship 
  to venture into hyperspace. Movement while in 
  hyperspace itself can be Newtonian, or subject to 
  whatever bizarre natural laws exist in the alter-
  nate dimension.
  If hyperspace is generally empty and fea-
  tureless, posing few threats to ships or charac-
  ters, you can build hyperdrives as MegaScaled 
  Teleportation with the Extra Time Limitation. If 
  hyperspace is a “real place,” then hyperdrive is a 
  combination of Extra-Dimensional Movement 
  and FTL Travel (or, in some cases, MegaScale 
  Teleportation).
  Hyperdrives are usually fairly bulky systems 
  requiring a lot of power. Assume the hyperdrive 
  takes up about one-fourth of the ship’s total 
  space.
  Hyperdrive:  This is basic hyperdrive, built on the 
  assumption that nothing noteworthy happens 
  to ships or people in hyperspace. It has a range 
  of up to 10 light-years. Price:  90,000 credits, or 
  more.
  Teleportation 10”, MegaScale (1” = 1 light-
  year; +3 ½) (90 Active Points); Extra Time (1 
  Week for a full journey, or a little more than 
  1 LY per day; -4 ½), Increased Endurance 
  Cost (x5 END; -2). Total cost:  12 points.
  Hyperspace Engine:  This is a form of hyperspace 
  travel used in settings where hyperspace itself 
  has features and possible dangers. Characters 
  need to use Navigation (Hyperspace) to find 
  their way while there. Price:  53,000 credits, or 
  more.
  Extra-Dimensional Movement (any location 
  in hyperspace, corresponding to the location 
  in normal space where the ship enters) (total 
  
  193 
  Star Hero ■ Chapter Eight
  cost:  25 points) plus FTL Travel (1 LY per 
  day) (28 Active Points); Costs Endurance (-
  ½), Increased Endurance Cost (x10; -4), Only 
  In Hyperspace (-1) (total cost:  4 points). 
  Total cost:  29 points.
  Jump Drive
  The jump drive lets starships “jump” instan-
  taneously from one star system to another, 
  whether by quantum tunnelling, converting the 
  ship to tachyons, or some other rubber science 
  method. Navigating with a jump drive is very 
  difficult — a mistake can send the ship to the 
  wrong star system, or possibly to deep space. 
  Really serious errors could catapult a jump ship 
  across the Galaxy, or back in time, or into an 
  alternate dimension. A more practical concern 
  is fuel; if a ship jumps to a place where it cannot 
  refuel, it may not have enough energy left to 
  make more jumps!
  You can build jump drives using Mega-
  Scaled Teleportation. Jump drives can be compact 
  devices (about 1/10 of ship’s hexes), but require a 
  lot of power.
  Jump Drive:  A standard jump drive, suitable for 
  most ships. Price:  47,000 credits, or more.
  Teleportation 5”, MegaScale (1” = 10 light-
  years; +3 ¾) (47 Active Points); Extra Time (1 
  Turn; -1 ¼), Increased Endurance Cost (x10 
  END; -4), Requires A Navigation (Space) Roll 
  (-½). Total cost:  7 points.
  Star Gates And Wormholes
  These are FTL drives which are outside 
  the ship itself. Star Gates are immense portals, 
  either into Hyperspace or linking distant systems 
  through a form of Teleportation. Wormholes are 
  as-yet-undiscovered natural holes in space con-
  necting places light-years apart. Navigating a 
  wormhole or star gate may be about as hard as 
  navigating a railroad (the gate leads where it leads, 
  and you either go through or you don’t), or it may 
  require tricky ﬂying through hyperspace. Gates 
  may be the only way to travel — in which case 
  they must be moved to other star systems aboard 
  slower-than-light ships — or they may be only 
  a supplement to other drives. Babylon 5 posited 
  gates into hyperspace for the convenience of small 
  craft, while large starships could carry their own 
  gate-opening technology.
  However they work, stargates and wormholes 
  instantly become places of vital importance. Con-
  trol of a portal means control of all traﬃc along 
  that route; depending on the layout of the system, 
  dozens of worlds could depend on a single gate-
  way.
  Star Portal:  This is a gateway through a safe 
  hyperspace; ships must go to other gates. The 
  gates, built by some ancient civilization and not 
  fully understood by Humans, are irreplaceable 
  and heavily guarded. Only one ship can enter the 
  portal at a time, and it has to be small enough to 
  ﬁt through. Ships themselves don’t have to pay for 
  this “engine” at all; the gates are maintained by an 
  
  194 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  appropriate authority (which taxes and regulates 
  them as it sees ﬁt). Price:  335,000 credits, or more.
  Teleportation 10”, MegaScale (1” = 1 light-
  year; +3 ½), Area Of Eﬀect (3,500” Radius; 
  +2 ¾), Usable As Attack (does not work on 
  ships with incompatible drives or certain types 
  of energy sources; works on masses of up to 
  800 mtons; +9 ¼) (330 Active Points); OAF 
  Immobile (-2), Independent (-2), Extra Time 
  (1 Week for a full journey, or a little more than 
  1 LY per day; -4 ½), Increased Endurance Cost 
  (x5 END; -2), Only To Fixed Locations (-½), 
  Gate (-½), Only One Ship Can Use Portal Per 
  Segment (-¼) (total cost:  26 points) plus 1 
  Floating Fixed Location (any other portal, 
  chosen at the time of use) (5 Active Points); 
  OAF Immobile (-2) (total cost:  2 points). 
  Total cost:  28 points.
  Wormhole:  This is the same as the Star Portal, 
  but without the OAF Limitation; the Independent 
  Limitation reflects the fact that the persons con-
  trolling the wormhole can’t stop it from shifting, 
  collapsing, or temporarily closing. Additionally, 
  the Fixed Location does not “float.” Total cost:  33 
  points.
  Inertialess Drive
  The big limitation to faster-than-light travel 
  in Einsteinian space is that mass increases with 
  velocity. Consequently the energy to acceler-
  ate approaches infinity the closer you get to the 
  speed of light. Novelist E. E. “Doc” Smith came 
  up with one way around that problem:  if your 
  ship can be made “massless” or “inertialess” then 
  it can cruise right through the speed of light 
  and keep on accelerating. (How does that work? 
  Good question.) Inertialess drives are simply the 
  FTL Travel Power. They tend to occupy about 
  a quarter of the ship, but can also be used as 
  a normal Flight drive. Price:  1,400 credits, or 
  more.
  Cost Inertialess Drive
  13 
  Inertialess Drive:  Multipower, 45-point  
  reserve; all Costs Endurance (-½),  
  Increased Endurance Cost (x5 END; -2)
  1u 
  1)  FTL Mode:  FTL Travel (1 LY per Hour); 
  Costs Endurance (-½), Increased  
  Endurance Cost (x5 END; -2)
  1u 
  2)  Spaceﬂight Mode:  Flight 10”, MegaScale  
  (1” = 1,000 km, can scale down to 1” = 1  
  km; +1 ¼); Costs Endurance (-½), Increased 
  Endurance Cost (x5 END; -2), Only Works  
  In Space (-½)
  Total cost:  15 points
  Probability Drive
  First made famous in Douglas Adams’s Hit-
  chiker’s Guide to the Galaxy series, a probability 
  drive alters the laws of chance to the point where 
  the odds that the ship will spontaneously hop 
  to its destination become good. Amazingly, this 
  isn’t as crazy as it sounds; Hard SF maven David 
  Brin used a similar drive as one method of FTL 
  travel in his “Uplift” books. Probability drives are 
  MegaScaled Teleportation, sometimes with a Side 
  Effect of Unluck or Change Environment.
  WEAPON SYSTEMS
  Now comes the interesting part:  blowing 
  holes in the opposition. Spacecraft weapons 
  come in three main classes:  Missiles (which 
  are essentially little unmanned spaceships that 
  hunt down the target); Beams and Guns (which 
  fire directly at the target); and Special Weapons 
  (which do other stuff). Missiles and beams are 
  mostly realistic weapons, but Special Weapons 
  are often deep in Rubber Science territory.
  Characters often build starship weapons as 
  Multipowers, with one ordinary slot (for shots 
  at nearby targets) and one slot with the Mega-
  Scale Advantage (for use against long-range tar-
  gets). The practical limit on a weapon’s range is 
  300,000 km — anything faster than that and the 
  weapon’s projectile/beam is moving faster than 
  the speed of light. Of course, warp and inertia-
  less starships often roar around at FTL speeds 
  anyway, and may have weapons that can work 
  at those speeds (or not:  Star Trek ships have to 
  “drop out of warp” to engage in most forms of 
  combat).
  Typically weapons occupy ½ to 1 hex per 10 
  Active Points, but the GM may vary this as he 
  sees fit.
  TIME DILATION
  As objects move at speeds approaching the speed of 
  light, weird things happen. Mass increases and time 
  slows down. The formula for time dilation is the 
  square root of (1 - v2/c2), where v is the ship’s speed 
  and c is the speed of light. So if you’re going half the 
  speed of light, your time dilation eﬀect is the square 
  root of (1 - .25/1), or 0.86. So for every minute a clock 
  ticks on Earth, a clock on board your ship only ticks 
  52 seconds. The eﬀect gets more pronounced at high 
  speeds. Clever GMs can get some interesting story 
  hooks out of this, the way Dan Simmons does in his 
  “Hyperion” novels.
  Speed 
  Time Dilation  Days To Go 1 Light-Year
  0.5 x lightspeed 0.86 
  730 (objective) / 632 (crew)
  0.6 
  0.80 
  608 / 487
  0.7 
  0.71 
  521 / 372
  0.8 
  0.60 
  456 / 274
  0.9 
  0.44 
  406 / 177
  0.95 
  0.31 
  384 / 120
  0.99 
  0.14 
  369 / 52
  0.999 
  0.045 
  365 / 16
  0.9999 
  0.014 
  365 / 5
  Of course, rubber science FTL travel often ignores 
  time dilation entirely — it’s inconvenient and messy 
  for storytelling purposes. So Star Hero GMs should 
  feel free to ignore it as well, if they want.
  
  195 
  Star Hero ■ Chapter Eight
  Missiles
  Missiles are warheads that propel themselves 
  into the enemy’s ship. The simplest missiles use 
  nothing but the force of their impact to damage 
  the foe, while others mount explosive or atomic 
  warheads. In most cases they’re short-range 
  weapons, though theoretically a rubber science 
  power source could keep one flying after its 
  target for a long, long time.
  In HERO System terms, most missiles are 
  small Vehicles (or Automatons) themselves, 
  equipped with Flight engines, sensors, what-
  ever other systems they need, and a No Range 
  attack with 1 Charge which Never Recovers (and 
  destroys the Vehicle). Their guidance comes 
  from a remote operator (which can be cut off 
  with interference, a Physical Limitation), or an 
  onboard computer (which means the builder 
  has to buy Senses for it). In most cases it’s not 
  necessary to buy the computer separately (just 
  assume the missile has INT 10), but the most 
  sophisticated missiles do need a separate com-
  puter. They have the Physical Limitation, Can 
  Be Missile Deflected By Spacecraft (Frequently, 
  Greatly Impairing; 15 points), to reflect the fact 
  that point defenses (see page 198) can destroy 
  them before they impact their target. They also 
  have the Physical Limitation, Costs Firing Ship 10 
  END To Fire (Frequently, Slightly Impairing; 10 
  points), to represent the END cost of launching 
  them at a target.
  NUCLEAR SPACE MISSILE
   Val 
  Char Cost 
  Notes
   
  10 
  STR 
  0 
  Lift 100 kg; 2d6 [0]
   
  10 
  BODY 0
   5.”x.5” Size 
  0 
  Mass 100 kg; -0 KB; -0 DCV
   
  5 
  DEF 
  9
   
  20 
  DEX 
  30 
  OCV:  7/DCV:  7
   
  6 
  SPD 
  30 
  Phases:  2, 4, 6, 8, 10, 12
   
   
   
   
  Total Characteristic Cost:  69
  Movement: 
  Ground:   
  0”
   
  Flight: 
  40”/40,000”
  Abilities & Equipment
  Cost Power 
  END
  109 
  Nuclear Warhead:  RKA 20d6, Explosion 
  (+½), MegaArea (1” = 10 km; +½); No  
  Range (-½), 1 Charge which Never  
  Recovers (-4) 
  [1nr]
  15 
  Electronic Counter-Countermeasures:   
  Radio Group Flash Defense (15 points) 
  0
  7 
  Electronic Counter-Countermeasures:   
  Power Defense (15 points); Only Versus  
  Electronic Jamming (-1) 
  0
  125 
  Engine:  Flight 40”, x1,000 Noncombat, Non-
  combat Acceleration/Deceleration (+1); 1  
  Continuing Fuel Charge (easily-obtained  
  fuel; 1 Minute; -¾), Only In Space (-¼) [1cc]
  -12 
  Only Flies:  Running -6”
  50 
  Radar Array:  Multipower, 50-point  
  reserve
  2u 
  1)  Close-Range Radar:  Radar (Radio 
  Group), Discriminatory, Analyze 
  0
  5u 
  2)  Far-Range Radar:  Radar (Radio  
  Group), Discriminatory, Analyze,  
  MegaScale (1” = 100 km, can scale  
  down to 1” = 1 km; +1) 
  0
  18 
  Radar Enhancers:  +12 versus Range for 
  Radio Group 
  0
  24 
  Communications Systems:  HRRP (Radio 
  Group), MegaScale (1” = 100 km, can  
  scale down to 1” = 1 km; +1) 
  0
   
  Skills
  20 
  Homing Sensors:  +10 OCV with Nuclear 
  Warhead
  20 
  Maneuverable:  +4 DCV
  3 
  Stealth Systems:  Stealth 13-
  Total Abilities & Equipment Cost:  386
  Total Vehicle Cost:  455
  Value Disadvantages
  15 
  Physical Limitation:  Can Be Missile 
  Deﬂected By Spacecraft (Frequently,  
  Greatly Impairing)
  10 
  Physical Limitation:  Costs Firing Ship 10 
  END To Fire (Frequently, Slightly Impairing)
  15 
  Physical Limitation:  Remote Guidance 
  (enemy ships can interfere with or disable guid-
  ance system (Infrequently, Fully Impairing)
  Total Disadvantage Points:  40
  Total Cost:  415/5 = 83
  Description:  This writeup represents a typical SF 
  nuclear missile, suitable for use only in space. It has a 
  range of approximately 1,000 kilometers; beyond that 
  point it runs out of fuel, and drifts in the direction it 
  was last ﬂying until it hits something (which usually 
  triggers the explosion).
  The goal of the person guiding the missile is to 
  try to get right next to its target before detonating. If 
  necessary the guider can detonate the warhead as long 
  as a target is within range to be damaged.
  Price:  392,000 credits, or more.
  Beam Weapons
  Beam weapons tend to be the most common 
  type of starship armament in Star Hero games, 
  because they’re easy for gamers to use. In a setting 
  using rubber science, they can be explained as just 
  about any type of energy; the examples listed below 
  assume some reasonable eﬀort to be “realistic.”
  LASERS
  Lasers are the most likely energy weapons in 
  near-future scenarios. They’re currently under devel-
  opment and have great destructive potential. Lasers 
  use a fair amount of power, however, and are them-
  selves rather fragile. In Space Opera games, generic 
  energy beam weapons are often called “lasers” even 
  though they don’t act like them.
  Space Combat Laser:  Designed for use against lightly-
  armored spaceships and satellites rather than heavily-
  protected warships. Price:  10,110 credits, or more.
  FTL MISSILES
  For the ultimate in 
  ranged attacks, star-
  ships can ﬁre FTL mis-
  siles. These are built as 
  Vehicles with SPD 6 and 
  enough Flight to reach 
  twice the speed of light. 
  The speed of light, c, is 
  300,000 km per second, 
  or 1.8 billion hexes per 
  Turn, which means a 
  SPD 6 missile that can 
  reach 2c needs 600 mil-
  lion inches of Flight per 
  Phase (call that Flight 
  6”, x100 Million Non-
  combat, costing 142 
  points). At that speed, 
  doing damage based 
  on a Move By (to avoid 
  the horrendous Move 
  Through OCV penalty), 
  the missile would inﬂict 
  120 million dice of 
  Normal Damage. (Make 
  the missile SPD 12, and 
  the damage becomes a 
  mere 60 million dice.) 
  Obviously, building or 
  using an attack like this 
  requires the GM’s per-
  mission.
  SUMMON MISSILE
  Because missiles are 
  Vehicles, and Vehicles 
  have a deﬁned point cost, 
  with the GM’s permis-
  sion characters could 
  deﬁne a ship’s missiles 
  using Summon, instead 
  of buying them individu-
  ally. The cost of Summon 
  derives from the Vehicle’s 
  total cost (not its cost 
  divided by ﬁve), and 
  the Slavishly Loyal (+1) 
  Advantage must be 
  applied. Applicable Limi-
  tations typically include 
  Focus (as with other 
  starship equipment) and 
  Charges (the number 
  of missiles the ship can 
  carry for that launcher 
  at once). Reﬁlling the 
  Charges requires manu-
  facturing new missiles, or 
  visiting a military supply 
  depot, but the power 
  does not get an Increased 
  Recovery Time Limita-
  tion for this, since that 
  doesn’t necessarily take 
  any extra time.
  
  196 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  Cost Space Combat Laser
  90 
  Space Combat Laser:  Multipower, 202-point 
  reserve; all OIF Bulky (-1), Real Weapon (-¼)
  9u 
  1)  Distant Shot:  RKA 6d6, Autoﬁre (5  
  shots; +½), MegaRange (1” = 10 km, can  
  scale down to 1” = 1 km; +¾); OIF Bulky  
  (-1), Real Weapon (-¼)
  6u 
  2)  Close-Range Shot:  RKA 6d6, Autoﬁre  
  (5 shots; +½); OIF Bulky (-1), Real Weapon 
  (-¼)
  Total cost:  105 points.
  Superheavy Laser:  A major military laser capable of 
  punching through heavy armor at a range of up to 
  one light-second. Price:  18,000 credits, or more.
  Cost Superheavy Laser
  167 
  Superheavy Laser:  Multipower, 375-point 
  reserve; all OIF Bulky (-1), Real Weapon (-¼)
  17u 
  1)  Distant Shot:  RKA 10d6, Autoﬁre (5  
  shots; +½), MegaRange (1” = 100 km, can  
  scale down to 1” = 1 km; +1); OIF Bulky  
  (-1), Real Weapon (-¼)
  10u 
  2)  Close-Range Shot:  RKA 10d6, Autoﬁre  
  (5 shots; +½); OIF Bulky (-1), Real Weapon 
  (-¼)
  Total cost:  194 points.
  PARTICLE BEAMS
  Particle weapons are also near-future tech, 
  with work on them progressing right now in vari-
  ous military labs. They ﬁre streams of energetic 
  protons at the target. Particle weapons are powerful 
  but have limited range because the beam tends to 
  disperse as the particles repel each other. 
  Particle Accelerator:  A huge weapon running down 
  the center of a ship’s hull. Due to its size and con-
  ﬁguration, it can only be ﬁred in the direction the 
  ship’s nose points, and it cannot be aimed at targets 
  closer than a kilometer. Price:  7,860 credits, or 
  more.
  RKA 10d6, Penetrating (+½), MegaScale (1” = 
  1 km; +¼) (262 Active Points); OIF Bulky (-
  1), Real Weapon (-¼), Limited Arc Of Fire (60 
  Degrees, Only On Same Horizontal Level; -¾). 
  Total cost:  87 points.
  OTHER BEAMS
  In the history of SF ﬁlm and ﬁction, starship 
  combatants have deployed a whole host of other 
  colorful beams. They include:
  Ion Cannon:  Made popular by The Empire Strikes 
  Back, an ion cannon ﬁres a blast of ionized hydro-
  gen, creating electrical eﬀects that bypass a ship’s 
  hull defenses (but are useless against force ﬁelds). 
  This is of course a highly rubber science weapon. 
  Price:  11,250 credits, or more.
  Cost Ion Cannon
  87 
  Ion Cannon:  Multipower, 195-point reserve;  
  all OIF Bulky (-1), Real Weapon (-¼)
  9u 
  1)  Distant Shot:  RKA 4d6, NND (defense 
  is ED Force Field or Force Wall; +1), Does 
  BODY (+1), MegaScale (1” = 1 km; +¼);  
  OIF Bulky (-1), Real Weapon (-¼)
  8u 
  2)  Close-Range Shot:  RKA 4d6, NND 
  (defense is ED Force Field or Force Wall;  
  +1), Does BODY (+1); OIF Bulky (-1),  
  Real Weapon (-¼)
  Total cost:  104 points.
  Fusion Beam:  A starship-sized version of the 
  plasma weapons for soldiers, this ejects fusing 
  hydrogen at the target and somehow keeps it from 
  dispersing and cooling before impact. Price:  5,070 
  credits, or more.
  Cost Fusion Beam
  42 
  Fusion Beam:  Multipower, 94-point reserve;  
  all OIF Bulky (-1), Real Weapon (-¼)
  4u 
  1)  Distant Shot:  RKA 5d6, MegaScale  
  (1” = 1 km; +¼); OIF Bulky (-1), Real 
  Weapon (-¼)
  3u 
  2)  Close-Range Shot:  RKA 5d6; OIF Bulky 
  (-1), Real Weapon (-¼)
  Total cost:  49 points.
  Guns
  These weapons project a physical object 
  directly at the target through some means, caus-
  ing damage through kinetic impact, explosions, 
  or the like. The most common example in SF 
  is the railgun, essentially a huge gauss gun (see 
  page 150). Even high-velocity projectiles can’t go 
  as fast as beams, so railguns are limited to short 
  range — no more than 100 kilometers. Ships 
  
  197 
  Star Hero ■ Chapter Eight
  often install them as point-defense weapons. 
  Railgun slugs are usually just chunks of metal, 
  but they could also be used to launch nuclear 
  warheads, smart homing  missiles, or anything 
  else which can survive hundreds of Gs of accel-
  eration.
  Railgun:  A typical starship-mounted railgun of 
  average size and range. Versions used for plan-
  etary defense and the like are often much larger. 
  Price:  6,060 credits, or more.
  RKA 6d6, Armor Piercing (+½), Increased 
  Maximum Range (x75, or 50,000”, or 100 
  km; +¾) (202 Active Points); OIF Bulky (-1), 
  Real Weapon (-¼). Total cost:  90 points.
  Planetary Kinetic Bombarder:  This massive 
  weapon is used to attack planets rather than 
  starships. It launches a large metal rod which 
  impacts at roughly five times the speed of sound, 
  devastating a wide area. A variant simply bom-
  bards a world with large asteroids, which is often 
  enough to wipe out all life on that planet. Either 
  type requires Extra Time for the missile to hit 
  the target, if fired from beyond 50,000” range 
  — but it’s not as if a planet can Dodge. Price:  
  10,110 credits, or more (standard); 18,570 cred-
  its, or more (asteroidal).
  RKA 10d6, Explosion (+½), MegaArea (1” = 
  1 km; +¼), Increased Maximum Range (x25, 
  or 32,750”, or about 41 miles; +½) (337 Active 
  Points); OIF Bulky (-1), Real Weapon (-¼), 
  Extra Time (missile travels at 50,000” [100 km] 
  per Segment; -0), 12 Charges (-¼). Total cost:  
  135 points.
  Asteroidal Bombardment Variant:  RKA 15d6, 
  Explosion (+½), MegaArea (1” = 100 km; +¾), 
  Increased Maximum Range (x25, or 63,250”, 
  or about 79 miles; +½) (619 Active Points); 
  OIF Bulky (-1), Real Weapon (-¼), Extra Time 
  (missile travels at 50,000” [100 km] per Seg-
  ment; -0), 12 Charges (-¼). Total cost:  248 
  points.
  DEFENSES
  To keep attackers from vaporizing them 
  with all this aggressive hardware, spacecraft need 
  defenses. In a realistic setting there are three 
  ways to defend a ship in space:  armor to soak 
  up damage; point defenses to stop missiles; and 
  stealth to avoid being shot at. In games with 
  abundant rubber science, ships can also mount 
  force shields, dimensional phase systems, cloak-
  ing devices, and the like.
  When determining the defenses for starships 
  in your Star Hero campaign, keep the nature and 
  type of weapons used in the setting in mind. 
  Ideally, a ship’s total defenses should protect 
  against most damage, but not all of it. While large 
  ships may be effectively immune to the attacks 
  of smaller/weaker ships, and some ships (like 
  the fighters in Star Wars) tend to be fragile, two 
  ships of the same size and power should have 
  the ability to damage each other. That doesn’t 
  mean they can destroy each other with a single 
  shot, but rather that a shot with an above-average 
  damage roll should inflict at least a little damage 
  on the target. The ship’s size (i.e., BODY) keeps 
  it from being significantly damaged too quickly, 
  but enough shots can, slowly but surely, blow it 
  into chunks of space debris.
  For example, suppose the GM decides the 
  average starship weapon in his campaign does 
  RKA 6d6. That means, on the average, a roll of 
  about 21 BODY, with a maximum of 36 BODY. 
  SPECIAL WEAPONS
  Besides oﬀensive beams, 
  missiles, and guns, SF 
  writers have imagined 
  a variety of weird and 
  fantastic space weapons. 
  Some examples:
  Damping Field:  This 
  device somehow sucks 
  the energy from a target 
  ship’s power supplies, 
  rendering it helpless. 
  Electromagnetic Web:  
  This weapon creates an 
  impenetrable web of 
  electromagnetic ﬁeld 
  lines (don’t ask how), 
  which can serve as a 
  barrier or a trap.
  Space Warp Projector:  
  A natural outgrowth of 
  warp drive technology, 
  a Warp Projector twists 
  and distorts the target 
  like taﬀy, rending the 
  ship’s structure.
  Stasis Projector:  A 
  device which somehow 
  freezes the target ship 
  in time, so that the crew 
  and ship can do noth-
  ing while the enemy 
  attacks freely. In Larry 
  Niven’s stories, being 
  put in stasis does have 
  the useful side eﬀect of 
  making you immune to 
  harm.
  Gamemasters can amuse 
  themselves creating 
  other such rubber sci-
  ence weapons using 
  the HERO System rules. 
  Many are permutations 
  of Drain, Entangle, or 
  Transform.
  Beware the arms race! 
  Arthur C. Clarke’s short 
  story “Superiority” 
  describes an interest-
  ing object lesson about 
  eﬀorts to build better 
  weapons.
  TARGET: EARTH!
  Attacks on planets usually take place from many 
  miles above the surface. Rather than applying No 
  Range Modiﬁer so that the attack has a chance of hit-
  ting, attackers rely on the size of the target cancelling 
  out the Range Modiﬁer penalties. It’s hard to miss an 
  entire world!
  Here’s a summary of the Range Modiﬁer for long 
  ranges:
  Range 
  Range Modiﬁer
  8,000” (10 miles) 
  -22
  16,000” (20 miles) 
  -24
  24,000” (30 miles) 
  -26
  32,000” (40 miles) 
  -26
  40,000” (50 miles) 
  -28
  50,000” (60 miles) 
  -28
  64,000” (80 miles) 
  -28
  125,000” (150 miles) 
  -30
  250,000” (300 miles) 
  -32
  500,000” (600 miles) 
  -34
  1,000,000” (1,200 miles) 
  -36
  In contrast, the Target Size bonus to an attacker’s OCV 
  for attacking a planet the size of Earth (3,200,000” 
  radius) is +42. So, the odds of hitting it, even from 
  1,000 miles away, are much better than average; from 
  20 miles (roughly equivalent to geosynchronous 
  orbit), you’ll only miss if you roll an 18.
  If you can hit a planet, what does it take to destroy it? 
  A rocky planet like Earth has a volume of about 1.37 x 
  1020 hexes, if it’s considered a perfect sphere. Assuming 
  it all counts as stone (19 BODY, 5 DEF), it has a total 
  BODY of 86 (base of 19, +1 for each doubling of size). 
  (GMs desiring greater precision can re-calculate to 
  account for the molten and solid metals at Earth’s core, 
  if desired.) Therefore, a single shot doing 177 BODY 
  would vaporize it. Given an average roll, that would 
  require an RKA 51d6. Half that much damage would 
  probably suﬃce to crack it into two or more pieces, 
  eﬀectively rendering it useless.
  In rules terms, that may make the Earth a little too 
  easy to destroy. To counteract this eﬀect, assume 
  standard weapons either (a) are so “narrow” in eﬀect 
  they’re considered to have the Beam Limitation when 
  used against worlds, and thus at best only punch rela-
  tively small holes in a planet; and (b) surface Area Of 
  Eﬀect/Explosion attacks take the path of least resis-
  tance and conform to the planet’s surface (otherwise, 
  nuclear test explosions might already have cracked 
  Earth open!). Thus, only weapons speciﬁcally designed 
  to aﬀect huge swaths of a planet at once, or to burrow 
  deep within it before taking eﬀect, have a serious 
  chance of destroying it.
  
  198 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  The average powerful starship mounting this sort 
  of weapon should therefore have a DEF in the 
  range of about 16-24 — tough enough to keep 
  from being too badly damaged by most shots, but 
  not enough to be invulnerable. A bigger, more 
  powerful ship might have more DEF; smaller, 
  weaker ones (like scouts and ﬁghters) probably 
  have less.
  Making a ship’s defenses Ablative changes 
  this calculation a little. Since ablating defense 
  constitutes a form of “damaging” the target, GMs 
  might allow much higher Ablative defenses than 
  ordinary defenses.
  ARMOR
  Armor — a thicker, stronger, and/or better-
  protected hull, in other words —  is the simplest 
  form of starship defense. All spacecraft carry a 
  little armor for protection against micrometeors, 
  the friction of entry into an atmosphere, and so 
  forth; 5 DEF suﬃces for those purposes. Anything 
  more than that is for protection against cosmic 
  energy storms, enemy weapons, large meteors, and 
  the like.
  Spacecraft designers need to worry about 
  mass, which limits how much armor they can 
  plate on — even science ﬁction technology can 
  only reduce the weight of metal and plastic so 
  much. As a rough guideline, maximum “realistic” 
  spaceship DEF in the near future is no more than 
  20 (and usually less); Space Opera battleships can 
  carry 100 or more (assuming the weaponry used 
  against them justiﬁes having that much). In set-
  tings featuring force shields and like defenses, a 
  ship’s armor should almost always be signiﬁcantly 
  lighter (i.e., oﬀer far less DEF) than its force 
  shield.
  Often spaceship armor is ablative, boiling oﬀ 
  as it gets hit. This is not only more realistic, but 
  makes it a little cheaper. Another common tech-
  nique is to put very heavy armor on one side of a 
  spaceship, then keep that side facing the enemy.
  Warship armor may be optimized against the 
  weapons the designers expect them to face — if 
  lasers are the standard weapon, then ships will 
  have heavy ED and light PD, and perhaps even 
  extra ED with the Limitation Only Protects Against 
  Lasers. If railguns are the queen of battle, ships’ 
  ED will be light.
  In game terms, armor is just more DEF for 
  the vehicle. In some cases, designers may use other 
  Defense Powers, but that should be rare.
  POINT DEFENSE
  The whole idea of point defenses is to stop 
  incoming physical weapons (missiles and the like) 
  before they damage the ship. Most use light rapid-
  ﬁring lasers or railguns to blow up approaching 
  missiles. Rather than engaging in a battle where 
  the ship tries to do enough BODY damage to 
  a missile to destroy it, it’s best to deﬁne point 
  defense systems as a form of Missile Deﬂection (as 
  noted on page 194, missiles have a Physical Limi-
  tation that allows spacecraft to Deﬂect them).
  Often point defenses are completely auto-
  mated, in which case it’s the OCV of the ship’s 
  computer which determines whether a success-
  ful interception happens. Of course, that means 
  the ship is using an Action to Deﬂect, which may 
  keep it from moving that Phase. If a character, or 
  a dedicated computer, operates the point defenses, 
  they can function without requiring any Actions 
  by the ship itself.
  FORCE SHIELDS
  Force-ﬁelds in all their variations are the clas-
  sic ship defense of Pulp and Space Opera SF. From 
  Star Trek’s deﬂectors to the Langston Field of The 
  Mote In God’s Eye, ships surrounded by bubbles of 
  energy have been shrugging oﬀ attacks capable of 
  reducing them to confetti for decades.
  A force shield is deﬁned as either a Force 
  Field or Force Wall. A Force Field is much cheaper, 
  since a spacecraft has to make a Force Wall long 
  enough to surround itself. (Alternately, a ship may 
  buy two or more Force Walls, each covering part 
  of the ship, but joining together to form a single 
  “bubble” around the whole ship, as if they were a 
  single Wall; that way you can arrange situations 
  where one shield isn’t functioning, but the others 
  are.) On the other hand, the protection oﬀered by 
  the Force Wall is superior in many cases, because 
  it stops attacks at some distance from the ship 
  itself. (Even though the Power should have the 
  Self Only Limitation — starships rarely have the 
  ability to surround other ships with force bubbles 
  — spacecraft may, if they wish, make their Force 
  Walls long enough that they surround not only 
  the ship, but a small amount of space as well.)
  A ship designer can make force shields Ablative, 
  just like a ship’s armor. The shields in Star Trek work 
  that way; attacks gradually wear them down until 
  they “collapse.” In this case, the -1 optional version 
  of Ablative usually works best (see page 115 of the 
  HERO System 5th Edition, Revised).
  Ordinarily, an Ablative defense that’s lost 
  can only be recovered at the end of an adventure. 
  That works ﬁne for physical defenses like armor, 
  but doesn’t make quite as much sense for a force 
  shield — in science ﬁction, a ship can often re-
  create a “collapsed” shield, just not immediately 
  after it collapses (the shield-generating systems 
  have to work back up to full charge, or the like). 
  Gamemasters should allow a ship to re-activate a 
  “destroyed” Ablative force shield after a deﬁned 
  period of time has passed (typically 1 Minute, 
  or 5 Minutes, or an Hour — any of which are an 
  eternity in battle), unless the shield-generating 
  equipment itself is damaged or destroyed. (At the 
  GM’s option, the value of Ablative may be ¼ less 
  Limitation due to this change.) For Force Walls 
  without Ablative, you can simulate this same eﬀect 
  with the Extra Time Limitation.
  Some ships have diﬀerent layers of shields 
  — perhaps an outer Force Wall and an inner Force 
  Field, or multiple nested Force Walls. In Iain M. 
  Banks’s “Culture” series, some starships are com-
  posed of nothing but force ﬁelds holding in air for 
  the crew.
  
  199 
  Star Hero ■ Chapter Eight
  STARSHIP DEFENSES
  Deﬂector Field:  A force-ﬁeld like energy shield 
  that destroys/deﬂects incoming physical objects 
  to keep the ship safe. Price:  225 credits per hex of 
  ship’s length and width, or more.
  Missile Deﬂection (all physical projectiles) (15 
  Active Points); OIF Bulky (-1), Costs Endur-
  ance (-½). Total cost:  6 points.
  Point Defense Lasers:  An array of small, but 
  powerful, lasers mounted all around a ship’s hull 
  for the purpose of destroying incoming missiles. 
  Price:  510 credits per hex of ship’s length and 
  width, or more.
  Missile Deﬂection (all physical projectiles), 
  Range (+1), MegaRange (1” = 1 km; +¼)  (34 
  Active Points); OIF Bulky (-1), Costs Endur-
  ance (-½). Total cost:  14 points.
  Starship Force Shield, Type I:  A basic force shield, 
  tuned against both physical and energy attacks. 
  Price:  1,200 credits per hex of ship’s length and 
  width, or more
  Force Field (40 PD/40 ED) (80 Active Points); 
  OIF Bulky (shield generators; -1), Ablative (-
  1). Total cost:  27 points.
  Starship Force Shield, Type II:  This shield oﬀers an 
  outer layer of protection. It’s designed to provide 
  one-fourth of a shield bubble 100” in circumfer-
  ence. Price:  2,220 credits per hex of ship’s length 
  and width, or more.
  Force Wall (20 PD/20 ED; 25” long) (148 
  Active Points); OIF Bulky (shield generators; 
  -1), Self Only (-½), Restricted Shape (one-
  fourth of “bubble” around ship; -¼), Extra 
  Time (1 minute to re-erect Force Wall after it 
  collapses; -1 ½). Total cost:  35 points.
  STEALTH
  The art of not being seen remain important 
  in space combat no matter what the era or tech-
  nology. Stealth design is usually a form of Invis-
  ibility, sometimes with Inherent if it’s a matter of 
  the ship’s shape. Concealment like a camouﬂage 
  hull is the Chameleon form of Invisibility.
  Closely related to stealthiness are various 
  forms of electronic warfare, and related equip-
  ment — jamming enemy sensors and commu-
  nications (Suppress), tricking sensors (Images), 
  interference ﬁelds and chaﬀ (Darkness), and so 
  forth. This can go back and forth, with electronic 
  countermeasures, and counter-countermeasures, 
  and counter-counter-countermeasures....
  The most rubber science form of stealth is the 
  cloaking device, ﬁrst made famous by Star Trek’s 
  Romulans. It’s a highly eﬀective invisibility device 
  which bends light and other forms of energy 
  around the ship, making it almost impossible to 
  detect. It allows starships to act like submarines, 
  lurking hidden until it’s time to strike.
  Stealth Hull:  This isn’t a system so much as how 
  the ship is built. The ship’s hull is distinctively-
  shaped and made of special materials, so that it 
  absorbs radar waves or allows them to pass over 
  it without registering its presence. Stealth hulls 
  are distinctive, readily recognizable if seen, so the 
  ship may have a Distinctive Features Disadvantage. 
  Price:  675 credits per hex of ship’s length and 
  width, or more.
  Invisibility to Radio Group, Persistent (+½), 
  Reduced Endurance (0 END; +½), Inherent 
  (+¼) (45 Active Points); Always On (-½), 
  Limited Eﬀect (Radar only; -¼). Total cost:  26 
  points.
  Radar Jammer:  This device blocks radar within a 
  large region centered on the ship. The enemy can 
  easily tell there’s something there generating the 
  jamming ﬁeld, but it’s impossible for him to locate 
  exactly, or target with his radar. The downside 
  is, the ship generating the ﬁeld can’t use its own 
  radar, either. Price:  1,125 credits, or more
  Suppress Radar 6d6, Area Of Eﬀect (8” Radius; 
  +1 ¼), MegaArea (1” = 1 km; +¼) (75 Active 
  Points); OIF Bulky (-1), No Range (-½). Total 
  cost:  30 points.
  Radar Spooﬁng:  This system attempts to fool 
  enemy radar by creating false images to confuse 
  targeting systems. Price:  465 credits, or more.
  Radio Group Images, -5 PER, 1” radius, Mega-
  Area (1” = 1 km; +¼) (31 Active Points); OIF 
  Bulky (-1), No Range (-½), Set Eﬀect (up to 6 
  images of the target ship; -1), Limited Eﬀect 
  (Radar only; -¼). Total cost:  8 points.
  Chaff Generator:  This weapon ﬁres a shell which 
  scatters reﬂective particles through a large area, 
  blocking sight and radar in that region. (Alter-
  nately, you can deﬁne this as an “energy interfer-
  ence ﬁeld” or the like, and get rid of the Charges.) 
  Price:  900 credits, or more; individual shells are 
  50 credits each, or more.
  Darkness to Sight and Radio Groups 3” radius, 
  MegaArea (1” = 1 km; +¼), MegaRange (1” = 
  1 km; +¼) (60 Active Points); OIF Bulky (-1), 
  12 Charges (-¼). Total cost:  27 points.
  Cloaking Device:  This marvelous device uses force 
  ﬁeld technology to bend light and other radia-
  tion around the ship, making it invisible to most 
  senses. Price:  6,000 credits per hex of ship’s length 
  and width, or more (includes multiplier for “cut-
  ting edge” technology).
  Invisibility to Sight and Radio Groups, No 
  Fringe (40 Active Points); OIF Bulky (-1), 
  Extra Time (Extra Phase to activate; -¼), 
  Increased Endurance Cost (x4 END; -1 ½). 
  Total cost:  11 points.
  
  200 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  OPERATIONS SYSTEMS
  “Operations” systems refers to a broad cat-
  egory of systems used to run the ship that don’t ﬁt 
  into any other category. They include communica-
  tions, piloting, sensors, and tractor beams. If the 
  ship has teleporters (page 173) or other such sys-
  tems, they count as operations systems as well.
  COMMUNICATIONS SYSTEMS
  Starships mostly communicate via radio or 
  light beams — or, in Space Opera games, via rubber 
  science methods that allow instantaneous com-
  munication across vast distances. In game terms, 
  communication systems are simply the appropriate 
  Senses (sensor systems; see below) with the Trans-
  mit Sense Modiﬁer. High Range Radio Perception 
  (HRRP) is the most common Sense used for commu-
  nications devices.
  Communication systems often include the 
  MegaScale Advantage so they can “talk” to each other 
  over vast interstellar distances (see page 55). Ordinar-
  ily characters shouldn’t apply Advantages to Senses, 
  but in Star Hero campaigns GMs should allow this 
  for the sake of simplicity and smooth game play. The 
  MegaScale is often bought as a naked Power Advan-
  tage so the user can easily turn it on and oﬀ (thus 
  allowing him to communicate with a world in another 
  star system one minute, and the space station his ship’s 
  orbiting the next).
  Some campaigns, including almost all Low SF 
  games, have communication systems that work at STL 
  speeds (or, at most, the speed of light). These com-
  municators can apply a Limitation, Lightspeed Delay 
  (-½), to their MegaScale Advantage. This means that 
  at ranges over 300,000 kilometers, a lightspeed lag of 
  one second per +300,000 kilometers distance occurs. 
  Thus, it may take hours to get a reply from a message 
  sent to another system, and communications across 
  the Galaxy are impossible. In settings using this sort of 
  communications technology, characters “in the ﬁeld” 
  have a lot more autonomy and authority — they can’t 
  call headquarters to get instructions or relay the latest 
  news.
  Faster-than-light communications get Mega-
  Scale without the Lightspeed Delay Limitation (though 
  the GM may still, in his discretion, impose a slight 
  time lag over long distances). The existence of FTL 
  communications makes a great change in the feel of 
  the campaign setting. Ships in constant contact with 
  home base are subject to more immediate and intru-
  sive meddling by commanders. Diplomats become 
  simple relays for messages from home. It’s easier to 
  call for help in a distant star system. News can travel 
  fast (possibly faster than ships), which means the 
  authorities can track pirates or hijackers eﬀectively.
  SENSOR SYSTEMS
  Closely related to communications systems are 
  sensor systems — the eyes and ears of a starship. They 
  range from simple visual cameras to advanced rubber 
  science devices able to detect trace particles from 
  light-years away if properly “conﬁgured” (set up or 
  programmed).
  Sensors are bought as various Enhanced Senses, 
  often with the MegaScale Advantage (as discussed 
  above) and the Telescopic Sense Modiﬁer. Characters 
  should ordinarily deﬁne a ship’s Senses as belonging 
  to the Radio Sense Group (though a few may qualify 
  OTHER SYSTEMS
  Here are some notes on 
  other systems a starship 
  might have.
  Airlocks
  Airlocks are specially-
  sealed chambers that 
  allow a character to 
  enter and exit a star-
  ship when it’s in space. 
  Normally an airlock is 
  pressurized and ﬁlled 
  with breathing gases. A 
  character enters through 
  the door that connects 
  the airlock to the rest of 
  the ship, and in prepa-
  ration for leaving the 
  vessel dons a spacesuit 
  or other protective gear. 
  When he’s prepared, 
  he shuts the door to 
  the ship (to seal the 
  chamber) and opens (or 
  orders the ship’s com-
  puter to open) the other 
  door, which leads to 
  space. When he’s ready 
  to come back inside, 
  he enters the chamber 
  and shuts the space-side 
  door, and the ship then 
  re-pressurizes the cham-
  ber and reﬁlls it with 
  breathing gases.
  In game terms, you can 
  build an airlock as a 
  Change Environment 5”, 
  Varying Eﬀect (restore 
  or remove normal 
  pressure and breathing 
  gases; +1/4) (total cost:  
  6 points). They often 
  make for great dramatic 
  scenes where a character 
  running out of oxygen 
  has to get back inside, 
  or manually open the 
  spaceside door to cause 
  explosive decompres-
  sion to suck some space 
  monster out of the ship.
  Docking Systems
  Most ships need a way 
  to attach themselves 
  — “dock” — with other 
  ships, space stations, 
  and the like. That allows 
  personnel to travel back 
  and forth, workers to 
  transfer cargo and con-
  sumables to and from 
  the ship, and so on.
  Continued on next page
  
  201 
  Star Hero ■ Chapter Eight
  as Sight Group). Radar is the most common general 
  Sense used by ships, even if it’s deﬁned as a “hyper-
  space detector” or in some other rubber science way.
  In many types of science ﬁction settings, par-
  ticularly Space Opera, a starship’s sensors seem able to 
  detect just about anything (though locating obscure 
  substances or energy phenomena may require the 
  crew to “reconﬁgure” or “recalibrate” the sensors ﬁrst). 
  Rather than requiring ship designers to try to think 
  of all the possible Senses a ship needs in advance and 
  pay for them separately, GMs should allow ships to 
  buy Variable Power Pools just for sensor and commu-
  nications systems. This constitutes an exception to the 
  general rule against putting Special Powers in Power 
  Frameworks, but it lets the game progress much more 
  smoothly and seem more like typical SF. If a ship has 
  a Sensor Pool, it can buy a single naked MegaScale 
  Advantage it can apply to any Sense bought with the 
  Pool. The ship may, of course, have some commonly-
  used senses (such as HRRP) bought outside the Pool, 
  to free up Pool resources.
  Because characters using a ship’s sensors aren’t 
  literally perceiving things with their own Senses, a 
  “Perception Roll” made by a ship’s crew should be 
  made using Systems Operation, not a PER Roll. How-
  ever, a ship’s computer using its ship’s sensors would 
  make a PER Roll using its INT, as normal (but any 
  form of interference which penalizes Systems Opera-
  tion rolls also applies to its PER Roll).
  Cost Sensor And Communication Systems
  46 
  Sensor And Communication Systems:   
  Variable Power Pool (Sensor Pool), 40  
  base + 20 control cost; OIF Bulky (-1),  
  Only For Senses And Communications  
  (-1), Costs Endurance (-½)
  70 
  Long-Range Sensors:  MegaScale (1 light-year 
  per Active Point, can scale down to 1 km per 
  Active Point; +3½) for any Sensor Pool Sense; 
  OIF Bulky (-1)
  12 
  Long-Range Sensors:  +20 versus Range for 
  Radio Group; OIF Bulky (-1), Lockout (can’t 
  use Telescopic when MegaScale is in use; -½)
  Total cost:  128 points. Price:  11,200 credits, or 
  more.
  Probes
  In some science ﬁction settings, characters have 
  access to probes — small sensor devices they can ﬁre 
  like missile weapons to extend the range of a ship’s 
  sensors, get a sensor package close to a dangerous 
  phenomenon without risking the ship itself, or expand 
  the scope of a large-scale search. Characters can build 
  probes in two ways. The more complicated way is to 
  design them as Automatons (possibly with Computer 
  “brains”), so they can act independently (without 
  oversight or direction from a character). The easier 
  way is to deﬁne probes as MegaScaled Clairsentience, 
  with the ability to move the perception point and 
  maintain multiple perception points at once (see page 
  53). The multiple perception points in this case repre-
  sent how many probes the ship can monitor and track 
  at once; each active probe counts as a single percep-
  tion point. Clairsentience probes have the Limitation 
  OAF Bulky, signifying that they can be removed from 
  a ship, shot down in mid-ﬂight (their DCV depends 
  on their size, as deﬁned by the GM), and so forth.
  Long-Range Reconnaissance Probe:  Clairsen-
  tience (Radio Group), Mobile Perception Point, 
  Multiple Perception Points (up to four at once), 
  MegaScale (1” = 1 billion km; +2 ½) (122 
  Active Points); OAF Bulky (-1 ½), Extra Time 
  (takes probe 1 Phase or more to get to percep-
  tion point, depending on distance thereto; -0), 
  Perception Point Cannot Move Through Solid 
  Objects (-0). Total cost:  49 points. Price:  4,880 
  credits each, or more.
  Sensor And Communication Interference
  In addition to problems deliberately caused by 
  electronic warfare (see below), ships may experience 
  other forms of interference with their sensor and 
  communications systems. Strange energy ﬁelds, nebu-
  lae, large masses of rock, and other such phenomena 
  may prevent a ship from using its sensors or com-
  municators, or make using them harder. For example, 
  a ship on one side of a planet may not be able to track 
  an object on the other side of that planet accurately, 
  and a courier hiding from an enemy warship in a 
  nebula may have to rely on eyesight (via a viewscreen) 
  to ﬁnd its way through the gas cloud. Gamemasters 
  can represent interference by imposing penalties on 
  the Systems Operation rolls required to operate the 
  sensors and communications system. The accompa-
  nying table has some suggested modiﬁers, but since 
  the modiﬁers depend largely on the type of technol-
  ogy used in the campaign, the GM should adjust the 
  table to suit his own campaign.
  Starships with advanced sensor and/or com-
  munication systems often represent this by buying 
  bonuses to Systems Operation that apply when 
  anyone uses the ship’s equipment. These bonuses help 
  to counteract interference and make electronic war-
  fare easier.
  Electronic Warfare
  Electronic warfare refers to the practice of jam-
  ming, counterjamming, fooling, misdirecting, and 
  otherwise interfering with an enemy’s electronic sig-
  nals. This inhibits his ability to communicate with his 
  allies, control his probes, and locate targets. Of course, 
  one ship’s electronic countermeasures (ECM) can be 
  neutralized by another’s electronic counter-counter-
  measures (ECCM), and so on.
  In game terms, there are several ways to repre-
  sent electronic warfare. The simplest is for crewmem-
  bers on both ships to use their Systems Operation 
  SENSOR/COMMUNICATIONS 
  INTERFERENCE
  Modiﬁer Phenomenon
  -1 to -3 
  Atmospheric electromagnetic interference
  -1 to -3 
  Large masses of rock directly between ship 
  and target object
  -1 to -5 
  Energy ﬁeld (plasma or ion storm, intense 
  solar radiation, or the like)
  -1 to -4 
  Ship or target is inside a nebula (see page 
  69)
  -3 to -8 
  Ship or target is inside a star’s chromo-
  sphere or a planet’s polar magnetic ﬁeld
  In most cases, GMs 
  simply let a ship have a 
  reasonable number of 
  docking systems with-
  out worrying about a 
  point expenditure; it’s 
  just a part of the hull 
  paid for by the cost of 
  the ship’s Size. If you 
  want to establish an 
  individual cost for them, 
  build them as the ship’s 
  standard Life Support 
  package for a small area 
  (i.e., with the Partial 
  Coverage Limitation, 
  with the size based on 
  the size of the people 
  and objects who have to 
  pass through).
  In most settings and 
  situations, docking a 
  ship to another ship or 
  a station is a routine 
  piloting task requiring 
  no Skill Roll. In unusual 
  or emergency situations, 
  such as when a ship’s 
  docking systems are 
  damaged, the GM may 
  require a Combat Pilot-
  ing roll at -2 (or worse), 
  with failure causing 
  both docking objects to 
  suﬀer Move Through 
  damage at 0” velocity.
  Hangars
  Large “carrier” ships 
  (and many space sta-
  tions) have a comple-
  ment of two or more 
  smaller spacecraft 
  — usually ﬁghters or 
  like ships. They trans-
  port these vessels in 
  large open areas called 
  hangars. Hangars should 
  have a minimum of 
  two times the hexes 
  necessary to house all 
  Vehicles intended to 
  be within them (based 
  on the Vehicles’ area in 
  hexes, per the Expanded 
  Vehicle Size Table); 
  this assumes each has 
  its own separate exit. 
  For hangars where the 
  vehicles share routes out 
  to common exits, the 
  minimum room should 
  be four times the hexes 
  necessary to house all 
  vehicles intended to 
  be within them. If the 
  hangar has a repair 
  section, the repair area 
  Continued from last page
  Continued on next page
  
  202 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  Skills in a Skill Versus Skill Contest, with the victor 
  being the one who successfully neutralized (or avoided 
  the neutralization attempted by) his opponent.
  Ships desiring more advanced ECM/ECCM sys-
  tems can create them with Powers. To generate an area 
  of interference that hinders (but doesn’t necessarily 
  stop) sensing or communicating, use Change Envi-
  ronment (with combat eﬀects that penalize Systems 
  Operation). Creating an area of totally impenetrable 
  interference requires Darkness, or perhaps Suppress. 
  Fooling or confusing an enemy ship’s sensors usually 
  requires Images. Countering any of these abilities 
  typically requires Suppress. Ships sometimes apply the 
  Personal Immunity Limitation so they can perceive 
  through their own interference, but this should be 
  rare; it can cause too many game balance problems in 
  starship combat situations.
  Electronic Warfare Systems
  See also page 199 for other electronic warfare-
  type defensive systems.
  Enhanced Sensor/Communications System:  This rep-
  resents a ship with particularly advanced sensor and 
  communications technology. Price:  320 credits, or 
  more.
  +4 to Systems Operation roll (8 Active Points); 
  OAF Bulky (-1 ½). Total cost:  3 points.
  Interferiation Field:  A ship with this technology can 
  generate an energy ﬁeld that inhibits the use of sen-
  sors and communications. Price:  4,830 credits, or 
  more.
  Change Environment 16” radius, -4 to Systems 
  Operation rolls, MegaArea (1” = 1 million km; 
  +1 ¾), MegaRange (1” = 10 million km; +2) (161 
  Active Points); OAF Bulky (-1 ½). Total cost:  64 
  points.
  Intense Interferiation Field:  This energy ﬁeld is similar 
  to the standard interferiation phenomenon, but is 
  much stronger. Price:  14,250 credits, or more.
  Darkness to Radio Group 10” radius, MegaArea 
  (1” = 1 million km; +1 ¾), MegaRange (1” = 10 
  million km; +2) (475 Active Points); OAF Bulky 
  (-1 ½). Total cost:  190 points.
  Sensor Ghosts:  A clever tactical oﬃcer can use his 
  ship’s systems to generate false images of other ships, 
  thus making an enemy think, for example, that there 
  are more ships present than there really are. The 
  trickery quickly falls apart if the enemy can get close 
  enough to observe the aﬀected area visually. Price:  
  4,320 credits, or more.
  Radio Group Images, -5 to PER Rolls, Increased 
  Size (16” radius; +1), MegaArea (1” = 1 million 
  km; +1 ¾), MegaRange (1” = 10 million km; +2) 
  (144 Active Points); OAF Bulky (-1 ½). Total cost:  
  58 points.
  Electronic Counter-Countermeasures:  When the enemy 
  tries to jam your sensors or play other electronic 
  tricks, you have the technology to counter his eﬀorts. 
  Price:  4,200 credits, or more.
  Suppress Electronic Warfare 8d6, any two Powers 
  simultaneously (+½), MegaRange (1” = 10 mil-
  lion km; +2) (140 Active Points); OAF Bulky (-1 
  ½). Total cost:  56 points.
  PILOTING SYSTEMS
  Besides the engines themselves (see page 185), 
  there are several types of piloting (or “ﬂight control”) 
  systems characters may want to include on their ships.
  First, some ships have improved, expanded, 
  or enhanced systems that make it easier to ﬂy and 
  maneuver the ship. You can buy this as bonuses to the 
  Combat Piloting roll of anyone ﬂying the vessel.
  Second, some ships also have navigation comput-
  ers (“navcomps”) to make it easier to steer the vessel 
  toward its destination. You can buy this as bonuses to 
  Navigation (Space) or (Hyperspace). If a ship has a 
  navcomp, its main computer may have only a slight 
  amount of navigation information (i.e., it takes the 
  Navigation Skill as a Familiarity). In some settings, 
  pilots themselves know little or nothing about the 
  complex subject of astronavigation; if a ship’s com-
  puter and/or navcomp stop functioning, the pilot has 
  no idea which way to go.
  Third, most ships have thrusters, small rockets 
  used to maneuver the ship in tiny increments so that 
  it can safely enter repair bays and other close spaces. 
  You can buy thrusters as a few inches of Flight (no 
  more than 10”), without any MegaScaling.
  Piloting Systems
  Enhanced Flight Control:  +4 to Combat Piloting roll (8 
  Active Points); OAF Bulky (-1 ½). Total cost:  3 points.
  Navigation Computer:  +4 to Navigation (Space) roll (8 
  Active Points); OAF Bulky (-1 ½). Total cost:  3 points.
  Thrusters:  Flight 10”. Total cost:  20 points.
  TRACTOR BEAMS
  In settings where artiﬁcial gravity control tech-
  nology exists (mainly Space Opera universes), ships 
  often come equipped with tractor beams — generators 
  able to project beams of gravitic force, which the ship 
  uses to move obstacles out of the way, tow a disabled 
  ship to spaceport, or even as a weapon to hurl aster-
  oids at other ships. Tractor beams are built as Teleki-
  nesis, usually with a high level of STR and the Aﬀects 
  Whole Object Limitation.
  Tractor Beam:  Telekinesis (100 STR) (150 Active 
  Points); OIF Bulky (projector; -1), Aﬀects Whole 
  Object (-¼). Total cost:  67 points. Price:  6,000 credits, 
  or more.
  PERSONNEL SYSTEMS
  The whole purpose of starships is to move people 
  and things from place to place. Consequently they 
  need room on board for people, and systems speciﬁ-
  cally designed to keep passengers and crew healthy 
  and happy.
  LIFE SUPPORT
  Perhaps the most crucial systems on a starship 
  are the life support systems, which keep the crew from 
  requires room equiva-
  lent to eight times the 
  hexes taken up by the 
  total number of vehicles 
  to be repaired simulta-
  neously.
  Continued from last page
  
  203 
  Star Hero ■ Chapter Eight
  dying in the airless vacuum of space. Starships must 
  provide the following sorts of Life Support to those 
  on board:  Self-Contained Breathing, Safe Environ-
  ments (High Radiation, Intense Cold, Intense Heat, 
  Low Pressure/Vacuum). (Many also provide protec-
  tion against High Pressure; see page 283.) The vari-
  ous environmental protection systems are just part 
  of having an airtight, insulated hull, but breathing 
  requires some complex equipment. Supplying oxygen 
  (or other breathing gases, as appropriate to the spe-
  cies) to people in space is done in one of two ways:  
  Consumable or Regenerative.
  Consumable life support means just a big tank 
  of air, which gets used up during the voyage. You can 
  simulate this with a Fuel Charge, or simply make it the 
  special eﬀect of having the ship’s Life Support cost no 
  END. The longer the voyage and the larger the crew, 
  the more appropriate the “0 END” solution becomes.
  Regenerative breathing systems use greenhouses 
  (at current and near-future technology), “atmospheric 
  scrubbers,” or nanotech systems to convert carbon 
  dioxide back into oxygen for the crew to breathe. 
  They can operate indeﬁnitely as long as there is power, 
  which means you should buy the Life Support as 
  having an END cost. Greenhouses are fairly bulky 
  — assume 1 hex of greenhouses for every 4 people on 
  board. Nanotech recyclers or air tanks are more com-
  pact, taking up 1 hex for every 100 people.
  In the game, a ship running out of oxygen pres-
  ents the heroes with a serious problem to solve and 
  lots of opportunities for suspense and adventure (see 
  Arthur C. Clarke’s short story “Breaking Strain,” or 
  many episodes of Star Trek, for some good examples). 
  Despite the fact that most ships’ life support systems 
  supposedly contain multiple redundant backups and 
  other safeguards, somehow an accident or invader 
  always seems to ﬁnd a way around them.
  Life support also includes providing enough food 
  and water for the crew. You buy this as the Diminished 
  Eating category of Life Support, with the special eﬀect 
  being that the ship provides food for the occupants to 
  eat. This may cost no END (representing stored pre-
  served food which the crew can cook using minimal 
  power), or have an END cost (representing the power 
  needed to refrigerate and prepare the food). Fuel 
  Charges may be an appropriate Limitation instead of 
  Costs Endurance.
  GRAVITY
  In many cases, gravity is almost as important as 
  life support — it’s hard to get most jobs done, much 
  less ﬁght in a star-battle, if everyone in the crew is 
  ﬂailing around in zero-G!
  There are two basic ways to generate gravity. 
  The ﬁrst is to spin the ship so that centrifugal force 
  holds the contents and inhabitants of the ship against 
  the ﬂoors and hull with the same force as planetary 
  gravity. This is typically the only solution available in 
  low-tech settings, and it dictates many features of star-
  ship (or space station) design — long, symmetrical 
  structures (cylinders, typically) are necessary.
  The second is the rubber science method of 
  artiﬁcial gravity generation, usually through special 
  “plates” or “generators” built into each deck of a ship. 
  This allows for any sort of starship design, and also 
  makes maneuvering easier — even if the ship is ﬂying 
  straight “up,” the crew still perceives the deck ﬂoor as 
  “down” and can move and act accordingly. The crew 
  may also be able to selectively decrease (or perhaps 
  increase) the gravity from place to place in the ship by 
  controlling the gravity generators.
  In either case, you can simulate gravity as Teleki-
  nesis with the Limitation Only To Pull Objects Straight 
  Down To The Floor (-1) (this is a broader and more 
  restrictive form of the Aﬀects Whole Object Limita-
  tion). Normal Earth gravity (1 G) is equivalent to 5 
  STR Telekinesis, with every +5 STR equalling +1 G 
  (10 STR is 2 G, 15 STR is 3 G, and so forth). This grav-
  ity applies throughout the ship; you do not have to 
  add the Area Of Eﬀect Advantage to it. However, for 
  artiﬁcial gravity generators, ships may, with the GM’s 
  permission, apply the Selective (+½) Advantage to the 
  Telekinesis so they can give some areas stronger grav-
  ity, and some lighter gravity.
  For general rules about moving in variant gravi-
  ties, see page 279.
  Gravity Systems
  Spinning Gravity:  This represents gravity generated by 
  spinning the ship. Price:  360 credits, or more.
  Telekinesis (5 STR) (9 Active Points); Only To 
  Pull Objects Straight Down To The Floor (-1), 
  Must Maintain Spin (-¼. Total cost:  4 points.
  Artiﬁcial Gravity:  This represents a system that gener-
  ates gravity artiﬁcially. It can go as high as STR 20 (4 
  
  204 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  G), though it’s usu-
  ally kept at STR 5 
  (1 G).  Price:  1,800 
  credits, or more.
  Telekinesis 
  (20 
  STR), 
  Selective 
  (+½) (45 Active 
  Points); 
  OIF 
  Bulky (-1), Only 
  To Pull Objects 
  Straight Down 
  To The Floor  
  (-1). Total cost:  
  15 points.
  QUARTERS, 
  CONTROLS, 
  AND  
  MAINTENANCE
  All the crew-
  members and 
  passengers need 
  places to sleep and 
  relax. One hex can 
  hold up to three 
  Human-sized per-
  sons in bunks or racks, or a single person in mini-
  mal comfort. More pleasant accomodations require 
  two to eight hexes per person; luxurious quarters 
  can be virtually any size. For recreation and related 
  activities, allot two to four hexes per person the 
  ship normally carries (both crew and passengers). 
  In Space Opera settings, ship designers may use 
  holographic and/or dimension-altering technology 
  to make tiny recreation spaces seem enormous and 
  varied.
  Ships also need a command center, with at least 
  1 hex of space per oﬃcer present at once. One-man 
  ships may have just a pilot’s seat, but larger ones 
  have multiple control stations. Really big ships have 
  a command bridge with space for dozens of special-
  ists and an impressive chair for the captain.
  For corridors, elevators, access tunnels, and 
  other means of physically moving through the ship, 
  you should allot about ten percent of the total inte-
  rior space devoted to other facilities and systems (or, 
  for ease of calculation, a straight ten percent of the 
  ship’s volume).
  Ships often include repair shops, for purposes 
  of maintenance and damage control. You can simu-
  late this by buying “labs” for Mechanics and various 
  other Skills. Per the standard rules, the ship needs 
  a minimum of one hex of space per lab, but most 
  ships have even larger labs so more than one engi-
  neer can work at once; this requires at least one hex 
  of space per person who can be in the lab. Game-
  masters may also want designers to make labs with 
  better rolls larger — for example, one hex for a base 
  roll, +1 hex per +1 to the roll.
  MEDICAL FACILITIES
  Frequently known as “sickbay” thanks to the 
  inﬂuence of Star Trek, a ship’s medical facilities need 
  enough room for doctors, patients, and equipment. 
  It’s bought as a laboratory for Paramedics and SS: 
  Medicine (and perhaps other Skills). At a minimum, 
  sickbays require one hex of space per ten people in 
  the standard crew + passengers complement, plus 
  one hex per doctor intended to work in the facility 
  at once. A ship’s medical facilities may be especially 
  advanced (bought as bonuses to SS: Medicine), or 
  include autodoctors (page 175) or like technology.
  DISADVANTAGES
  The Disadvantages system described for vehi-
  cles on page 470 of the HERO System 5th Edition, 
  Revised generally applies to Star Hero spacecraft. 
  Gamemasters may want to consider allowing some 
  other Disadvantages as well.
  HUNTED
  A speciﬁc vehicle might be sought by the 
  authorities, covetous collectors, or other people. This 
  is diﬀerent from Hunting the owners or crew of the 
  vehicle — someone Hunting a starship wants the 
  ship; he doesn’t necessarily care what happens to the 
  people on it.
  PHYSICAL LIMITATION
  Players designing spacecraft could use Physical 
  Limitations to represent a ship with perpetual engi-
  neering problems. Perhaps the ship is an old junker, 
  always on the verge of falling apart, or maybe it’s 
  got so many cross-wired, jury-rigged alien replace-
  ment parts the crew doesn’t know from day-to-day 
  whether everything will function properly. Some 
  examples:
  Physical Limitation:  Constant Malfunctions (Fre-
  quently, Greatly Impairing; 15 points). The GM rolls 
  for the ship each game session. On a roll of 11-, 
  something on the ship malfunctions or stops work-
  ing at a crucial moment; the GM randomly deter-
  mines which system goes kablooie, or chooses the 
  one with the most dramatic impact.
  Physical Limitation:  Alien Computer (Frequently, 
  Greatly Impairing; 15 points). The ship’s computer 
  was built, modiﬁed, or warped by aliens, and doesn’t 
  always work the way it’s supposed to. Once per 
  game session, the GM should have the computer 
  make an INT Roll at -3. If it succeeds, nothing goes 
  wrong. If it fails, a program or Skill Roll is misinter-
  preted, with comic and/or dangerous results.
  Another good use of Physical Limitation is 
  to represent spacecraft that cannot enter planetary 
  atmospheres:
  Physical Limitation:  Cannot Enter Atmospheres 
  (Infrequently, Greatly Impairing; 10 points). A ship 
  with this Physical Limitation was not built to with-
  stand the rigors of atmospheric ﬂight. For every 
  Phase it spends within an Earth-equivalent atmo-
  sphere, it takes 1d6 Killing Damage (no defense 
  applies) (the GM can alter the number of dice to 
  reﬂect atmospheres thinner or denser than Earth’s). 
  If it stays too long in the atmosphere, it gets torn 
  apart.
  HOLOGRAPHIC 
  ENTERTAINMENT
  In some SF settings, 
  characters on starships 
  can fulﬁll their need for 
  entertainment and recre-
  ation in ultra-advanced 
  holography chambers 
  that create any sort of 
  “reality” or adventure 
  they can imagine using 
  photons and inert raw 
  materials. It looks, 
  sounds, and sometimes 
  even feels real, but it’s all 
  just an elaborate illusion 
  (at least until the controls 
  malfunction and the 
  holograms gain the abil-
  ity to kill...). Here’s how a 
  “holographic entertain-
  ment room” might look 
  in HERO System terms:
  Sight, Hearing, and Touch 
  Group Images, -3 to PER 
  Rolls, Increased Size (16” 
  radius; +1) (58 Active 
  Points); OIF Immobile 
  (-1 ½), Only Within 
  Deﬁned Area (16” radius 
  chamber; -2). Total cost:  
  13 points.  Price:  18,560 
  credits (1,160 credits per 
  hex of radius), or more.
  
  205 
  Star Hero ■ Chapter Eight
  I
  n many science ﬁction settings, planetary vehi-
  cles receive little, if any, attention; Star Trek, for 
  example, has shown about 600 hours of science 
  ﬁction television while barely even mentioning, 
  much less showing, any ground-based vehicles. On 
  the other hand, some settings, particularly in Mili-
  tary SF, involve a lot of planetary vehicles — every-
  thing from gas-powered trucks not far diﬀerent 
  from what twenty-ﬁrst century Humans drive every 
  day, to hovertanks using artiﬁcial gravity ﬁelds 
  to move. Some settings focus entirely on a type 
  of ground vehicle called mecha (singular, mech), 
  meaning a large humanoid- or animal-shaped mili-
  tary robot/vehicle driven by a pilot and carrying 
  heavy armament.
  HOVERCRAFT
  Hovercraft are built like typical ground vehicles 
  (such as those in the HERO System 5th Edition, 
  Revised rulebook), with a few important diﬀerences.
  MOVEMENT
  Hovercrafts’ movement doesn’t depend on 
  generating friction against the ground. Instead, 
  they use artiﬁcial gravity technology (sometimes 
  coupled with rockets) to generate thrust and “ﬂy” 
  near the ground. A basic hovercraft must remain 
  within 1” of the ground, and buys its movement as 
  ordinary Ground Movement (but without any of 
  the terrain-based Limitations that some forms of 
  Ground Movement suﬀer from).
  More advanced hovercraft can get as much as 
  4” oﬀ the ground (or a like surface, such as a body 
  of relatively calm water). They buy their move-
  ment as Flight, with the Limitation Must Remain 
  Within 4” Of A Surface (-½). They have some 
  maneuverability that less advanced hovercraft don’t 
  (for example, they can go over obstacles 3” tall or 
  shorter with ease), but still cannot cross chasms or 
  other such “gaps” in the ground.
  A few hovercraft can ﬂy at unlimited altitudes, 
  which they buy as Flight without any of the Limi-
  tations described above. These eﬀectively aren’t 
  ground vehicles at all, but the science ﬁction equiv-
  alent of airplanes and helicopters.
  EQUIPMENT
  Most hovercraft equipment is the same as for 
  other ground vehicles (e.g., headlights to illuminate 
  the path of travel at night). But hovercraft also have 
  a few systems of their own.
  Some hovercraft can attain speeds signiﬁcantly 
  higher than even the fastest ground-based vehicle, 
  which means they often need some extra equip-
  ment, too. Life Support (Self-Contained Breathing) 
  may be necessary if the vehicle isn’t physically 
  sealed; this would represent a force-bubble holding 
  a pocket of air “inside” the vehicle so passengers 
  can breathe.
  Similarly, high speeds require a high degree of 
  protection from collisions. Many hovercraft have 
  Force Fields or Force Walls like those used for star-
  ships (page 198), but not nearly as strong.
  Hovercraft that can ﬂy above 4” usually have 
  Radar with Increased Arc Of Perception (360 
  Degrees) so they can keep track of other objects 
  in the air. Even ground-based hovercraft may have 
  radar, since the dangers of a high-speed impact are 
  so severe.
  In some settings, hovercraft are primarily (or 
  exclusively) used by law enforcement authorities 
  and/or the military. In that case, they usually come 
  equipped with weapons — mounted blasters, rocket 
  launchers, and the like.
  MECHA
  Mecha are large ground vehicles common to 
  some science ﬁction settings. In fact, they are the 
  primary feature of some SF universes and Star 
  Hero campaigns. They usually have a humanoid 
  form (though some are shaped like various animals 
  instead), and in eﬀect are gigantic combat robots 
  requiring Human drivers. The driver rides in a 
  cockpit that’s usually located either in the “head” 
  of the vehicle, or in the body just below the head; 
  mecha often have transparent screens so the driver 
  can view the battleﬁeld with his own eyes as well as 
  his sensors.
  Mecha use the same Vehicle Size Table as ordi-
  nary vehicles, but substitute “height” for “length.” 
  Typically they are 8-20” tall at most, but can be up 
  to 32” (about 200 feet) tall in some settings.
  MOVEMENT
  Mecha have legs and “walk” like humanoids. 
  To simulate this, they buy Extra Limbs with the 
  Limited Manipulation Limitation. Their legs are 
  used for moving; their arms typically serve as 
  weapon mounts and don’t have hands. On those 
  mecha that do have hands (typically to wield enor-
  mous guns and other weapons), the hands aren’t 
  built for ﬁne manipulation. The typical mech has 
  PLANETARY 
  VEHICLES  
  AND MECHA 
  
  206 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  two legs and two arms, but more are possible.
  To determine how fast a mech can move on its 
  legs, refer to the Size/Weight Package Deals on page 
  30. At a minimum, a mech should have the amount 
  of Ground Movement (Running) appropriate to its 
  size; some have more, because of their highly eﬃ-
  cient motors and servos. Mecha don’t take any sort 
  of Limitation on their Ground Movement; unlike 
  vehicles with tires or treads, their legs allow them 
  to negotiate rough terrain without diﬃculty. Since 
  they’re using limbs to move, they don’t suﬀer from a 
  Turn Mode like other ground vehicles.
  The Size/Weight categories also indicate how 
  much reach a mech should have, if appropriate. 
  Mecha who just use their arms as weapon mounts 
  don’t need to buy any reach, but mecha who can 
  ﬁght in HTH Combat should have some.
  Mecha often have other forms of movement 
  as well. Many have “jumpjets” for making rocket-
  assisted leaps. Others can even ﬂy, though “ﬂight 
  mode” is most common among mecha that can alter 
  their shape (see below).
  Mecha Movement Powers
  Mech Limbs:  Extra Limbs (4 — two legs, two arms) 
  (5 Active Points); Limited Manipulation (-¼). Total 
  cost:  4 points.
  Jumpjets:  Leaping +40”. Total cost:  40 points.
  Flight Mode:  Flight 40”, x4 Noncombat. Total cost:  
  85 points
  WEAPONS AND DEFENSES
  Mecha are combat vehicles, and as such come 
  heavily laden with weapons. Most rely on ranged 
  attacks:  long-range beam weapons, missile launch-
  ers, autocannons, and the like. More exotic attacks, 
  such as Flash, Darkness, Drain, and Transfer are pos-
  sible, though less common. Here are a few examples:
  Laser Assault Cannon:  This enormous weapon 
  resembles a distinct weapon the mech carries in 
  a “holster” and ﬁres with its hands, but in fact it’s 
  ﬁrmly attached to the mech’s body by an armored 
  cable and other linkages. Price:  3,150 credits, or 
  more.
  RKA 4d6, Armor Piercing (+½), Increased Max-
  imum Range (x5, or 2,250”; +¼) (105 Active 
  Points); OIF Bulky (-1). Total cost:  52 points.
  Autocannon:  This weapon uses gauss technology to 
  ﬁre barrages of high-speed, high explosive rounds. 
  Price:  5,070 credits, or more.
  RKA 5d6, Autoﬁre (5 shots; +½), 64 Charges 
  (+½), Increased Maximum Range (x5, or 3,750”; 
  +¼) (169 Active Points); OIF Bulky (-1). Total 
  cost:  84 points.
  Missile Pod:  This weapon, mounted on a mech’s 
  shoulder next to its “head,” contains 16 large, power-
  ful missiles. Price:  4,500 credits, or more.
  RKA 4d6, Armor Piercing (+½), Explosion (-1 
  DC/3”; +1) (150 Active Points); OIF Bulky (-1), 
  16 Charges (-0). Total cost:  75 points.
  In some settings mecha engage in HTH 
  Combat as well. Some use their metallic fists 
  and legs to pummel other mecha, even buying 
  Martial Arts in some cases. (Standard rules for 
  buying Martial Maneuvers apply.) Mecha can 
  only engage in unarmed HTH Combat against 
  targets of large size; they can’t use their Martial 
  Maneuvers against ordinary Human-sized char-
  acters, but only against other mecha, buildings, 
  giant monsters, large terrain features, and so 
  forth. On the other hand, some mecha use gigan-
  tic melee weapons — typically swords of blazing 
  energy, or other such “powered” weapons. Most 
  of these weapons are OAFs, because other mecha 
  can disable them or disarm the user, though they 
  are far too big and heavy for a character to wield.
  Mecha Melee Weapons
  Blazing Energy Sword:  HKA 3d6 (up to 6d6 with 
  STR), Armor Piercing (+½) (67 Active Points); 
  OAF Bulky (-1 ½). Total cost:  27 points. Price:  
  2,010 credits, or more.
  Power Mace:  HKA 4d6 (up to 8d6 with STR) (60 
  Active Points); OAF Bulky (-1 ½). Total cost:  24 
  points. Price:  1,800 credits, or more.
  Naturally, with all this weaponry around, 
  mecha also come equipped with defensive sys-
  tems. First and foremost, they tend to rely on 
  heavy armor and sturdy construction; they 
  have more DEF and BODY than similarly-sized 
  normal vehicles. They may also have “primitive” 
  defenses, such as gigantic shields (extra DEF on 
  an Activation Roll, Missile Deflection) to accom-
  pany their gigantic swords.
  If the tech level of the setting is high 
  enough, mecha may also have defensive energy 
  shields similar to starships’ (though of course 
  less powerful). Many define their energy shields 
  primarily as Missile Deflection, though that does 
  little good against Explosions and similar attacks. 
  Designers can also use Force Field and Force 
  Wall to create mecha defense shields, though 
  they drain the vehicle’s power (i.e., cost END).
  Other possible defenses include:  Flash 
  Defense (polarized viewing screens to protect 
  the pilot’s eyes; hardened communications and 
  sensor systems able to resist electronic pulses; 
  and so forth); Lack Of Weakness (to counteract 
  targeting sensors defined as Find Weakness); and 
  Power Defense (in settings where Drain-based 
  mech weapons exist).
  OTHER EQUIPMENT
  For the most part, you can use the starship 
  equipment detailed elsewhere in this chapter for 
  mecha; all you have to do is “downgrade” it a bit 
  or otherwise adapt it to ground-based warfare. 
  For example, mecha have sensor and communi-
  cations systems similar to those starships pos-
  sess, but need much less (if any) MegaScale — a 
  few levels of Telescopic take care of their needs.
  Because of the discomforts of the battlefield, 
  not to mention the possibility of biochemical 
  warfare, most mecha provide Life Support for 
  
  207 
  Star Hero ■ Chapter Eight
  their drivers. In lower-tech settings, the driver 
  may have to use his own personal breathing gear 
  instead.
  Perhaps the most interesting type of “equip-
  ment” found on mecha in some settings is 
  the ability to shift shape. In these universes, a 
  humanoid mech may be able to transform itself 
  into a beast-shaped mech for different attack 
  forms, or a plane-shaped mech for fast travel, or 
  a submarine-style mech for underwater combat. 
  You can buy this ability as Multiform, with the 
  cost of the Power deriving from the total cost 
  of the alternate vehicle shape (not its total cost 
  divided by five). Mecha Multiform cannot have 
  the Instant Change Adder (in fact, it may take an 
  Extra Time Limitation to reflect the fact that it 
  takes longer than a Half Phase to change forms), 
  and usually takes the Costs Endurance (-½) Limi-
  tation.
  Mecha Equipment
  Basic Mecha Sensors:  This represents a basic 
  sensor system for a mech, with a small amount 
  of hardening to protect it from enemy “radarzap-
  pers.” Price:  1,760 credits, or more.
  Radar 
  (Radio 
  Group), 
  Discriminatory, 
  Increased Arc Of Perception (360 Degrees), 
  Telescopic (+14 versus Range Modifier) (total 
  cost:  39 points) plus Radio Group Flash 
  Defense (5 points) (total cost:  5 points); all 
  OIF Bulky (-1). Total cost:  21 points.
  Targeting Sensor:  This is a combat sensor built as 
  Find Weakness. Similar sensors are built simply 
  as Combat Skill Levels or Penalty Skill Levels. 
  Price:  1,200 credits, or more.
  Find Weakness 13- with all Mecha Ranged 
  Weapons (30 Active Points); Costs Endur-
  ance (-½). Total cost:  20 points.
  Secure Laser Communication System:  This short-
  range communication device, using both laser 
  and radio, allows for a high level of coordination 
  between two mecha. However, it can easily be cut 
  off by intervening obstacles or electronic war-
  fare. Price:  600 credits, or more.
  Mind Link, any willing target (15 Active 
  Points); OIF Bulky (-1), Only With Other 
  Mecha Who Have Mind Link (-1), Must 
  Maintain LOS (-½). Total cost:  4 points.
  360 View System:  Hardened cameras mounted 
  all around the mech’s body allow its driver to see 
  everything around him. Price:  800 credits, or 
  more.
  Infrared Perception (Sight Group) (total cost:  
  5 points) plus Ultraviolet Perception (Sight 
  Group) (total cost:  5 points) plus Increased 
  Arc Of Perception (360 Degrees; Sight Group) 
  (total cost:  10 points); all OIF Bulky (-1). 
  Total cost:  9 points.
  
  208 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  S
  pace stations and starbases are similar to 
  starships in most ways, and use the same 
  creation rules. The main diﬀerence between 
  spaceships and space stations is that ships 
  get to go places. Stations, while they aren’t necessar-
  ily stationary, remain in place or follow a predeter-
  mined orbit and can only make minor adjustments. 
  They can buy any type of starship equipment the 
  GM deems appropriate, but may not have Move-
  ment Powers except for low-powered thrusters 
  (page 202) to help them maintain their position.
  Space Station Types
  Space stations serve many purposes. Science 
  stations are orbiting laboratories, either studying 
  the planet below or used for research too danger-
  ous to perform on an inhabited world. Commercial 
  stations are centers for trade and ports of entry 
  for ships visiting a planet; almost every world 
  engaged in oﬀ-world trade has at least one com-
  mercial station. Transit stations orbit between two 
  planets in the same system, acting as an interplan-
  etary liner that never docks. Military stations can 
  be either planetary defense bases to guard against 
  attack, or space superiority platforms keeping an 
  eye on the planet itself. Finally, colonies are very 
  big self-suﬃcient space stations, often combining 
  the functions of smaller ones.
  In most settings, governments have a clas-
  siﬁcation system for space stations. Most classiﬁ-
  cation schemes account for the station’s location 
  (either generally, or at speciﬁc coordinates), pur-
  pose, and size.
  Size
  Small stations are usually built in the early 
  days of a society’s spacefaring period, in low orbit 
  around the home planet. Typical small stations are 
  little more than large airtight cans with life sup-
  port, solar panels for power, and docking ports. 
  They are most likely designed as orbital labora-
  tories, although weapons platforms or customs 
  quarantine stations are possible if the planet has 
  contact with other civilizations. Starfaring civi-
  lizations may put small science stations in orbit 
  around interesting worlds to study them. Asteroid 
  miners may work out of a small station equipped 
  with thrusters to move from rock to rock.
  Only mature spacefaring societies can 
  construct large space habitats, which they typi-
  cally intend to use permanently. They may not 
  be entirely self-suﬃcient in food production or 
  life support, but can operate for months or years 
  before resupply. A permanent station must have 
  radiation shielding and some form of gravity 
  (either spin gravity or artiﬁcial gravity ﬁeld gen-
  erators), unless the inhabitants are adapted to 
  microgravity.
  Large stations are often used as orbital ports, 
  where ships too big for surface landings can 
  dock so passengers can transfer to other ships 
  or shuttles down to the planet. They may also be 
  manufacturing centers, especially in a rich asteroid 
  cluster where valuable minerals are common. Most 
  interstellar civilizations need large stations as bases 
  to repair and resupply starships — and often place 
  them in strategically-located systems which don’t 
  have a habitable world. Equipped with force shields 
  or heavy armor, batteries of big guns, and long-
  range sensors, a large station could be a formidable 
  space fortress.
  SPACE STATIONS
  AND STARBASES
  IMPERIAL STATION CLASSES
  Like the spaceship classiﬁcation system, the Terran Empire’s station classiﬁcation 
  system uses three letters, the ﬁrst describing how the station orbits, the second its pur-
  pose, and the third its size.
  First Letter: 
  Letter 
  Type 
  Notes
  G 
  Geosynchronous 
  Station orbits with a period of 1 day
  H 
  High orbit 
  Station orbits thousands of miles up
  L 
  Low orbit 
  Station orbits just above the atmosphere
  P 
  Planetary orbit 
  Station orbits a star
  T 
  Trojan orbit 
  Station occupies a Lagrange point
  Second Letter:
  Letter 
  Type 
  Notes
  A 
  Agriculture 
  Food-producing station
  B 
  Base 
  Forward base to support spaceships
  C 
  Construction 
  Orbital shipyard
  D 
  Defense 
  Armed military station
  F 
  Fuel 
  Fuel reﬁning and storage facility
  G 
  General 
  Multipurpose station
  H 
  Habitat 
  Residential colony
  I 
  Industrial 
  Orbital factory or smelting plant
  M 
  Meteorology 
  Weather-monitoring station
  O 
  Observation 
  Station monitoring planet below
  P 
  Powersat 
  Large solar power satellite
  Q 
  Quarantine 
  Medical isolation station
  R 
  Research 
  Scientiﬁc station
  S 
  Spaceport 
  Orbiting spaceport
  Third Letter:
  Letter 
  Type 
  Size
  O 
  Outpost 
  1,000 cubic meters, up to 10 crew
  S 
  Station 
  1,001-50,000 cubic meters, 11-100 crew
  B 
  Base 
  50,001 cubic meters or more (typically at least 1 mil-
  lion), 101 crew or more
  C 
  Colony 
  50 million+ cubic meters, 10,000+ colonists
  Thus, a small manned military platform in high orbit would be an HDO, while a com-
  mercial port in low orbit would be an LSS. An O’Neill colony at L-5 would be a THC. 
  Like spaceships, stations get individual numbers, grouped together by class. 
  
  209 
  Star Hero ■ Chapter Eight
  If a species wants to settle permanently in 
  a system but doesn’t want to live on a planet or 
  inside an asteroid, a space habitat is the answer. 
  These are very big space stations indeed — pro-
  posed designs include ring-shaped colonies a mile 
  across, spheres two miles in diameter, and huge 
  cylinders ﬁve miles wide and twenty miles long! At 
  that scale, colonies are bound to be self-suﬃcient 
  in just about everything, and can support popula-
  tions of tens of thousands of people. The purpose 
  of a space habitat must be an important one to 
  justify the cost:  a major port or way-station in a 
  strategically-located system without planets, or the 
  center of an asteroid-based society, or an orbiting 
  industrial complex above an advanced high-popu-
  lation world.
  SIZE RULES
  The accompanying table expands the Base Size 
  Table from the HERO System 5th Edition, Revised to 
  allow for the construction of the truly enormous 
  Bases often featured in science ﬁction stories.
  Since many space Bases are not ﬁrmly 
  attached to anything, but instead ﬂoat in space, 
  it’s possible a suﬃciently large attack could cause 
  Knockback to one. If necessary, use the equivalent 
  Size category on the Expanded Vehicle Size Table 
  to determine a Base’s mass and Knockback modi-
  ﬁer.
  In some campaigns, it may even be possible 
  for characters to own entire planets! This gets 
  costly, though (even with dividing the total points 
  by 5). Assuming an Earth-sized planet, that means 
  approximately 1.28 quadrillion hexes of surface, 
  which costs 150 Character Points for the area 
  alone — never mind the cost of all the resources, 
  facilities, and people. Gamemasters who want to 
  allow this may ﬁnd it easier to simply assign a ﬂat 
  cost for owning a planet, based on the planet’s size, 
  resources, and quality (see text box). (See also the 
  Mega-Bases text box on page 98.)
  Area Versus Volume
  When a character builds or buys a large base 
  such as a planet or an orbital, the issue of area 
  versus volume comes into play. The Expanded Base 
  Size Table calculates only the area (length times 
  width) of a Base. It doesn’t calculate volume. One 
  Base with 2,000 square hexes of area might be a 
  single-story structure with twelve-foot high ceil-
  ings, while another is divided into ten ﬂoors with 
  30-foot ceilings — and they cost the same amount 
  of Character Points for their Size, even though one 
  contains a much great volume of space than the 
  other.
  For planet Bases, it’s usually easiest to deter-
  mine the Size of the Base based on the surface area 
  of the planet (assume the planet is a sphere and 
  use the formula 4πr2 to derive the surface area). 
  Though characters can dig down into the volume of 
  the sphere, by and large they restrict themselves to 
  the surface, so that’s the simplest way to gauge the 
  size of the Base. The same method applies to things 
  like ringworlds and Dyson spheres; all that matters 
  is the livable surface area.
  For Bases such as orbitals, which are vast 
  habitats in space, interior volume, not surface area, 
  may be what counts. In this case, consider “area” as 
  volume. Thus, an orbital with an interior volume of 
  8 quadrillion cubic hexes would use the cost for a 
  Base with an area of that same size — 150 points. 
  This provides a big cost break to characters build-
  ing such Bases, which can hold far more inhabit-
  ants than any Earth-sized planet. As an optional 
  rule, GMs interested in strict cost accounting 
  should consider the volume of a Base as equal to its 
  area times four.
  PLANET COST TABLE
  Cost 
  Size Of Planet
  75 
  Small planet
  150 
  Medium (Earth-sized) planet
  300 
  Large planet
  600 
  Gigantic planet
  1,000 
  Multi-planetary (ringworld, Dyson sphere, 
  and so on)
  Cost 
  Resources
  +0 
  Completely undeveloped/uninhabited or 
  very poor resources
  +100 
  Lightly developed/inhabited or poor 
  resources
  +200 
  Average developed/inhabited or average 
  resources
  +400 
  Heavily developed/inhabited or good 
  resources
  +800 
  Extremely developed/inhabited or very 
  good resources
  Cost 
  Location
  -50 
  Poor location
  +0 
  Average location
  +50 
  Good location
  
  210 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  Location
  Most Star Hero bases are located In Space, 
  which normally costs +25 points. That cost typi-
  cally assumes a planet-based campaign, where 
  having a base in space provides a number of 
  advantages. In a science ﬁction game, the action 
  may all take place in space, in which case space 
  bases are commonplace. In that case, the GM may 
  wish to ignore the cost for an In Space location.
  Bases in space typically do not have grounds. 
  Bases located on a planet could have grounds as 
  normal. A base on an isolated planet, asteroid, or 
  the like might even, with the GM’s permission, 
  deﬁne the entire body it’s on as its “grounds.”
  Equipment
  Equipment for Bases is usually the same as or 
  similar to starship equipment. Space bases need 
  defensive shields and weapons, artiﬁcial gravity, 
  power plants, and sensors, just like spacecraft. See 
  below for a few examples.
  Generally, equipment bought for a Base 
  applies to the entire base and/or everyone within 
  it automatically; the Base’s designer doesn’t have 
  to apply Area Of Eﬀect or some other Advan-
  tage to make a power cover the entire Base. For 
  example, if a Base buys Life Support, the Life 
  Support applies to everyone inside the base, even 
  without Area Of Eﬀect. Based on common sense, 
  dramatic sense, or “realism,” the GM may make 
  exceptions to this rule, or establish limits on how 
  many people a Base’s equipment can support. For 
  example, maybe a Base’s life support systems can 
  handle a load of up to 1,000 Human-sized people; 
  more than that, and the air and other supplies 
  get used up faster than they can be replenished, 
  which soon leads to trouble.
  If a type of equipment only works within a 
  certain part of the Base, it can take the Partial 
  Coverage Limitation (also written as, for many 
  eﬀects, Only Within Deﬁned Area). For example, if 
  a 2” x 2” prison cell on a starbase has extra DEF, 
  or a special weapon used to restrain/incapacitate 
  prisoners, Partial Coverage/Only Within Deﬁned 
  Area would apply to that power.
  Since Bases don’t have SPD, Base equipment 
  costs END based on the SPD of the character 
  using it. If a weapon uses 10 END per shot, and 
  a character with SPD 4 ﬁres it for a Turn, it’s just 
  used 40 of the Base’s power plant’s END. For 
  equipment that has to function constantly, such 
  as life support or gravity, assume all Bases have 
  SPD 3.
  Space Station Equipment
  Fire Extinguishing System:  This system detects 
  and then extinguishes ﬁre. It can only cover a cer-
  tain area, so a large station installs multiple extin-
  guishers. Price:  5,640 credits each, or more.
  Detect Unauthorized/Uncontrolled Fires (INT 
  Roll +5, using Base’s Computer, or 14- if no 
  Computer) (total cost:  8 points); Only Within 
  EXPANDED BASE SIZE TABLE
   
  Length 
  Width 
  Area
  Cost 
  (hexes) 
  (hexes) 
  (hexes) 
  DCV
  0 
  4 
  2 
  8 
  -4
  2 
  5 
  3 
  15 
  -4
  4 
  6.4 
  3.2 
  20 
  -5
  6 
  8 
  4 
  32 
  -6
  8 
  10 
  5 
  50 
  -6
  10 
  12.5 
  6.4 
  80 
  -7
  12 
  16 
  8 
  125 
  -8
  14 
  20 
  10 
  200 
  -8
  16 
  25 
  12.5 
  320 
  -9
  18 
  32 
  16 
  500 
  -10
  20 
  40 
  20 
  800 
  -10
  22 
  50 
  25 
  1,250 
  -11
  24 
  64 
  32 
  2,000 
  -12
  26 
  80 
  40 
  3,200 
  -12
  28 
  100 
  50 
  5,000 
  -13
  30 
  125 
  64 
  8,000 
  -14
  32 
  160 
  80 
  12,500 
  -14
  34 
  200 
  100 
  20,000 
  -15
  36 
  250 
  125 
  32,000 
  -16
  38 
  320  
  160 
  50,000 
  -16
  40 
  400 
  200 
  80,000 
  -17
  42 
  500 
  250 
  125,000 
  -18
  44 
  640 
  320 
  200,000 
  -18
  46 
  800 
  400 
  320,000 
  -19
  48 
  1,000 
  500 
  500,000 
  -20
  50 
  1,250 
  640 
  800,000 
  -20
  52 
  1,600 
  800 
  1.25 million 
  -20
  54 
  2,000 
  1,000 
  2 mil 
  -21
  56 
  2,500 
  1,250 
  3.2 mil 
  -22
  58 
  3,200 
  1,600 
  5 mil 
  -22
  60 
  4,000 
  2,000 
  8 mil 
  -23
  62 
  5,000 
  2,500 
  12.5 mil 
  -24
  64 
  6,400 
  3,200 
  20 mil 
  -24
  66 
  8,000 
  4,000 
  32 mil 
  -25
  68 
  10,000 
  5.000 
  50 mil  
  -26
  70 
  12,500 
  6,400 
  80 mil 
  -26
  72 
  16,000 
  8,000 
  125 mil 
  -27
  74 
  20,000 
  10,000 
  200 mil 
  -28
  76 
  25,000 
  12,500 
  320 mil 
  -28
  78 
  32,000 
  16,000 
  500 mil 
  -29
  80 
  40,000 
  20,000 
  800 mil 
  -30
  82 
  50,000 
  25,000 
  1.25 billion 
  -30
  84 
  64,000 
  32,000 
  2 bil 
  -31
  86 
  80,000 
  40,000 
  3.2 bil 
  -32
  88 
  100,000 
  50,000 
  5 bil 
  -32
  90 
  125,000 
  64,000 
  8 bil 
  -33
  92 
  160,000 
  80,000 
  12.5 bil 
  -34
  94 
  200,000 
  100,000 
  20 bil 
  -34
  96 
  250,000 
  125,000 
  32 bil 
  -35
  98 
  320,000 
  160,000 
  50 bil 
  -36
  100 
  400,000 
  200,000 
  80 bil 
  -36
  102 
  500,000 
  250,000 
  125 bil 
  -37
  104 
  640,000 
  320,000 
  200 bil 
  -38
  106 
  800,000 
  400,000 
  320 bil 
  -38
  108 
  1 million 
  500,000 
  500 bil 
  -39
  110 
  1.25 mil 
  640,000 
  800 bil 
  -40
  112 
  1.6 mil 
  800,000 
  1.25 trillion 
  -40
  114 
  2 mil 
  1 million 
  2 tril 
  -41
  116 
  2.5 mil 
  1.25 mil 
  3.2 tril 
  -42
  118 
  3.2 mil 
  1.6 mil 
  5 tril 
  -42
  120 
  4 mil 
  2 mil 
  8 tril 
  -43
  130 
  12.5 mil 
  6.4 mil 
  80 tril 
  -50
  140 
  40 mil 
  20 mil 
  800 tril 
  -53
  150* 
  125 mil 
  64 mil 
  8 quadrillion -60
  *:  This size category approximately equals the surface 
  area of Earth (1.28 quadrillion hexes).
  
  211 
  Star Hero ■ Chapter Eight
  Aﬀected Area (20” x 20” zone; -2) (total cost:  
  3 points) plus Dispel Fire Powers 20d6, all 
  Fire powers simultaneously (+2) (180 Active 
  Points); Only Within Aﬀected Area (20” x 
  20” zone; -2), 16 Charges (-0) (total cost:  60 
  points). Total cost:  63 points.
  Internal Security Monitors:  A space station’s 
  security team uses this system to keep an eye on 
  events around the station. Price:  2,600 credits 
  each, or more.
  Clairsentience (Sight And Hearing Groups), 
  Mobile Perception Point, Multiple Percep-
  tion Points (up to eight at once), 8x Range 
  (2,000”) (65 Active Points); OAF Immobile 
  (-2), Perception Point Cannot Move Through 
  Solid Objects (-0). Total cost:  22 points.
  Secondary Life Support System:  If the starbase’s 
  main life support systems are disabled, station 
  residents can proceed to a special chamber where 
  a backup system will keep them alive until help 
  arrives... or supplies run out. Price:  840 credits, 
  or more.
  Life Support (Self-Contained Breathing; 
  Diminished Eating:  no need to eat; Safe 
  Environments:  Intense Cold, Intense Heat, 
  High Radiation, Low Pressure/Vacuum) (21 
  Active Points); Only Within Aﬀected Area 
  (20” x 20” chamber; -2), 1 Continuing Fuel 
  Charge (easily replaced from sources outside 
  the station; 1 Month [i.e., 30 man-days]; -0). 
  Total cost:  7 points.
  
  212 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  S
  pace battles are a long-standing part of 
  science ﬁction, both in print and on the 
  silver screen. This section of Chapter Eight 
  provides some additional and expanded 
  HERO System rules for conducting battles between 
  ships in space. However, the nature of space combat 
  depends largely on the types of technology avail-
  able — the spectrum of tactical options in a setting 
  with easy FTL ﬂight and starship maneuvering 
  diﬀers signiﬁcantly from the available choices in a 
  Low SF game. Therefore, the rules presented here 
  are general ones, intended for use in a wide variety 
  of Star Hero campaigns. Gamemasters can, and 
  should, alter and adapt them for use in their own 
  games, and create new rules appropriate for their 
  campaign settings as well.
  There are two schools of thought regarding 
  starship combat. The Fun school emphasizes all 
  the cool space opera stuﬀ — whooshing ﬁghters, 
  cruisers trading broadsides, and tactics Horatio 
  Nelson would have approved of. The Accurate 
  school emphasizes what is known about conditions 
  in space and modern trends in warfare, with high 
  levels of stealth, prolonged duels of sensors and 
  countermeasures, and devastating weapon strikes. 
  Gamemasters can pick which method they prefer. 
  The Accurate school is more appropriate for Low 
  SF and Military SF games; the Fun school is more 
  appropriate for Pulp and Space Opera games.
  ACTIONS IN  
  STARSHIP COMBAT
  Gamemasters running starship combat have 
  two options for determining who can act, and 
  when:  a simple rule; and a complex rule.
  SIMPLE STARSHIP ACTIONS
  The “simple” rules consider each starship as a 
  single entity, regardless of how many crewmembers 
  they have, weapons they mount, or computers they 
  use. Each ship moves according to the standard 
  vehicle rules:  its uses its own SPD or its pilot’s 
  SPD (whichever is lower), and its deﬁned inches of 
  movement. It performs actions as if it were a single 
  entity:  it can make one attack using one of its 
  weapons, for example, but that’s it.
  The beneﬁt to the “simple” starship action rules 
  is that they make the combat easy to understand 
  and run. The drawback is that they’re not in any 
  way “realistic.” Even if it has the power to do so, 
  the ship can’t ﬁre multiple weapons or engage in a 
  lot of fancy maneuvering, and that saps a lot of the 
  ﬂavor from starship battles.
  COMPLEX STARSHIP ACTIONS
  For greater “realism,” and a greater degree 
  of participation by the PCs, GMs can use more 
  complex rules to resolve starship actions. In the 
  complex system, the starship counts as one char-
  acter who can act on its own Phases (or using the 
  per-Turn rules for Dogﬁght or Intercept Combat, 
  if those are in eﬀect). It can move, ﬁre one weapon, 
  perform a maneuver, or the like. It uses its own 
  DEX and SPD, or the DEX and SPD of its control-
  ling computer, to determine when it can act (see 
  pages 471-72 of the HERO System 5th Edition, 
  Revised for general rules on this subject).
  Additionally, each PC, and any other promi-
  nent character aboard the ship, also gets to act, 
  according to his own SPD and DEX (or, to simplify 
  things, the GM may rule that all characters on a 
  ship act with the ship’s SPD). That allows charac-
  ters to do things like pilot the ship, ﬁre a weapon, 
  activate point defenses, perform ﬁrst aid on injured 
  crewmembers, ﬁght boarders, and so forth. Charac-
  ters use their own DEXs, Skills (including relevant 
  Combat Skill Levels), and other attributes to resolve 
  the outcome of actions they attempt. If the char-
  acters ﬁre the ship’s weapons, they use the ship’s 
  OCV; if they get involved in personal combat, they 
  use their own CVs. If the characters use the ship’s 
  weapons or equipment, the ship pays the END for 
  them in the Segment when they’re used.
  One exception to this general rule:  if a char-
  acter acts as the “pilot” of the ship, his action in 
  a Phase is to do that — pilot the ship. He cannot 
  also ﬁre a weapon, operate the sensors, or the like 
  (unless the GM permits). However, he can, as part 
  of his piloting, perform maneuvers with the ship, 
  or make attacks like ramming other ships (Move 
  Through). If the GM chooses to resolve ship 
  movement ﬁrst in a Phase (see below), a character 
  serving as pilot gets to act ﬁrst in that Phase, even 
  if his DEX isn’t the highest in the group.
  The GM determines how many crewmem-
  bers on a ship count as “prominent” for purposes 
  of this rule. For example, assuming a ship had 
  suﬃcient power, theoretically it could ﬁre every 
  single weapon it has, since a separate crewmember 
  can man each weapon and ﬁre it individually. But 
  that could take a lot of time, so the GM may not 
  want to consider every crewmember capable of 
  ﬁring a weapon as “prominent.” He may prefer to 
  designate only the PCs and major ship’s oﬃcers as 
  prominent, or only enough gunners to man half 
  the weapons, or the like.
  Some characters’ actions can aﬀect the actions 
  of all other characters on the ship. For example, a 
  SPACE COMBAT
  SLINGSHOTTING
  “Slingshotting” is a 
  spaceﬂight term for 
  ﬂying in a close arc 
  around a star or planet 
  to increase the ship’s 
  velocity. The downside is 
  that if the ship gets too 
  close, it could damage 
  itself... or even crash.
  To slingshot, a character 
  must plot a “close arc” 
  ﬂight course around a 
  nearby star or planet, 
  with a deﬁned “exit” 
  point (the point at 
  which he wants to break 
  his ship free from the 
  body’s gravity and sling-
  shot in the direction he 
  wants to go).
  then make a Skill Roll. 
  He suﬀers a penalty of 
  -1 for every 5” Flight he 
  uses in this maneuver 
  (plus an additional -2 
  if he uses MegaScaled 
  movement). He only has 
  to make one roll, even 
  though his ﬂight course 
  requires multiple Phases 
  of movement. If he suc-
  ceeds, he increases his 
  ship’s velocity — multi-
  ply his inches of move-
  ment per Phase by the 
  planet’s gravity relative 
  to Earth’s. (Thus, a ship 
  that slingshots around 
  a 2 G world multiplies 
  its movement by 2.) 
  This eﬀect lasts for 1d6 
  Phases (+1 Phase per 
  2 points by which the 
  character made his 
  Combat Piloting roll), 
  and does not cost extra 
  END or use up fuel.
  If the roll fails by 1 to 4 
  points, the ship enter’s 
  the star’s photosphere 
  (see Visiting The Sun, 
  page 98) or the planet’s 
  Continued on next page
  
  213 
  Star Hero ■ Chapter Eight
  character who uses sensors to obtain a +2 Attack 
  Roll bonus for the ship’s weapons doesn’t just 
  obtain that bonus for himself — it applies to all 
  other attacks the ship makes that Phase. The GM 
  determines who a character’s actions aﬀect.
  Example:  The Sword Of Orion is a large war-
  ship with a crew of 500 persons, including ﬁve 
  PCs. The GM decides that, in battle, each PC, 
  each of the ship’s six major oﬃcers who aren’t 
  PCs, and enough average crewmembers to man 
  one-third of the Sword’s weapons are “promi-
  nent” characters.
  The Sword gets into a ﬁght with a strange enemy 
  ship. The Sword itself counts as a character, and 
  moves to attack. One PC, Lt. Jackson, is the 
  ship’s Flight Oﬃcer, so he’s piloting the ship, and 
  that counts as his action (he could have made 
  the ship perform a maneuver, if he’d wanted). 
  Jackson’s DEX isn’t as high as some of the other 
  PCs, but since the GM resolves ship movement 
  ﬁrst, Jackson gets to act ﬁrst.
  The ﬁrst PC in the initiative order is Lt. Thalira, 
  who’s manning a torpedo launcher. She acts on 
  her own DEX, and uses the ship’s CV to deter-
  mine whether she hits the enemy ship.
  The next PC is Ensign Rodriguez, who’s manning 
  the sensors. One of the ship’s sensors is deﬁned 
  as Find Weakness, so he uses his action to make 
  the roll. He succeeds, and relays the information 
  he’s uncovered to the other PCs. 
  All the ship’s attacks get to take 
  advantage of the halving of the 
  target’s defenses, not just attacks 
  made by Rodriguez.
  The next PC, Ensign Flynt, is 
  an engineer who’s been assigned 
  to repair duty. He Holds his 
  Action, waiting until the ship 
  suﬀers damage before he acts.
  The last PC is Dr. Petrine, who’s 
  waiting in sickbay for injured 
  crewmembers. She, too, Holds 
  her Action until she needs to 
  act.
  The GM now resolves the 
  actions of any NPC crewmem-
  bers ﬁring weapons or perform-
  ing other tasks. To keep the pace 
  of combat moving quickly, the 
  GM uses the optional rule on 
  page 221 — he rolls once for 
  all NPCs making attacks, using 
  that one roll to determine how 
  many of them hit. He also just 
  assumes the attacks do average 
  damage, rather than rolling dice 
  for each attack that hit.
  SAMPLE TACTICAL  
  COMPUTER
   Val 
  Char 
  Cost 
  Roll 
  Notes
   13 INT 
  3 
  12- 
  PER Roll 12-
   15 DEX 
  15 
  12- 
  OCV:  5/DCV:  5
   3 SPD 
  5 
   
  Phases:  4, 8, 12
    
   
   
  Total Characteristic Cost:  23
  Cost Skills
  6 
  +2 with Ship’s Weapons
  6 
  KS: Known Enemies & Threats 15-
  6 
  Systems Operation (player chooses  
  categories) 12-
  3 
  Tactics 12-
  1 
  WF: [Ship’s] Weapons
   
  Programs
  1 
  Locate Target
  1 
  Analyze Target
  1 
  Attack Target
  Total Abilities Cost:  25
  Total Computer Cost:  48
  Value Disadvantages
  None (or chosen by player)
  Total Disadvantage Points:  0
  Total Cost:  48/5 = 10
  Description:  Characters determined to get maxi-
  mum ﬁrepower out of their ships can buy tacti-
  cal computers. Some ships have just one or two 
  upper atmosphere (see 
  page 285). If the roll fails 
  by 5 or more points, the 
  ship crashes into the 
  body (taking damage as 
  indicated on page 98 for 
  a star, or Move Through 
  damage for entering an 
  atmosphere/hitting a 
  planet).
  Continued from last page
  
  214 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  tactical computers, with each operating whichever 
  weapon it thinks will be most eﬀective; other 
  ships have one computer per weapon, meaning 
  they can ﬁre everything they’ve got every Phase 
  (as long as the power holds out).
  STARSHIP COMBAT  
  MOVEMENT AND  
  MANEUVERING
  The basic HERO System vehicle combat rules 
  are appropriate for cinematic battles. Vehicles get 
  their Move each Phase, and maneuver freely.
  Movement Basics
  Tracking space vehicle movement works 
  best if you have a hex map. You should get a large 
  map for space combat — particularly when using 
  “realistic” movement rules, because the cumula-
  tive nature of space movement means ships can 
  rapidly move very far apart. Gamemasters may 
  prefer to use non-mapped vehicle combat (as 
  described on pages 473-75 of the HERO System 5th 
  Edition, Revised), especially if there are only two 
  ships in a battle. All that requires is keeping track 
  of the distance between the two.
  At the beginning of an engagement, the 
  GM should “peg” the map to the slowest-moving 
  vehicle, or some other vehicle that’s particularly 
  signiﬁcant to the battle. That vehicle begins at rest 
  with regard to the map. It isn’t at rest of course, 
  it’s just that the map is “moving” along with the 
  ships. As the battle progresses, the GM may peg 
  the map to some other ship, as appropriate.
  Of course, most space battles occur over 
  ranges too great for any map. Weapons and sen-
  sors which can detect and hit a ship 300,000 
  kilometers away won’t ﬁt on a single map, unless 
  you increase the scale of the hexes to the point 
  where they’re of no use. In those cases, the ships 
  are eﬀectively at rest — the GM simply states the 
  range at which they ﬁrst detect each other, and 
  the ships bang away at extreme range with no real 
  maneuvering at all.
  If a ship counts as a character (no matter 
  whether you use the simple or complex rules 
  described above), it can only make a Half Move 
  with its Flight if it also wants to perform an 
  action (a Combat Maneuver, an attack, or the 
  like).
  SCALE OF MOVEMENT
  Gamemasters running starship battles must 
  consider the scale of ships’ movement.
  Normally, space combat takes place at 
  slower-than-light speeds. That’s easier to show 
  on the screen, and avoids all sorts of questions 
  about how various weapons would perform at 
  FTL velocities. In game terms, that means ships 
  are using ordinary Flight to move around the 
  battleﬁeld. The GM can assume ships maneuver 
  fairly close to one another, so that each hex on the 
  map is of the standard distance — 2 meters. That 
  means you can resolve movement according to 
  the normal rules.
  For greater “realism,” GMs may wish to 
  establish that each hex on the map is larger than 
  2 meters. For example, each hex might be 100 
  meters, or 1 kilometer, or 10 kilometers. If ships 
  use normal movement, it may take a long time for 
  one to cross a single hex (and the GM may need 
  “sub-maps” of individual hexes, if ships want to 
  ﬁght close to each other). Alternately, the GM can 
  apply a scale change to movement as well. Maybe 
  each 1” of Flight works on the same scale as the 
  map, or at some lesser rate (but one still 
  greater than 1” = 2m).
  If one or more ships have Mega-
  Scaled Flight, the GM must also 
  account for that when setting the scale 
  and determining distances moved. If 
  all ships have MegaScaled Flight, the 
  GM can simply set the map scale so 
  that 1” equals the shortest distance the 
  slowest ship could move, and then let 
  other ships move accordingly. If some 
  ships have MegaScaled Flight but some 
  don’t, the GM needs to keep that in 
  mind when setting the scale of the map 
  and ship movement — it’s not fair to let 
  ships that haven’t paid for MegaScale 
  ﬂy as fast as those that have, but it may 
  still be necessary to let non-MegaS-
  caled ships move at least a little faster 
  than 1” = 2m to keep the pace and 
  scope of the battle reasonably fast and 
  “realistic.”
  
  215 
  Star Hero ■ Chapter Eight
  THREE-DIMENSIONAL MOVEMENT
  Starship combats take place in three dimen-
  sions — the ships can go “up” and down” as well 
  as toward the four edges of the map. Unfortu-
  nately, it’s diﬃcult to simulate this in gaming, 
  because maps are ﬂat. Unless you’re willing and 
  able to build special multi-level mapping tables 
  for your games, you need to consider other solu-
  tions. For example, you can mark a ship’s position 
  with numerical notations indicating its position 
  in the Z (up and down) scale, using some pre-
  deﬁned unit of measurement (such as 100 meters 
  or 1 kilometer). A “+” note indicates a ship that’s 
  above the plane of the map; a “-“ notation one 
  that’s below the map. For example, a ship marked 
  as +3 might be 300 meters above the map; one 
  marked -1 is 100 meters below the map.
  Precise calculations of distance to ships 
  above or below the map are possible using the 
  Pythagorean Theorem, but generally this is a 
  waste of time for gaming purposes. The GM 
  should simply count the hexes normally on the 
  map, and then add a few to reﬂect distances above 
  or below the map (if appropriate).
  Realistic Movement
  In realistic movement, a vehicle’s space 
  Flight is its delta-V, the amount by which it can 
  accelerate or decelerate. Most vehicles have their 
  movement and facing determined relative to the 
  “stationary” one to which the GM has pegged the 
  map.
  Each Phase, mark where each ship begins 
  and ends its movement. On its next Phase the 
  ship automatically moves the same distance and 
  direction, plus whatever delta-V it applies with 
  its engines. Ships applying any delta-V automati-
  cally face in the direction they are adding move-
  ment. (Unless the GM chooses to waive the Turn 
  Mode rules, a ship can only change its direction 
  of movement up to 60 degrees (one hex side) per 
  Phase.) When moving the ship, apply the new 
  delta-V ﬁrst, and the old movement second.
  Example:  The Mockingbird, a small space-
  craft, has Flight 30”. It’s currently heading 
  straight “south” (toward the bottom edge of 
  the map) to escape a pursuer. It detects an 
  obstacle in the way and needs to maneuver. 
  It applies “thrust” (i.e., its inches of Flight) at 
  an angle 60 degrees to the left of its current 
  trajectory. Its player ﬁrst moves it 30” along 
  the “60 degrees left” vector. Then he moves the 
  Mockingbird the same distance and direction 
  it was traveling before — 30” to the “south.”
  REALISTIC STARSHIP MANEUVERING
  Realistic starship combat is typically resolved 
  as Dogﬁght or Intercept Combat (HERO System 
  5th Edition, Revised, pages 473-75). Due to the dis-
  tances involved in outer space, and the quality of 
  the sensors most starships have, Intercept Combat 
  is the most common, with ships accelerating ﬂat-
  out and no combat maneuvering. For early drives 
  like chemical or thermal rockets, there just isn’t 
  enough fuel to waste ducking and weaving, and 
  ion motors have such slow rates of acceleration 
  they have to move at Noncombat speeds to get 
  anywhere at all. More advanced engines allow 
  for greater “agility,” but at vast distances Intercept 
  Combat rules still make more sense for a “realis-
  tic” battle.
  Dramatic Movement
  For dramatic movement, ignore the reali-
  ties of movement in space. Ships move as they 
  normally do — up to their full inches of Flight 
  per Phase, in whatever direction they desire (and 
  their Turn Mode allows).
  DRAMATIC STARSHIP MANEUVERING
  Instead of using Dogﬁght and Intercept 
  Combat, GMs taking a more dramatic approach 
  should simply treat starships as if they were char-
  acters using Flight, and have them maneuver and 
  ﬁght accordingly. Alternately, GMs who want a 
  little more “ﬂavor” for their starship battles, but 
  at the cost of introducing a new rule, can try the 
  STARSHIP MANEUVERS
  Maneuver 
  Roll 
  Notes/Description
  Clever Positioning 
  -4 
  The pilot positions the ship near or between one or 
  more designated targets in a way that minimizes 
  exposure to counterattack. Against those targets only, 
  the ship’s DCV for performing Rapid Fire is reduced 
  only by -2, not halved. (If -2 would equal halving the 
  ship’s DCV, the Maneuver only imposes a -1 penalty.)
  Close Combat 
  -6 
  May only be used against a ship which is at least 10 
  Size categories (see page 217) larger than the attack-
  ing ship. The pilot maneuvers in so close to the 
  target’s hull that:  (a) it’s virtually impossible for him 
  to miss (+6 OCV to hit that target); and (b) the target 
  ship typically cannot bring its large weapons to bear 
  against the attacker (GM’s decision as to the exact 
  eﬀect); and (c) any other ship that attacks the attacker 
  and misses has a 50% (1-3 on 1d6) chance of hitting 
  the ship the attacker is in Close Combat with. How-
  ever, future failed rolls may indicate he’s crashed into 
  the larger ship’s hull.
  Defensive Maneuver 
  -2 
  Against a single designated attacker, the ship receives 
  +1 DCV in the Phase in which it performs the 
  maneuver.
  Evade 
  -3 
  The pilot maneuvers the ship in such a way that he 
  breaks a single enemy ship’s sensor lock.
  Extreme Defense 
  -4 
  Against up to four designated attackers, the ship 
  receives +1 DCV in the Phase in which it performs 
  the maneuver.
  Extreme Oﬀense 
  -6 
  Against up to four designated targets, the ship receives 
  +1 OCV in the Phase in which it performs the 
  maneuver.
  Maneuver Positioning 
  -4 
  A ship needs to use this Maneuver to position itself to 
  perform a Haymaker with one of its weapons, and in 
  the GM’s option for certain other Maneuvers as well 
  (such as multiple-Power attacks or Rapid Fire) (see 
  “Combat Maneuvers”).
  Oﬀensive Maneuver 
  -2 
  Against a single designated target, the ship receives +1 
  OCV in the Phase in which it performs the maneuver.
  “Roll” indicates the penalty to the Combat Piloting roll needed to perform the Maneuver.
  
  216 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  Starship Maneuvers listed in the accompanying 
  table.
  Each starship maneuver counts as an Attack 
  Action, and the pilot has to make a Half Move 
  before performing the Starship Maneuver (since 
  they all involve some sort of jinking, turning, 
  diving, dodging, or other “maneuvering”). Addi-
  tionally, he must make a Combat Piloting roll 
  with the listed penalty for the Maneuver, using 
  only his natural Skill; bonuses from the ship’s 
  piloting systems do not apply. If he succeeds, he 
  gets the beneﬁts described; if he fails, he gets no 
  beneﬁt (and, at the GM’s option, the ship may 
  even suﬀer a minor penalty, like -1 DCV, or -1 
  OCV next Phase).
  As with other HERO System elements, the 
  Starship Maneuvers have “generic” names. It’s 
  up to the player whose character performs the 
  maneuver to describe exactly what the character 
  does. For example, a Defensive Maneuver could 
  represent a barrel roll, presenting a minimal 
  aspect to an attacker, high-speed jinking, or clever 
  use of space debris and other “cover.”
  ATTACKING AND  
  DEFENDING
  Here are some rules for how starships attack 
  and defend.
  Sensor Locks
  Before one starship can attack another, it 
  must obtain a “sensor lock.” In other words, it 
  has to properly perceive the target with its sen-
  sors, and feed that information to the targeting 
  systems.
  To obtain a sensor lock, the ship (or the 
  character on the ship operating the sensors) must 
  make a PER Roll with a Targeting Sense using 
  the ship’s main computer’s INT. This is an Attack 
  Action. The Range Modiﬁer applies; so do penal-
  ties for intervening physical obstacles, energy 
  ﬁelds, and the like.
  If the roll fails, the ship cannot obtain a 
  sensor lock. If it wishes to attack, it must do so at 
  the OCV penalties for being unable to perceive 
  its opponent (see page 349 of the HERO System 
  5th Edition, Revised). DCV penalties do not apply, 
  unless the ship’s crew is also “blind.” The ship may 
  make more attempts to obtain a sensor lock in its 
  later Phases.
  If the roll succeeds, the ship has obtained a 
  sensor lock, and can attack with any of its weap-
  ons at full OCV, possibly using a Combat Maneu-
  ver in the process (see below). Once the ship has 
  a lock, the lock remains in eﬀect until the target 
  does something to break it. Possible ways to break 
  a sensor lock include:
  ■ successfully executing an Evade Starship 
  Maneuver
  ■ using electronic warfare to block, jam, or trick 
  the enemy ship’s sensors
  ■ ﬂying so that a suﬃciently large physical object 
  passes between the ship and the enemy ship 
  (Other starships are not large enough for this 
  unless they are at least twice the size of the ship 
  attempting to break the lock.)
  A ship may attempt to re-establish a broken 
  sensor lock using the same method for estab-
  lishing it. If the lock was broken within the past 
  Turn, the ship has a +2 bonus to its PER Roll to 
  re-establish; if within the past two Turns, a +1 
  bonus; and no bonus thereafter.
  Combat Modiﬁers
  Most Combat Modiﬁers apply normally in 
  starship combat — it’s simply a matter of judging 
  their eﬀects ship-to-ship, rather than character-
  to-character. For example, a group of small ﬁght-
  ers could swarm around a larger warship to get 
  a Multiple Attacker bonus, or could Coordinate 
  their weapons to inﬂict Stun damage on a giant 
  space amoeba. A clever captain might hide his 
  ship in an asteroid belt or nebula so he could 
  ambush another vessel and obtain a Surprised 
  bonus, or he could maneuver his ship in ways that 
  gain him a Surprise Move bonus.
  COORDINATED ATTACKS
  In some science ﬁction settings, it’s not 
  uncommon for two or more ships to combine 
  their ﬁrepower to focus on a speciﬁc point of 
  the target’s defenses, and thus overcome those 
  defenses — something neither ship could hope 
  to accomplish individually. Gamemasters who 
  want to allow this sort of action could modify the 
  Coordinated Attack rules. In this case, the attack-
  ers who succeed with Teamwork rolls add the 
  BODY of their attacks together to determine if 
  they can overcome the target’s defenses. To keep 
  this from unbalancing the game, the GM may 
  wish to impose restrictions on it, such as those 
  listed in the sidebar on multiple-Power attacks.
  TARGET SIZE
  For starships, their DCV modiﬁers from 
  Size take the place of any Target Size modiﬁers. 
  However, ships attacking planets (see page 197) 
  or other objects in space may incur Target Size 
  modiﬁers in the usual fashion.
  Combat Maneuvers
  Starships may use the following Combat 
  Maneuvers, which are most appropriate to “dra-
  matic” starship combat. Unless indicated oth-
  erwise, they provide the same OCV and DCV 
  modiﬁers as Combat Maneuvers used by charac-
  ters, and provide those modiﬁers to every attack 
  or weapon the ship uses that Phase. The GM may 
  alter or add to this list as necessary to reﬂect the 
  technology, nature, and dramatic feel of the set-
  ting.
  SPACE COMBAT 
  AND MULTIPLE-
  POWER ATTACKS
  Making attack and 
  damage rolls for every 
  weapon a ship ﬁres in a 
  Phase can become time-
  consuming and tedious. 
  To keep combat moving 
  quickly and smoothly, 
  the GM might instead 
  want to consider all of a 
  ship’s weapons ﬁred at a 
  single target as one mul-
  tiple-Power attack (see 
  the HERO System 5th 
  Edition, page 234). That 
  allows for “broadside” or 
  “gang-ﬁre” attacks the 
  GM can resolve quickly 
  and easily (especially if 
  he uses average damage 
  for each of the attacks).
  To keep gang-ﬁre 
  attacks from becoming 
  overwhelming, the GM 
  may want to impose 
  preconditions or restric-
  tions on them, such as:
  ■ making a “broad-
  side” takes a Full Phase 
  Action by the ship and 
  everyone on the ship 
  manning a weapon 
  (though the GM may 
  also want to allow mul-
  tiple broadsides at mul-
  tiple targets in a Phase, 
  if the ship has enough 
  weapons to make that 
  many attacks)
  ■ imposing a cumula-
  tive OCV penalty for 
  each weapon included 
  in the broadside after 
  the ﬁrst (say, -1 or -2 per 
  weapon)
  ■ reducing the ship’s 
  DCV by half when 
  it makes a broadside 
  attack
  ■ requiring the ship 
  to execute a Maneuver 
  Positioning Starship 
  Maneuver successfully 
  before it can make a 
  broadside attack
  
  217 
  Star Hero ■ Chapter Eight
  STANDARD MANEUVERS
  Brace, Set:  Starships willing to take the time to aim 
  carefully can use these maneuvers.
  Dodge:  As described on page 473 of the HERO System 
  5th Edition, Revised rulebook, a vehicle can “Dodge” if 
  the pilot does nothing else but move the vehicle in a 
  Phase. (Vehicles with Limited Maneuverability cannot 
  perform this maneuver.) This has the eﬀect of elimi-
  nating the vehicle’s DCV penalty due to Size. If that 
  seems unrealistic or unbalancing to the GM (given the 
  vast size and ponderous movement of many large star-
  ships), he can rule that the Dodge just provides a +3 
  DCV bonus, that it only eliminates half the Size pen-
  alty, that it provides +1 DCV per point by which the 
  pilot makes a Combat Piloting roll, or the like.
  Haymaker:  At the GM’s discretion, a character could 
  Haymaker with a starship weapon attack. This simu-
  lates taking extra time to aim carefully, shooting at a 
  weak point in the enemy’s armor, or the like. Before 
  performing a Haymaker, the ship must perform a 
  Maneuver Positioning Starship Maneuver (unless the 
  GM chooses to waive that requirement). This maneu-
  ver only allows a ship to perform a Haymaker with 
  a single weapon attack, unless the GM is willing to 
  allow multiple weapons to Haymaker simultaneously.
  Grab, Grab By:  To use these Maneuvers, a ship needs a 
  way to Grab — a tractor beam, a grapple-gun, or the 
  like.
  Move By:  This Maneuver represents a “sideswipe” or 
  like attack.
  Move Through:  This Maneuver represents “ramming” 
  a target, or making a like attack.
  Strike (Shoot):  Ships use this Maneuver to make 
  standard attacks. In realistic long-range combats, they 
  need to beware the light-speed time lag. Light travels 
  at 300,000 kilometers (150,000,000”) per second, 
  so when a ship makes an attack against something 
  100,000 kilometers away, the beam hits where the 
  target was two-thirds of a second ago. A ship with 
  FTL sensors (i.e., sensors able to detect things more 
  than 300,000 km away) can avoid this problem. Ships 
  without have to “guesstimate” where the target will 
  be when the attack intersects its path; you can simu-
  late this with an Attack Roll penalty of -3 for every 
  300,000 km of distance between the attacker and 
  target (in addition to the standard Range Modiﬁer).
  OPTIONAL MANEUVERS
  Cover:  At the GM’s option, a ship could use this 
  Maneuver on another ship. It’s a good way to repre-
  sent “stand-oﬀs in space,” a feature of many science 
  ﬁction television shows.
  Dive For Cover:  The GM might allow a ship to per-
  form a Dive For Cover as a sort of “extreme Dodge.” 
  If a vehicle Dives For Cover, neither it nor any person 
  aboard it may make any attacks that Segment.
  Hipshot, Hurry:  Ships cannot use these Maneuvers 
  themselves, but characters ﬁring a ship’s weapons can 
  use them.
  Rapid Fire, Sweep:  A ship (or a character on a ship) 
  can Rapid Fire a ship’s weapon (or, if the ship can 
  attack hand-to-hand somehow, use Sweep in appro-
  priate situations). That of course reduces the ship’s 
  DCV by half, and counts as a Full Phase Action for 
  whoever does the shooting. If the ship is so large that 
  its DCV is already zero, the GM should impose some 
  other restriction on the use of the Maneuver, such as 
  increasing the OCV penalty, requiring more than one 
  Full Phase to perform the Maneuver, increasing the 
  END cost for the weapon, making this maneuver take 
  a Full Phase for the entire ship and crew, or impos-
  ing a chance for the weapon to burn out or otherwise 
  malfunction.
  At the GM’s option, a ship cannot Rapid Fire or 
  Sweep any of its weapons unless it ﬁrst uses a Maneu-
  ver Positioning Starship Maneuver.
  Damage And Its Effects
  Spacecraft hit in combat take damage in the 
  usual fashion. Because many starships have multiple 
  layers of protection, the GM may need to consider 
  which defenses apply ﬁrst. Typically a Force Wall 
  applies ﬁrst, then a Force Field, then Armor (the hull). 
  Ablative defenses always take damage ﬁrst (HERO 
  System 5th Edition, Revised, pages 115-16), but the 
  GM may waive this rule if he sees ﬁt.
  BIGGER IS BETTER?
  The HERO System has no rules about scaling 
  damage — for better or worse, all damage is the same, 
  and a small ship can easily mount a weapon with 
  enough ﬁrepower to destroy the largest enemy vessel. 
  Some GMs may prefer a more “realistic” approach, 
  
  218 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  where the big, powerful guns mounted on large 
  ships automatically have an edge compared to the 
  weapons on smaller ships. To simulate this, divide 
  the points the ship spent on Size by 5 to get a “Size 
  category” number. Subtract the smaller ship’s Size 
  category number from the larger ship’s number, and 
  add the diﬀerence as points of BODY damage to 
  every Normal or Killing Damage attack the larger 
  ship makes against the smaller.
  The reverse does not apply — smaller ships 
  don’t reduce their damage when attacking larger 
  vessels. Larger vessels typically already have the 
  advantage of spending many more points on 
  their Defense Powers; reducing the smaller ships’ 
  damage could easily make larger ships eﬀectively 
  invulnerable. And that’s neither fun nor conducive 
  to dramatic heroism.
  STARSHIP HIT LOCATIONS
  Star Hero campaigns are normally Heroic, 
  and therefore use the Hit Location Table for ﬁghts 
  between characters. Gamemasters running space-
  craft combats may also want to use Hit Location 
  tables for starships. In theory, each ship (or class of 
  ship) should have its own Hit Location Table, but 
  for general Star Hero purposes GMs can use the 
  accompanying Starship Hit Location Table.
  In the Starship Hit Location Table, “BODYx” 
  represents the multiplier to the BODY damage 
  rolled on the attack. “Optional Eﬀect” lists the 
  chance that any BODY damage done to the ship 
  will have some additional eﬀect; these eﬀects are 
  detailed below. The GM need not apply any addi-
  tional eﬀect if he doesn’t want to. “To Hit” is the 
  OCV penalty for speciﬁcally targeting that part of 
  the ship. The Attack Roll modiﬁers depend not only 
  on the general size of the system, and its BODYx, 
  but on the chance for an optional eﬀect, and the 
  potential severity of such an eﬀect.
  BASIC EFFECTS OF DAMAGE
  Regardless of whether the GM uses the 
  optional eﬀect rules below, or the simpler rules 
  from the core rulebook, loss of all of a system’s 
  BODY causes that system to cease functioning. 
  For less than full damage, GMs should roll on 
  the Device Malfunction Table on page 472 of the 
  HERO System 5th Edition, Revised.
  To determine how many BODY it takes to 
  damage or destroy a given system, the GM has 
  several options. If it’s a Focus, he can use the Focus 
  rules on pages 293-94 of the HERO System 5th 
  Edition, Revised. If it’s not a Focus, he can use the 
  “Breaking Things” rules on pages 302-04 of that 
  book. Alternately, he can simply divide the system’s 
  Active Points by 5, or just assign a number that 
  seems appropriate to him.
  OPTIONAL DAMAGE EFFECTS
  Here are possible optional eﬀects for each of 
  the locations in the Starship Hit Location Table 
  above. If a spacecraft suﬀers actual BODY damage 
  in combat, the GM may, if he wishes, roll to see if 
  an “optional eﬀect” of damage occurs as a result. 
  Gamemasters may roll randomly for an eﬀect, 
  choose an eﬀect, or make up other eﬀects, as they 
  prefer. If used, these rules replace the Damage To 
  Vehicles rules on page 472 of the HERO System 5th 
  Edition, Revised.
  If, in rolling multiple times over the course 
  of a battle, the GM rolls similar results for a type 
  of system, he must decide whether only the worse 
  result applies (the usual method) or the results are 
  cumulative (a less common, but sometimes appro-
  priate, outcome).
  Roll Command Center Effects
  1 
  1-2 minor NPC crewmen killed or badly 
  injured
  2 
  Viewing apparatus damaged; pilot and crew 
  cannot view space outside the ship with Sight 
  Group Senses
  3 
  1 important NPC oﬃcer killed or badly 
  injured
  4 
  1-6 minor NPC crewmen killed or badly 
  injured
  5 
  1-3 important NPC oﬃcers killed
  6 
  Command center loses all power, or has all 
  physical access cut oﬀ
  Roll Sensors/Communications Effects
  1 
  Ship’s interior communication system disabled 
  for 1d6 Turns
  2 
  -1 to all Systems Operation rolls using the 
  communications systems
  3 
  -1 to all Systems Operation rolls using the sen-
  sors
  4 
  -3 to all Systems Operation rolls using the 
  communications systems
  5 
  -3 to all Systems Operation rolls using the sen-
  sors
  6 
  All sensors and/or communications systems 
  totally inoperable
  Roll Piloting Systems Effects
  1 
  Thrusters inoperable for 1d6 Hours
  2 
  -1 to all Combat Piloting rolls
  3 
  Navigation computer, and navigation functions 
  of main computer, inoperable for 1d6 Hours 
  4 
  -2 to all Combat Piloting rolls
  5 
  -3 to all Combat Piloting rolls
  6 
  Piloting systems completely disabled; pilot 
  cannot steer ship at all; ship adrift
  Roll Engine/Power Systems Effects
  1 
  Ship loses one Noncombat Movement multiple
  2 
  Ship’s main power generation system loses 
  OPTIONAL STARSHIP HIT LOCATIONS TABLE
   Roll 
  Location 
  BODYx 
  Effect 
  To Hit
   
  3 
  Command Center 
  x2 
  1-2 on1d6 
  -8 OCV
   4-5 
  Sensors/Communications 
  x1 
  1-2 on 1d6 
  -5 OCV
   6-7 
  Piloting Systems 
  x½ 
  1-2 on 1d6 
  -5 OCV
   8-9 
  Engines/Power Systems 
  x1 ½ 
  1-3 on 1d6 
  -6 OCV
   10-11 
  Main Body 
  x1 
  1 on 1d6 
  -3 OCV
   12 
  Personnel/Cargo 
  x½ 
  1-2 on 1d6 
  -5 OCV
   13 
  Computer 
  x1 
  1-3 on 1d6 
  -8 OCV
   14-15 
  Weapon Systems 
  x1 
  1 on 1d6 
  -4 OCV
   16-17 
  Defense Systems 
  x1 
  1 on 1d6 
  -6 OCV
   18 
  Life Support 
  x½ 
  1 on 1d6 
  -8 OCV
  
  219 
  Star Hero ■ Chapter Eight
  one-third of its power-generating capacity (i.e., 
  reduce the END of its Endurance Reserve by 
  one-third)
  3 
  Ship loses 5” of Flight
  4 
  Ship loses 10” of Flight
  5 
  Ship loses 20” of Flight
  6 
  Ships loses all engines and cannot move except 
  with half thrusters
  Roll Main Body Effects
  1 
  Ship suﬀers 2-12% casualties among the crew
  2 
  Ship loses 2 DEF
  3 
  Ship loses 5 STR
  4 
  Ship loses 10 STR
  5 
  Ship loses 20 STR
  6 
  Cascading internal explosion; roll randomly 
  on Starship Hit Location Table and inﬂict 
  1d6 BODY damage to resulting system/sec-
  tion (no defense applies)
  Roll Personnel/Cargo Effects
  1 
  4-24% of ship’s cargo destroyed or badly 
  damaged
  2 
  Ship suﬀers 1-6% casualties among the crew
  3 
  Ship suﬀers 2-12% casualties among the crew
  4 
  Ship suﬀers 3-18% casualties among the crew
  5 
  Ship loses 5-30% of some consumable 
  (breathing gases, fuel, food, or the like)
  6 
  Sickbay damaged; all Skill Rolls using its 
  equipment suﬀer a -2 penalty
  Roll Computer Effects
  1 
  Ship loses 1 SPD
  2 
  Ship loses 5 DEX
  3 
  Computer loses 5 INT (and EGO, if it’s an 
  AI)
  4 
  Cmputer loses 2d6 programs (chosen ran-
  domly by the GM)
  5 
  All Skill Rolls involving or requiring com-
  puter use suﬀer a -3 penalty
  6 
  Ship completely inoperable 
  unless it has a backup computer
  Roll Weapon Systems Effects
  1 
  One weapon suﬀers a -2 OCV 
  penalty
  2 
  One weapon loses -4 DC of 
  eﬀect
  3 
  One weapon develops an Activa-
  tion Roll 11- Burnout
  4 
  One weapon without Charges 
  loses outside power; it has only 
  1d6 Charges for the remainder 
  of the battle
  5 
  One weapon becomes com-
  pletely inoperable
  6 
  One weapon explodes, doing its 
  damage to the person ﬁring it
  Roll Defense Systems Effects
  1 
  Defense system malfunctions, 
  causing a -2 to all Systems Oper-
  ation rolls using the sensors
  2 
  One defense system loses 20 
  Active Points’ worth of eﬀect
  3 
  One defense system develops an Activation 
  Roll 11- Burnout
  4 
  One defense system without Charges loses 
  outside power; it has only 2d6+2 Charges for 
  the remainder of the battle
  5 
  One defense system becomes completely 
  inoperable
  6 
  One defense system explodes; roll randomly 
  on Starship Hit Location Table and inﬂict 
  1d6 BODY damage to it (no defense applies)
  Roll Life Support Effects
  1 
  Ship loses 4-24% of its breathing gases
  2 
  Ship loses 10-60% of its breathing gases
  3 
  Explosive decompression; one chamber of 
  the ship is opened to space, and all its inhab-
  itants are sucked out into the void (see page 
  285)
  4 
  Artiﬁcial gravity becomes inoperable
  5 
  Backup life support system destroyed or 
  badly damaged (if no such system on ship, 
  re-roll)
  6 
  All life support systems become inoperable; 
  everyone on the ship suﬀocates within 1d6 
  Minutes unless a backup system is available
  CHARACTERS IN STARSHIP COMBAT
  Player characters aboard spacecraft in 
  combat are in danger. There are many ways to get 
  hurt, irradiated, or left floating in space during a 
  space battle.
  Whenever a ship gets a Personnel/Cargo 
  result on the Starship Hit Location Table (and 
  sometimes other results), or a crew casualties 
  result on an optional effects roll, or loses more 
  than half its BODY, the characters aboard are endan-
  gered. Each character in an aﬀected area of the ship 
  must make a DEX Roll to avoid harm. (Characters 
  with Luck or Unluck should roll that as well.) If the 
  
  220 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  roll succeeds, the character remains unharmed — a 
  panel shorts out nearby, a pipe bursts across the room, 
  or the like, but the PC takes no damage.
  If his roll fails, a character must roll on the 
  accompanying Character Damage Table to determine 
  what happens to him. The results are not intended 
  to be fatal to characters in good health, but rather to 
  add color, drama, and a personal touch to the battle. 
  Gamemasters should be merciful; it’s not fun for char-
  acters to suﬀer fatal (or frequent) injuries in a situa-
  tion they don’t have signiﬁcant control over.
  Eﬀect Of Crew Casualties
  The optional eﬀects rules provide a way for 
  the GM to determine what percentage of the crew 
  becomes casualties during a battle. A “casualty” is a 
  crewmember killed or so badly injured that he can no 
  longer perform his combat duties.
  The more crewmembers that become casualties, 
  the harder it is to keep the ship functioning eﬃciently. 
  In game terms, the GM can represent this abstractly 
  by imposing penalties to all Skill Rolls the ship or 
  other crewmembers make — without a full crew to 
  man all the duty stations, keep things running eﬃ-
  ciently, relay messages, interpret data, and so forth, 
  everyone else’s ability to do his job becomes impaired. 
  The Crew Casualties Table describes this eﬀect.
  Other Actions In Combat
  Characters can do more in a starship battle than 
  ﬁre weapons or operate sensors. Some other possible 
  actions include:
  MEDICAL DUTY
  Characters with medical training — such as the 
  Skills Paramedics or SS: Medicine — may ﬁnd them-
  selves patching up injured crewmen, performing life-
  saving combat surgery, and so forth.
  The GM can deal with this on both a personal 
  and an abstract level. On the personal level, if a PC 
  or prominent NPC suﬀers an injury, the character 
  can attempt a Skill Roll in the normal fashion to try 
  to make him better (or at least keep him comfortable 
  until he can receive full medical attention). Standard 
  rules for Paramedics apply.
  On an abstract level, the GM can compare 
  the eﬀorts of the medical crew to the percentage of 
  injured crewmembers. For each Phase of medical 
  attention, have the character (PC or NPC) with the 
  highest Paramedics or SS: Medicine roll make a roll. 
  Crew casualty penalties (see above) apply to this roll; 
  after all, doctors get injured and overworked, too. 
  For every two points by which the character makes 
  the roll, the medical crew reduces the percentage of 
  injured crew by 1% (thus allowing those newly-healed 
  crewmembers to return to duty). (For more realistic 
  games, the GM may want to allow healing only for 
  every Turn of eﬀort by the medical crew, and/or to 
  reduce the percentage of crewmembers healed.)
  REPAIR DUTY
  Characters can also try to repair the ship. Some-
  times mid-combat repairs are the only thing keeping a 
  ship ﬁghting long enough to win the battle!
  Assuming a system hasn’t been totally destroyed 
  by being reduced to 0 BODY (which means it has 
  to be replaced), characters can initiate repairs by 
  making rolls using Mechanics, Electronics, Computer 
  Programming, Systems Operation, Weaponsmith, 
  various SSs or PSs, or any other Skill the GM deems 
  appropriate given the system or technology involved. 
  Making repairs typically requires a minimum of 1 
  Turn (often longer), and the roll suﬀers a penalty of -1 
  per 2 BODY of damage done. For every two points by 
  which the character makes his roll, he makes a quick 
  repair to the system, restoring “1 BODY” of damage. 
  This repair is temporary; later, when time allows, full 
  repairs must be made. Once a repair is made, the GM 
  rolls on the Device Malfunction Table (HERO System 
  5th Edition, Revised, page 449) to see if that was 
  enough to get the system working again.
  The repair does not restore any BODY to the 
  system for purposes of suﬀering further damage 
  — it only restores BODY for purposes of keeping the 
  system functioning properly. (True repairs follow the 
  CHARACTER DAMAGE TABLE
  Roll (2d6) 
  Result
   
  2 
  Reroll and double the eﬀect
   
  3 
  Shards of debris strike the char-
  acter, causing RKA 1d6 damage 
  (physical)
   
  4 
  An area becomes hazardous, expos-
  ing a character to something he’s 
  Susceptible to, is sickening/poison-
  ous to him, or the like
   
  5 
  The character is trapped beneath 
  debris (Entangle 2d6, 4 DEF)
   
  6 
  The character is knocked into a 
  wall and suﬀers 4d6 STUN damage 
  (defenses apply)
   
  7 
  The character is caught on the 
  fringes of a blast wave; he suﬀers a 
  Sight and Hearing Group Flash 4d6
   
  8 
  The character is caught in an explo-
  sion; he suﬀers an RKA 1 ½d6
   
  9 
  The character takes a hard knock 
  to the head; he’s Knocked Out for 
  1d6 Segments, and suﬀers a -2 to all 
  INT Rolls, PER Rolls, and Intellect 
  Skill rolls for the next 1d6 Hours
   
  10 
  The character is exposed to danger-
  ous, sickening fumes; he suﬀers a 
  Drain CON 4d6 (points return at 
  the rate of 5 per Minute)
   
  11 
  An arc of electricity zaps the char-
  acter, causing RKA 1d6 damage 
  (energy)
   
  12 
  Roll twice (ignore this result for 
  subsequent rolls)
  CREW CASUALTIES TABLE
  Percentage Of 
  Modiﬁers To 
  Crew Casualties 
  All Skill Rolls
  0-10% 
  -0
  11-20% 
  -1
  21-40% 
  -2
  41-80% 
  -4
  81% or more 
  -8
  
  221 
  Star Hero ■ Chapter Eight
  standard rule from page 60 of the main rulebook, 
  though the GM may allow large crews to repair more 
  than 1 BODY per day.) If the system suﬀers further 
  damage, the repairs are ruined and BODY damage 
  accumulates from the point where the character 
  began repairs.
  Example:  Lt. McDermott needs to repair his 
  Laser Cannon so he can go on ﬁghting. It has 
  20 BODY, but it’s taken 12 BODY damage and 
  stopped working. Using his Weaponsmith (Energy 
  Weapons) 14-, he tries to jury-rig a quick ﬁx so he 
  can get back to the battle. This takes him 1 Turn, 
  and he suﬀers a -6 penalty to his roll due to the 12 
  BODY of damage. He rolls a 4, making the roll by 
  4. That repairs 2 BODY of damage. The GM rolls 
  on the Device Malfunction Table, and succeeds; 
  the laser is working again! However, if it suﬀers 
  more damage, the “2 BODY” repaired instantly 
  vanishes, and damage starts accumulating again, 
  adding to the 12 BODY already inﬂicted.
  CREW SKILLS
  Sometimes it’s easier for the GM to determine 
  the overall eﬀect of crew actions on a particular task 
  (such as extensive repair work) than to make a sepa-
  rate Skill Roll for each major NPC (not to mention 
  Complementary Skill Rolls and the like). In that case, 
  the GM can simply assign the crew as a whole a “Crew 
  Skill” and apply that to the “meta-task” as a whole.
  To determine a ship’s Crew Skill for a particular 
  subject, the GM must ﬁrst decide which active crew-
  member has the highest Skill Roll in the appropriate 
  Skill. (Alternately, he can use a PC’s Skill, if the PC 
  leads the eﬀort — as he probably does.) Then he 
  increases that Skill based on how many other crew-
  members are working on the meta-task. He might add 
  +1 to the roll per crewmember, per three crewmem-
  bers, per ﬁve crewmembers, or whatever else seems 
  appropriate. Then he makes the Crew Skill roll for the 
  crew as a whole to ﬁnd out how well it performed the 
  task.
  Because meta-tasks are large-scale eﬀorts, Crew 
  Skills should take a long time to use — typically four 
  steps down the Time Chart for every unit of time 
  involved. Thus, a task that normally takes 1 Turn takes 
  1 Hour. The GM can increase or decrease the time 
  required if appropriate; complex or dangerous sys-
  tems may take much longer to work on.
  Example:  A starship has suﬀered 34 BODY out 
  of 50. To determine the eﬀects of the engineering 
  crew’s eﬀorts to repair the ship, the GM decides to 
  use a Crew Skill. Mechanics is the most applica-
  ble Skill to the job, so he determines that Com-
  mander Korel, with his Mechanics 15-, has the 
  highest roll. He decides to add +1 to the roll for 
  every three crewmembers involved in the repair 
  work. Since there are 60 engineering personnel 
  on the ship, that’s a +20, for a total Skill Roll of 
  35-. Korel’s player makes the roll, at a -17 pen-
  alty due to the extent of the damage, and rolls a 
  10. Since he made the roll by 8, the repair crews 
  ﬁx 4 BODY worth of damage. Since repairs 
  normally take 1 Turn, the repair crews required 
  1 Hour to get their work done.
  
  222 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  T
  o get you started, here are three example 
  starships (a merchant vessel, a ﬁghter, and a 
  large warship), one example mech, and two 
  example space stations (a trade-oriented sta-
  tion and a military base).
  None of these sample vehicles are necessarily 
  from the same setting; consider each one separately, 
  as an individual example of a possible ship, not in 
  comparison to the others.
  MERCHANT SHIP
   Val 
  Char Cost Notes
   
  75 
  STR 
  0 
  Lift 800 tons; 15d6 [0]
   
  23 
  BODY 0
   20”x10” Size 
  65 Mass 800 tons; -13 KB; -8 
  DCV
   
  12 
  DEF 
  30
   
  10 
  DEX 
  0 
  OCV:  3/DCV:  3
   
  3 
  SPD 
  10 Phases:  4, 8, 12
   
   
   
   
  Total Characteristic Cost:  105
  Movement: 
  Ground:   
  0”/0”
   
  Flight: 
  60”/240”
   
  FTL: 
  16 LY/year
  Abilities & Equipment
  Cost Power 
  END
   
  Power Systems
  34 
  Fusion Power Plant:  Endurance Reserve  
  (100 END/100 REC); OAF Immobile (-2), 
  Only Powers Electrical Devices (-¼) 
  0
  13 
  Auxiliary Power:  Endurance Reserve (40 
  END/40 REC); OAF Immobile (-2), Only 
  Powers Electrical Devices (-¼) 
  0
   
  Propulsion Systems
  83 
  Fusion Engines With FTL Enhancements:  
  Multipower, 125-point reserve, all Costs 
  Endurance (-½)
  8u 
  1)  Standard Flight:  Flight 60”,  
  x4 Noncombat; Costs Endurance (-½) 
  12
  1u 
  2)  FTL Flight:  FTL Travel (16 LY/year); 
  Costs Endurance (-½), Extra Time  
  (requires 1 Minute to engage engine, but 
  engine thereafter does not require Extra 
  Time; -¾), Requires A PS: Fusion Engine 
  Operation Roll (-¼) 
  2
  20 
  Thrusters:  Flight 10” 
  2
  -12 
  Spaceﬂight Only:  Running -6”
  -2 
  Spaceﬂight Only:  Swimming -2”
   
  Tactical Systems
  45 
  Omnipurpose Laser:  Multipower,  
  101-point reserve; all OIF Bulky (-1),  
  Real Weapon (-¼)
  4u 
  1)  Distant Shot:  RKA 3d6, Autoﬁre (5  
  shots; +½), MegaRange (1” = 10 km, can 
  scale down to 1” = 1 km; +¾); OIF Bulky 
  (-1), Real Weapon (-¼), Limited Arc  
  Of Fire (60 Degrees; -½) 
  10
  2u 
  2)  Close-Range Shot:  RKA 3d6, Autoﬁre  
  (5 shots; +½); OIF Bulky (-1), Real Weapon  
  (-¼), Limited Arc Of Fire (60 Degrees; -½)  7
  10 
  Starship Force Shield:  Force Field (15 PD/ 
  15 ED); OIF Bulky (shield generators; -1), 
  Ablative (-1) 
  3
   
  Operations Systems
  46 
  Sensor And Communication Systems:   
  Variable Power Pool, 40 base + 20 control  
  cost; OIF Bulky (-1), Only For Senses  
  And Communications (-1), Costs  
  Endurance (-½) 
  var
  70 
  Long-Range Sensors:  MegaScale (1 light- 
  year per Active Point, can scale down to 1  
  km per Active Point; +3½) for any Sensor Pool 
  Sense; OIF Bulky (-1) 
  var
  15 
  Long-Range Sensors:  +20 versus Range  
  for Radio Group; OIF Bulky (-1) 
  0
  3 
  Navigation Computer:  +4 to Navigation 
  (Space) roll; OAF Bulky (-1 ½) 
  0
  17 
  Internal Monitors:  Clairsentience (Sight  
  And Hearing Groups), Mobile Perception 
  Point, Multiple Perception Points (up to  
  eight at once); OAF Immobile (-2),  
  Perception Point Cannot Move Through 
  Solid Objects (-0) 
  5
   
  Personnel Systems
  12 
  Life Support:  Life Support (Self-Contained 
  Breathing; Safe Environments:  High  
  Radiation, Intense Cold, Intense Heat, Low  
  Pressure/Vacuum); Costs Endurance (-½) 
  2
  5 
  Backup Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environments:  
  High Radiation, Intense Cold, Intense Heat, 
  Low Pressure/Vacuum); Only Within  
  Aﬀected Area (2.5” x 1.25” chamber; -2), 1 
  Continuing Fuel Charge (easily replaced  
  from sources outside the ship; 1 Month  
  [i.e., 300 man-days]; -0) 
  [1cc]
  10 
  Backup Life Support:  3 more Backup Life 
  Support chambers (total of 4)
  3 
  Food Supplies:  Life Support (Diminished 
  Eating:  no need to eat); 1 Continuing  
  Fuel Charge (easily replaced from sources 
  outside the ship; 1 Year [i.e., 10 man- 
  years]; -0) 
  [1cc]
  15 
  Artiﬁcial Gravity:  Telekinesis (20 STR), 
  EXAMPLE  
  VEHICLES
  
  223 
  Star Hero ■ Chapter Eight
  Selective (+½); OIF Bulky (-1), Only To  
  Pull Objects Straight Down To The  
  Floor (-1) 
  3
  Total Abilities & Equipment Cost:  402
  Total Vehicle Cost:  507
  Value Disadvantages 
  10 
  Physical Limitation:  Cannot Enter Atmo-
  spheres (Infrequently, Greatly Impairing)
  Total Disadvantage Points:  10
  Total Cost:  497/5 = 99
  Description:  This 800-ton merchant ship consists 
  mainly of a relatively small area in which the 
  ten-man crew lives and works, and huge amounts 
  of space for cargo. (You can also convert it to a 
  passenger liner by changing the cargo areas into 
  cabins.) It has a single forward laser for use as a 
  tool or weapon. It carries enough food to support 
  its crew for a year, or more people for less time.
  Merchant Ship’s Computer
   Val Char 
  Cost 
  Roll 
  Notes
   15 INT 
  5 
  12- 
  PER Roll 12-
   13 DEX 
  9 
  12- 
  OCV:  4/DCV:  4
   3 SPD 
  7 
   
  Phases:  4, 8, 12
    
   
   
  Total Characteristic Cost:  21
  Cost Skills
  3 
  Cryptography 12-
  3 
  Electronics 12-
  21 
  AK: Milky Way Galaxy 30-
  2 
  KS: Archived Recent News 11-
  5 
  KS: Current News 14-
  11 
  KS: Known Sentient Species 20-
  5 
  KS: Movies Database 14-
  5 
  KS: Music Database 14-
  3 
  Mechanics 12-
  4 
  Navigation (Space) 14-
  2 
  SS: Astronomy 11-
  2 
  SS: Mathematics 11-
  12 
  Systems Operation (Communications 
  Systems, Environmental Systems, Medical 
  Systems, FTL Sensors, Radar)14-
  2 
  TF:  Commercial Spacecraft & Space Yachts
  1 
  WF: Merchant Ship Weapons
   
  Programs
  1 
  Diagnose Ship Malfunction
  1 
  Monitor Internal Monitor System, Report 
  Anomalies
  1 
  Monitor Communications System, Report 
  Anomalies
  1 
  Monitor Sensor Systems, Report Anomalies
  1 
  Obtain Latest Market/Financial Data Via 
  Communications System
  1 
  Pilot Ship From Location A To Location B
  1 
  Scan And Enter Data
  1 
  Schedule Ships Events/Use Of Ship’s 
  Resources
  1 
  Search Reference Material For Information 
  On A Topic
  1 
  Send Emergency Call If Speciﬁed Protocols 
  Are Not Met
   
  Talents
  3 
  Clock:  Absolute Time Sense
  5 
  Memory:  Eidetic Memory
  3 
  Calculator:  Lightning Calculator
  3 
  Instant-On Feature:  Lightsleep
  6 
  Scanner:  Speed Reading (x100)
  20 
  Translator:  Universal Translator 12-
  Total Abilities Cost:  131
  Total Computer Cost:  152
  Value Disadvantages 
   
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  152/5 = 30
  FIGHTER
   Val 
  Char Cost Notes
   
  30 
  STR 
  0 
  Lift 1,600 kg; 6d6 [0]
   
  20 
  BODY 6
   2½”x1¼” Size 
  20 Mass 1.6 tons; -4 KB; -2 DCV
   
  8 
  DEF 
  18
   
  20 
  DEX 
  30 OCV:  7/DCV:  7
   
  4 
  SPD 
  10 Phases:  3, 6, 9, 12
   
   
   
   
  Total Characteristic Cost:  84
  Movement: 
  Ground:   
  0”/0”
   
  Flight: 
  30”/120”
  Abilities & Equipment
  Cost Power 
  END
   
  Power Systems
  27 
  Fusion Power Plant:  Endurance Reserve  
  (80 END/80 REC); OAF Immobile (-2),  
  Only Powers Electrical Devices (-¼) 
  0
  7 
  Auxiliary Power:  Endurance Reserve (20 
  END/20 REC); OAF Immobile (-2), Only 
  Powers Electrical Devices (-¼) 
  0
   
  Propulsion Systems
  43 
  Fusion Engines:  Flight 30”, x4 Noncombat; 
  Costs Endurance (-½) 
  6
  8 
  Thrusters:  Flight 4” 
  0
  -12 
  Spaceﬂight Only:  Running -6”
  -2 
  Spaceﬂight Only:  Swimming -2”
   
  Tactical Systems
  53 
  Forward Ion Cannon:  Multipower,  
  119-point reserve; all OIF Bulky (-1), Real 
  Weapon (-¼)
  4u 
  1)  Distant Shot:  RKA 1½d6, NND  
  (defense is ED Force Field or Force Wall;  
  +1), Does BODY (+1), MegaScale (1” = 1  
  km; +¼), Autoﬁre (5 shots; +1½); OIF  
  Bulky (-1), Real Weapon (-¼), Limited  
  Arc Of Fire (60 Degrees; -½) 
  9
  4u 
  2)  Close-Range Shot:  RKA 1½d6, NND 
  (defense is ED Force Field or Force Wall;  
  +1), Does BODY (+1), Autoﬁre (5 shots;  
  +½); OIF Bulky (-1), Real Weapon (-¼),  
  Limited Arc Of Fire (60 Degrees; -½) 
  6
  31 
  Side Ion Cannons:  Multipower, 56-point 
  reserve; all OIF Bulky (-1), Real Weapon (-¼)
  
  224 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  3u 
  1)  Distant Shot:  RKA 1d6, NND (defense  
  is ED Force Field or Force Wall; +1), Does 
  BODY (+1), MegaScale (1” = 1 km; +¼),  
  Autoﬁre (5 shots; +1½); OIF Bulky (-1), Real 
  Weapon (-¼), Limited Arc Of Fire (60  
  Degrees; -½) 
  9
  2u 
  2)  Close-Range Shot:  RKA 1d6, NND 
  (defense is ED Force Field or Force Wall;  
  +1), Does BODY (+1), Autoﬁre (5 shots;  
  +1½); OIF Bulky (-1), Real Weapon (-¼), 
  Limited Arc Of Fire (60  
  Degrees; -½) 
  6
  15 
  Side Ion Cannons:  Four more Side Ion  
  Cannons (total of ﬁve)
  15 
  Weapons Reserve Power:  Endurance Reserve 
  (30 END/30 REC); OIF Bulky (-1), Only 
  Powers Ship’s Weapons (-¼) 
  0
  14 
  Forward Defenses:  Armor (6 PD/18 ED); 
  Ablative (-1), Limited Coverage (180  
  Degrees forward; -½) 
  0
  14 
  Aft Defenses:  Armor (6 PD/18 ED);  
  Ablative (-1), Limited Coverage (180  
  Degrees aft; -½) 
  0
   
  Operations Systems
  20 
  Sensors:  Radar (Radio Group), Increased  
  Arc Of Perception (360 Degrees), Telescopic 
  (+20 versus Range); OIF Bulky (-1) 
  0
  16 
  Long-Range Attuning:  MegaScale (1,000  
  km per Active Point, can scale down to 1  
  km per Active Point; +1) for Sensors;  
  OIF Bulky (-1), Costs Endurance (-½) 
  5
   
  Personnel Systems
  12 
  Life Support:  Life Support (Self-Contained 
  Breathing; Safe Environments:  High  
  Radiation, Intense Cold, Intense Heat, Low  
  Pressure/Vacuum); Costs Endurance (-½) 
  2
  3 
  Artiﬁcial Gravity:  Telekinesis (5 STR);  
  OIF Bulky (-1), Only To Pull Objects  
  Straight Down To The Floor (-1) 
  1
   
  Skills
  8 
  Maneuverability:  +4 with Flight
  3 
  Navigation Computer:  +4 to Navigation 
  (Space) roll; OAF Bulky (-1 ½) 
  0
  Total Abilities & Equipment Cost:  288
  Total Vehicle Cost:  372
  Value Disadvantages 
   
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  372/5 = 74
  Description:  This starship is a small ﬁghter with a 
  one- or two-person crew. It’s not intended for long 
  ﬂights or FTL travel; it’s designed for speed and 
  maneuverability in a battle to which it’s been ferried 
  by a much larger carrier vessel. It can enter atmo-
  spheres if necessary, and mounts a large forward ion 
  blaster and ﬁve smaller ones (one on each other side).
  Fighter’s Computer
   Val Char 
  Cost 
  Roll 
  Notes
   20 INT 
  10 
  13- 
  PER Roll 13-
   20 DEX 
  30 
  13- 
  OCV:  7/DCV:  7
   4 SPD 
  10 
   
  Phases:  3, 6, 9, 12
    
   
   
  Total Characteristic Cost:  50
  Cost Skills
  9 
  Cryptography 16-
  3 
  Electronics 13-
  20 
  AK: Milky Way Galaxy 30-
  10 
  KS: Known Sentient Species 20-
  3 
  Mechanics 13-
  2 
  Navigation (Space) 13-
  2 
  SS: Astronomy 11-
  2 
  SS: Mathematics 11-
  12 
  Systems Operation (Communications  
  Systems, Environmental Systems, FTL  
  Sensors, Radar)16-
  2 
  TF:  Military Spacecraft
  1 
  WF: Ion Cannon
   
  Programs
  1 
  Attack Target
  1 
  Diagnose Ship Malfunction
  1 
  Locate Target
  1 
  Monitor Communications System, Report 
  Anomalies
  1 
  Monitor Sensor Systems, Report Anomalies
  1 
  Obtain Latest Tactical Data Via  
  Communications System
  1 
  Pilot Ship From Location A To Location B
  1 
  Scan And Enter Data
  1 
  Search Reference Material For Information 
  On A Topic
  1 
  Send Emergency Call If Pilot Incapacitated/
  Killed
  1 
  Send Emergency Call If Speciﬁed Protocols 
  Are Not Met
   
  Talents
  3 
  Clock:  Absolute Time Sense
  5 
  Memory:  Eidetic Memory
  3 
  Calculator:  Lightning Calculator
  
  225 
  Star Hero ■ Chapter Eight
  3 
  Instant-On Feature:  Lightsleep
  4 
  Scanner:  Speed Reading (x10)
  20 
  Translator:  Universal Translator 13-
  Total Abilities Cost:  115
  Total Computer Cost:  165
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  165/5 = 33
  WARSHIP
   Val 
  Char Cost Notes
   145 
  STR 
  0 Lift 12.5 mtons; 29d6 [0]
   
  40 
  BODY 3
   500”x250” Size 135 Mass 12.5 mtons; -27 KB; -18 
  DCV
   
  25 
  DEF 69
   
  15 
  DEX 15 OCV:  5/DCV:  5
   
  3 
  SPD 
  5 Phases:  4, 8, 12
   
   
   
   
  Total Characteristic Cost:  227
  Movement: 
  Ground:   
  0”/0”
   
  Flight: 
  10”/40”
   
  FTL: 
  1 LY/day
  Abilities & Equipment
  Cost Power 
  END
   
  Power Systems
  677 
  Antimatter Power Plant:  Endurance Reserve 
  (2,000 END/2,000 REC); OAF Immobile  
  (-2), Only Powers Electrical Devices (-¼) 
  0
  135 
  Auxiliary Power:  Endurance Reserve  
  (400 END/400 REC); OAF Immobile  
  (-2), Only Powers Electrical Devices (-¼) 0
  59 
  Reserve Batteries:  Endurance Reserve (120 
  END/120 REC); OIF Bulky (-1), Only  
  Powers Electrical Devices (-¼) 
  0
   
  Propulsion Systems
  19 
  Warp Drive:  Multipower, 28-point reserve, 
  all Costs Endurance (-½)
  1u 
  1)  Standard Flight:  Flight 10”,  
  x4 Noncombat; Costs Endurance (-½), Lim-
  ited Maneuverability (-¼) 
  2
  1u 
  2)  FTL Flight:  FTL Travel (1 LY/day);  
  Costs Endurance (-½), Increased  
  Endurance Cost (x10; -4), Requires A 
  PS: Warp Drive Operation Roll (-¼) 
  30
  8 
  Thrusters:  Flight 5”; Limited Maneuvera-
  bility (-¼) 
  0
  -12 
  Spaceﬂight Only:  Running -6”
  -2 
  Spaceﬂight Only:  Swimming -2”
   
  Tactical Systems
  87 
  Main Beamgun:  Multipower, 262-point  
  reserve, all OIF Bulky (-1), Real Weapon (-¼), 
  Limited Arc Of Fire (One Hex Row; -¾)
  9u 
  1)  Distant Shot:  RKA 10d6, Armor  
  Piercing (+½), MegaScale (1” = 1 km;  
  +¼); OIF Bulky (-1), Real Weapon (-¼), 
  Limited Arc Of Fire (One Hex Row; -¾) 26
  7u 
  2)  Close-Range Shot:  RKA 10d6, Armor 
  Piercing (+½); OIF Bulky (-1), Real  
  Weapon (-¼), Limited Arc Of Fire (One  
  Hex Row; -¾) 
  22
  76 
  Secondary Beamguns:  Multipower,  
  210-point reserve, all OIF Bulky (-1),  
  Real Weapon (-¼), Limited Arc Of Fire (60 
  Degrees; -½)
  8u 
  1)  Distant Shot:  RKA 8d6, Armor Piercing 
  (+½), MegaScale (1” = 1 km; +¼); OIF  
  Bulky (-1), Real Weapon (-¼), Limited  
  Arc Of Fire (60 Degrees; -½) 
  21
  6u 
  2)  Close-Range Shot:  RKA 8d6, Armor 
  Piercing (+½); OIF Bulky (-1), Real  
  Weapon (-¼), Limited Arc Of Fire  
  (60 Degrees; -½) 
  18
  25 
  Secondary Beamguns:  31 more  
  Secondary Beamguns (total of 32)
  200 
  Intense Interferiation Field:  Darkness to 
  Radio Group 10” radius, MegaArea (1” =  
  1 million km; +1 ¾), MegaRange (1” =  
  10 million km; +2), Reduced Endurance  
  (½ END; +¼); OAF Bulky (-1 ½) 
  23
  56 
  ECCM:  Suppress Electronic Warfare 8d6, 
  any two Powers simultaneously (+½),  
  MegaRange (1” = 10 million km; +2);  
  OAF Bulky (-1 ½) 
  14
  105 
  Primary Force Shield:  Force Wall (40 PD/ 
  40 ED; 125” long); OIF Bulky (shield  
  generators; -1), Self Only (-½), Restricted 
  Shape (one-fourth of “bubble” around ship; 
  -¼), Extra Time (1 minute to re-erect  
  Force Wall after it collapses; -1 ½) 
  45
  10 
  Primary Force Shield:  3 more Primary  
  Force Shields (total of 4; each covers  
  one-fourth of the ship)
  7 
  Secondary Force Shield:  Force Field  
  (10 PD/10 ED); OIF Bulky (shield  
  generators; -1), Ablative (-1) 
  2
  14 
  Point Defense Laser System:  Missile  
  Deﬂection (all physical projectiles), Range 
  (+1), MegaRange (1” = 1 km; +¼); OIF  
  Bulky (-1), Costs Endurance (-½) 
  3
  49 
  Weapons Reserve Power:  Endurance  
  Reserve (100 END/100 REC); OIF Bulky 
  (-1), Only Powers Ship’s Weapons (-¼) 
  0
   
  Operations Systems
  114 
  Sensor And Communication Systems:   
  Variable Power Pool, 100 base + 50  
  control cost; OIF Bulky (-1), Only For  
  Senses And Communications (-1),  
  Costs Endurance (-½) 
  var
  87 
  Long-Range Sensors:  MegaScale (1 light- 
  year per Active Point, can scale down to 1  
  km per Active Point; +3½) for any Sensor Pool 
  Sense of up to 50 Active Points; OIF Bulky 
  (-1) 
  var
  15 
  Long-Range Sensors:  +20 versus Range  
  for Radio Group; OIF Bulky (-1) 
  0
  3 
  Enhanced Sensors/Communications:  +4 to 
  Systems Operation roll; OAF Bulky (-1½)
  20 
  Internal Monitors:  Clairsentience (Sight  
  And Hearing Groups), 4x Range (1,000”), 
  Mobile Perception Point, Multiple  
  Perception Points (up to eight at once);  
  
  226 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  OAF Immobile (-2), Perception Point 
  Cannot Move Through Solid Objects (-0) 6
  54 
  Forward Tractor Beam:  Telekinesis (100 
  STR); OIF Bulky (projector; -1), Aﬀects 
  Whole Object (-¼), Limited Arc Of Fire  
  (60 Degrees forward; -½) 
  15
  5 
  Aft Tractor Beam:  1 more Tractor Beam 
  (total of 2; this one ﬁres 60 Degrees aft)
   
  Personnel Systems
  12 
  Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environments:  
  High Radiation, Intense Cold, Intense  
  Heat, Low Pressure/Vacuum); Costs  
  Endurance (-½) 
  2
  5 
  Backup Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environments:  
  High Radiation, Intense Cold, Intense  
  Heat, Low Pressure/Vacuum); Only  
  Within Aﬀected Area (40” x 20”  
  chamber; -2), 1 Continuing Fuel Charge 
  (easily replaced from sources outside  
  the ship; 1 Month [i.e., 105,000  
  man-days]; -0) 
  [1cc]
  15 
  Backup Life Support:  7 more Backup  
  Life Support areas (total of 8)
  3 
  Food Supplies:  Life Support (Diminished 
  Eating:  no need to eat); 1 Continuing  
  Fuel Charge (easily replaced from sources  
  outside the ship; 1 Year [i.e., 3,500 man-
  years]; -0) 
  [1cc]
  15 
  Artiﬁcial Gravity:  Telekinesis (20 STR), 
  Selective (+½); OIF Bulky (-1), Only To  
  Pull Objects Straight Down To The  
  Floor (-1) 
  3
  3 
  Backup Artiﬁcial Gravity:  Telekinesis  
  (5 STR); OIF Bulky (-1), Only To Pull 
  Objects Straight Down To The Floor (-1) 1
  18 
  Medical Facilities:  Paramedics 14- and  
  SS: Medicine 14- 
  0
   
  Skills/Laboratories
  16 
  Tactical Computer:  +8 with Ship’s Weapons; 
  OIF Bulky (-1), Costs Endurance (-½) 
  4
  3 
  Navigation Computer:  +4 to Navigation 
  (Space) roll; OAF Bulky (-1 ½) 
  0
  13 
  Computer Programming 14-
  13 
  Cryptography 14-
  13 
  Demolitions 14-
  13 
  Electronics 14-
  13 
  Mechanics 14-
  15 
  Weaponsmith (Firearms, Missiles & Rockets, 
  Incendiary Weapons, Energy Weapons) 14-
  100 
  Other laboratories (deﬁned by GM or player)
  Total Abilities & Equipment Cost:  2,115
  Total Vehicle Cost:  2,642
  Value Disadvantages 
  25 
  Distinctive Features:  deadly warship  
  (Not Concealable; Causes Extreme Reaction 
  [abject fear])
  10 
  Physical Limitation:  Cannot Enter Atmo-
  spheres (Infrequently, Greatly Impairing)
  Total Disadvantage Points:  35
  Total Cost:  2,607/5 = 521
  ADDITIONAL VEHICLES
  Cost Power
  83 
  Nuclear Space Missile
  20 
  15 more Nuclear Space Missiles (total of 16)
  Description:  This large warship, a kilometer long 
  and half as wide, is a major combat starship for an 
  advanced interstellar empire. It carries a crew of 
  3,500 and mounts dozens of weapons.
  Warship’s Computer
   Val Char 
  Cost 
  Roll 
  Notes
   30 INT 
  20 
  15- 
  PER Roll 15-
   20 DEX 
  30 
  13- 
  OCV:  7/DCV:  7
   6 SPD 
  30 
   
  Phases:  2, 4, 6, 8, 10, 12
    
   
   
  Total Characteristic Cost:  80
  Cost Skills
  3 
  Computer Programming 15-
  3 
  Cryptography 15-
  3 
  Electronics 15-
  18 
  AK: Milky Way Galaxy 30-
  3 
  KS: Archived Recent News 15-
  3 
  KS: Current News 15-
  8 
  KS: Known Sentient Species 20-
  3 
  KS: Movies Database 15-
  3 
  KS: Music Database 15-
  3 
  Mechanics 15-
  2 
  Navigation (Space) 15-
  3 
  SS: Astronomy 15-
  3 
  SS: Mathematics 15-
  20 
  Sciences (20 more points’ worth)
  8 
  Systems Operation (Communications 
  Systems, Environmental Systems, Medical 
  Systems, FTL Sensors, Radar)15-
  2 
  TF:  Military Spacecraft
  1 
  WF: Warship Weapons
   
  Programs
  1 
  Attack Target
  1 
  Diagnose Ship Malfunction
  1 
  Locate Target
  1 
  Monitor Internal Monitor System, Report 
  Anomalies
  1 
  Monitor Communications System, Report 
  Anomalies
  1 
  Monitor Sensor Systems, Report Anomalies
  1 
  Obtain Latest Tactical Data Via Communica-
  tions System
  1 
  Pilot Ship From Location A To Location B
  1 
  Scan And Enter Data
  1 
  Schedule Ships Events/Use Of Ship’s Resources
  1 
  Search Reference Material For Information On 
  A Topic
  1 
  Send Emergency Call If Designated Oﬃcers 
  Incapacitated/Killed
  1 
  Send Emergency Call If Speciﬁed Protocols Are 
  Not Met
   
  Talents
  3 
  Clock:  Absolute Time Sense
  5 
  Memory:  Eidetic Memory
  
  227 
  Star Hero ■ Chapter Eight
  3 
  Calculator:  Lightning Calculator
  3 
  Instant-On Feature:  Lightsleep
  8 
  Scanner:  Speed Reading (x1,000)
  20 
  Translator:  Universal Translator 15-
  Total Abilities Cost:  144
  Total Computer Cost:  224
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  224/5 = 45
  X-780 COMBAT MECH
   Val 
  Char Cost Notes
   
  65 
  STR 
  0 Lift 200 tons; 13d6 [0]
   
  25 
  BODY 4
   12.5”x6.4” Size 
  55 Mass 200 tons; -11 KB; -7 DCV
   
  20 
  DEF 54
   
  18 
  DEX 24 OCV:  6/DCV:  6
   
  4 
  SPD 
  12 Phases:  3, 6, 9, 12
   
   
   
   
  Total Characteristic Cost:  149
  Movement: 
  Ground:   
  25”/50”
   
  Leaping: 
  40”/80”
  Abilities & Equipment
  Cost Power 
  END
   
  Power Systems
  29 
  Power Plant:  Endurance Reserve (60 END/ 
  60 REC); OIF Bulky (-1), Only Powers  
  Electrical Devices (-¼) 
  0
  5 
  Auxiliary Power:  Endurance Reserve (10 
  END/10 REC); OIF Bulky (-1), Only  
  Powers Electrical Devices (-¼) 
  0
   
  Propulsion Systems
  4 
  Mech Limbs:  Extra Limbs (4 — two legs,  
  two arms); Limited Manipulation (-¼) 
  0
  25 
  Mech Limbs:  Running +19” (25” total); 
   
  Costs Endurance (-½) 
  4
  40 
  Jumpjets:  Leaping +40” (40” forward, 20” 
  upward); 16 Charges (-0) 
  [16]
   
  Tactical Systems
  52 
  Laser Assault Cannon:  RKA 4d6, Armor  
  Piercing (+½), Increased Maximum Range  
  (x5, or 2,250”; +¼); OIF Bulky (-1) 
  10
  45 
  Gatling Laser:  RKA 3d6, Armor Piercing  
  (+½), Autoﬁre (5 shots; +½); OIF Bulky (-1) 9
  45 
  Rocket-Launched Bombs Pod:  RKA 3d6, 
  Explosion (-1 DC/2”; +¾), Indirect (can  
  arc attack over intervening obstacles;  
  +¼); OIF Bulky (-1), 16 Charges (-0) 
  [16]
  20 
  Targeting Sensors:  Find Weakness 13-  
  with all Mecha Ranged Weapons; Costs 
  Endurance (-½) 
  3
   
  Operations Systems
  16 
  Mech Sensors:  Radar (Radio Group),  
  Discriminatory, Increased Arc Of Perception 
  (360 Degrees), Telescopic (+14 versus  
  Range Modiﬁer); OIF Bulky (-1), Costs  
  Endurance (-½) 
  4
  2 
  Nightsight System:  Infrared Perception  
  (Sight Group); OIF Bulky (-1), Costs  
  Endurance (-½) 
  1
  2 
  Nightsight System:  Ultraviolet Perception 
  (Sight Group); OIF Bulky (-1), Costs  
  Endurance (-½) 
  1
  4 
  360 View System:  Increased Arc Of  
  Perception (360 Degrees) for Sight Group); 
  OIF Bulky (-1), Costs Endurance (-½) 
  1
  5 
  Mech Communications System:  HRRP;  
  OIF Bulky (-1), Costs Endurance (-½) 
  1
  5 
  Hardened Sensor/Commo Systems:   
  Radio Group Flash Defense (10 points); 
   
  OIF Bulky (-1)  
  0
   
  Personnel Systems
  11 
  Life Support:  Life Support (Self-Contained 
  Breathing; Safe Environments:  High  
  Radiation, Intense Cold, Intense Heat);  
  Costs Endurance (-½) 
  2
   
  Skills
  6 
  Tactical Computer:  +3 with Mech Weapons; 
  OIF Bulky (-1), Costs Endurance (-½) 
  1
  Total Abilities & Equipment Cost:  316
  Total Vehicle Cost:  465
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  465/5 = 93
  Description:  This is a fairly basic combat mech, 
  standing about 80 feet tall. Its cockpit has room 
  for a single pilot, who controls all functions of the 
  mech; it does not have a computer capable of oper-
  ating the vehicle independently. It mounts three 
  major weapons:  cannons on each of its arms, and a 
  pod of rocket-launched bombs on its left shoulder.
  MAKARIDES HIGH PORT
   
  Val 
  Char 
  Cost 
  Notes
   
  30 
  BODY 28
   1,000”x500” Size 
  48 
  -20 DCV
   
  12 
  DEF 
  30
   
   
   
  Total Characteristic Cost:  106
  Movement: 
  Flight: 
  5”/10”
  Abilities & Equipment
  Cost Power 
  END
  25 
  Space Station:  Location:  In Space 
  0
   
  Power Systems
  338 
  Fusion Power Plant:  Endurance Reserve 
  (1,000 END/1,000 REC); OAF Immobile 
  (-2), Only Powers Electrical Devices (-¼) 0
  68 
  Auxiliary Power:  Endurance Reserve  
  (200 END/200 REC); OAF Immobile (-2), 
  Only Powers Electrical Devices (-¼) 
  0
   
  Propulsion Systems
  8 
  Thrusters:  Flight 5”; Limited Maneuver-
   
  ability (-¼) 
  0
  
  228 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
   
  Tactical And Security Systems
  73 
  Space Combat Lasers:  Multipower, 202-point 
  reserve; all OIF Bulky (-1), Real Weapon  
  (-¼), Limited Arc Of Fire (60 Degrees; -½)
  7u 
  1)  Distant Shot:  RKA 6d6, Autoﬁre (5  
  shots; +½), MegaRange (1” = 10 km, can 
  scale down to 1” = 1 km; +¾); OIF Bulky  
  (-1), Real Weapon (-¼), Limited Arc Of  
  Fire (60 Degrees; -½) 
  20
  5u 
  2)  Close-Range Shot:  RKA 6d6, Autoﬁre  
  (5 shots; +½); OIF Bulky (-1), Real  
  Weapon (-¼), Limited Arc Of Fire (60 
  Degrees; -½) 13
  20 
  Space Combat Lasers:  15 more Space 
  Combat Lasers (total of 16)
  164 
  Primary Force Shield:  Force Wall (40 PD/ 
  40 ED; 250” long); OIF Bulky (shield  
  generators; -1), Self Only (-½), Restricted 
  Shape (one-fourth of “bubble” around sta-
  tion; -¼), Extra Time (1 minute to re-erect 
  Force Wall after it collapses; -1 ½) 
  70
  10 
  Primary Force Shield:  3 more Primary  
  Force Shields (total of 4; each covers one-
  forth of the station)
  14 
  Point Defense Laser System:  Missile  
  Deﬂection (all physical projectiles), Range 
  (+1), MegaRange (1” = 1 km; +¼); OIF  
  Bulky (-1), Costs Endurance (-½) 
  3
  10 
  Cell Block:  DEF +8, Cannot Be Escaped  
  With Teleportation (+¼); Partial  
  Coverage (45 hexes; -2) 
  0
   
  Operations Systems
  114 
  Sensor And Communication Systems:   
  Variable Power Pool, 100 base + 50  
  control cost; OIF Bulky (-1), Only For  
  Senses And Communications (-1), Costs 
  Endurance (-½) 
  var
  87 
  Long-Range Sensors:  MegaScale (1 light- 
  year per Active Point, can scale down to 1  
  km per Active Point; +3½) for any Sensor Pool 
  Sense of up to 50 Active Points; OIF Bulky 
  (-1) 
  var
  22 
  Long-Range Sensors:  +30 versus Range  
  for Radio Group; OIF Bulky (-1) 
  0
  3 
  Enhanced Sensors/Communications:  +4 to  
  Systems Operation roll; OAF Bulky (-1 ½)
  22 
  Internal Monitors:  Clairsentience (Sight  
  And Hearing Groups), 8x Range (2,000”), 
  Mobile Perception Point, Multiple Percep-
  tion Points (up to eight at once); OAF  
  Immobile (-2), Perception Point Cannot 
  Move Through Solid Objects (-0) 
  5
  54 
  Tractor Beams:  Telekinesis (100 STR);  
  OIF Bulky (projector; -1), Aﬀects Whole 
  Object (-¼), Limited Arc Of Fire (60  
  Degrees forward; -½) 
  15
  15 
  Tractor Beams:  7 more Tractor Beam  
  (total of 8)
   
  Personnel Systems
  12 
  Life Support:  Life Support (Self-Contained 
  Breathing; Safe Environments:  High  
  Radiation, Intense Cold, Intense Heat, Low 
  Pressure/Vacuum); Costs Endurance (-½) 
  2
  5 
  Backup Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environments:  
  High Radiation, Intense Cold, Intense Heat, 
  Low Pressure/Vacuum); Only Within  
  Aﬀected Area (40” x 20” chamber; -2), 1  
  Continuing Fuel Charge (easily replaced  
  from sources outside the ship; 1 Month  
  [i.e., 390,000 man-days]; -0) 
  [1cc]
  15 
  Backup Life Support:  7 more Backup Life  
  Support areas (total of 8)
  3 
  Food Supplies:  Life Support (Diminished 
  Eating:  no need to eat); 1 Continuing  
  Fuel Charge (easily replaced from sources  
  outside the ship; 1 Year [i.e., 13,000  
  man-years]; -0) 
  [1cc]
  15 
  Artiﬁcial Gravity:  Telekinesis (20 STR),  
  Selective (+½); OIF Bulky (-1), Only To Pull 
  Objects Straight Down To The Floor (-1) 
  3
  3 
  Backup Artiﬁcial Gravity:  Telekinesis (5 
  STR); OIF Bulky (-1), Only To Pull Objects 
  Straight Down To The Floor (-1) 
  1
  18 
  Medical Facilities:  Paramedics 14- and  
  SS: Medicine 14- 
  0
   
  Skills/Laboratories
  80 
  Laboratories (deﬁned by GM or player)
  Total Abilities & Equipment Cost:  1,210
  Total Vehicle Cost:  1,316
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  1,316/5 = 263
  Description:  Occupying a prime LaGrange point 
  between the mining planet Makarides IV and her 
  largest moon, the Makarides High Port is the largest 
  
  229 
  Star Hero ■ Chapter Eight
  and most diverse trading post for dozens of systems 
  around. Consisting of a Central Station about one 
  kilometer long, plus dozens of square or rectangular 
  superstructures attached in seemingly chaotic fashion, 
  it’s about two kilometers long overall, and half as wide. 
  It has a staﬀ of 3,000, plus the capacity to support 
  another 10,000 visitors and inhabitants.
  The lower sections of the station are devoted 
  mainly to bulk industrial items, such as ore mined 
  from the planet below, foodstuﬀs, and the like. “Dirt-
  side,” as the inhabitants of the High Port call this sec-
  tion, is a rough-and-tumble place, often dangerous for 
  those not accustomed to its ways. The upper parts of 
  the station — “Starside” — are given over to shops, res-
  taurants, nicer residence chambers, service businesses, 
  oﬃces, and the like. Just about anything one wants, 
  one can ﬁnd for sale here; characters making Trad-
  ing rolls to determine if a particular item is available 
  receive a +2 bonus to their rolls.
  Makarides Computer
   Val Char 
  Cost 
  Roll 
  Notes
   25 INT 
  15 
  14- 
  PER Roll 14-
   15 DEX 
  15 
  12- 
  OCV:  5/DCV:  5
   3 SPD 
  5 
   
  Phases:  4, 8, 12
    
   
   
  Total Characteristic Cost:  35
  Cost Skills
  3 
  Cryptography 14-
  3 
  Electronics 14-
  19 
  AK: Milky Way Galaxy 30-
  3 
  KS: Archived Recent News 14-
  3 
  KS: Current News 14-
  9 
  KS: Known Sentient Species 20-
  9 
  KS: Movies Database 20-
  9 
  KS: Music Database 20-
  3 
  Mechanics 14-
  2 
  Navigation (Space) 14-
  2 
  SS: Astronomy 11-
  2 
  SS: Mathematics 11-
  8 
  Systems Operation (Communications  
  Systems, Environmental Systems, Medical 
  Systems, FTL Sensors, Radar)14-
  1 
  WF: Makarides High Port Weapons
   
  Programs
  1 
  Attack Target
  1 
  Diagnose Station Malfunction
  1 
  Locate Target
  1 
  Monitor Internal Monitor System, Report 
  Anomalies
  1 
  Monitor Communications System, Report 
  Anomalies
  1 
  Monitor Sensor Systems, Report Anomalies
  1 
  Obtain Latest Market/Financial Data Via 
  Communications System
  1 
  Scan And Enter Data
  1 
  Schedule Station Events/Use Of Station 
  Resources
  1 
  Search Reference Material For Information 
  On A Topic
  1 
  Send Emergency Call If Speciﬁed Protocols 
  Are Not Met
   
  Talents
  3 
  Clock:  Absolute Time Sense
  5 
  Memory:  Eidetic Memory
  3 
  Calculator:  Lightning Calculator
  3 
  Instant-On Feature:  Lightsleep
  10 
  Scanner:  Speed Reading (x10,000)
  20 
  Translator:  Universal Translator 14-
  Total Abilities Cost:  131
  Total Computer Cost:  166
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  166/5 = 33
  ORBITAL MILITARY BASE
   Val 
  Char 
  Cost Notes
   
  30 
  BODY 28
   200”x100” Size 
  34 -15 DCV
   
  15 
  DEF 
  39
   
   
   Total Characteristic Cost:  101
  Movement: 
  Flight: 
  5”/10”
  Abilities & Equipment
  Cost Power 
  END
  25 
  Space Station:  Location:  In Space 
  0
   
  Power Systems
  406 
  Fusion Power Plant:  Endurance Reserve 
  (1,200 END/1,200 REC); OAF Immobile 
  (-2), Only Powers Electrical Devices (-¼) 0
  101 
  Auxiliary Power:  Endurance Reserve  
  (300 END/300 REC); OAF Immobile (-2), 
  Only Powers Electrical Devices (-¼) 
  0
  44 
  Reserve Batteries:  Endurance Reserve  
  (90 END/90 REC); OIF Bulky (-1), Only  
  Powers Electrical Devices (-¼) 
  0
   
  Propulsion Systems
  5 
  Thrusters:  Flight 3”; Limited Maneuver-
   
  ability (-¼) 
  0
   
  Tactical And Security Systems
  136 
  Superheavy Lasers:  Multipower, 375-point 
  reserve; all OIF Bulky (-1), Real Weapon  
  (-¼), Limited Arc Of Fire (60 Degrees; -½)
  14u 
  1)  Distant Shot:  RKA 10d6, Autoﬁre  
  (4 shots; +½), MegaRange (1” = 100 km,  
  can scale down to 1” = 1 km; +1); OIF Bulky  
  (-1), Real Weapon (-¼), Limited Arc Of  
  Fire (60 Degrees; -½) 
  37
  8u 
  2)  Close-Range Shot:  RKA 10d6, Autoﬁre  
  (4 shots; +½); OIF Bulky (-1), Real Weapon 
  (-¼), Limited Arc Of Fire (60 Degrees; -½) 22
  15 
  Superheavy Lasers:  5 more Superheavy  
  Lasers (total of 6)
  82 
  Railguns:  RKA 6d6, Armor Piercing (+½), 
  Increased Maximum Range (421,875”, or 
  approximately 843 km; +1); OIF Bulky (-1), 
  Real Weapon (-¼), Limited Arc Of Fire  
  (60 Degrees; -½) 
  22
  15 
  Railguns:  5 more Railguns (total of 6)
  
  230 ■ Starships And Space Stations  
  HERO SYSTEM 5TH EDITION
  56 
  ECCM:  Suppress Electronic Warfare 8d6,  
  any two Powers simultaneously (+½),  
  MegaRange (1” = 10 million km; +2); OAF 
  Bulky (-1 ½) 
  14
  94 
  Primary Force Shield:  Force Wall (60 PD/ 
  60 ED; 50” long); OIF Bulky (shield  
  generators; -1), Self Only (-½), Restricted  
  Shape (one-fourth of “bubble” around  
  station; -¼), Extra Time (1 minute to  
  re-erect Force Wall after it collapses; -1½) 
  40
  10 
  Primary Force Shield:  3 more Primary Force 
  Shields (total of 4; each covers one-fourth of  
  the ship)
  13 
  Secondary Force Shield:  Force Field  
  (20 PD/20 ED); OIF Bulky (shield  
  generators; -1), Ablative (-1) 
  4
  14 
  Point Defense Laser System:  Missile  
  Deﬂection (all physical projectiles),  
  Range (+1), MegaRange (1” = 1 km;  
  +¼); OIF Bulky (-1), Costs  
  Endurance (-½) 
  3
  122 
  Weapons Reserve Power:  Endurance  
  Reserve (250 END/250 REC); OIF Bulky 
  (-1), Only Powers Station’s Weapons (-¼) 0
  10 
  Cell Block:  DEF +8, Cannot Be Escaped  
  With Teleportation (+¼); Partial  
  Coverage (25”x12.5”; -2) 
  0
   
  Operations Systems
  114 
  Sensor And Communication Systems:   
  Variable Power Pool, 100 base + 50  
  control cost; OIF Bulky (-1), Only For  
  Senses And Communications (-1),  
  Costs Endurance (-½) 
  var
  87 
  Long-Range Sensors:  MegaScale (1 light- 
  year per Active Point, can scale down to 1  
  km per Active Point; +3½) for any Sensor Pool 
  Sense of up to 50 Active Points; OIF Bulky 
  (-1) 
  var
  7 
  Long-Range Sensors:  +10 versus Range  
  for Radio Group; OIF Bulky (-1) 
  0
  3 
  Enhanced Sensors/Communications:  +4  
  to Systems Operation roll; OAF Bulky (-1½)
  17 
  Internal Monitors:  Clairsentience (Sight  
  And Hearing Groups), Mobile Perception 
  Point, Multiple Perception Points (up to  
  eight at once); OAF Immobile (-2),  
  Perception Point Cannot Move Through 
  Solid Objects (-0) 
  5
  54 
  Tractor Beams:  Telekinesis (100 STR);  
  OIF Bulky (projector; -1), Aﬀects Whole 
  Object (-¼), Limited Arc Of Fire (60  
  Degrees forward; -½) 
  15
  15 
  Tractor Beams:  5 more Tractor Beam  
  (total of 6)
   
  Personnel Systems
  12 
  Life Support:  Life Support (Self-Contained 
  Breathing; Safe Environments:  High  
  Radiation, Intense Cold, Intense Heat, Low  
  Pressure/Vacuum); Costs Endurance (-½) 
  2
  5 
  Backup Life Support:  Life Support (Self- 
  Contained Breathing; Safe Environments:  
  High Radiation, Intense Cold, Intense  
  Heat, Low Pressure/Vacuum); Only  
  Within Aﬀected Area (12” x 12” chamber;  
  -2), 1 Continuing Fuel Charge (easily 
  replaced from sources outside the ship; 1 
  Month [i.e., 1,800 man-days]; -0) 
  [1cc]
  15 
  Backup Life Support:  7 more Backup  
  Life Support areas (total of 8)
  3 
  Food Supplies:  Life Support (Diminished 
  Eating:  no need to eat); 1 Continuing  
  Fuel Charge (easily replaced from  
  sources outside the ship; 1 Year [i.e.,  
  60 man-years]; -0) 
  [1cc]
  15 
  Artiﬁcial Gravity:  Telekinesis (20 STR), 
  Selective (+½); OIF Bulky (-1), Only To  
  Pull Objects Straight Down To The  
  Floor (-1) 
  3
  3 
  Backup Artiﬁcial Gravity:  Telekinesis  
  (5 STR); OIF Bulky (-1), Only To Pull 
  Objects Straight Down To The Floor (-1) 1
  18 
  Medical Facilities:  Paramedics 14- and  
  SS: Medicine 14- 
  0
   
  Skills/Laboratories
  16 
  Tactical Computer:  +8 with Ship’s  
  Weapons; OIF Bulky (-1), Costs  
  Endurance (-½) 
  4
  13 
  Computer Programming 14-
  13 
  Cryptography 14-
  13 
  Demolitions 14-
  13 
  Electronics 14-
  13 
  Mechanics 14-
  15 
  Weaponsmith (Firearms, Missiles & Rockets, 
  Incendiary Weapons, Energy Weapons) 14-
  100 
  Other laboratories (deﬁned by GM or player)
  Total Abilities & Equipment Cost:  2,101
  Total Vehicle Cost:  2,202
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  2,202/5 = 440
  ADDITIONAL VEHICLES
  Cost Power
  83 
  Nuclear Space Missile
  15 
  7 more Nuclear Space Missiles (total of 8)
  Description:  This writeup represents a small mili-
  tary installation of the sort often found as part of 
  planetary orbital defense networks, or sometimes as 
  an outpost along a dangerous frontier. It has a crew 
  of 60.
  
  231 
  Star Hero ■ Chapter Eight
  Orbital Military Base Computer
   Val Char 
  Cost 
  Roll 
  Notes
   35 INT 
  25 
  16- 
  PER Roll 16-
   20 DEX 
  30 
  13- 
  OCV:  7/DCV:  7
   6 SPD 
  30 
   
  Phases:  2, 4, 6, 8, 10, 12
    
   
   
  Total Characteristic Cost:  85
  Cost Skills
  3 
  Computer Programming 16-
  3 
  Cryptography 16-
  3 
  Electronics 16-
  17 
  AK: Milky Way Galaxy 30-
  3 
  KS: Archived Recent News 16-
  3 
  KS: Current News 16-
  7 
  KS: Known Sentient Species 20-
  3 
  KS: Movies Database 16-
  3 
  KS: Music Database 16-
  3 
  Mechanics 16-
  2 
  Navigation (Space) 16-
  3 
  SS: Astronomy 16-
  3 
  SS: Mathematics 16-
  30 
  Sciences (30 more points’ worth, chosen by 
  the GM or player)
  8 
  Systems Operation (Communications 
  Systems, Environmental Systems, Medical 
  Systems, FTL Sensors, Radar)16-
  1 
  WF: Orbital Military Base Weapons
   
  Programs
  1 
  Attack Target
  1 
  Diagnose Station Malfunction
  1 
  Locate Target
  1 
  Monitor Internal Monitor System, Report 
  Anomalies
  1 
  Monitor Communications System, Report 
  Anomalies
  1 
  Monitor Sensor Systems, Report Anomalies
  1 
  Obtain Latest Tactical Data Via Communica-
  tions System
  1 
  Scan And Enter Data
  1 
  Schedule Station Events/Use Of Station 
  Resources
  1 
  Search Reference Material For Information 
  On A Topic
  1 
  Send Emergency Call If Designated Oﬃcers 
  Incapacitated/Killed
  1 
  Send Emergency Call If Speciﬁed Protocols 
  Are Not Met
   
  Talents
  3 
  Clock:  Absolute Time Sense
  5 
  Memory:  Eidetic Memory
  3 
  Calculator:  Lightning Calculator
  3 
  Instant-On Feature:  Lightsleep
  10 
  Scanner:  Speed Reading (x10,000)
  20 
  Translator:  Universal Translator 16-
  Total Abilities Cost:  151
  Total Computer Cost:  236
  Value Disadvantages 
  To be chosen by the players (if any)
  Total Disadvantage Points:  0
  Total Cost:  236/5 = 47
  
  232 ■ Yesterday, Today, And Tomorrow 
  HERO SYSTEM 5TH EDITION
  O
  f the many ideas raised in science 
  ﬁction stories, few have captured 
  the imagination as thoroughly 
  as time travel. The idea of being 
  able to journey to the past or 
  future has fueled many novels, televi-
  sion shows, and movies, and it’s fraught 
  with scenario ideas and plot hooks for 
  gaming. Unfortunately, it also creates 
  some problems in a gaming context. This 
  chapter looks at the methods and uses of 
  time travel in Star Hero games.
  
  233 
  Star Hero ■ Chapter Nine
  T 
  ime travel was invented as a concept the ﬁrst 
  time somebody wished they hadn’t done 
  something. In literature, the idea of visiting 
  another time was once solid fantasy, as in 
  Mark Twain’s A Connecticut Yankee in King Arthur’s 
  Court. With the rise of physics models of “spacetime,” 
  in which time is considered as essentially a fourth 
  “dimension,” the idea of moving about in time got 
  a bit more scientiﬁc respectability. In his ﬁrst novel, 
  H.G. Wells dressed up the notion of time travel in 
  technological trappings, sending his protagonist to the 
  future aboard a “time machine” and drawing an anal-
  ogy between a balloon moving in three dimensions 
  and the machine moving in four.
  REAL-LIFE MECHANICS
  In recent decades, time travel has made several 
  big jumps toward possibility, as physicists (many 
  of them SF fans) played around with concepts of 
  modern cosmology to ﬁnd shortcuts through time. 
  According to physicist Steven Hawking, a rotating 
  black hole distorts spacetime in such a way that one 
  can go backward or forward in time by selecting the 
  appropriate trajectory for a close pass. Of course, the 
  tidal forces involved in close encounters with a black 
  hole can exceed tens of gees across a single meter, and 
  a spaceship must be going an appreciable fraction of 
  the speed of light for such maneuvers. But a physicist 
  would call those mere engineering details.
  Another method is the possible creation of a 
  “wormhole” connecting two places that are separate 
  in spacetime. Starships could also use wormholes for 
  faster-than-light travel (page 194). Current theories 
  require staggering amounts of energy to create them, 
  along with the need for “negative energy” to keep 
  them open. But again, those are matters for the engi-
  neers. 
  In point of fact, any method of going faster than 
  light must necessarily be a way to travel in time as 
  well, since outpacing light leads to violations of cau-
  sality.
  GAME MECHANICS
  In the HERO System, physically visiting other 
  times is an application of the Power Extra-Dimen-
  sional Movement. If the power has a Focus or is built 
  into a Vehicle, then you’ve got a Time Machine. Com-
  munication between diﬀerent times is best simulated 
  by the Clairsentience Power, with the Transmit and 
  Dimensional modiﬁers.
  Expanded Time Travel Rules
  The basic rules in the HERO System 5th Edition, 
  Revised for time-traveling with Extra-Dimensional 
  Movement are straightforward and simple. For 
  gamers desiring more detail, or time travel-based 
  campaigns requiring more precision, here’s an 
  expansion of the time travel rules.
  “Time” counts as a single dimension for 
  purposes of Extra-Dimensional Movement, but 
  characters must pay +20 Character Points (in addi-
  tion to the base cost of 20 Character Points for any 
  Extra-Dimensional Movement) to travel in time. 
  For that total base cost of 40 Character Points, the 
  character can travel to a single moment in time, 
  deﬁned when the power is bought. Time travel 
  occurs only in the physical dimension the char-
  acter is in when he uses the power. For example, 
  a character on Earth cannot time travel to Hell or 
  Valhalla (though he could have two Extra-Dimen-
  sional Powers, one physical and one temporal, that 
  in combination allowed him to do so).
  If a character wants to travel to more than a 
  single moment in time, he must pay more Charac-
  ter Points. The ability to travel to a related group 
  of moments in time, in the past or the future, no 
  matter how far removed in time from the present 
  moment, costs +5 Character Points. The GM deter-
  mines what constitutes a “related group”; examples 
  typically include all instances of a particular date 
  (e.g., any July 4 in any year), or any date within a 
  speciﬁc, limited span of time (e.g., one speciﬁc day, 
  one speciﬁc year).
  Some characters may want to travel to any 
  moment in time within a particular timeframe, 
  such as “within my lifetime” or “within 500 years, 
  past or future, from the present moment.” To do 
  this, they spend points to buy the range across 
  which they may travel. For +1 Character Point, the 
  character may travel forward or backward in time 
  by up to 1 Turn (12 seconds). Thus, if he were in 
  Segment 6 of Turn 2 of a combat, he could travel 
  to any Segment up to Segment 6 of Turn 3 (but no 
  further into the future), or to any Segment back to 
  Segment 6 of Turn 1 (but no further into the past). 
  For each additional +1 point, he may expand his 
  range of travel by one step down the Time Chart 
  (see the accompanying Expanded Time Chart). 
  Thus, to travel to any point in time within 50 Bil-
  lion Years in the future or 50 Billion Years in the 
  past costs +27 Character Points (for a total cost of 
  67 points for the power). If the character can only 
  travel one direction in time (backward to the past, 
  TEMPORAL 
  MECHANICS AND
  CONSEQUENCES
  TIME TRAVEL 
  JARGON
  Time Travel is a really 
  hard concept for Human 
  minds to grasp, so the 
  technical vocabulary 
  relating to the subject is 
  complex and includes 
  lots of shorthand terms. 
  Here is some standard 
  lingo for the time travel 
  business:
  Causality:  The idea 
  that things happen in 
  a particular order. If A 
  causes B, then A has to 
  happen before B. If for 
  some reason B happens 
  before A does, causality 
  has been violated. Mar-
  rying your grandmother 
  and becoming your own 
  ancestor violates causal-
  ity because you have 
  to exist before you can 
  exist. Seeing something 
  before it happens is also 
  a causality violation. 
  Paradox:  A self-con-
  tradicting causality 
  violation. Shooting your 
  grandfather before he 
  can sire your father is 
  a paradox (in fact, it’s 
  the famous “grandfather 
  paradox”) because you 
  have prevented yourself 
  from ever existing. If 
  you don’t exist, then you 
  can’t have shot Grandpa. 
  Which means you will 
  exist, and can do it after 
  all. And so on. 
  Time Loop:  A special 
  paradox in which a time 
  traveler does some-
  thing which leads to 
  his traveling in time in 
  the ﬁrst place. Loops 
  include becoming your 
  own ancestor, giving 
  future technology to the 
  Continued on next page
  
  234 ■ Yesterday, Today, And Tomorrow 
  HERO SYSTEM 5TH EDITION
  or forward to the future), halve this additional cost.
  Regardless of how many moments in time a 
  character can travel to, he can only time travel to 
  a single physical location in the dimension he’s in 
  when he uses the power. By default, this location 
  is deﬁned as the location he’s in when he activates 
  the Power — if he starts in Chicago in 2002, he can 
  travel back to 1636 or forward to 3312, but he’ll 
  still be in Chicago (or whatever it used to be/will 
  become — which may prove hazardous for him!). 
  For +2 Character Points, he may deﬁne his time 
  travel as always taking him to the same location, 
  no matter where he is when he uses Extra-Dimen-
  sional Movement — he always time travels to 
  London, no matter where he is when he activates 
  the Power. For +5 Character Points, he can go to 
  a related group of physical locations in the same 
  dimension (say, any place in England). For +10 
  Character Points, he can go to any physical location 
  in the same dimension. However, characters cannot 
  use this as a cheap form of worldwide Teleporta-
  tion (e.g., “I’ll travel to two seconds from now in 
  Tokyo!”) — they must engage in what the GM con-
  siders legitimate time travel.
  Extra-Dimensional Movement is a “stop 
  sign” power, and time travel doubly so. The time 
  travel method outlined above is not intended as a 
  combat ability, or a way for a character to go back 
  and “re-do” the actions of the past few Segments 
  or Turns just because they didn’t turn out the way 
  the character wanted. If a character wants to have 
  time-manipulation powers that work in combat, 
  he should buy those as speciﬁc Powers with a “time 
  manipulation” eﬀect. (See Captain Chronos on page 
  135 of Conquerors, Killers, And Crooks for some 
  examples of this.) Gamemasters should carefully 
  monitor all uses of Extra-Dimensional Movement 
  in general, and time travel in particular, to prevent 
  abuse or loss of game balance; as always, the GM 
  should forbid any use of a power he considers 
  improper or harmful to the game.
  Example Time Machines
  Here are a few example time travel devices, 
  using the expanded rules presented in the text. 
  Prices assume time travel technology is “cutting 
  edge.”
  Time Belt:  This device is a concealable one-person 
  time machine, with limited range and an inconve-
  nient recharge time. It can take its wearer and a few 
  pounds of gear on hops of up to a century; but the 
  miniature cold fusion power supply needs a day to 
  recharge the batteries for each jump. Characters can 
  link multiple Time Belts with cables for synchro-
  nized hops by more than one person. Price:  13,400 
  credits, or more.
  Extra-Dimensional Movement (any date up to 
  50 Billion years in the future or the past) (67 
  Active Points); OIF (-½); Can Only Move Up 
  To 100 Years At A Time (-½), 1 Charge (-2). 
  Total cost:  17 points.
  Wells Device:  Patterned after the device described 
  in H.G. Wells’s The Time Machine, this time 
  machine is bulky but not immovable, and the 
  mechanism is fairly fragile. There is one seat for the 
  Continued from last page
  inventor of time travel, 
  starting life on Earth via 
  sloppy trash disposal, or 
  setting oﬀ the Big Bang. 
  Time loops violate cau-
  sality by requiring the 
  eﬀect to exist before the 
  cause.
  TIME CHART (EXPANDED)
  Time Period/Duration
  1 Segment
  1 Phase
  1 Turn (Post-Segment 12)
  1 Minute
  5 Minutes
  20 Minutes
  1 Hour
  6 Hours
  1 Day
  1 Week
  1 Month
  1 Season (3 months)
  1 Year
  5 Years
  25 Years
  1 Century
  5 Centuries
  2,500 Years
  10,000 Years
  50,000 Years
  250,000 Years
  1 Million Years
  5 Million Years
  25 Million Years
  100 Million Years
  500 Million Years
  2.5 Billion Years
  10 Billion Years
  50 Billion Years
  
  235 
  Star Hero ■ Chapter Nine
  operator, but two people can squeeze aboard in a 
  pinch. It has a self-contained power supply suﬃ-
  cient for a round-trip time voyage of up to a billion 
  years. Price:  21,000 credits, or more.
  Extra-Dimensional Movement (any date up 
  to 1 Billion years in the future or the past), x2 
  Increased Weight, Reduced Endurance (0 END; 
  +½) (105 Active Points); OIF Fragile Bulky (-
  1¼), Extra Time (requires 1 Segment per 1,000 
  years traveled, minimum of 1 Full Phase; -½), 
  Requires A PS: Operate Wells Device Roll (-¼). 
  Total cost:  35 points.
  Wormhole Gate, Standard:  A simple hole through 
  spacetime, ﬁxed in place physically. People and 
  information can move freely between any times in 
  the lifespan of the gate. So a gate activated in 2038 
  and accidentally shut down in 4753 allows travel 
  among any dates during that period, but could not 
  be used to visit 1879 or 5255. This is the most “hard 
  science” type of time machine.
  Extradimensional Movement (any date up to 
  1 Million years in the future or the past), x16 
  Increased Weight, Reduced Endurance (0 END; 
  +½) (118 Active Points); OIF Fragile Immobile 
  (-1¾), Independent (-2). Total cost:  25 points.
  Wormhole Gate, Fixed Dates:  A variant time gate 
  allows passage between times separated by a ﬁxed 
  period. If the gate links, say, 2212 and 1773, then 
  characters can only travel between those times. 
  Time passes normally at both ends, so a traveler 
  who goes through the 2212 gate on January 1 and 
  spends three weeks in the past returns to January 
  22. If he waits a month before going back in time 
  again, he arrives in 1773 a month after he left for 
  the future. This is a tremendous beneﬁt for game 
  play because characters can never use a ﬁxed gate 
  to loop back into their own pasts within the cam-
  paign.
  Extradimensional Movement (a ﬁxed moment 
  in time — to January 1, 1773 from January 1, 
  2212), x16 Increased Weight, Reduced Endur-
  ance (0 END; +½) (90 Active Points); OIF 
  Fragile Immobile (-1¾), Independent (-2). 
  Total cost:  19 points.
  METHODS AND EFFECTS
  Regardless of the scientiﬁc justiﬁcation, in a 
  game the “special eﬀect” of how one actually travels 
  in time has a tremendous inﬂuence on the struc-
  ture of the campaign. 
  TIME MACHINES
  When most people think of a time machine, 
  they think of a vehicle or device that one rides into 
  the past or the future, like getting into a car and 
  riding to the store. This method gets rid of cumber-
  some explanations about how to get home — you 
  get back in the machine and shift into reverse 
  — and it makes it easy to send a small group and a 
  moderate amount of equipment to another time.
  If the characters control the vehicle them-
  selves, the GM must give serious thought to how 
  easy it is to operate and how much power it has on 
  board. If very precise time-hops are possible, the 
  characters may be tempted to ﬁx problems by going 
  back half an hour and redoing their mistakes. On 
  the other hand, imprecise controls make it hard to 
  TIME TRAVEL SUMMARY
  Base Cost
   40 
  Character can travel to a single moment 
  in time, deﬁned when the power is 
  bought, only in the physical dimension 
  he’s in when he uses the power
  Timespan Modiﬁers
   +5 
  Travel to a related group of discrete 
  moments in time
   +1 
  Travel forward or back in time by up to 
  1 Turn in either direction; +1 point for 
  each additional increment on the Time 
  Chart; if character can only travel to the 
  past or to the future, halve this cost
  Time Travel Location Modiﬁers
   +0 
  No change in physical location; character 
  remains in the physical location he occu-
  pies when he activates the power
   +2 
  Any single physical location in the same 
  dimension the character occupies when 
  he uses the power, deﬁned when the 
  power is bought, regardless of where the 
  character is when he activates the power
   +5 
  A limited group of physical locations, 
  in the same dimension the character 
  occupies when he uses the power, in the 
  moments in time the character can travel 
  to
   +10 
  Any physical location, in the same 
  dimension the character occupies when 
  he uses the power, in the moments in 
  time the character can travel to
  Travel In Time:  Physical Location Same As Starting 
  Location
   40 
  Travel to a single moment in time
   45 
  Travel to a related group of moments in 
  time
   67 
  Travel to any moment in time within 50 
  Billion Years, future or past
  Travel In Time:  Single Physical Location Other Than 
  Starting Location
   42 
  Travel to a single moment in time
   47 
  Travel to a related group of moments in 
  time
   69 
  Travel to any moment in time within 50 
  Billion Years, future or past
  Travel In Time:  Limited Group Of Physical Locations
   45 
  Travel to a single moment in time
   50 
  Travel to a related group of moments in 
  time
   72 
  Travel to any moment in time within 50 
  Billion Years, future or past
  Travel In Time:  Any Physical Location
   50 
  Travel to a single moment in time
   55 
  Travel to a related group of moments in 
  time
   77 
  Travel to any moment in time within 50 
  Billion Years, future or past
  
  236 ■ Yesterday, Today, And Tomorrow 
  HERO SYSTEM 5TH EDITION
  hit speciﬁc historical events. 
  A time machine which the travelers don’t con-
  trol themselves is one option:  Mission Control back 
  in their original time controls the time machine, and 
  the explorers go where their bosses send them, much 
  like modern-day astronauts. (This is also a good 
  way to prevent paradoxes and time-loops:  Mission 
  Control’s crack time engineers make sure they don’t 
  happen.)
  The biggest problem with time machines is that 
  characters are obsessed with protecting their ride 
  home (and understandably so). This makes it hard 
  for the GM to involve them in plots and goings-
  on in the past. A related problem is that the time 
  machine does impose limits on where and when the 
  explorers can go. Is there room on the deck of the 
  Marie Celeste for the Time Pod? How about aboard 
  the Hindenburg? Unless the device has really eﬀec-
  tive camouﬂage, time missions will have to arrive in 
  deserted or wilderness areas (or, as on Doctor Who, 
  accept the consequences of sticking out like a sore 
  thumb).
  DOORS INTO SUMMER
  Time gates are another popular option, and one 
  with more than a smidgeon of possibility. The char-
  acters go through the gate and come out somewhen 
  else. Gates may be permanent or temporary. Since a 
  gate isn’t very large, it can appear almost anywhere, 
  making it possible for the player characters to slip 
  aboard Lenin’s train to Russia in 1916 or arrive back-
  stage at Ford’s Theater in 1865. 
  A time gate does mean the travelers are limited 
  to just what they can carry themselves, and they are 
  likely to be very paranoid about getting separated 
  from the gate. Since the gate is presumably generated 
  from the Time Institute, the characters can’t mess 
  with causality unless the directors (and the GM) 
  agree.
  The size and permanence of the time gate can 
  be very important. If the gate can only stay open 
  long enough for the explorers to pass through, then 
  it’s more like time jumping, described below. A per-
  manent gate means anybody can wander from one 
  time to another, creating the possibility of abundant 
  paradoxes and causality violations. Human-sized 
  gates are most appropriate for an exploration-cen-
  tered adventure, but one can imagine time gates big 
  enough for trains or even supertankers. This could 
  allow large-scale trade (or warfare) between diﬀerent 
  times.
  TIME JUMPING
  Time travel might be akin to teleportation. You 
  switch on the time machine or step into the booth, 
  and suddenly you’re in another time. (The tempo-
  ral transporters of Star Trek work this way.) The 
  big question is how you get back. If the time jump 
  is generated by a “time belt” or some other device 
  carried by the traveler, then getting back or visiting 
  some other time is simply a matter of adjusting the 
  controls and making sure the batteries are charged.
  If teleportation requires some huge machine 
  back in the jumper’s home time, getting home can 
  be a bit harder. Maybe there’s a limit on how long the 
  traveler can remain in another time before bouncing 
  back to his own. This would certainly be an advan-
  tage for characters captured by sacriﬁce-minded 
  Aztecs or Stalin’s NKVD. However, it encourages 
  an attitude of “get it done and get out” which limits 
  character interaction and exploring in the other 
  time.
  
  237 
  Star Hero ■ Chapter Nine
  If the characters have a Time Communicator 
  and can call home to get “beamed out,” then the 
  comm unit becomes their Holy Grail and they won’t 
  part with it (even to the point of wanting it surgically 
  implanted). Characters who can pop out whenever 
  they want are protected from the consequences of 
  their actions, but won’t be as rushed as those trying 
  to beat the recall clock.
  The existence of a Time Communicator opens 
  up the possibility of calling Mission Control for help 
  and advice. Depending on how precise and expen-
  sive time travel is, this could be limited to just infor-
  mation (which in the right circumstances might still 
  be priceless), or it could even allow the folks back 
  home to pop equipment to the travelers as needed. 
  MIND TRANSFER
  The central gimmick of the television series 
  Quantum Leap, intertemporal mind transfer leaves 
  the bodies of the travelers where they are but casts 
  their minds into other people in other times. Obvi-
  ously this limits the range to eras when there are 
  people to possess (although dropping your mind 
  into a Tyrannosaur body for a vacation in the Creta-
  ceous could be a lot of fun).
  Mind transfer time-travel does mean the travel-
  ers must spend the ﬁrst part of every trip ﬁguring 
  out who they are and what’s going on. This situa-
  tion should be catnip for GMs, since they can send 
  the PCs’ minds into the bodies of spies, fugitives, or 
  people with an important task to accomplish.
  The fate of the other person’s mind is worth 
  considering. Is the transfer an actual switch? If so, 
  while the time traveler is visiting ancient Egypt, 
  some ancient Egyptian is hanging around the Time 
  Institute in the traveler’s body, watching talk shows 
  and playing foosball. Or maybe he’s ﬁguring out how 
  to pick the locks and escape, giving any PCs who 
  didn’t go on the mission to the past the job of recap-
  turing him without damaging the body of their com-
  rade. It might well be the policy of the Time Institute 
  to keep the bodies of time-jumpers sedated, so the 
  switched mind can’t carry back any information that 
  could create a paradox.
  If the transfer is not a switch, the past individual 
  has suddenly acquired a nasty case of Multiple Per-
  sonality Disorder. The player character’s personality 
  may have to win duels of EGO or PRE against the 
  host personality, either during the initial jump or 
  every time they diﬀer about what to do.
  OPTIONS
  Since time travel is still highly theoretical (to 
  put it mildly), GMs can pretty much make up what-
  ever “laws of nature” they like to govern it.
  ONE WAY DO NOT ENTER 
  One way travel has some interesting possi-
  bilities. It essentially means moving the campaign 
  permanently to another era, although characters 
  may try to get around the limit by leaving messages 
  or equipment caches for themselves in very durable 
  containers, to travel through time the ordinary way.
  A very special form of one-way time travel is 
  simply patience. Characters can visit the future easily 
  by living a very long time, or going into hibernation 
  or cryogenic suspension for decades or centuries. 
  This is a good way to drop contemporary characters 
  into a far-future setting (Buck Rogers got to the 
  twenty-ﬁfth century that way). The chief problem 
  is that there’s no way back unless someone in the 
  future conveniently invents a time machine.
  The “Dr. Zeus” series of stories by Kage Baker 
  combines one-way travel to the past with immor-
  tality:  the time agents are indestructible cyborgs, 
  created in the distant past and manipulating history 
  according to the instructions of their creators in the 
  future. 
  YOU ARE HERE
  If the time-gate machinery (or the mystical 
  portal, or the alien time-teleporter) can only send 
  to the same location in past eras, travelers face some 
  unique problems. Unless the Time Institute is in 
  downtown London, a fair amount of the adventur-
  ing in the past involves traveling from the point of 
  arrival to wherever they want to explore. This is a 
  good way to “cut the apron strings” and force the 
  heroes away from their time machine, but it also 
  means most adventures involve an inconvenient 
  amount of travel.
  Slightly more convenient for the GM is a 
  random arrival point. That allows the players to turn 
  up “just by coincidence” in the right place for an 
  interesting adventure. (To be realistic, most random 
  arrivals would be in mid-ocean somewhere, requir-
  ing either a seaworthy time machine or else a way 
  to see what’s there before the exploration team goes 
  through.) Much of the Tom Baker run of Doctor 
  Who involved travel in a time machine equipped 
  with a randomizer so the Doctor’s foes couldn’t track 
  him down — if he didn’t know where he was going, 
  neither could they!
  NEXT EXIT 1492
  Perhaps time travel is only possible between 
  certain past eras. They may be as broad as centuries 
  or as narrow as minutes. This is one way to keep 
  characters from visiting their own pasts, and the 
  GM can select the available windows with an eye to 
  interesting adventure opportunities. (As Tim Powers 
  did in his novel The Anubis Gates.) All windows 
  may connect to all others, or the system can be very 
  complicated, requiring multiple hops between diﬀer-
  ent eras to arrive at a given destination (“You jump 
  from 2930 to 4588 BC; from there you can hop to 
  1451, and that lets you jump to 1969 in time to watch 
  Apollo 11 take oﬀ”).
  Short-duration windows do create the possibil-
  ity of “traﬃc jams” as time travelers from throughout 
  history try to arrive during the same brief period. If 
  the heroes have time-traveling enemies, they may 
  ﬁnd themselves arriving next to each other! Win-
  dows also impose a little tension on the campaign, 
  since the end of a given window is a deadline which 
  the characters really don’t want to miss. 
  
  238 ■ Yesterday, Today, And Tomorrow 
  HERO SYSTEM 5TH EDITION
  PARADOXES AND  
  COMPLICATIONS
  The big problem with time travel is the pos-
  sibility of paradoxes — many physicists consider it 
  impossible for just that reason. In Star Hero, time 
  paradoxes raise problems of their own. Most cam-
  paigns are linear narratives, and being able to change 
  the past may mean early adventure sessions can 
  suddenly “not have happened.” There are a couple of 
  ways to handle this.
  Fixed History
  This is the easiest to handle conceptually, but 
  can be surprisingly tricky in play. If history cannot 
  vary, then by deﬁnition nothing the characters do 
  can change things. Circumstances always work to 
  thwart them, or perhaps attempts to change the 
  course of history simply bounce them right back to 
  their starting point. It can be frustrating for players 
  to continually run afoul of unchangeable history, 
  and the GM may have to resort to more and more 
  unlikely “accidents” to stymie the heroes. Players 
  often quickly come to loathe this sort of situation.
  A slightly looser version of this takes the view 
  that history itself can be full of errors, falsiﬁcations, 
  and misinformation. While the historical record 
  is generally true, the details of speciﬁc events can 
  sometimes be fudged or tweaked without conse-
  quences. Obviously, this works best with poorly-doc-
  umented eras:  you can’t shoot Hitler, but you may be 
  able to help the Trojans beat the Greeks (later Greek 
  literature about their victory can be explained away 
  as propaganda by sore losers).
  The loosest form of unchangeable history 
  assumes that only things the heroes themselves wit-
  ness are absolutely true. Records may be false, his-
  tory books are full of errors, and NPCs can lie, but 
  things which happen in the campaign are real and 
  true and cannot be altered. Changes to history are 
  allowed so long as they won’t change anything the 
  heroes have seen themselves:  if they saw the Titanic 
  sink, then no amount of trying can prevent it. On the 
  other hand, anything unseen is fair game — while 
  they were watching the ship go down they might not 
  have noticed their later selves rescuing passengers 
  with a time-submarine.
  Mutable History
  Gamemasters who do want to allow at least 
  the possibility of changing history must decide how 
  “elastic” the timeline is. 
  ELASTIC TIME
  An elastic history tends to snap back to its 
  original state and resists changes. Shoot Hitler 
  during World War I and some other extremist war-
  monger becomes dictator of Germany in the 1930s. 
  Rescue Lincoln from his assassin and he spends the 
  rest of his second term losing battles with Congress 
  over the course of Reconstruction, just like Andrew 
  Johnson did. The extreme version of this is like an 
  unchangeable history.
  A less elastic history allows for potential change 
  points. Possibly some people or events are “critical 
  nodes” which can shift history onto a diﬀerent track, 
  but the vast majority of people have little inﬂuence. 
  An elastic history with critical nodes means the PCs 
  can visit the past without disrupting their future, 
  while still allowing for Time Patrol-style adventures 
  preventing villains from aﬀecting critical nodes.
  CHAOTIC HISTORY
  The opposite of elastic history is chaotic history, 
  in which even tiny changes ripple outward, trans-
  forming everything. Step on a butterﬂy in the Creta-
  ceous and humanity may not evolve. Help a girl cross 
  the street in New York in 1930 and the Nazis win 
  World War II. Chaotic history is diﬃcult to game, 
  because it’s hard for the heroes to avoid making 
  changes, or to know how to correct them. However, 
  many historians have come to believe human history 
  is chaotic, so GMs with a yen for accuracy may go 
  with this interpretation despite its diﬃculties.
  If history can be altered, sanity demands some 
  way to keep the heroes from blinking out of exis-
  tence every time some klutz squashes a bug. They 
  must be immune to changes in history. Perhaps trav-
  eling in time places voyagers somehow “outside the 
  timestream” and immune to any changes they cause. 
  Or perhaps it’s an innate power (see sidebar).
  A reality-bending campaign requires a GM who 
  can think on his feet and extrapolate future histories 
  on the ﬂy. The only constant in the campaign is the 
  player characters; the world can shift about them. 
  Immunity To Timeshifts
  Life Support (Immunity To Timeshifts) renders a char-
  acter completely immune to the eﬀects of changed 
  history. He can go back in time and prevent his par-
  ents from meeting, or change things so the Human 
  species never evolves, and he himself remains 
  unchanged. It costs 2 Character Points.
  The technological version is the “Reality Sta-
  bilizer,” which comes in two versions. A personal 
  stabilizer is simply a wearable device which confers 
  the power:  Life Support (Immunity To Timeshifts) 
  (2 Active Points); OIF (-½); total cost:  1 point. Time 
  machines may have built-in Stabilizers. If reality 
  shifts are common, a character’s Stabilizer is abso-
  lutely essential to his continued existence.
  A more powerful version is the “Reality Field 
  Generator” which can anchor an entire area. Mul-
  tiple projectors can be linked to stabilize a base or 
  even a whole city. The headquarters of the Time 
  Institute is certainly protected by Reality Generators, 
  and they would be valuable accessories for any time-
  traveling villain’s hideout.
  Reality Field Generator:  Life Support (Immunity 
  To Timeshifts), Usable Simultaneously (up to 
  2,000 people at once; +2 ¾) (7 Active Points); 
  OAF Bulky (-1 ½). Total cost:  3 points.
  
  239 
  Star Hero ■ Chapter Nine
  T
  ime travel is such a nifty idea that it tends 
  to creep into just about every Star Hero 
  campaign. In any kind of science ﬁction 
  setting, the heroes may be cast into another 
  time by a mysterious alien artifact or a crackpot 
  scientist’s jury-rigged prototype. In settings with 
  faster-than-light travel, arriving in the wrong year 
  could be a fairly standard drive malfunction, and 
  anyone with a suﬃciently durable starship might 
  have a close encounter with a black hole.
  One-shot time adventures make a good 
  change of pace, without too much risk of tangling 
  the campaign up in paradoxes. For whatever 
  reason, the heroes visit another time, get into 
  trouble, and get home. Usually their goal is nothing 
  more than getting back to their proper time, while 
  surviving the bloodthirsty post-atomic mutants of 
  the future or the bloodthirsty pre-atomic gangsters 
  of the past. The time jaunt may be part of an ongo-
  ing plotline in the game’s proper era — if the cure 
  to the Omega Virus can only be found a hundred 
  years in the past, surely a band of brave heroes 
  would be willing to risk a voyage through time to 
  prevent billions of deaths; once they accomplish 
  that and return to the future, then they can hunt 
  down the Andromedan agents who released the 
  plague in the ﬁrst place.
  More ambitious GMs may want 
  to tackle an actual time-traveling 
  campaign. The focus can be just time 
  travel, or combined with space travel 
  to allow the widest possible scope. 
  The actual mechanics of time travel 
  have an immense eﬀect on potential 
  campaigns, and the GM should choose 
  carefully to allow the kinds of adven-
  tures he wants to run. 
  Some common time travel cam-
  paign frames include:
  TIME COPS
  The heroes are agents of some 
  organization (call it the Time Patrol) 
  that strives to prevent unauthorized 
  meddling with history. If history is 
  unchangeable, then the Patrol focuses 
  on preventing time travelers from 
  exploiting past-timers; in a mutable 
  timeline, the Patrol also defends the 
  “one true history” against would-be 
  revisionists. Either way, Patrol agents 
  must have some way to detect interfer-
  ence by other time travelers, then go 
  into action to put things right.
  Advantages of a Patrol campaign are the rela-
  tive ease of setting up adventures (“Your boss tells 
  you to get dressed in togas — you’re heading for 
  Pompeii”), and the convenience of avoiding para-
  doxes through Patrol regulations (“You can’t go 
  back to the day before and ﬁx things; the Patrol 
  won’t allow it”). Disadvantages are a lack of player 
  initiative and a certain amount of routine in a long-
  running campaign.
  TIME COLLECTORS
  The heroes are either agents or freelancers 
  who specialize in acquiring artifacts from the past. 
  Ethical collectors only pick up things which are 
  certain to be destroyed — books from the Library 
  of Alexandria, archaeological treasures from the 
  Berlin Museum, or Mayan astronomical codices. 
  Time thieves may prefer to snatch the Mona Lisa 
  from Leonardo’s studio and replace it with a cheap 
  laser-printed copy — or they may manipulate the 
  stock market to make themselves rich, loot gold 
  shipments, or engage in other such chronal crimes.
  A variant is collecting people in time. Human-
  itarians can rescue steerage passengers from the 
  Titanic or smuggle Jews out of the Warsaw Ghetto. 
  Exploiters recruit Helen of Troy or Mozart with 
  promises of future luxuries, and villainous time 
  TIME TRAVEL 
  CAMPAIGNS
  
  240 ■ Yesterday, Today, And Tomorrow 
  HERO SYSTEM 5TH EDITION
  slavers might abduct thousands from the past to 
  serve the future as laborers, playthings, or possibly 
  sources of fresh genetic material. All three types 
  may coexist, and some slightly shady types who just 
  want to sign up Marilyn Monroe for a holovideo 
  studio have to contend with both do-gooders from 
  the Time Rescue Mission and time slavers.
  Like Time Patrol adventures, Time Collect-
  ing can degenerate to a routine of “show up, shoot 
  the locals, grab the item, get out.” It may also raise 
  troubling ethical questions, especially for people-
  collectors. 
  TIME CASTAWAYS
  If the time travelers are stuck in another time, 
  then the focus of the campaign shifts to building 
  a new society and coping with historical threats. 
  A band of near-future characters may try to keep 
  the Roman Empire from falling, or may have to 
  choose sides in the Hundred Years’ War. A cast-
  aways campaign avoids all the problems of paradox 
  and causality by keeping the heroes in one era, but 
  it requires a lot of research by the GM, and players 
  who really enjoy that setting.
  TIME EXPLORERS
  There’s a lot of history out there, and charac-
  ters can have all sorts of interesting adventures just 
  exploring the past. Exploration is likely to be the 
  main focus when time travel is still a new technol-
  ogy; the Time Institute sends out parties of time 
  explorers to learn about obscure periods in history, 
  discover if any other time travelers are active in the 
  past, and work out how to avoid or survive para-
  doxes.
  A Time Explorers campaign has many advan-
  tages for the GM:  the destination is determined 
  by Mission Control, the party probably won’t be 
  packing a lot of heavy ﬁrepower (so when they get 
  into trouble they’ll need to use their wits instead of 
  shooting their way out), and the heroes can visit a 
  variety of historical eras. Problems with plausibility 
  come up when every “simple research trip” turns 
  out to involve danger and threats to the future. If 
  the players really enjoy playing tourist in the past 
  and learning about other times, the GM is going to 
  need to do a lot of advance research.
  ALTERNATE HISTORIES
  An alternate history is an entire cosmos some-
  how “next to” our own, usually physically identi-
  cal but with a diﬀerent history. Sometimes time 
  travelers who alter history can create an alternate 
  universe that splits oﬀ from the original timeline.  
  (Some theories of time travel claim that any signiﬁ-
  cant act “splits oﬀ” new timelines — one in which 
  the act occurs as planned, one in which it doesn’t 
  occur at all, one in which it occurs but something 
  goes wrong, and so on. In this view, time travel may 
  not really be time travel; it may simply involve par-
  allel jumps from one timeline to another.)
  Alternate universes are very useful from a 
  
  241 
  Star Hero ■ Chapter Nine
  game perspective. They allow many of the more 
  entertaining results of time travel (diﬀerent history, 
  weird societies, and the like) without any of the 
  problems of paradoxes and causality. If shooting 
  your grandfather merely creates a new universe 
  in which he died young, there’s no paradox:  your 
  grandfather is still ﬁne. (Being the grandfather of a 
  time traveler seems to be very hazardous.)
  Visiting an alternate history is much like time 
  travel, at least in terms of HERO System rules and 
  special eﬀects. You get in the Crosstime Machine, or 
  walk through a World Gate, or whatever, and there 
  you are. Referees do need to decide if world-jump-
  ers can visit any point in an alternate universe’s his-
  tory, or if they can only shift directly “sideways” to 
  the same date in a diﬀerent timeline. 
  Popular change-points for alternate histories 
  include:  a Nazi victory or stalemate in World War 
  II; the survival of the British Empire; a Confederate 
  victory in the Civil War; failure of the American 
  ﬁght for independence; the Spanish Armada con-
  quering England; Columbus failing to reach the 
  New World; no rise of Islam; the survival of the 
  Roman Empire; and the destruction of Greek civili-
  zation by the Persians. Gamemasters can either try 
  to create their own riﬀs on these themes, or come 
  up with diﬀerent change-points.
  There are two ways to go about creating an 
  alternate timeline for a campaign. The ﬁrst is to 
  choose an event, make it come out diﬀerently, and 
  then try to extrapolate the subsequent course of 
  history and see what might happen. This requires 
  a good knowledge of history, and means the GM 
  must make some decisions about how history 
  works — is it the result of remarkable individuals 
  (like Napoleon, Augustus, or Hitler), the result of 
  large-scale trends, or the product of cycles? The 
  most likely answer is “all of the above,” but one still 
  must decide how inﬂuential each really is.
  Suppose you’re taking the assassination of 
  Archduke Franz Ferdinand of Austria in 1914 as 
  the changepoint. In our history, it sparked World 
  War I. In another history, perhaps the assassin 
  missed, or was dazzled by the ﬂash of a time-
  tourist’s camera at the critical moment. Well, what 
  then? No dead Archduke means no World War I 
  (at least, not in 1914). No World War I probably 
  means no Nazi regime in Germany, no Commu-
  nists in Russia, no World War II, no Auschwitz. Of 
  course, that doesn’t mean this new history has to be 
  a boring Utopia. The European colonial empires are 
  likely to last longer, keeping large parts of the world 
  under foreign rule. Without the terrible example of 
  the Nazis, racism remains more solidly entrenched. 
  Technology may progress more slowly without the 
  impetus of two global wars plus the Soviet-Ameri-
  can Cold War. Instead of massive wars among the 
  European powers, this timeline might see a series of 
  drawn-out struggles pitting Asians, Muslims, Afri-
  cans, and others against their colonial overlords.
  A second method may irk purists, but often 
  makes for more entertaining campaigns. Instead 
  of choosing the changepoint and working forward, 
  pick the result and try to ﬁgure out how to make 
  it happen. If you want a world in which the Aztecs 
  are a major power in 2002, that means the Span-
  ish conquest of Mexico must have failed for some 
  reason. What would have accomplished that? Since 
  current historians attribute the European success 
  in the New World as much to the diseases they 
  carried as their military might, perhaps the Aztecs 
  simply got exposed to European germs by lost Por-
  tugese or Viking seafarers a few centuries before 
  Columbus. With enough time for the population 
  to recover, the American civilizations of Mexico 
  and Peru could hold oﬀ the Europeans and learn 
  the secrets of ironworking, gunpowder, and horse-
  manship. Once able to compete on equal terms, the 
  Aztecs could easily survive and rise to Great Power 
  status. 
  Of course, those changes do have ripple eﬀects. 
  Without the Mexican and Peruvian treasure to pay 
  for armies and ﬂeets, Spain is not as powerful, and 
  Spain’s ally Austria falls to the Turks. The kingdoms 
  of western Europe are occupied with ﬁghting oﬀ 
  the Turkish menace and cannot spare the resources 
  to explore the Americas or conquer India. So the 
  European empires of the Age of Sail never get oﬀ 
  the ground, and some other region might be the 
  ﬁrst to industrialize. 
  
  242 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  T
  he term “Psionics” became popu-
  lar during the 1950s, as part of 
  the eﬀorts by Dr. J.B. Rhine and 
  others to analyze phenomena 
  which were long considered 
  supernatural. The legendary science ﬁc-
  tion editor John W. Campbell was very 
  interested in the idea, and encouraged 
  his writers to use psi powers in their 
  stories. Some SF writers adopted a very 
  rigorous, logical approach to the topic 
  — Larry Niven, for example, worked 
  out some interesting consequences of 
  psi powers — while others used the 
  term as an excuse for magic.
  Despite a stunning lack of experi-
  mental evidence for their existence, psi 
  powers have remained popular in sci-
  ence ﬁction for decades. This chapter 
  discusses the role of psionics in Star 
  Hero campaigns. It covers not just how 
  to build psionic powers in game terms, 
  but what types of powers might exist (or 
  are most common in science ﬁction) and 
  the consequences their existence may 
  have for the campaign.
  
  243 
  Star Hero ■ Chapter Ten
  W
  hen using psionic powers in a cam-
  paign, GMs need to make several deci-
  sions:  how do psi powers work? How 
  powerful are they? What powers are 
  possible? Can anyone learn to use them? How does 
  society adapt?
  THE BASICS
  Here are some of the basic considerations to 
  keep in mind when determining the nature and 
  role of psionics in the campaign.
  How They Do It
  In the absence of reliable data, theories of how 
  psionic powers might work have multiplied. They 
  range from the mechanistic to the surreal. At the 
  hard science end, some theorists and SF writers 
  try to explain psionics in terms of existing laws of 
  physics and biology. Telepathy transmits an organic 
  radio signal from brain to brain, and Mind Control 
  or Mental Illusions involve hacking into some other 
  brain’s operating system remotely. Extrasensory 
  Perception uses unidentiﬁed senses — electric or 
  magnetic ﬁeld sense, possibly attuned to the ﬁelds 
  given oﬀ by living things. Powers which violate the 
  laws of thermodynamics or conservation of energy 
  don’t exist. If telekinesis is possible, the user has 
  to expend just as much eﬀort as if he were lifting 
  the object with his muscles. Powers are reduced by 
  range.
  Related to the hard science approach is the 
  idea of mental powers (and related abilities) as a 
  function of advanced training of the Human (or 
  alien) mind, direct control of autonomic body 
  processes, and so forth. Frank Herbert’s Dune, with 
  its highly-trained Bene Gesserit sisters manipulat-
  ing Human breeding patterns to cause the birth 
  of a person with true powers of prophecy, is an 
  excellent example. Psionic powers in this sort of 
  setting can become pretty powerful, but they’re 
  usually “self only” sorts of abilities — a character 
  can’t read minds or strike down his enemies with 
  mental blasts, but he can heighten his powers of 
  observation, override his body’s response to pain, 
  or improve his own reaction time.
  A less rigorous (but more fun) version of 
  psionics assumes the human mind can tap into 
  some sort of external source of energy to create 
  eﬀects. George Lucas called it “The Force,” while 
  modern pseudoscientists talk vaguely of “bioener-
  getic ﬁelds” or “cosmic power.” Whatever you call it, 
  this external power source allows psionics to do far 
  more than they could accomplish with their own 
  bodies. The ﬁeld extends through the entire uni-
  verse (or possibly exists in hyperspace), so psionics 
  can violate the inverse square law and the speed of 
  light.
  Finally, there’s the idea of psionics as reality 
  manipulation. In this view, the psionic is simply 
  changing the universe by force of will. Adherents 
  of this model make reference to the role of the 
  observer in quantum mechanics to “prove” that 
  consciousness is important in maintaining reality 
  as we know it. Those who learn the trick can alter 
  reality with a thought. The weakest form of real-
  ity alteration is probability alteration — the Luck 
  power, in HERO System terms. More powerful 
  reality-altering psionics can teleport themselves, 
  conjure up things they want or need, and inﬂuence 
  the minds of others. Reality alteration can bend or 
  ignore any physical laws.
  Gamemasters can adopt or make up whatever 
  explanation they wish for how psi powers operate. 
  The above are just examples; you can combine or 
  modify them to suit the campaign. It’s even pos-
  sible to have two or more diﬀerent “modes” of psi 
  powers at work in the same game world:  perhaps 
  some psionic abilities are mechanistic while others 
  involve reality transformations. One species may 
  have body-manipulation powers, while another 
  possesses true telepathic abilities.
  Power Level
  The issue of power level shapes the nature of 
  the campaign. If psionic powers are weak, then 
  social controls are likely to be less strict, psionic 
  characters can live mostly normal lives, and the 
  existence of mental powers doesn’t radically trans-
  form the world. If powers are strong, then society 
  must ﬁnd a way to control them — even if only by 
  letting the psionics rule. From a gaming perspec-
  tive, the more powerful psionic abilities are, the 
  more likely it is characters will want them, that 
  characters without them will be (or feel) “handi-
  capped” in comparison, and that psionic PCs can 
  overwhelm or unbalance the game.
  Of course, power level doesn’t always equate to 
  usefulness. A character with a low-powered Mind 
  Control ability, just enough to make everyone like 
  him, is in many ways much more useful as a PC 
  than someone with the ability to destroy whole 
  planets. Larry Niven’s stories about Gil Hamilton, 
  the future policeman with an incredibly weak 
  telekinetic/clairvoyant “imaginary arm,” provide 
  PSIONICS  
  CONSIDERATIONS
  
  244 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  excellent examples of how useful a very limited psi 
  power can be.
  See page 249 for more discussion of power 
  levels in game terms.
  Latent Psionic Powers
  Often characters in ﬁction have latent powers 
  which they are only just learning how to use and 
  control. There are several good ways to represent 
  this in the HERO System. One possibility is to start 
  out with a high power level, but load the power 
  down with Limitations to reﬂect the novice psion-
  ic’s inability to control it properly (see page 249 for 
  some suggested Limitations). As the character gains 
  in experience, he can buy oﬀ these Limitations to 
  reﬂect increasing mastery.
  Another method is for the GM to assign a pool 
  of “banked points,” subtracted from the character’s 
  original point value. As the psionic character gains 
  experience, the GM releases points from the bank, 
  so that the latent psi can gain power faster than he 
  would with Experience Points. The GM can estab-
  lish conditions the character has to meet in play 
  to gain access to his banked points — an amnesiac 
  psi must regain his memories before he can use his 
  hidden powers, or a novice must receive training 
  from a wizened old master.
  Third, the GM can use the Latent Psionic 
  Talent on page 51. This is similar to the “banked 
  points” approach, but with a little more structure.
  Available Powers
  Exactly which powers are available in the cam-
  paign determines a lot about the ﬂavor of the cam-
  paign and how society reacts to psionics. Mental 
  abilities like Telepathy and Mind Control make 
  psionics good at manipulating other Humans, but 
  not able to withstand gunﬁre or smash planets. 
  Telepaths make good spies or policemen, and 
  inspire society to make rules about mental privacy. 
  Telekinetics who can throw cars around are more 
  useful as soldiers (or in construction), and inspire a 
  diﬀerent set of social controls.
  While almost any ability can be explained with 
  enough handwaving as “psionic,” ﬁfty years of sci-
  ence ﬁction and pseudoscience have created a more 
  or less standard list of psionic powers common to 
  SF settings, in six main families.
  BODY CONTROL
  Mystics have long claimed to be able to per-
  form amazing feats of self-control, and psionics 
  have co-opted many of the same claims. In HERO 
  System terms this includes Talents such as Double-
  Jointed, Lightning Reﬂexes, and Simulate Death. It 
  also covers abilities built with Powers such as Aid, 
  Damage Resistance, Healing, Lack Of Weakness, 
  Life Support, Running, and possibly even Shape 
  Shift. Often making conscious changes to one’s 
  body requires Concentration and Extra Time; real-
  ism suggests Increased Endurance Cost, Gradual 
  Eﬀect, and/or a Required Skill Roll. Characters who 
  can manipulate their bodies may be recruited as 
  super-agents (or take up a life of crime); anyone 
  who can heal or aid others will be in demand as a 
  psychic doctor.
  Body Control powers are most impressive 
  and important in relatively low-tech settings. In 
  Space Opera games, cybernetics, bio-engineering, 
  nanotechnology, and advanced surgical techniques 
  may mean that just about anyone could have Body 
  Control-type abilities.
  ESP
  Extra-Sensory Perception, more commonly 
  known as ESP, is the scientiﬁc name for what used 
  to be called clairvoyance, second sight, or prophecy. 
  It includes all abilities to perceive things beyond 
  normal senses. In HERO System terms, ESP covers 
  Talents like Combat Sense or Danger Sense and 
  Powers like Clairsentience (including Precogni-
  tion), Enhanced Senses, and Find Weakness. It can 
  be as narrowly-focused as dowsing (Detect Water) 
  or as broad as the ability to cast one’s mind across 
  the Galaxy (Clairsentience with the MegaScale 
  Advantage). Concentration is usually required. A 
  good way to limit the power of ESP abilities is to 
  make them chancy or unreliable, with an Activation 
  Roll or No Conscious Control.
  Settings with ESP may have restrictions on 
  psionic snooping, or may simply become extremely 
  open societies (since secrets are impossible). Espe-
  cially interesting consequences arise when indi-
  viduals with Precognition exist in a society:  can 
  precogs prevent crimes and disasters? What if the 
  “oracles” decide to misuse their power?
  TELEKINESIS
  Telekinesis is any ability to manipulate energy 
  or physical objects with mental power. It has a 
  number of related abilities:  pyrokinesis (the abil-
  ity to start ﬁres), cryokinesis (the power to reduce 
  temperature), and electrokinesis (control of electric 
  currents). You can model telekinesis and related 
  powers with many HERO System powers, includ-
  ing Change Environment, Energy Blast, Entangle, 
  Flight, Force Field, Force Wall, Killing Attacks, 
  Knockback Resistance, Missile Deﬂection, Teleki-
  nesis (of course), and Tunnelling.
  Telekinetic powers are often Indirect, and if 
  no defenses are available, telekinetic attacks can be 
  No Normal Defense (imagine the damage a pyro-
  kinetic can do by starting a ﬁre inside someone’s 
  brain). In a hard science game, telekinesis powers 
  should burn a lot of Endurance and be limited by 
  range. Concentration, No Conscious Control, and 
  Requires A Skill Roll are other common Limita-
  tions.
  TELEPATHY
  Telepathy is the ability to read minds, trans-
  mit thoughts, or otherwise mess with people’s 
  heads. Depending on how powerful and skilled 
  the telepath is, that “otherwise” can include editing 
  people’s memories, implanting compulsions and 
  commands, attacking others psychically, and even 
  transferring the telepath’s consciousness into other 
  bodies. Telepathy is normally instantaneous, not 
  bound by the inverse square law or the speed of 
  RATING SYSTEMS
  If psi powers are 
  common and can be 
  scientiﬁcally studied, 
  researchers or govern-
  ments will probably 
  have classiﬁcation and 
  rating systems to iden-
  tify power levels. High-
  powered psionics may 
  have special privileges 
  — or increased restric-
  tions. If nothing else, a 
  “psi rating” system pro-
  vides nice in-game color, 
  allowing characters to 
  discuss their powers 
  without referring to 
  game mechanics.
  Point costs are an obvi-
  ous basis for power rat-
  ings. One simple system 
  is to divide the Active 
  Points in a character’s 
  most powerful psionic 
  ability by 5 to get his or 
  her “Psi Rating.” Rat-
  ings are classiﬁed by 
  the power “families,” so 
  an individual with the 
  combination of Mind 
  Scan (30 Active Points), 
  Mental Illusions (20 
  Active Points), and 
  Invisibility (25 Active 
  Points) would have a 
  Telepath rating of 6 (30 
  divided by 5), and a 
  Wild Talent rating of 5.
  Alternately, GMs can 
  assign larger point 
  ranges and group them 
  under Roman numer-
  als, letters, even colors 
  — perhaps powers up 
  to 25 Active Points are 
  Blue-level psionic abili-
  ties, 25-50 Active Points 
  are Green powers, and 
  50 or higher are Gold 
  psionics. Blues usually 
  have other jobs and use 
  their powers only as a 
  supplement, Greens are 
  professional psionics, 
  and Golds are rare and 
  powerful. The exact 
  cutoﬀ may vary with 
  diﬀerent powers, so that 
  someone with tremen-
  dous Damage Resistance 
  still isn’t a Gold psionic, 
  while even fairly weak 
  pyrokinetics get the 
  Gold-level perks and 
  restrictions.
  
  245 
  Star Hero ■ Chapter Ten
  light. Telepaths with interstellar range can serve as a 
  super-fast communication system.
  Most of the Mental Powers are subsets of 
  telepathy — Ego Attack, Mental Defense, Mental 
  Illusions, Mind Control, Mind Scan, and Telepathy 
  itself — but telepathic characters can have plenty 
  of other abilities. For example, Universal Translator 
  could be a form of telepathy, and characters must 
  use Transform to make permanent changes to a 
  target’s mind, like compulsions or memory edits.
  Telepathic abilities often take Concentration 
  and a Required Skill Roll to use, and may require 
  Extra Time (especially for major eﬀects like Trans-
  form, or large-scale powers like Mind Scan). Hard 
  SF telepathy is likely limited by range and only 
  works on the same species as the user (see Classes 
  Of Minds, page 250). No Conscious Control or 
  Always On make for twitchy, overloaded telepaths 
  who seek out solitude to escape the chatter of 
  unshielded minds. In ﬁlm it’s common for telepa-
  thy to have a visible eﬀect on the user (like all-
  black or glowing eyes, nosebleeds, or pulsing fore-
  heads); these are either the Visible or Side Eﬀects 
  Limitations, depending on how serious the eﬀect is.
  Societies with telepathy have to face some 
  major changes in how they view the world:  
  thoughts are not private; memories and sensory 
  impressions may be false; and people may not 
  always have free will. Enlightened telepathic cul-
  tures may create a soci-
  ety where nobody has 
  emotional problems and 
  deception is unknown. 
  More sinister ones could 
  be a tyranny of “thought 
  police.” Tightly restrict-
  ing (or even extermi-
  nating) telepaths lets 
  mundanes keep their 
  minds free, but perhaps 
  at the price of having 
  blood on their hands. A 
  world entirely populated 
  by telepaths could be an 
  interesting game setting:  
  presumably most people 
  have enough Mental 
  Defense to prevent 
  casual eavesdropping 
  on their thoughts, but 
  anyone planning any-
  thing shady needs to ﬁnd 
  a way to hide from the 
  telepathic cops.
  TELEPORTATION
  Being in two places 
  at once or spontaneously 
  disappearing is a very 
  old psychic eﬀect. The 
  teleportation family of 
  powers includes the abil-
  ity to teleport one’s self, 
  teleporting other people, 
  and “apporting” — bring-
  ing desired items to the user.
  In HERO System terms a great many powers 
  can result from teleportation (besides, of course, 
  Teleportation itself). A teleporter who can bring 
  water to a dry place is using Change Environment. 
  Those who really can be in two places at once have 
  Duplication (possibly Linked to Teleportation). 
  Some teleporters visit other times or dimensions 
  — Extra-Dimensional Movement. A teleporter 
  who can zap things into a foe or remove vital body 
  parts has an Killing Attack NND Does BODY. 
  Someone who can “blip away” missiles has Mis-
  sile Deﬂection. The ability to call others to you is 
  Summon or Teleportation Usable On Others; the 
  power to “conjure” useful items is a form of Vari-
  able Power Pool.
  Limitations common to teleportation are 
  Concentration or Extra Time to reﬂect “attun-
  ing” oneself to the target; Increased Endurance or 
  Charges for teleportation that drains the user; No 
  Conscious Control for a power that only manifests 
  in a crisis; and Requires A Skill Roll or Activation 
  Roll if the teleporter can’t always make his power 
  work.
  A world with teleportation changes many 
  ideas about privacy, security, and distance. Tele-
  porting terrorists, spies, or thieves inspire ever 
  more paranoid security measures — labyrinths, 
  constant surveillance, or simply hiding anything of 
  
  246 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  value. If everyone can teleport, the whole world is 
  essentially “next door” — with all that implies.
  WILD TALENTS
  Finally there is the category of Wild Talents 
  — psi powers which aren’t easily classiﬁed. These 
  are numerous and varied. A partial list (along with 
  HERO System equivalents) would include:  prob-
  ability alteration (Luck, Missile Deﬂection, and 
  possibly a Variable Power Pool), weather control 
  (Change Environment), time control (extra SPD 
  and various other abilities), materializations 
  (Summon), astral form (Desolidiﬁcation), chan-
  nelling (a mental-only Multiform), temporal fugue 
  (Duplication), and psychic invisibility (Invisibility 
  with Limitations).
  Rarity
  The rarity of psi powers determines a lot 
  about their eﬀects in the campaign. If powers are 
  common, then society must have a way to cope 
  with their eﬀects. Rare powers can be especially 
  eﬀective through sheer surprise value. Interesting 
  eﬀects occur when some species have powers and 
  others do not.
  RARE POWERS
  Usually psychic powers are rare in a given 
  setting. This allows psionics to remain poorly 
  understood and hard to counteract. Even low-grade 
  powers can be useful, since nobody expects to 
  encounter them. But their very rarity means psionic 
  characters often face fear and suspicion from 
  “mundanes.” Self-protective measures by psionics 
  only inspire further distrust from others, leading to 
  paranoia and conspiracy theories. In some settings, 
  the normals may decide the risks of psionic powers 
  are too great, leading to anti-psionic pogroms. 
  When powers are rare, being psionic may qualify 
  as a Social Limitation, and the Reputation “Psionic” 
  could be dangerous. 
  COMMON POWERS
  In some settings, psi powers are very common. 
  Alfred Bester (the author, not the Babylon 5 vil-
  lain named after him) wrote several stories about 
  worlds with widespread psionic powers. In The 
  Stars My Destination, he described a world where 
  everyone knows how to teleport. In The Demolished 
  Man he explored how crime and police work would 
  function in a world with many telepaths. Larry 
  Niven examined the eﬀects of probability alteration 
  by the entire Human species in his later “Known 
  Space” stories.
  The chief point to remember about common 
  powers is that nobody’s surprised by them. If tele-
  porters are common, people ﬁnd ways to keep from 
  being robbed by teleporting burglars. Bester sug-
  gested labyrinths inside houses to confuse thieves 
  trying to teleport in; teleport-proof force-ﬁelds are 
  another possibility. Laws will address the use and 
  misuse of common psi powers — if mind control 
  exists, then people won’t go to jail for crimes com-
  mitted while under someone else’s control... assum-
  ing the police can verify their claims.
  Characters in a setting with common psi 
  powers may be able to take a low-value Disadvan-
  tage for being psionic (a Psychological or Social 
  Limitation equivalent to a doctor’s professional 
  ethics, for instance).
  TECHNICAL FIXES
  Sometimes the commonality of psionic powers 
  depends on artiﬁcial aids. Psionic characters may 
  need to use “ampliﬁer crowns” to boost their 
  powers, or have to stimulate their brains with psi-
  drugs (like the spice melange of Dune, which allows 
  some people to “fold space”). In those situations, 
  the technology is what gets controlled — maybe 
  characters need a license to own a psionic ampliﬁer, 
  or a prescription for psi-drugs. Perhaps the devices 
  are a closely-guarded monopoly of the psionic elite. 
  Naturally, wherever something is forbidden, an 
  illegal market develops. Player characters who run 
  afoul of the legitimate psionic authorities may have 
  to make do with unreliable black-market ampliﬁer 
  helmets and home-brewed psi drugs.
  SPECIES DIFFERENCES
  Gamemasters should also consider whether 
  psionics are a universal phenomenon among all 
  sentient species, or only some species can have 
  psionic powers. Interesting results emerge when 
  certain powers are only found in certain species. 
  Perhaps Sirians are the only telepaths in the Galaxy, 
  but Earth produces powerful clairvoyants and 
  Vegans are known for their mighty telekinetic abili-
  ties. The Denebians, who don’t have any psionics, 
  are desperately trying to acquire the technology 
  to create or breed some. If interstellar travel or 
  communication depends on a certain psi power, 
  then the species with a monopoly on that power 
  becomes a key player in galactic politics (like the 
  Spacing Guild in Dune).
  Some psi powers may only work on members 
  of the user’s own species, because they require com-
  patible “brain frequencies” or some such. This is 
  especially appropriate for telepathic powers. Game-
  masters who want to have interspecies telepathy 
  may consider making some powers less eﬀective on 
  other species — so a Human telepath’s powers work 
  at full strength on other Humans, but only half 
  power on Sirians. See Classes Of Minds, below, for 
  more information.
  Social Issues
  Gamemasters should decide in advance what 
  social rules control psionic powers. Speciﬁcally, 
  which powers are subject to what rules? Are all 
  psionics licensed? Do all telepaths have to wear 
  inhibitor collars? Are there any organizations 
  (legal or clandestine) of psionics? What happens to 
  psionics who don’t join those groups?
  Much depends on the powers available. Tele-
  kinetics are useful in warfare, criminal activity, 
  and a whole range of legitimate jobs. They can do 
  damage, but so can a drunk behind the wheel of a 
  hovertruck. They probably have to register or get 
  
  247 
  Star Hero ■ Chapter Ten
  a license (to ensure they receive proper training 
  in the use of their powers), but probably will be 
  permitted and encouraged to use their abilities. 
  Extremely powerful telekinetics may be isolated, 
  drafted, forced (somehow) to wear inhibitor collars, 
  or simply assassinated at the earliest opportunity.
  Telepathy, by contrast, has much greater pos-
  sibilities for abuse, and even the legitimate uses are 
  a little creepy. The government is almost certain to 
  require telepaths to register, and they probably have 
  to follow strict rules about the use of their powers 
  (unless everyone in the society has telepathic 
  powers and can shield his thoughts from others). 
  Telepathy is suﬃciently useful in espionage (both 
  foreign and domestic) that governments may wish 
  to recruit telepathic spies even if their powers are 
  supposedly illegal.
  A lot of society’s reaction to psionics depends 
  on history. A world where psi-crooks are running 
  wild has a much less favorable opinion of psion-
  ics than a world where telekinetic rescue teams 
  avert disasters predicted by precognitives. In a Star 
  Hero campaign, this means the GM can juggle the 
  society’s history to produce the desired result. Want 
  a setting with oppressed psis? Give the planet a 
  background including a couple of juicy scandals 
  centering on the abuse of psi powers, and maybe 
  a disaster blamed on a wild talent gone out of 
  control. Want a tolerant world where psionics live 
  openly? Then give them a strong ethical tradition 
  among psionics, and some examples of heroic tele-
  paths foiling terrorist plots or clairvoyants ﬁnding 
  trapped survivors after an earthquake.
  LAW AND ORDER
  Society needs some way to prevent psionics 
  from abusing their powers. For abilities like clair-
  voyance, a lot of the same rules that apply to spying 
  on your neighbors with a telescope and tapping 
  their phones would apply — assuming the police 
  have their own clairvoyants, or devices to detect 
  the unauthorized use of such powers. But how can 
  a mundane law-enforcement agent stop a powerful 
  telekinetic in a drunken rage? How can he arrest 
  a telepath who mentally commands him to leave? 
  How can he keep a teleporter locked in jail?
  There are three ways to deal with potential 
  lawbreakers who have powers beyond those of 
  the law enforcers:  ﬁnd enforcers who do have the 
  power (the stick); ﬁnd ways to encourage responsi-
  ble behavior (the carrot); or eliminate the problem 
  entirely (the big stick).
  The obvious people to control psionics are 
  other psionics, but mundanes may not wish to hand 
  over that much power to them. In any society at 
  least as organized as twenty-ﬁrst century America, 
  the police and the government probably have 
  specially trained and equipped teams to deal with 
  psionic threats. They can control telepaths with 
  robots or cops in psi-shield helmets, use long-range 
  snipers or knockout gas to take down dangerous 
  telekinetics. A teleporter who can’t see outside 
  of his cell (perhaps because of holograms) can’t 
  escape. Solutions like these will exist if society has 
  to deal with renegade psionics.
  Encouraging ethical behavior means early 
  identiﬁcation of those with talents and careful 
  training. This is one of the primary purposes of 
  virtually all psionic organizations, whatever their 
  other goals may be. Schools (or possibly hospital 
  maternity wards) may have mandatory psi-testing. 
  Training consists of courses about the brain and 
  how psi powers work, plus plenty of indoctrination 
  that “with great power comes great responsibility” 
  (or at least “we must not antagonize the mun-
  danes”). 
  Finally, a given society simply may not want 
  any psionics at all. In brutal cultures, a positive 
  result on the childhood psi test means lethal injec-
  tion. More humane societies could exile psionics to 
  another world, or require them to neutralize their 
  powers. With inhibitor collars, psi-damper drugs, 
  or possibly even brain surgery, a civilization could 
  create a psionic-free world. Of course, when the 
  psionic invaders come, society may wish for a few 
  telepathic defenders, but by then it’s too late.
  ORGANIZATIONS
  One solution to the problem of untrained and 
  uncontrolled psionics — and to the problem of 
  public distrust of mind-readers — is the formation 
  of psionic organizations. These may be government 
  agencies, such as the Psi Corps in Babylon 5, or pri-
  vate foundations created by the psionics themselves 
  to protect their interests and train new talent. They 
  might even be for-proﬁt corporations hiring out 
  skilled psionics for any task.
  Any group with access to unique sources of 
  power or information becomes inﬂuential. Even in 
  worlds that oﬃcially proscribe psionics, the under-
  ground Psi Guild may trade favors to one govern-
  ment agency for help against another bureau.
  In societies that do not regulate psionic powers 
  and/or otherwise accept them in mainstream cul-
  ture, psionic organizations remain important, if 
  only because they represent a valued group. Think 
  of them as something like the American Medical 
  Association. Doctors don’t have psi powers, but 
  they do have specialized knowledge and training 
  which makes them inﬂuential. On the planet Sigma 
  Alpharis VII, the Alpharisian Society of Psionics 
  has a similar place in society.
  Gamemasters should think of the most impor-
  tant psionic organizations and how they interact. 
  Who studies psi powers scientiﬁcally? Who trains 
  psionics? Who enforces the registration and 
  licensing rules? Who tests people for psi abilities? 
  Which agencies have psi-agents? Any group with 
  a monopoly on one of these functions becomes a 
  power center — and inspires endless attempts to 
  chip away at the monopoly by rivals.
  
  248 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  Form Of Organization
  Exactly what form a psionic organization 
  takes depends on how powers work and how 
  society treats psionic individuals.
  Families are a natural social group for psion-
  ics, especially in quasi-feudal settings, or worlds 
  where psionic powers are hereditary. Powerful 
  psionic families might become something like 
  Renaissance nobility. Persecuted psionic fami-
  lies might be more like Jews in medieval Europe 
  — living apart from the mundanes and trying to 
  go unnoticed, but occasionally called upon for 
  help by those who despise them.
  On worlds that at least tolerate psi-powers, 
  psionics could form guilds — independent orga-
  nizations aimed at maintaining a monopoly on 
  a given trade or type of power. This allows them 
  to bargain for better pay and working conditions, 
  and provides them with political leverage. A 
  psionic guild might aggressively crack down on 
  non-member “pscabs.” Often the Guild doubles as 
  a licensing and regulating agency, rather like the 
  Bar Association.
  Since psi powers often require a lifetime 
  of dedicated training and arcane disciplines of 
  study and meditation to master, psi organizations 
  may model themselves on monastic orders or 
  groups like the Knights Templar. The Jedi of Star 
  Wars are the obvious example. Diﬀerent orders 
  may specialize in diﬀerent mental powers. Rival 
  orders also lets the GM tap into the Musketeers 
  versus Cardinal’s Guards theme, as appren-
  tice psionics duel and brawl with the winking 
  approval of their superiors. As with the historical 
  Templars, the mundane authorities may come to 
  view orders of psionic monks or knights as too 
  powerful, thus driving the groups underground. 
  Legends of a suppressed psionic order can linger 
  for centuries, inspiring hope among persecuted 
  psis and fear among their persecutors.
  Money and psionics may interact in some 
  settings. A psi-corporation is a for-proﬁt organi-
  zation, paying dividends to its owners or share-
  holders. Small ones would resemble legal or med-
  ical partnerships, while big ones would have large 
  research divisions, a marketing department, and 
  scores of mundane employees. Psionic employees 
  might own part of the company, or they could 
  jump from company to company whenever 
  they get a better oﬀer. Psi-corporations would 
  compete to recruit the most talented psionics or 
  the rarest wild talents. In a Cyberpunk setting, 
  they might use their psi-agents in direct attacks 
  against each other.
  Crime might also attract psionics. “Psi-
  gangs” would be the equivalent of organized 
  crime groups, using psionic muscle to run pro-
  tection rackets, control mundane illegal activities 
  like drug smuggling and prostitution, and engag-
  ing in uniquely psionic crimes (such as telepathic 
  blackmail, clairvoyant spying for hire, mind con-
  trol theft or fraud, and telekinetic mayhem).
  Government agencies would employ psionic 
  individuals in the public interest — or, more 
  speciﬁcally, in the interest of the agencies them-
  selves. Psi agencies would control rogue psionics, 
  thwart eﬀorts at psionic espionage, crime, and 
  terrorism, and conduct psionic espionage them-
  selves. In tyrannical states, psi agencies might use 
  mind control and telepathy to suppress dissent 
  and brainwash dissidents.
  In settings that at least tolerate psi-powers, 
  psionic institutes or societies may become very 
  important. Psionic training centers would be 
  
  249 
  Star Hero ■ Chapter Ten
  the equivalent of elite universities or prestigious 
  boarding schools. Even if society persecutes 
  psionics, a mundane scientiﬁc organization might 
  include a covert psionic research program. Simi-
  larly, a seemingly ordinary private school might 
  in fact be a training center for psionic teens.
  Finally, even in the most open cultures, 
  psionic dissident groups will exist, because there 
  are extremists and malcontents in every society. 
  Psionic dissidents in an open society would cam-
  paign for equal rights and an end to discrimina-
  tion. In societies that oppress psionics, dissident 
  groups might run an “underground railroad” to 
  get psionics to safety, or be psi-rebels using their 
  powers to overthrow the regime. 
  RULES CONSIDERATIONS
  Here are a few rules considerations to keep 
  in mind when deciding how psionics should 
  function in your Star Hero setting.
  POWER LEVELS
  Most Star Hero campaigns feature Standard 
  Heroic characters, and in such games, the power 
  level of psi powers generally should range from 
  about 10 to 50 Active Points. A ceiling of 20 
  Active Points limits characters to small-scale 
  effects, requiring a lot of finesse and imagination 
  for best results. Low-powered campaigns often 
  limit characters to one power, or a handful of 
  closely-linked abilities. More high-powered cam-
  paigns, such as those modeled on the writings of 
  E.E. “Doc” Smith, can go up to 75 Active Points 
  (or more), although by that level the characters 
  are effectively superheroes.
  Alternately, the GM may allow fairly high 
  levels of power — 40-60 Active Points — but 
  require characters to impose a large amount of 
  Limitations (-2 worth, or more) on each power. 
  That gives characters enough dice of effect to 
  really get things done with their psionic powers, 
  but reins them in so they can’t use their mental 
  abilities to run roughshod over everyone they 
  meet.
  Common Limitations
  The discussion of the categories of psionic 
  powers above listed the Limitations that tend to 
  apply to each category. Here’s a list of the Limi-
  tations that, general speaking, are most often 
  applied to psionic powers in Star Hero settings:
  Activation Roll
  Concentration
  Costs Endurance
  Extra Time
  Focus (activation drugs and the like)
  Increased Endurance Cost
  Limited Range
  No Conscious Control
  Reduced By Range
  Requires A Skill Roll
  In many cases, the key to keeping psionic 
  characters from becoming too powerful in a Star 
  Hero campaign is not restricting Active Points 
  — it’s Limitations. Active Points aren’t always 
  a good measure of overall power, and the way 
  Mental Powers function in the HERO System, 
  characters often need to roll a certain minimum 
  number of dice to achieve any significant effect. 
  Rather than restricting the number of dice, make 
  the dice harder to use. A power that requires 
  Extra Time and Concentration can still come in 
  very handy during the game... but the odds of a 
  character using it to triumph easily in a combat 
  situation are significantly reduced.
  POWER FRAMEWORKS
  The GM needs to decide whether characters 
  can buy psionic powers in Power Frameworks. 
  The lack of, or inclusion of, Power Frameworks 
  in the game can have significant implications.
  No Frameworks
  If characters cannot put psionic powers in 
  Frameworks, then psionics tend to be rarer in the 
  game, since buying each psionic ability separately 
  can get expensive. This encourages one of two 
  approaches.
  The first is the all-psi character, who devotes 
  most of his points to psionic powers, giving him 
  few points to spend on anything else. Typically 
  the character tries to make up for his lack of 
  Characteristics, Skills, and the like with either 
  powers he can use in many different ways (e.g., 
  Telekinesis), or technology. Gamemasters need 
  to examine all-psi characters carefully. Not only 
  do they suggest poor character conception (since 
  few people, particularly heroes, are so one-
  dimensional), but the level of technology avail-
  able in most Star Hero games gives the character 
  a significant chance to overcome his deficiencies 
  with gadgets, and that can lead to game balance 
  problems.
  The second approach is the low-powers 
  character, who has a few psionic abilities of low 
  power. Sometimes the powers simply don’t have 
  many Active Points; in other cases the character 
  uses lots of Limitations to get the Real Point 
  costs down. Assuming the Limitations applied (if 
  any) are legitimate, low-power characters usu-
  ally cause few game balance problems, and can 
  lead to interesting characters with intriguing 
  roleplaying potential. For that reason, many GMs 
  prefer this approach — powers bought without 
  Frameworks, with low Active Point or high Limi-
  tation value requirements.
  Frameworks
  If characters can put psionic powers into 
  Frameworks, psionics tend to become more 
  common and more powerful in the game. While 
  paying for the base Framework itself can get 
  expensive, the individual powers themselves 
  become cheap to buy once the Framework is in 
  place.
  In most cases, Frameworks are inappropri-
  ate for games where GMs want to keep psionics 
  low-powered or difficult to use. However, they 
  
  250 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  work quite well in games designed to simulate the 
  high-powered nature of the psionics depicted in 
  some novels, comics, and movies. Those games are 
  often psionic-oriented, with every character having 
  psionic powers. Putting the powers in Frameworks 
  not only ensures each character has a respectable 
  suite of “standard” psionic abilities, but also has the 
  capacity to branch out and create some unusual psi-
  powers they otherwise could not aﬀord.
  If the GM allows psi-Frameworks, he has to 
  decide which Frameworks characters can choose 
  from. In all but the most high-powered psionics 
  campaigns, Variable Power Pools aren’t allowed; 
  they simply oﬀer too much ﬂexibility and power for 
  a Heroic campaign. Multipowers are much more 
  common, though they can present game balance 
  problems because the slots are relatively cheap. 
  Elemental Controls tend to be a good choice for 
  many campaigns. They allow characters to save a few 
  points, but not as many as the other Frameworks; 
  individual slots remain fairly expensive. They also 
  suﬀer from some signiﬁcant restrictions the GM can 
  make use of in the game.
  CLASSES OF MINDS
  Per page 117 of the HERO System 5th Edition, 
  Revised rulebook, Mental Powers work against 
  speciﬁc classes of minds. For Star Hero purposes, 
  the “Human” class of minds refers to the same sen-
  tient species the character with the Mental Powers 
  belongs to. “Alien” refers to any sentient species other 
  than the character’s own. Thus, to a Perseid psionic, 
  other Perseids are in the “Human” class of minds; 
  Humans, Toractans, Mon’dabi, and other sentient 
  species all have “Alien” class minds.
  Because of the prevalence of Alien minds in 
  many Star Hero campaigns, applying the classes of 
  minds rules precisely as written can have the eﬀect 
  of crippling Mental Powers. Gamemasters may 
  wish to consider using one of the following options 
  instead:
  Multiple “Alien” Classes
  Instead of having just one “Alien” class of minds, 
  you could create multiple “Alien” classes of minds. 
  For example, maybe all sentient races descended 
  from a speciﬁc category of animals (reptilian, mam-
  malian, and so forth) have minds so similar that 
  Mental Powers work normally within that category. 
  Thus, characters would have to cope with a frame-
  work including Mammalian Alien, Reptilian Alien, 
  Ichthyoid Alien, and so forth. The Human class 
  of minds would become the Alien classiﬁcation 
  appropriate to the character. A Human psionic, for 
  example, would belong to the Mammalian Alien 
  class of minds, and could aﬀect other mammalian 
  sentients normally with his Mental Powers. He could 
  not, however, aﬀect other types of aliens unless he 
  paid for the standard Multiple Classes Adder.
  Reduced Eﬀect
  Instead of having no eﬀect on other classes 
  of minds, a character’s Mental Powers may have 
  a reduced eﬀect. The HERO System 5th Edition, 
  Revised rulebook suggests one possible option — -3 
  to ECV Attack Rolls and -10 to Eﬀect Rolls — but 
  the GM can establish other arrangements if he wants 
  to. In a psionic-oriented campaign, the GM may 
  even vary the eﬀectiveness of Mental Powers from 
  class to class. A Mammalian Alien character might 
  aﬀect other mammalian minds normally, Reptilian 
  Alien and Avian Alien minds at -3 ECV/-10 Eﬀect 
  Roll, other ﬂesh-and-blood alien classes at -5 ECV/-
  20 Eﬀect Roll, and mineral- or energy-based aliens at 
  -8 ECV/-30 Eﬀect Roll. Applying a Multiple Classes 
  Adder to increase the number of classes a character 
  can eﬀect would negate any pen-
  alties for that class.
  No Classes
  The GM can simply ignore 
  the classes of minds rule, allowing 
  any character with Mental Powers 
  to aﬀect any other character nor-
  mally, regardless of class of minds 
  or species. This may or may not 
  apply to Animals and Machines; 
  some GMs may want to let char-
  acters aﬀect them normally, while 
  others may prefer to maintain 
  the classes of minds distinctions 
  regarding them.
  Reduced Cost Adder
  A GM who wants to use the 
  normal classes of minds rules, but 
  encourage characters to create 
  psionic powers that can aﬀect 
  other classes of minds, could 
  reduce the cost for the Multiple 
  Classes Adder. Instead of +10 
  points, it might cost +5 points, or 
  even as little as +3 or +1 points.
  
  251 
  Star Hero ■ Chapter Ten
  S
  ome Star Hero campaigns focus on 
  psionic abilities, with every character 
  having at least one or two mental powers. 
  When running a campaign centering 
  on the exploits of psionic characters, GMs can 
  choose several diﬀerent structures. Some possi-
  bilities are described below.
  Most psionics campaigns are Standard 
  Heroic games, with characters built on 75 Base 
  Points plus up to 75 points’ worth of Disadvan-
  tages. However, some GMs may ﬁnd 150 points a 
  little limiting when PCs have to buy both psionic 
  powers and ordinary Skills and abilities. In that 
  case, upgrading to Powerful or Very Powerful 
  Heroic-level characters may be appropriate. Alter-
  nately, the GM can have players build characters 
  on up to 150 points without any psionic powers, 
  then allot a ﬁxed amount of additional points 
  (say, 50, 75, or 100 points) solely for purchasing 
  psionics.
  CAMPAIGN TYPES
  Psionics campaigns tend to fall into several 
  categories. Many of them are simply other types 
  of Star Hero campaigns with psionics introduced 
  into the setting or emphasized in the game.
  PSI AGENTS
  Espionage and covert operations are all 
  about gathering information, denying it to the 
  enemy, and striking by stealth. Those jobs are 
  much easier when you can read minds, teleport, 
  see through walls, and toss boulders by looking at 
  them. Psi-agents can do all the things James Bond 
  is famous for, plus match wits with psionic coun-
  terspies, evade clairvoyant monitors, and cope 
  with teleporting telekinetic assassins. Psi-spies 
  working for an oppressive government may wind 
  up conducting covert operations against internal 
  dissidents instead of foreign governments. Cor-
  porate-sponsored psi-agents can go looking for 
  trade secrets.
  Any sort of espionage campaign gives the 
  GM a good framework for assigning missions 
  and equipment to the heroes, and covert opera-
  tives usually can’t call for help when things get 
  dangerous. Having PCs from diﬀerent agencies 
  or branches allows for intra-party intrigue and 
  paranoia. The combination of the shadowy world 
  of espionage and the literally mind-bending pos-
  sibilities of psionics allows adventures in which 
  nothing is what it seems, nobody can be trusted, 
  and even your own thoughts can betray you. 
  PSI COPS
  When psi-agents and psi-rebels break the law, 
  it’s up to psionic detectives to ﬁnd and capture 
  them. Telepathic police must follow the rules about 
  when they can legally read a suspect’s mind, or risk 
  seeing the guilty go free. Police precogs must work 
  with fuzzy impressions of the future to determine 
  what crimes perpetrators will commit (as in the 
  movie Minority Report).
  Psionic police campaigns focus on cop work 
  in a psionic society, including the problems of 
  how to arrest mind-controlling telepaths and how 
  to hold teleporters in custody. Psionic detective 
  games center on solving mysteries — who done it, 
  and how. Psi powers make it easier to solve mun-
  dane crimes, but they also make possible a whole 
  bunch of new oﬀenses, like locked-room murders 
  in which the killer used telekinesis to ﬁre a gun at 
  the victim — how can the cops determine whose 
  mind pulled the trigger? Psi-cops who belong to 
  the Psi Guild or a secret institute may pursue their 
  own agendas, trying to recruit talented suspects, or 
  shelter them.
  Like a psi-agents campaign, psi-cops games let 
  the GM send the PCs out on adventures by simply 
  having an NPC superior oﬃcer give them orders. 
  Beat cops or investigators can also get into trouble 
  on their own while following up leads or trusting a 
  hunch. Cops are also likely to be ﬁrst on the scene 
  when something weird happens, and may have to 
  cope with major threats until heavy backup arrives. 
  For the proper stationhouse feel, the GM should 
  create some oﬃcial department codes or abbrevia-
  tions (like a “section 799” for unlawful mind-read-
  ing, or “MCNC” for using mind control without the 
  subject’s consent), and encourage players to come 
  up with their own hard-bitten police slang.
  PSYCHIC WARS
  On the battleﬁeld of the future, bullets, lasers, 
  and artillery may not be the only weapons available. 
  “Psoldiers” use awesome psionic powers against the 
  enemy, whether to assault his mind from a distance, 
  shield troops from his sensors, or teleport a squad 
  of commandos into the heart of his command 
  center.
  As psi agents games mix psionics and espio-
  nage, and psi cops mix police drama with psionics, 
  a psychic wars campaign introduces psionic powers 
  into a war story. The war may take place in the 
  near future, with weapons any twenty-ﬁrst century 
  Human would recognize, or in a time and setting 
  so distant scientists have changed the face of the 
  battleﬁeld by inventing combat drones, teleporting 
  PSIONIC
  CAMPAIGNS
  
  252 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  cannons, and disintegrenades. Player characters in a 
  psychic wars game are typically “special forces” sol-
  diers. Their “special” nature derives not only from 
  the fact that they’ve got advanced military training, 
  but because either they have psionic powers in a 
  setting where few others do, or they have much 
  more mental power than other psi-soldiers.
  Adventures in psychic wars campaigns use 
  plots familiar to any war movie buﬀ:  Inﬁltrate 
  behind enemy lines and destroy an important 
  resource. Recover a kidnapped person of impor-
  tance. Help develop a new weapon (possibly a 
  psi-enhancer of some sort) and protect it from the 
  enemy. Test out a new weapon. Spearhead a major 
  oﬀensive. Perform a commando raid against an 
  important enemy stronghold. The GM doesn’t even 
  have to worry about motivating the PCs; all he has 
  to do is have a superior oﬃcer give the order.
  REBEL PSIS
  The heroes are psionics in an oppressive soci-
  ety, ﬁghting for freedom. The regime may only 
  oppress psionics, or it may be just as brutal to mun-
  danes. Either way there’s plenty of scope for adven-
  ture:  inﬁltration missions to rescue captive psis, 
  tense cat-and-mouse games with the psi-hunters, 
  and maybe an attempt to organize a general upris-
  ing. But beware:  the Mind Police have psi-detec-
  tors and use captured telepaths as “psi-hounds” to 
  track the rebels. If the heroes fail, the hound’s collar 
  could be their fate as well.
  A rebel campaign means the heroes must rely 
  on their own powers and resources, and is good 
  for roleplayers who enjoy coming up with their 
  own plans and schemes for daring rebel exploits. It 
  also allows the GM to examine interesting ethical 
  questions:  are the mundanes right to oppress psis? 
  What actions are justiﬁed by the ﬁght for freedom? 
  Will the revolution solve anything? Psi-rebels can 
  be worked into most science ﬁction subgenres:  
  pretty much all Cyberpunk games are about rebel-
  lion in at least some respects, and Space Operas 
  usually have at least one tyranny that needs over-
  throwing.
  SCHOOL FOR PSIONICS
  Psionic abilities can be very powerful, but 
  unless an individual learns to use and control them 
  properly, they pose a danger to everyone — includ-
  ing the person possessing them. Since non-psionic 
  parents can’t teach their children to use their 
  powers, society needs specialized schools.
  In a light-hearted campaign, the psi school can 
  use all the tropes of classic boarding-school stories 
  — dorm rivalries, standing up to bullies, meddling 
  in the teachers’ private lives, and winning the big 
  game. Of course, at psi school, the bullies may be 
  psychic vampires, the teachers have powerful mind 
  shields, and the big game is a demanding contest 
  of telekinetic rugby. Darker psi schools campaigns 
  may emphasize the need for secrecy in a hostile 
  world, the creepy master-race ideas of the teach-
  ers, and the very real dangers of immature minds 
  wielding immense power. 
  Students at psi school are fairly low-powered 
  characters, which saves the GM from having to 
  come up with credible opponents for powerful 
  psionics. Their powers and simple youthful curios-
  ity can get psi-kids into real danger, but the GM 
  can always use a wise old headmaster to sort things 
  out if the players are overwhelmed. 
  EXAMPLE:  PSIONICS IN 
  THE TERRAN EMPIRE
  As a demonstration of how to set up a system 
  of psionic powers, here are the steps Jim, the GM, 
  took to create the psionic background for the  
  Imperial Era of the Hero Universe.
  HOW IT WORKS
  Since the Terran Empire is a Space Opera 
  setting, Jim doesn’t want to limit psionics based 
  on scientiﬁc plausibility, so his explanation of psi 
  powers is deliberately “rubber science.” The idea of 
  reality-warping doesn’t quite ﬁt the tone he has in 
  mind, so he adopts the notion of psionics tapping 
  into a “quantum substratum” existing in a parallel 
  dimension. This allows psionic characters to use 
  more power than their bodies can produce, and 
  have powers with interstellar range. This explana-
  tion also suggests that rubber science psi-tech 
  machinery can sometimes augment or block psi 
  powers.
  POWER LEVEL
  Powerful psionics are a common feature in 
  Space Opera games, so Jim wants a fairly broad 
  range of power levels. Most psionic powers are 
  limited to 40 Active Points, about right for Heroic-
  scale characters. A rare few psionics have more 
  impressive powers, up to 90 Active Points in a 
  single ability. Usually these powerful people are oﬀ-
  stage as master villains or NPCs, since that mini-
  mizes the impact of their powers on the campaign 
  as a whole.
  Jim establishes a rating system based on point 
  value, classifying psionics with Greek letter desig-
  nations because they have a nice scientiﬁc sound. 
  Psi-Alphas are normals, with no known psionic 
  abilities. Psi-Betas have detectable but low-level 
  powers:  HERO System Talents or Powers worth 
  no more than 10 Active Points. Psi-Gammas have 
  notable powers up to 20 Active Points. Psi-Deltas 
  are the most common “professional” psionics, with 
  powers up to 30 Active Points. Deltas and higher 
  are actively recruited by organizations which train 
  and employ psionics. Psi-Epsilons have up to 40 
  Active Points in a single psionic power, and are the 
  intrepid psi-agents or dreaded Mind Police during 
  some periods of Imperial history.
  Beyond Epsilons the scale gets patchy because 
  there are so few high-powered psionics. Psi-Zetas 
  have powers in the 50 to 60 point range, and Etas 
  are 60 to 80 Active Points. Individuals with more 
  than 80 Active Points are all lumped together as 
  “Psi-Thetas,” and are considered very danger-
  ous even by other psionics. The term “Omegas” is 
  used by psionics to refer to amazingly powerful 
  
  253 
  Star Hero ■ Chapter Ten
  individuals, with powers in the 100-point range 
  — beings so rare that some psionics scoﬀ at their 
  existence. Rumors say the Empire has a secret team 
  of “Omega Agents” to deal with threats even the 
  Imperial battleﬂeet can’t handle.
  Jim’s rating system provides some enjoyable 
  campaign color. Psionic characters can make dis-
  dainful remarks about “brain-dead alphas,” and be 
  properly impressed when they learn their patron 
  is an Eta. And a message from headquarters saying 
  “Rogue Omega” ought to raise their hackles....
  AVAILABLE POWERS
  For the proper Space Opera feel, Jim limits 
  the available powers to the “standard” psionic list:  
  Telepathy, ESP, and Telekinesis. Telekinesis can only 
  manipulate physical objects, so a telekinetic Force 
  Field or Force Wall would provide PD protection 
  only. Teleportation, pyrokinesis, and other abili-
  ties are “wild talents” and as such are viewed with 
  suspicion and scientiﬁc interest. Body Control 
  powers are not available, mostly because Imperial 
  medicine and biotechnology are good enough to 
  make them obsolete. Precognition and any long-
  range Clairsentience powers must have the Vague 
  And Unclear (-½) Limitation. All psi powers require 
  Concentration and Requires A Power: Psionics 
  Roll to perform, but they don’t use END (if they 
  cost END normally, the character must buy them 
  to 0 END). What this means in play is that psionic 
  characters can do cool tricks like picking locks tele-
  kinetically or inﬂuencing weak minds, but still can’t 
  defy a whole squad of police armed with blasters.
  RARITY
  Psionics are usually just a bit of extra “chrome” 
  in Space Operas — they shouldn’t overshadow the 
  fun of things like mile-long space dreadnoughts, 
  lost alien civilizations, and a good blaster pistol at 
  your side. So Jim makes them rare, at least among 
  Humans. He decides there’s one Beta (10 Active 
  Point powers) per million people in the Empire, 
  and half as many at each increment of 10 Active 
  Points above that. So a planet like modern Earth, 
  with 6 billion people, would have no more than 
  12,000 psionics, half of them low-powered Betas. 
  This way characters with no powers remain able to 
  cope with psionic adversaries, and even moderately 
  powerful psi PCs are important individuals.
  Some powers are much more common than 
  others:  half of all Human psionics are telepaths, 
  with Telepathy, Mind Scan, Mind Control, or 
  similar powers. The remainder are divided evenly 
  between those with ESP and those with telekinesis, 
  plus a tiny percentage of wild talents.
  Psionic talent manifests itself randomly, 
  although scientists believe there’s an hereditary 
  component. As a result, any character can have psi-
  powers, but there’s still plenty of fun opportunities 
  for someone to turn out to be the lost child of a 
  rogue Omega, or the product of a secret breeding 
  program. Since there’s no simple genetic test for 
  the psi-gene, psionic organizations have to ﬁnd and 
  test potential psionics — which means mysterious 
  strangers from diﬀerent groups may visit a young 
  psi to try to win him over as a new apprentice.
  Humans are not the only species with psionic 
  powers, of course. Several species in the Milky Way 
  Galaxy, including the Varanyi and the mysteri-
  ous Mandaarians, are uniformly psionic. Aliens 
  have diﬀerent power levels and available powers. 
  The Varanyi, for example, are (in)famous not only 
  for their psionic might, but for the broad array of 
  powers they manifest. Much of Imperial psionic 
  research studies the powers of rival species and 
  tries to discover ways to counteract them.
  For the proper Space Opera feel, Jim assumes 
  all psionic powers work equally well across species, 
  so a Varanyi telepath can read Human minds and 
  vice versa. Thus, PCs don’t have to worry about the 
  classes of minds rules, and can take Limitations on 
  powers that only aﬀect one or two species.
  Psionic technology remains tricky and unreli-
  able. Experimental psi-ampliﬁers may exist (prob-
  ably in the hands of secretive government agen-
  cies), but they’re not commonly available. Psi-drugs 
  are known, and some psionics depend on 
  them for eﬀective use of their powers. 
  Drugs cannot give anyone new 
  powers, although rumors of 
  some miracle substance 
  that can make anyone 
  an Omega often crop 
  up. Psi-shielding is a 
  bit more widespread, 
  since fears of telepathic 
  spying inspired military 
  crash research programs 
  to devise countermea-
  sures, and some of their 
  devices have trickled 
  out to the general 
  public.
  Imperial Psionic 
  Technology
  Here are a few 
  examples of psionic tech-
  nology from the Terran Empire.
  Booster Helmet:  Aid 5d6, any Psionic 
  power one at a time (+¼), Reduced 
  Endurance (0 END; +½) (87 Active 
  Points); Activation Roll 14- (-½), 
  Burnout (-¼), OAF Fragile (-1¼). 
  Total cost:  29 points.
  ESP Static Generator:  Dark-
  ness to Mental Group 5” radius, 
  Reduced Endurance (0 END; 
  +½) (37 Active Points); OF Frag-
  ile (-1 ¼). Total cost:  16 points.
  Inhibitor Collar:  Drain Telepathy 
  1d6, Continuous (+1), Reduced 
  Endurance (0 END; +½) (25 Active 
  Points); OIF (-½). Total cost:  17 
  points.
  Psi-Damper Drug:  Drain Mental 
  Powers 4d6, all Mental Powers 
  simultaneously (+2), Delayed 
  Return Rate (5 points per Day; 
  
  254 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  +1 ½) (180 Active Points); OIF Fragile (-1 ¼), 4 
  Charges (-1), Gradual Eﬀect (20 Minutes, 1d6 per 5 
  Minutes; -1). Total cost:  42 points.
  Psi-Detector:  Detect Psionic Powers, Increased Arc 
  Of Perception (360 Degrees), Range, Sense (17 Active 
  Points); OAF (-1),  Limited Range (10”; -¼). Total 
  cost:  7 points.
  Psi-Shield Helmet:  Mental Defense (20 points + base 
  points from EGO) (20 Active Points); OIF Fragile 
  (-¾), 1 Continuing Fuel Charge (easily replenished 
  with a new power cell; 20 Minutes; -¼). Total cost:  10 
  points.
  Telepathic Static Generator:  Suppress Telepathy 5d6, 
  Explosion (+½), Reduced Endurance (0 END; +½) 
  (50 Active Points); OAF Fragile (-1 ¼). Total cost:  22 
  points.
  SOCIAL ISSUES
  Social issues are actually pretty simple in the 
  Empire. Since the Empire itself is not at all democratic 
  during much of its history, individual rights are low 
  on the priority list. Psionics pose a potential danger 
  to Imperial control, but are also tremendously useful, 
  so they are controlled but not exterminated. Psionics 
  in the Empire must register with the Imperial Psionic 
  Foundation. The Foundation is in charge of identify-
  ing and training new talent. To keep the Foundation 
  in line, the Imperial government quietly encourages 
  anti-psionic attitudes among the general population 
  (a task made easier by the existence of hostile psionic 
  species like the Varanyi). The Foundation also con-
  ducts research on psionics and psi technology.
  The Empire itself employs most psionics above 
  Beta grade, in various agencies. The Imperial Security 
  Police and the Imperial Secret Service both have a Psi 
  Section; agents counter psionic threats and use their 
  powers for espionage and covert operations. The mili-
  tary intelligence services have their own psi agents. 
  The Foundation employs some high-rated psis, often 
  veterans of Imperial service.
  The sheer scale of the Empire means even the 
  Psionic Foundation can’t spot everyone with psi 
  powers. Some grow up ignorant of their abilities, 
  others hide deliberately. Rogue psionics who don’t 
  want to serve the Empire tend to wind up as rebels 
  working with various dissident groups, or as criminals 
  in the Empire’s extensive underworld. Psionic crooks 
  often gravitate toward the Olympian Syndicate, a 
  psionic-dominated criminal organization with shad-
  owy ties to psi-supremacist dissidents and the Psionic 
  Foundation itself.
  Legends also tell of a hidden organization of 
  powerful psionics, an ancient sect tracing its roots 
  to pre-starﬂight Earth. Whispered tales tell that the 
  “Champions” are defenders of truth and justice, using 
  their powers to protect Humans and oppose the 
  Empire. Imperial propaganda alternately denies their 
  existence or paints them as dangerous psionic rebels. 
  Professional law-enforcement experts suspect the 
  name has been used by several diﬀerent groups over 
  the years. 
  Player characters with psi powers in the Impe-
  rial era can ﬁt into various campaign structures. 
  Low-powered Betas exist in normal society, coping 
  with mild prejudice as they use their powers as an aid 
  in mundane jobs. High-powered psionics are either 
  Imperial agents, hunted rebels, scholarly Foundation 
  researchers, or criminals. 
  EXAMPLE PSIONIC POWERS
  Here are a few example psionic powers for Star 
  Hero campaigns. They’re not speciﬁcally related to 
  the Terran Empire or any other setting. If necessary, 
  the GM should alter or adapt them to ﬁt a speciﬁc 
  campaign’s approach to psionic powers.
  APPORT
  The character can “summon” nearby objects by 
  teleporting them into his hand. This ability only works 
  on small objects, not on living beings.
  Weak:  Teleport 10”, Usable As Attack (+1), 
  Ranged (+½) (50 Active Points); Concentration 
  (0 DCV; -½), Only To Teleport Unliving Objects 
  Of Up To 5 Kg And Within 10” To Character (-1). 
  Total cost:  20 points.
  Average:  Teleport 15”, Usable As Attack (+1), 
  Ranged (+½), Reduced Endurance (½ END; +¼) 
  (82 Active Points); Concentration (½ DCV; -¼), 
  Only To Teleport Unliving Objects Of Up To 10 
  Kg And Within 15” To Character (-1). Total cost:  
  36 points.
  Strong:  Teleport 15”, Usable As Attack (+1), 
  Ranged (+½), Reduced Endurance (0 END; +½) 
  (90 Active Points); Concentration (½ DCV; -¼), 
  Only To Teleport Unliving Objects Of Up To 10 
  Kg And Within 15” To Character (-1). Total cost:  
  40 points.
  BRAIN HACKING
  The character can telepathically inﬁltrate another 
  being’s brain to alter memories, feelings, and beliefs.
  Weak:  Major Transform 2d6 (alter memories), 
  Based On ECV (+1), Works Against EGO, Not 
  BODY (+¼) (67 Active Points); Limited Target 
  (beings with brains; -¼), Concentration (0 
  DCV throughout; -1), Extra Time (1 Turn; -1 
  ¼), Reduced By Range (-¼), Requires A Power: 
  Psionics Roll (-½). Total cost:  16 points.
  Average:  Major Transform 2d6 (alter memories), 
  Based On ECV (+1), Works Against EGO, Not 
  BODY (+¼), Reduced Endurance (½ END; +¼) 
  (75 Active Points); Limited Target (beings with 
  brains; -¼), Concentration (0 DCV; -½), Extra 
  Time (Full Phase; -½), Reduced By Range (-¼), 
  Requires A Power: Psionics Roll (-½). Total cost:  
  25 points.
  Strong:  Major Transform 2d6 (alter memories), 
  Based On ECV (+1), Works Against EGO, Not 
  BODY (+¼), Continuous (+1), Reduced Endur-
  ance (0 END; +½) (112 Active Points); Limited 
  Target (beings with brains; -¼), Concentration (½ 
  DCV; -¼), Extra Time (Full Phase; -½), Reduced 
  By Range (-¼), Requires A Power: Psionics Roll 
  (-½). Total cost:  41 points.
  
  255 
  Star Hero ■ Chapter Ten
  DEEP TELEPATHIC PROBE
  The character has telepathy strong enough to get 
  past most beings’ mental shields and probe deep into 
  their memories, and perhaps even their subconscious.
  Weak:  Telepathy 10d6 (50 Active Points); 
  Concentration (0 DCV throughout; -1), Extra 
  Time (1 Minute; -1 ½), Reduced By Range (-¼), 
  Requires A Power: Psionics Roll (-½). Total cost:  
  12 points.
  Average:  Telepathy 10d6, Reduced Endurance 
  (½ END; +¼) (62 Active Points); Concentration 
  (0 DCV throughout; -1), Extra Time (1 Minute; -
  1 ½), Reduced By Range (-¼), Requires A Power: 
  Psionics Roll (Active Point penalty -1 per 20 
  points; -¼). Total cost:  15 points.
  Strong:  Telepathy 10d6, Reduced Endurance (0 
  END; +½) (75 Active Points); Concentration (0 
  DCV throughout; -1), Extra Time (1 Minute; -1 
  ½), Reduced By Range (-¼), Requires A Power: 
  Psionics Roll (Active Point penalty -1 per 20 
  points; -¼). Total cost:  19 points.
  DREAM HACKING
  The character can manipulate the dreams of 
  sleeping people, allowing him to conduct a form of 
  psychological warfare against them.
  Weak:  Mental Illusions 8d6 (40 Active Points); 
  Concentration (0 DCV; -½), Gradual Eﬀect 
  (20 Minutes, 2d6 per 5 Minutes; -1), Increased 
  Endurance Cost (x2 END; -½), Only Works 
  Against Sleeping Targets (-1). Total cost:  10 
  points.
  Average:  Mental Illusions 8d6 (40 Active Points); 
  Concentration (½ DCV; -¼), Gradual Eﬀect (20 
  Minutes, 2d6 per 5 Minutes; -1), Only Works 
  Against Sleeping Targets (-1). Total cost:  12 
  points.
  Strong:  Mental Illusions 8d6, Reduced Endur-
  ance Cost (0 END; +½) (60 Active Points); Con-
  centration (½ DCV; -¼), Gradual Eﬀect (20 Min-
  utes, 2d6 per 5 Minutes; -1), Only Works Against 
  Sleeping Targets (-1). Total cost:  18 points.
  EMPATHIC CONTROL
  The character has the ability to manipulate the 
  emotions of others. This is particularly useful for, 
  among other things, triggering certain Enrageds.
  Weak:  Mind Control 8d6 (40 Active Points); 
  Concentration (0 DCV; -½), Increased Endur-
  ance Cost (x2 END; -½), Reduced By Range 
  (-¼), Set Eﬀect (emotions only; -½). Total cost:  
  14 points.
  Average:  Mind Control 8d6 (40 Active Points); 
  Concentration (½ DCV; -¼), Reduced By Range 
  (-¼), Set Eﬀect (emotions only; -½). Total cost:  
  20 points.
  Strong:  Mind Control 8d6, Reduced Endurance 
  (½ END; +¼) (50 Active Points); Concentration 
  (½ DCV; -¼), Reduced By Range (-¼), Set Eﬀect 
  (emotions only; -½). Total cost:  25 points.
  EMPATHIC COMMUNICATION
  The character can communicate with others 
  empathically, both reading their emotions and pro-
  jecting his own emotions into their minds.
  Weak:  Telepathy 6d6 (30 Active Points); Com-
  munication Only (-¼), Empathy (-½), Concen-
  tration (½ DCV; -¼), Increased Endurance Cost 
  (x2 END; -½), Reduced By Range (-¼). Total cost:  
  11 points.
  
  256 ■ The Powers Of The Mind 
  HERO SYSTEM 5TH EDITION
  Average:  Telepathy 6d6 (30 Active Points); Com-
  munication Only (-¼), Empathy (-½), Reduced 
  By Range (-¼). Total cost:  15 points.
  Strong:  Telepathy 6d6, Reduced Endurance 
  Cost (0 END; +½) (45 Active Points); Commu-
  nication Only (-¼), Empathy (-½), Reduced By 
  Range (-¼). Total cost:  22 points.
  INTERSTELLAR BRAIN LINK
  The character can establish a mental link with 
  one other person, provided that person is no more 
  than 50,000 light-years away (approximately the 
  radius of the Milky Way Galaxy).
  Mind Link, one speciﬁc mind, No LOS Needed 
  (works over interstellar distances, to a maximum 
  range of about 50,000 light-years) (15 Active 
  Points); Activation Roll 15- (-¼), Concentration 
  (½ DCV throughout; -¼), Costs Endurance (-½). 
  Total cost:  7 points.
  MIND SHIELD
  The character knows how to shield his mind 
  from psychic assaults and mental intruders.
  Weak:  Mental Defense (10 points + base points 
  from EGO) (10 Active Points); Costs Endurance 
  (-½). Total cost:  7 points.
  Average:  Mental Defense (10 points + base 
  points from EGO). Total cost:  10 points.
  Strong:  Mental Defense (20 points + base points 
  from EGO). Total cost:  20 points.
  PREMONITIONS
  The character receives strange ﬂashes of insight 
  — mysterious visions of events yet to occur. He 
  cannot control this ability; the visions simply come 
  upon him, bringing not only a glimpse of the future 
  but intense headaches.
  Weak:  Precognitive Clairsentience (Sight Group) 
  (40 Active Points); Increased Endurance Cost (x2 
  END; -½), No Conscious Control (-2), Precogni-
  tion Only (-1), Vague And Unclear (-½), Side 
  Eﬀect (take 4d6 STUN damage automatically; 
  -½). Total cost:  7 points.
  Average:  Precognitive Clairsentience (Sight 
  Group), Reduced Endurance (½ END; +¼) (50 
  Active Points); No Conscious Control (-2), Pre-
  cognition Only (-1), Vague And Unclear (-½), 
  Side Eﬀect (take 3d6 STUN damage automati-
  cally; -½). Total cost:  10 points.
  Strong:  Precognitive Clairsentience (Sight 
  Group), Reduced Endurance (0 END; +½) (60 
  Active Points); No Conscious Control (-2), Pre-
  cognition Only (-1), Vague And Unclear (-½), 
  Side Eﬀect (take 2d6 STUN damage automati-
  cally; -½). Total cost:  12 points.
  PROBABILITY MANIPULATION
  The character can consciously alter probability 
  (though of course he cannot dictate exactly what 
  occurs when he tilts the odds in his favor, he can only 
  ensure the outcome will be good for him). The down-
  side is that bad luck often follows.
  Luck 8d6 (40 Active Points); Requires A Power: 
  Psionics Roll (-½), Side Eﬀect (automatically 
  suﬀers 2d6 Unluck within 10 minutes; -½). Total 
  cost:  20 points.
  PSIONIC JAMMING
  The character can project a ﬁeld of psionic 
  interference to protect one of his non-psionic friends 
  from a mental attack. The character himself pays the 
  END for the power, and controls when it works.
  Weak:  Mental Defense (7 points, plus the base 
  from character’s EGO), Usable As Attack (+1), 
  Range (+½) (17 Active Points); Concentration 
  (0 DCV throughout; -1), Costs Endurance (-½), 
  Requires A Power: Psionics Roll (roll is subject to 
  Skill Versus Skill Contest with attacker’s Psionics 
  roll [or EGO Roll, if he lacks that Skill]; -¾). Total 
  cost:  5 points.
  Average:  Mental Defense (10 points, plus the 
  base from character’s EGO), Usable As Attack 
  (+1), Range (+½) (25 Active Points); Concentra-
  tion (½ DCV throughout; -½), Costs Endurance 
  (-½), Requires A Power: Psionics Roll (roll is sub-
  ject to Skill Versus Skill Contest with attacker’s 
  Psionics roll [or EGO Roll, if he lacks that Skill]; 
  -¾). Total cost:  9 points.
  Strong:  Mental Defense (15 points, plus the base 
  from character’s EGO), Usable As Attack (+1), 
  Range (+½) (37 Active Points); Costs Endurance 
  (-½), Requires A Power: Psionics Roll (roll is sub-
  ject to Skill Versus Skill Contest with attacker’s 
  Psionics roll [or EGO Roll, if he lacks that Skill]; 
  -¾). Total cost:  16 points.
  PSYCHIC INVISIBILITY
  The character can manipulate others’ minds 
  to “erase” himself from their perceptions. Except at 
  the highest level of power, he can only do this with 
  a certain number of minds at once. He cannot aﬀect 
  cameras, robots, or other beings without minds.
  Weak:  Invisibility to Sight, Hearing, and Smell/
  Taste Groups, No Fringe (40 Active Points); Only 
  When Not Attacking (-½), Only Versus Beings 
  With Minds (-½), Requires A Power: Psionics 
  Roll (-½), Only Versus EGO/10 Persons At One 
  Time (-1). Total cost:  11 points.
  Average:  Invisibility to Sight, Hearing, and 
  Smell/Taste Groups, No Fringe, Reduced Endur-
  ance (½ END; +¼) (50 Active Points); Only 
  When Not Attacking (-½), Only Versus Beings 
  With Minds (-½), Requires A Power: Psionics 
  Roll (Active Point penalty -1 per 20 points; -¼), 
  Only Versus EGO/5 Persons At One Time (-½). 
  Total cost:  18 points.
  
  257 
  Star Hero ■ Chapter Ten
  Strong:  Invisibility to Sight, Hearing, and Smell/
  Taste Groups, No Fringe, Reduced Endurance (0 
  END; +½) (60 Active Points); Only When Not 
  Attacking (-½), Only Versus Beings With Minds 
  (-½), Requires A Power: Psionics Roll (Active 
  Point penalty -1 per 20 points; -¼). Total cost:  
  27 points.
  PSYCHIC DIAGNOSIS
  The character can send his mind into a person’s 
  body to discern whether he has an illness, and if so 
  what kind.
  Weak:  Detect Disease (INT Roll) (Mental 
  Group), Discriminatory, Sense (17 Active 
  Points); Activation Roll 14- (-½), Costs Endur-
  ance (-½), Extra Time (1 Turn; -1 ¼), Requires 
  An SS: Medicine Roll (-¼). Total cost:  5 points.
  Average:  Detect Disease (INT Roll) (Mental 
  Group), Discriminatory, Analyze, Sense (22 
  Active Points); Activation Roll 14- (-½), Costs 
  Endurance (-½), Requires An SS: Medicine Roll 
  (-¼). Total cost:  10 points.
   Strong:  Detect Disease (INT Roll +2) (Mental 
  Group), Discriminatory, Analyze, Sense (24 
  Active Points); Requires An SS: Medicine Roll 
  (-¼). Total cost:  19 points.
  REMOTE VIEWING
  A character with this ability can see far-oﬀ 
  scenes. This makes him an excellent asset for intel-
  ligence agencies, corporations willing to engage in 
  industrial espionage, and military units.
  Weak:  Clairsentience (Sight Group), Megascale 
  (1” = 100 km; +¾) (35 Active Points); Attack Roll 
  Required (-¼), Blackout (-½), Concentration (0 
  DCV throughout; -1), Extra Time 
  (1 Minute to activate; -¾). Total 
  cost:  10 points.
  Average:  Clairsentience (Sight 
  Group), Megascale (1” = 100 km; 
  +¾), Reduced Endurance (½ END; 
  +¼) (40 Active Points); Attack Roll 
  Required (-¼), Blackout (-½), Con-
  centration (½ DCV throughout; 
  -½), Extra Time (1 Minute to acti-
  vate; -¾). Total cost:  13 points.
  Strong:  Clairsentience (Sight 
  Group), Megascale (1” = 100 km, 
  can scale down to 1” = 1 km; +1), 
  Reduced Endurance (0 END; +½) 
  (50 Active Points); Attack Roll 
  Required (-¼), Blackout (-½), 
  Extra Time (1 Minute to activate; 
  -¾). Total cost:  20 points.
  TELEKINETIC HAND
  The character has the ability to 
  manifest a psychokinetic “hand” that 
  no one can see, but which can move 
  or manipulate objects weighing up to 
  100 kilograms.
  Telekinesis (10 STR), Fine Manipulation, Invis-
  ible To Sight Group (+½), Reduced Endurance 
  (½ END, +¼) (44 Active Points); Limited Range 
  (20”; -¼). Total cost:  35 points.
  TELEPATHIC SHRIEK
  The character can telepathically project a “shout” 
  into another person’s mind, causing that person 
  intense pain.
  Weak:  Ego Attack 3d6 (30 Active Points); Con-
  centration (0 DCV; -½), Limited Range (15”; 
  -¼). Total cost:  17 points.
  Average:  Ego Attack 4d6 (40 Active Points); 
  Concentration (½ DCV; -¼), Limited Range 
  (20”; -¼). Total cost:  27 points.
  Strong:  Ego Attack 6d6 (60 Active Points); Lim-
  ited Range (20”; -¼). Total cost:  48 points.
  THOUGHT SPEECH
  This power provides a character with basic tele-
  pathic communication powers.
  Weak:  Telepathy 4d6 (20 Active Points); Com-
  munication Only (-¼), Concentration (½ DCV; 
  -¼), Increased Endurance Cost (x2 END; -½). 
  Total cost:  10 points.
  Average:  Telepathy 4d6, Reduced Endurance (½ 
  END; +¼) (25 Active Points); Communication 
  Only (-¼), Concentration (½ DCV; -¼). Total 
  cost:  17 points.
  Strong:  Telepathy 4d6, Reduced Endurance (0 
  END; +½) (30 Active Points); Communication 
  Only (-¼). Total cost:  24 points.
  
  258 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  C
  hapter One reviewed the major sci-
  ence ﬁction subgenres, discussing 
  how to set up Star Hero campaigns 
  to emulate them, and how to intro-
  duce the elements and features of 
  the genre into your games. This chapter 
  delves into more detail on the subject of 
  GMing Star Hero — everything from how 
  to set up and manage a campaign, to how 
  to create enjoyable and memorable vil-
  lains and NPCs, to the eﬀects of environ-
  ments often encountered in science ﬁction 
  stories.
  Gamemasters interested in further 
  advice about GMing in general can also 
  consult the GMing chapter of the HERO 
  System 5th Edition, Revised, the GMing 
  section of Champions and other HERO 
  System genre books, and plenty of generic 
  references on the art and science of 
  GMing roleplaying games. Even though 
  those sources aren’t speciﬁc to Star Hero, 
  many of the suggestions and ideas they 
  contain apply to any HERO System cam-
  paign.
  
  259 
  Star Hero ■ Chapter Eleven
  C
  reating an RPG campaign is never easy 
  — and in Star Hero, when the entire Galaxy 
  may be the GM’s backdrop, it can be par-
  ticularly diﬃcult! To keep the campaign on 
  track, the GM needs to decide on things like the 
  campaign’s theme, the type of game he wants to 
  run, and the game’s primary setting.
  CAMPAIGN THEME
  The theme of a campaign is the underly-
  ing subject of all the adventures. It isn’t strictly 
  necessary to have one, but a campaign without a 
  theme may seem disconnected and unfocused. In 
  a campaign of interstellar exploration, the theme 
  is “exploring the unknown.” The heroes encounter 
  new and unknown planets, beings, and civilizations. 
  Some of them are hostile, some are friendly, some 
  need help, some oﬀer opportunities for proﬁt, but 
  the underlying theme is always the same. The GM 
  may even twist the theme a bit on occasion to tell 
  stories of the characters’ self-exploration.
  It’s possible to have more than one theme in 
  a campaign. Adventures can cycle among a couple 
  of diﬀerent underlying subjects — the adventures 
  of a group of high-tech cyborg mercenary soldiers 
  could alternate between a theme of the ethics of 
  warfare and a theme of the boundaries of human 
  and machine. Gamemasters shouldn’t get carried 
  away with multiple themes, though, since having 
  too many isn’t much better than having none at all.
  Be careful not to confuse theme with mes-
  sage. “The eﬀects of biotechnology on society” is a 
  theme; “cloning is bad” is a message. You can return 
  to a theme, look at it from various angles, and 
  develop it in depth. But once you’ve stated a mes-
  sage, the only thing to do is state it again.
  Some common themes in science ﬁction 
  include:
  BEING HUMAN
  As technology allows people to create intel-
  ligent animals and robots, or replace Human bodies 
  with machines and Human brains with computers, 
  the question of what is Human becomes important. 
  Is a cyborg a Human? What about an intelligent 
  dog with some Human genes? What about an artiﬁ-
  cial intelligence program simulating a Human per-
  sonality, or an artiﬁcially intelligent robot (like Data 
  from Star Trek:  The Next Generation)? Beyond 
  the simple question of deﬁnition, the relations of 
  Humans to near-Humans also leads to interesting 
  questions. If a sentient robot is programmed to 
  serve Humans, is that slavery? 
  EXPLORATION
  Boldly going where nobody has gone before 
  has one of the central themes of science ﬁction 
  ever since Jules Verne wrote his “Voyages Extraor-
  dinaires.” A campaign with an exploration theme 
  constantly involves the heroes with new-found 
  worlds and species. Its focus is on understanding 
  aliens, solving science puzzles, and learning about 
  the world... and about one’s self.
  POWER
  Plato’s dialogue The Republic can be consid-
  ered a very early science ﬁction story, and concerns 
  itself with an ideal state and how it might be gov-
  erned. A campaign with the theme of power can 
  ask all kinds of juicy questions. What are the proper 
  uses of power? What should people do when power 
  is used improperly? Does power corrupt? What 
  forms of power are there? Beware:  Plato asked 
  these same questions and people have been ﬁnding 
  answers to them for thousands of years.
  TECHNOLOGY
  Possibly the central theme of all science ﬁction 
  is the question of technology, its proper role/place 
  in society, and Man’s relationship to it. Is it a posi-
  tive force, freeing people from drudgery and hard-
  ship — or is it destructive and contrary to Nature? 
  How can people enjoy the beneﬁts while control-
  ling the dangers?
  This theme is particularly appropriate for Star 
  Hero games, since, as noted on page 146, technol-
  ogy can cause problems in roleplaying campaigns 
  as well. A clever GM might dovetail the exploration 
  of the theme of technology with his solutions to the 
  in-game problems it causes.
  CAMPAIGN TYPES
  After, or at the same time as, choosing a theme, 
  GMs need to decide on the type of campaign they 
  want to run. Often one decision leads to another; 
  a Military SF game probably focuses on the power 
  and/or technology themes, not on exploration or 
  being Human.
  Subgenre
  Chapter One describes various science ﬁction 
  subgenres and crossovers. The ﬁrst consideration 
  for a GM deciding on the type of Star Hero cam-
  paign he wants to run is which subgenre his cam-
  paign belongs to. Each decision has beneﬁts and 
  drawbacks; keeping these in mind as you create a 
  CREATING A 
  CAMPAIGN
  
  260 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  campaign should let you maximize the former, and 
  minimise the latter.
  APOCALYPSE/POST-APOCALYPSE
  Most campaigns of this sort fall into the 
  “post-apocalypse” category, since focusing on the 
  civilization-ending (or -altering) disaster usually 
  isn’t good for more than a few campaign sessions 
  (at most), and is often depressing. The world after 
  disaster has struck makes a much more interesting 
  setting for most Star Hero gamers. Not only do they 
  have to cope with the many problems disaster has 
  wrought, but they get to embark on the noble and 
  heroic eﬀort to re-build civilization. In some games, 
  the GM can couple this with the excitement of dis-
  covering there was once a better world, and what 
  happened to it.
  The beneﬁt to choosing post-apocalypse as 
  a campaign setting is that it’s a wide-open ﬁeld in 
  many ways. The GM can introduce all sorts of fun, 
  weird stuﬀ — mutants, leftover technology run 
  amok, Fantasy Hero-like melee combats, dieselpunk 
  car chases, perhaps even the return of magic to the 
  world (as in the Thundarr The Barbarian cartoon) 
  — but still keep many classic SF tropes reasonably 
  intact (cyberware, superintelligent computers, and 
  so on), even if only in isolated pockets or long-lost 
  ruins. The drawback is that he also usually has to 
  abandon many of the other tropes so beloved of 
  gamers — things like starships, interstellar travel, 
  and a plethora of alien species. In many ways, post-
  apocalyptic campaigns are as much Fantasy Hero as 
  Star Hero, and that’s not to every gamer’s taste.
  CYBERPUNK
  Although not as popular now as it was in the 
  1980s and early ’90s, the cyberpunk subgenre still 
  retains a lot of appeal for many gamers. By reﬂect-
  ing, often darkly, a world based on our own — one 
  where the computer, information, and technologi-
  cal revolutions of the past quarter-century have 
  continued, sometimes unchecked by ethical con-
  siderations — it allows GMs and players to explore 
  concepts and themes derived from modern-day 
  concerns, but suﬃciently removed from them so 
  that no one becomes too uncomfortable.
  The beneﬁt to a Cyber Hero campaign is that 
  very familiarity. To establish a good, plausible 
  cyberpunk setting, the GM need only spend a few 
  hours researching technology trends and futur-
  ological speculation, add a dash of the fantastic (if 
  desired), and mix in some of the well-known fea-
  tures of the genre (cyberware, the Cybernet, super-
  powerful megacorporations, urban dystopia). The 
  trick, in many cases, is to ﬁnd a way to make the 
  setting/campaign unique, rather than a warmed-
  over copy of what the GM read in a few novels.
  The drawback to many cyberpunk games is 
  getting the PCs to act like heroes. The subgenre 
  lends itself to characters who are amoral and 
  selﬁsh, who care only about their own comforts 
  and wallets. Many, if not most, of the characters 
  depicted in cyberpunk stories are outright crimi-
  nals at worst, violent urban survivalists at best. That 
  works for a novel or movie, and it can even work 
  for some roleplaying games. But generally, RPGs 
  work best if the characters are heroes and act like it. 
  Convincing them to stick to their principles as well 
  as their guns may challenge even the most creative 
  GM.
  EARTHBOUND SCIENCE FICTION
  Earthbound SF is an unusual choice for a Star 
  Hero campaign, since most GMs and players prefer 
  star-spanning adventure. But its beneﬁts — includ-
  ing a setting well-known to everyone involved, yet 
  containing the possibility of mystery, discovery, and 
  excitement — do appeal to some gamers. If he sets 
  the game in the Victorian or Pulp era, the GM can 
  minimize the familiarity aspect by plunging the 
  players into a time and a culture that isn’t the same 
  as what they know from personal experience.
  The drawback to this subgenre is, of course, 
  that the PCs are stuck on Earth. That means there’s 
  a whole Galaxy of adventure out there they can’t 
  become involved in. The GM can, of course, bring 
  aliens and other standard SF elements to Earth, but 
  sooner or later that often begins to strain credibil-
  ity. Make sure all the players are on board with the 
  idea of an Earthbound campaign before you decide 
  to run one.
  HARD SCIENCE FICTION
  True Hard SF is a diﬃcult subgenre for Star 
  Hero gaming, because its stories depend on rigor-
  ous scientiﬁc accuracy and extensive scientiﬁc 
  knowledge. The GM and players all have to be con-
  
  261 
  Star Hero ■ Chapter Eleven
  versant in the hard sciences, and able to use their 
  scientiﬁc and technical knowledge as part of the 
  campaign. Otherwise, the game breaks down into 
  an unending series of Skill Rolls, which isn’t much 
  fun for anyone involved. It’s sometimes possible to 
  get around this diﬃculty by veering ever-so-slightly 
  toward Space Opera. This works particularly well 
  if the GM invents some hard pseudo-scientiﬁc 
  principles the players can learn about and exploit 
  (like “subspace” in Star Trek, which provides a con-
  venient rubber science explanation for many types 
  of technology, but generally behaves in scientiﬁcally 
  predictable ways).
  To make a Hard SF campaign work, the GM 
  has to do a lot of work to justify the technol-
  ogy, alien species, psionic powers, and anything 
  else he wants to use. He has to have a scientiﬁ-
  cally plausible explanation for why they exist and 
  what they can do — and the players have to buy 
  into his explanations. It’s no fun for anyone if the 
  game constantly breaks down into arguments over 
  whether the Shrreenar could “really” survive by 
  photosynthesis alone.
  LOW SCIENCE FICTION
  Low SF suﬀers from many of the same draw-
  backs as Earthbound SF. It takes the most common 
  and readily-identiﬁable element of science ﬁction 
  — highly advanced technology — and tosses it 
  away. To many gamers, if they can’t have FTL star-
  ships, energy swords, blaster pistols, and bumbling 
  robot servants, SF just isn’t much fun. Something 
  else about the campaign, be it the setting, the sto-
  ryline, or the theme, has to interest them so the 
  GM can draw them into the game and get them 
  involved.
  On the other hand, the low-tech nature of a 
  Low SF game has some distinct beneﬁts. The GM 
  has to spend less time preparing extensive lists of 
  equipment, and the players don’t have to take as 
  long to outﬁt their characters. The problems high 
  technology causes in many Star Hero campaigns 
  diminish in Low SF; the players don’t have access to 
  planet-busting weapons or teleporters, so they can’t 
  cause diﬃculties with them.
  MILITARY SCIENCE FICTION
  Military SF is a popular subgenre for Star Hero 
  campaigns; the excitement and drama of war (from 
  a literary perspective) mixes well with the excite-
  ment and drama of outer space, FTL travel, and 
  weapons that really give the words “mass destruc-
  tion” meaning. Players who enjoy tactical problem-
  solving have a ﬁeld day as they try to exploit (or 
  counteract) teleportation technology, FTL kinetic 
  weapons, and combat mechs; they can spend hours 
  of game time gleefully orchestrating planetary 
  invasions or establishing a defense perimeter of 
  automated weapons platforms.
  The drawback to Military SF is its singular 
  focus on matters military. A Space Opera or Hard 
  SF campaign might concentrate on, say, explora-
  tion, but it could dip into trading, espionage, or 
  even military adventure on occasion. A Military 
  SF campaign, on the other hand, usually sticks to 
  invasions, raids, battles, and the like. The steady 
  diet of gunﬁghts and commando operations may 
  soon lose its attraction if the GM doesn’t ﬁnd ways 
  to mix in new elements. For example, after a while, 
  maybe a Military SF campaign shifts from outright 
  warfare to more of a Cold War/low-intensity con-
  ﬂict sort of situation, with the PCs acting more as 
  spies and “special forces” operatives than ordinary 
  soldiers.
  PLANETARY ROMANCE
  Planetary Romance campaigns oﬀer many of 
  the beneﬁts of Earthbound SF without many of 
  the drawbacks. They take place on a world other 
  than Earth, which means the well-known elements 
  of high technology and space travel (and all they 
  imply) have to exist. It also means the PCs can 
  meet aliens and explore weird alien landscapes; 
  they’re not limited to the familiar ﬁelds of Earth. As 
  Larry Niven’s Ringworld and its sequels illustrate, 
  a Planetary Romance can easily involve dozens of 
  alien species.
  But some of the drawbacks remain. Even on 
  a world as big as a ringworld or Dyson sphere, 
  the PCs are still limited to just one world, and 
  as a result they may feel trapped or artiﬁcially 
  restricted. And because the campaign focuses on 
  this one world, the GM has to develop it in detail. 
  In an Earthbound campaign, he can rely on the 
  players’ common knowledge; he doesn’t have to tell 
  them what continents exist and where Europe is. 
  But for a Planetary Romance, he has to create all 
  the details (including the “deep mystery” backstory 
  about who created the place, if appropriate), and 
  communicate that information to the players. A 
  GM who wants to run a Planetary Romance should 
  develop a plan for dealing with this problem, lest 
  he drown in details.
  RETRO-SF
  Retro-SF — or Pulp SF, to use its most 
  common incarnation for gaming purposes — has 
  a wonderful, lush feel that appeals to many GMs 
  and players. It harks back to an earlier era of sto-
  rytelling, where adventure and romance (in the 
  classical sense) were the hallmarks of the day, and 
  all but the lightest emphasis on scientiﬁc accuracy 
  or plausible events was unnecessary. For many 
  gamers, that lets them concentrate on roleplaying 
  and having fun, without having to worry about the 
  baggage SF sometimes brings with it.
  But that asset is also the subgenre’s biggest 
  drawback. In today’s modern, educated, scientiﬁ-
  cally literate, jaded world, many gamers ﬁnd it 
  diﬃcult to put aside their knowledge and beliefs to 
  embrace the Pulp SF aesthetic. These days, we know 
  Mars doesn’t have canals, and that Venus isn’t a 
  swampy jungle world. We know that some types of 
  alien life, space travel, and technology are scientiﬁ-
  cally implausible. We know, at least from the per-
  spective of cynicism, that the Pulp themes of “good 
  always wins” and “noble intentions and a strong 
  right hook solve everything,” aren’t true. Awareness 
  of these “realities” may make it hard for the GM to 
  pull oﬀ a Pulp SF campaign the way he wants to.
  
  262 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  SPACE OPERA
  Space Opera is by far the most popular 
  subgenre for Star Hero gaming. After all, the 
  best-known and most inﬂuential science ﬁction 
  properties — Star Trek, Star Wars, Babylon 5, and 
  others — all qualify as Space Opera to one degree 
  or another. It’s only natural for gamers to want to 
  emulate what attracted them to the genre in the 
  ﬁrst place.
  The advantage to Space Opera is that it oﬀers 
  the entire spectrum of science ﬁction adventure. 
  A Space Opera GM can do pretty much anything 
  the genre encompasses. The advanced technology 
  and galactic scope of the setting provide unlimited 
  possibilities for scenarios, characters, and excite-
  ment. The GM can even temporarily convert the 
  campaign to another subgenre by, for example, 
  stranding the characters in a low-tech situation or 
  plunging the setting into an interstellar war.
  On the other hand, the wide-open nature of 
  Space Opera may lead to a lack of focus. The play-
  ers need to have a ﬁrm idea of what the campaign’s 
  about, and that means the GM does, too. Similarly, 
  the readily-available technology may cause all the 
  “tech overshadowing character” problems discussed 
  elsewhere in this book. To keep a Space Opera 
  campaign exciting and ﬂourishing, the GM deﬁ-
  nitely needs to have a theme, or at least a storyline, 
  in mind when he begins, and to stick with it as the 
  game progresses.
  TIME TRAVEL
  Time travel campaigns have a broad appeal 
  for many gamers, particularly those interested 
  in history. They oﬀer a wonderful chance to play 
  “what if?”, combined with the tension and drama 
  of having to preserve the “true” timeline and avoid 
  being stranded in the wrong time-frame. However, 
  they require a lot of work by the GM. To construct 
  a plausible scenario set in, say, Elizabethan England, 
  the GM has to research that period and gain a good 
  “feel” for it. The game works even better if the play-
  ers do the same; it’s diﬃcult to play the part of a 
  time-cop sent back to make sure the colonists win 
  the American Revolution if you don’t know at least 
  a little something about the Revolutionary period. 
  But at the same time, the players and the GM have 
  to avoid bogging the campaign down in arguments 
  about what “really” would have happened if Hitler 
  had gone into the Middle East instead of Russia, or 
  if Genghis Khan had not been born. Research and 
  realism aside, to some extent everyone involved in 
  the game has to willingly suspend his disbelief in 
  the interest of telling a fun story.
  UTOPIA/DYSTOPIA
  This subgenre is the least popular for Star 
  Hero gaming; utopias are too perfect to oﬀer many 
  adventure opportunities and dystopias are too 
  depressing (except perhaps as places to visit in an 
  otherwise ordinary campaign). A few campaigns 
  structure themselves around improving (or over-
  throwing) a dystopian society, but even that’s fairly 
  rare — rebellions against galactic tyrants seem to 
  attract gamers more. A GM who wants to run a 
  successful utopia/dystopia campaign has to oﬀer 
  something more than just the (im)perfect nature of 
  the setting. Given their stark qualities, utopias and 
  dystopias often make excellent backdrops for cam-
  paigns with themes such as “what are the proper 
  uses of power?” or “the role of moral absolutism in 
  society.”
  Campaign Subject
  A campaign can take place in any of the sub-
  genres described above, but the campaign subject 
  is also what the characters do — are they soldiers, 
  thieves, policemen, traders, or explorers? Campaign 
  subject and campaign theme have a lot of overlap 
  — if the theme is exploration, the characters should 
  probably be explorers (even if reluctant ones).
  BOLDLY GOING
  Campaigns centered on exploration and dis-
  tant voyages are a natural choice. Star Trek and a 
  host of imitators sent the crew oﬀ to encounter dif-
  ferent problems and guest stars each week. Explora-
  tion doesn’t even have to take place in outer space 
  — SeaQuest DSV and its more obscure predecessor, 
  Voyage To The Bottom Of The Sea, did the same 
  thing in the oceans, and any number of post-apoca-
  lypse settings involve bands of heroic adventurers 
  roaming through the devastated landscape to see 
  what’s in the next ruined city.
  Exploration campaigns are good because epi-
  sodes tend to be self-contained:  the crew arrives 
  at a new planet or city or seabottom trench, they 
  explore it, confront whatever threats or mysteries 
  lurk within, and leave. At the very most, each major 
  “episode” constitutes a story arc in the overall cam-
  paign. This structure can become a disadvantage 
  if the players want to feel more connected to the 
  setting, and they may start to wonder if every new 
  planet holds some deadly puzzle. Sometimes the 
  GM needs to throw them a curve ball — such as a 
  roleplaying-oriented episode on an idyllic pleasure-
  planet.
  CLOAK AND DAGGER
  Espionage and covert operations have a long 
  history in science ﬁction, and at times the border 
  between SF and spy stories gets blurry indeed. An 
  espionage-oriented Star HERO campaign can focus 
  on actual intelligence-gathering and paramili-
  tary operations, or on James Bond-style superspy 
  adventures. Robert Heinlein’s Friday and Eric Frank 
  Russell’s Wasp, among others, provide excellent 
  examples of the possibilities of SF espionage.
  Spy characters as a team are best if each player 
  chooses a specialty — the Tech Guy, the Con Man, 
  the Martial Artist, the Master of Disguise, and so 
  forth. Science ﬁction settings add the Hacker, the 
  Psionic, and the Getaway Pilot. The introduction 
  of alien species and ultra-technology can add even 
  more dimensions to the party’s composition.
  The tone of an espionage campaign can vary 
  greatly. If the emphasis is on spy-thriller chases and 
  confrontations with master villains in their hidden 
  headquarters, the tone is likely to be straightfor-
  
  263 
  Star Hero ■ Chapter Eleven
  ward action-adventure. Grimmer sto-
  ries emphasize the betrayal, paranoia, 
  and moral compromises of the shadow 
  war.
  GALACTIC PATROL
  The life of a military (or quasi-
  military) starship crew can draw from 
  a variety of sources. If they’re busy 
  ﬁghting pirates and waging war against 
  rival empires, the GM can use all the 
  tropes of sea adventure stories. If the 
  crew are more like frontier marshals or 
  cops on the beat, then the GM can lift 
  ideas from Westerns or crime dramas. 
  Combined with exploration, a Galactic 
  Patrol campaign can be as much like 
  Star Trek as the GMs and players desire.
  Starship crews usually have to obey 
  orders, which makes adventure hooks 
  easy — “the Admiral says go check 
  out the spacetime anomaly in Sector 
  Twelve” — but may feel restrictive to 
  players who want autonomy and resent 
  being bossed around. Often, PCs who 
  are part of a large military organiza-
  tion call in the cavalry early rather than 
  dealing with threats themselves. You 
  can prevent this by making them “the only ship in 
  the quadrant” at the time, although they may start 
  to wonder just where all those other ships are when 
  danger appears. Another solution is to make the 
  PCs a “special forces” outﬁt, one tasked with “impos-
  sible missions” and given a high degree of autonomy 
  because of its members’ skills and importance.
  MAKING CRIME PAY
  Science ﬁction crime stories usually center 
  on the more clever and technically adept kinds of 
  criminals — skilled thieves, quick-witted con men, 
  and high-tech assassins. Cyberpunk stories add the 
  elite computer hacker, who’s really just another kind 
  of thief. 
  Criminal characters can be fairly noble Robin 
  Hood types, only stealing from Evil Corporations 
  or conning people who really deserve it. Or they 
  can be genuine rotters; it’s up to the players to 
  decide, though most Star Hero games work better 
  with heroic-minded PCs. Often criminals in SF get 
  recruited into espionage and covert operations. That 
  neatly sidesteps the ethical issues and allows the 
  characters to do their stuﬀ in exotic and danger-
  ous locales. In an all-crooks campaign, Hunteds are 
  almost mandatory, so daring crimes can alternate 
  with daring escapes.
  A potential problem GMs need to watch out 
  for is the question of the Big Score. If the criminal 
  heroes successfully steal the most valuable gem in 
  the Galaxy, why do they need to commit crimes 
  anymore? Why not sell it and settle down on some 
  resort world to live oﬀ the proceeds? You can avoid 
  this by having fences take a ruinous percentage of 
  the loot, and occasionally skipping ahead to when 
  the money starts to run out after months of riotous 
  living.
  MANHUNTERS
  Maybe the characters would like to be the 
  hunters for a change. Bounty hunters and other 
  free-lance law enforcers are quite popular in SF 
  (Mike Resnick has made a career out of writing SF 
  bounty hunter novels). Bounty hunter campaigns 
  allow for plenty of action and gunplay, but the 
  heroes probably won’t go to jail for it. Characters 
  can be idealistic, mercenary, or no better than the 
  people they chase. This kind of campaign ﬁts well 
  with a theme of Law and Justice.
  But the life of a manhunter isn’t trouble-free. 
  Problems faced by bounty hunters include getting 
  the target back to the hands of the Law, outwitting 
  rivals intent on the same prize, and coping with 
  unfriendly police and Space Patrol oﬃcers who 
  don’t like freelancers.
  Gamemasters need to worry about adventure 
  hooks — what if the heroes don’t want to chase the 
  villain you spent two days creating? What if they 
  stick with easier prey? If the heroes are the best in 
  the business, their fees will be steep, which leads to 
  questions of how to get them away from managing 
  their investment portfolios long enough to have 
  adventures.
  THE PIRATE LIFE
  Space piracy is largely unrealistic and pulpish, 
  but it’s also a lot of fun. It can be done with varying 
  degrees of realism. The most realistic versions take 
  into account the limitations of spaceships — you 
  normally can’t grapple and board across millions of 
  kilometers, so the pirates have to rely on threaten-
  ing merchant ships with superior ﬁrepower to get 
  them to power down long enough to board and 
  rob. This encourages a fairly “gentlemanly” style of 
  piracy, since the merchants won’t surrender if they 
  know they’ll be killed.
  
  264 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  Or you can toss realism to the winds of space 
  and have pirates wearing frilly shirts waving swords 
  as they ﬂy aboard with maneuvering packs or tele-
  port onto the quarter-deck for some furious swash-
  buckling. This kind of piracy requires spaceships 
  with very short-range weapons, and drives that let 
  the corsairs to catch up to their prey and haul along-
  side.
  Whichever style you use, key tropes of space 
  piracy are hidden treasures, pirates who are secretly 
  something else, privateering (working as a pirate 
  for some interstellar government by attacking only 
  its enemy’s ships), rivalries with other bandits, and 
  roistering times ashore in a lawless free port. In SF, 
  pirates often wind up joining the rebels against tyr-
  anny (there’s a historical precedent in Jean Laﬁtte), 
  or serving as the ultimate deniable covert agents for 
  a space intelligence agency.
  REBELS
  Long before Star Wars, heroic rebels in science 
  ﬁction were overthrowing awful tyrannies and bat-
  tling for freedom. Being part of a rebellion makes 
  for a great campaign, because the organization 
  can send heroes on missions when the GM needs 
  an adventure hook, but a rag-tag rebel movement 
  can’t always provide backup when the heroes are in 
  trouble. Also, the ultimate triumph of Good over 
  Evil proves most satisfying.
  The classic Rebellion campaign draws on the 
  American Revolution and the exploits of resistance 
  ﬁghters in occupied Europe — the heroes are good, 
  the villains are bad, and moral ambiguity is kept to 
  a minimum. Gamemasters can darken the tone by 
  making some of the Rebels fanatics or psychopaths 
  (as shown on Babylon 5), and showing that the tyr-
  anny has sincere supporters with valid reasons to 
  prefer order over upheaval.
  Rebel characters all are Hunted unless they 
  maintain a Secret Identity and/or Deep Cover. 
  Missions are a mix of military operations and 
  espionage. Rebellions can often cross over well with 
  criminal campaigns, or a band of rebels might go 
  undercover as space merchants.
  SCIENCE!
  A campaign covering the adventures of a group 
  of scientists may not sound too exciting at ﬁrst — 
  analyzing data and ﬁlling out grant proposals? But 
  this is science ﬁction after all, and suﬃciently adven-
  turous scientists do get out of the lab sometime.
  Archaeology and paleontology have lots of 
  adventure potential, especially when the characters 
  are digging up remains of alien civilizations. Often 
  there are powerful artifacts or lost technologies 
  waiting to be found — and dangerous rivals or vil-
  lains trying to get them. Most long-running Star 
  Hero campaigns feature an archaeology-oriented 
  scenario or two at some point.
  Characters may need biologists (including, 
  broadly speaking, doctors) to solve scientiﬁc puzzles 
  on alien worlds, cope with devastating plagues, or 
  go through harrowing adventures to locate a rare 
  life form. In Fifties-style Retro-SF, biologists are 
  often the ﬁrst ones to discover alien invaders or 
  atom-spawned monsters. Physical scientists get to 
  cope with spacetime anomalies, try to come up with 
  countermeasures to alien superweapons, and test 
  out new stardrives or power sources with unforseen 
  side eﬀects.
  Even historians and linguists may get into the 
  act if time travel is available. Researchers studying 
  the past might ﬁnd themselves dealing with time 
  crooks, undoing accidental changes to history, or 
  simply caught in the middle of ancient battles and 
  atrocities.
  Scientiﬁc campaigns require both GMs and 
  players interested in solving scientiﬁc puzzles, 
  and usually involve a fair amount of background 
  research to ensure accuracy. They mesh well with 
  exploration campaigns. A big potential problem is 
  that the pace can get glacially slow when the GM 
  has to present a lot of information. Handouts or e-
  mails can move a lot of “infodumps” to out-of-game 
  time.
  STAR TRADERS
  A classic standby in both written SF and sci-
  ence ﬁction roleplaying is the continuing exploits 
  of a merchant starship crew as they try to earn 
  a (mostly) honest living. Similar campaigns can 
  describe space traders operating just within the 
  Solar System, or even merchants in a post-apoca-
  lyptic landscape. Power levels tend to be low — the 
  heroes are working stiﬀs trying to make a living, not 
  save the Universe. The fact that they may wind up in 
  a position to save the Universe anyway just makes it 
  more entertaining.
  Merchant campaigns make heavy use of the 
  trade rules in Chapter Six (or a similar set of rules 
  devised by the GM), and require GMs to do their 
  homework and set up trade routes in a sector. Prob-
  lems can arise when the players are more interested 
  in “wargaming” the trade rules to get rich rather 
  than having adventures, so the GM should feel free 
  to introduce elements of economic unpredictability 
  (depressions and recessions, the rising and passing 
  of fads, and so forth) if necessary.
  You don’t have to limit a star traders campaign 
  to commercial matters alone. Heroes in a mercan-
  tile campaign can often moonlight as rebels, spies, 
  bounty hunters, or even pirates!
  STARSHIP TROOPERS
  Military campaigns involve characters serv-
  ing in the same unit — usually a squad or platoon. 
  Adventures are naturally heavy on combat. A 
  favorite subtrope is the mercenary campaign, which 
  allows a lot more ﬂexibility and action than most 
  national armies face. Working as mercenaries also 
  allows the heroes to face unexpectedly powerful 
  opposition with no support because their patron 
  was too cheap to hire any.
  Since full-scale battles using even present-day 
  weapons are incredibly destructive, military games 
  often chronicle the exploits of specialized com-
  mando units. This may shade into espionage and 
  covert operations if the troops ﬁght secret battles, or 
  into law enforcement if they oppose crime gangs or 
  terrorists.
  
  265 
  Star Hero ■ Chapter Eleven
  Military campaigns have 
  several advantages — the 
  heroes go where they’re 
  ordered and are certain of 
  action when they get there. 
  Players may start wishing for 
  variety (which the GM can 
  provide with “R&R” trips or 
  temporary assignments). The 
  emphasis on combat means 
  players who like set-piece 
  battles will have fun and 
  those who don’t will loathe 
  this kind of campaign. 
  TIME POLICE
  As outlined in Chapter 
  Nine, a Time Police campaign 
  combines the fun of time 
  travel with the advantages of 
  a space patrol or law enforce-
  ment campaign structure. The 
  heroes still get to visit diﬀer-
  ent times and cope with both 
  historical perils and the med-
  dling of other time travelers, 
  but this way there’s an agency 
  back home to send them out 
  on missions and control what 
  gear they take along.
  SETTINGS
  The setting is a key ingredient in science ﬁc-
  tion, which is why a major portion of this book 
  talks about creating realistic and interesting set-
  tings. An intriguing setting has saved any number 
  of mediocre novels, and can turn an otherwise 
  average Star Hero campaign into one players will 
  enjoy for years.
  SCALE 
  Scale deﬁnes the size of the stage for the cam-
  paign. In a Cyberpunk setting, the characters may 
  do all their adventuring in a single large city, while 
  Space Opera heroes may make intergalactic voy-
  ages on a regular basis. Every level of campaign 
  scale has its own advantages and disadvantages.
  Small-scale settings oﬀer the advantage of 
  intimacy. You can develop a small locale (a city, 
  a colony, a space station) in great detail. You may 
  even have names and character notes, if not char-
  acter sheets, for everyone who lives there (or at 
  least every person of importance). The PCs are 
  more likely to be “big ﬁsh” in a small-scale cam-
  paign, and their activities can have visible eﬀects. 
  On the other hand, the characters (or their players) 
  may get bored with such limited surroundings. 
  They may want to get away from the consequences 
  of failure. They may seek more challenging foes.
  Larger-scale settings — a planet, say — oﬀer 
  considerably more potential for adventure and 
  travel. They may have exotic societies and multiple 
  species. Gamemasters shouldn’t underestimate the 
  gaming potential of a single planet:  consider that 
  except for a few astronauts, every single person in 
  Human history has lived all of his life on Earth. 
  Any alien world worth setting a campaign on is 
  at least as varied and interesting as Earth is. Obvi-
  ously, no GM can envision a whole planet in as 
  much detail as a city or town, so if you want to 
  create a planet as the focus for your game, concen-
  trate on developing the things that aﬀect the PCs:  
  important states and organizations, major species, 
  the environment, the actual places the heroes visit, 
  and strange or unusual things that might form the 
  basis for scenarios.
  Multiplanet campaigns allow characters to 
  adventure in radically diﬀerent environments — air-
  less worlds, low and high gravity, strange atmo-
  spheres, and all the other parameters discussed in 
  the Environment section (page 278). They also allow 
  for more exploration, greater interaction with alien 
  beings, and a wider range of societies. The heroes 
  are likely to be less important in the grand scheme 
  of things (about as important as individuals in the 
  modern world). Initially, you need only describe the 
  components of the setting in general terms (physi-
  cal parameters and the rough outlines of society 
  for each world). As the heroes travel about, you can 
  bring individual worlds and places into the spotlight 
  and deck them out with more detail and depth. A 
  multiworld campaign may be restricted to a single 
  star system, or can cover several systems.
  Finally, a truly star-spanning campaign lets the 
  heroes visit just about any conceivable setting. There 
  can be dozens or hundreds of alien species, variant 
  Human races, and artiﬁcial life forms. Characters 
  can play tourist in an inﬁnite number of societies 
  and cultures. The chief problem is that it’s easy to 
  get lost in the crowd when the universe has tril-
  
  266 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  lions of inhabitants. Only exceedingly powerful 
  characters can stand out and make a diﬀerence. (Of 
  course, many characters may not want to stand out 
  and make a diﬀerence, and are quite content to have 
  adventures and gain proﬁts in obscurity.)
  Of course, all these scales may co-exist in the 
  same campaign!  Characters start out in a rela-
  tively small setting — a frontier colony, say — then 
  explore their planet and become familiar with it, 
  then venture to other worlds, and at last make their 
  way across the stars. The expanding scale matches 
  their increasing experience and power. Caveat:  once 
  the players get used to adventuring on a given scale, 
  it’s very hard to shrink things down again. If the 
  characters have been visiting dozens of planets, an 
  extended period stuck on one world may make the 
  players bored and restless, even if once their charac-
  ters were limited to a single town.
  The technology level in the campaign signiﬁ-
  cantly aﬀects the scale. If space travel is as diﬃcult 
  as it is for Humans in 2002, visits to other worlds 
  will be rare, and characters will tend to spend a long 
  time at each place they visit. If it’s as easy as making 
  an airplane trip, the heroes can zip oﬀ to another 
  planet at the drop of a space helmet. You can con-
  trol this somewhat by deciding how accessible the 
  technology is:  if star travel is easy and quick, but the 
  Imperial Interstellar Transport Authority controls 
  all the ships, the characters may still have trouble 
  getting around.
  Decisions about the number of stars with plan-
  ets and the frequency of habitable worlds also help 
  deﬁne the scale. If there are only six planets in the 
  Galaxy where Humans can live, then as far as the 
  PCs are concerned, the scale is roughly the same as 
  a single solar system setting. They may be able to 
  cover immense distances at a bound, but there aren’t 
  that many places to go. Conversely, a campaign set 
  in a “Dysonized” star system with thousands of 
  space habitats as big as countries can have the feel of 
  a wide-ranging interstellar campaign.
  INTELLIGENT BEINGS
  Once the scale of the stage is determined, the 
  GM can start to people it with actors. In this case, 
  the actors are the people the characters are likely to 
  meet:  the species and societies which exist in the 
  campaign. The range of available actors depends on 
  the scale. A wide-ranging campaign will probably 
  have great diversity of species and cultures, while 
  a narrowly-focused setting probably won’t. This 
  isn’t a hard and fast rule; Isaac Asimov’s Founda-
  tion series featured a Galactic-scale setting with no 
  aliens at all, while a space station like the ones on 
  Babylon 5 or Star Trek:  Deep Space Nine can house 
  all sorts of extraterrestrials in latex makeup.
  As mentioned earlier in this book, each 
  alien species should have a role in the campaign, 
  although this is really true only for the ones that 
  are important and developed in detail. The GM can 
  always throw in some “spear carrier” aliens to add a 
  little exotic color to crowd scenes without inventing 
  a whole civilization for them.
  MAJOR POWERS 
  These are the states or organizations which 
  deﬁne the campaign’s political and social landscape. 
  Their size depends on the overall scale:  major 
  powers in a single-city Cyberpunk game are the 
  city government, local crime gangs, the PCs’ pri-
  mary competitors and enemies, a few megacorpo-
  rations, and maybe the national government. These 
  probably wouldn’t even register on the radar of a 
  Space Opera game, in which the major powers are 
  things like interstellar empires and entire species. 
  For each major power, you should at least have 
  an idea of what its goals are, how it interacts with 
  other powers, and what role it can play in the cam-
  paign.
  Example:  In a Space Opera game, the major 
  powers are the Terran Alliance, the Rim 
  League, the Machine Civilization, and the 
  Psionic Guild. The Alliance wants peace and 
  free trade because the Terrans have a booming 
  economy. The Rim League is a union of minor 
  starfaring races, worried about being swal-
  lowed up by the other big powers and fearful 
  of raids by creatures from intergalactic space. 
  The Machine Civilization, a very fast-grow-
  ing species of intelligent robots, worries about 
  “unpredictable biological units,” but considers 
  war irrational and risky. The Psionics want to 
  unify all the organic races into a single mass 
  mind, the “Galactic Mentality.”  Given those 
  goals, one can see that the Terrans and the 
  Rim League cooperate to limit the expansion 
  of the Machine Civilization, but probably ﬁght 
  like weasels over things like trading rights. The 
  Psionics shift allegiance between the two to 
  gain leverage and inﬂuence. The Machines may 
  do the same to prevent the Terrans and the Rim 
  from becoming completely Psionic-dominated.
  
  267 
  Star Hero ■ Chapter Eleven
  T
  he GM’s job doesn’t end when he creates the 
  campaign and develops the setting. Quite 
  the reverse:  now he has to actually run the 
  games while his players enjoy what he has 
  created... and help him ﬂesh out the shared ﬁctional 
  universe.
  ADVENTURE STRUCTURE
  There are two main approaches to adven-
  ture design:  plotted and unplotted. In a plotted 
  adventure, the GM has a speciﬁc story in mind, 
  which the PCs follow to the climax. In an unplot-
  ted adventure, there is no plot, merely a situation; 
  what happens is entirely the result of the PCs’ 
  actions. There are advantages and disadvantages to 
  both methods.
  Plotted Adventures
  Plotted adventures have the great advantage 
  of a satisfying story structure. The action builds 
  from the hook to the climax, encounters exist to 
  provide tension or move the story along, and the 
  heroes are at the center of events. You can use all 
  the tricks developed by writers over the past three 
  millennia:  foreshadowing, suspense, conﬂict, and 
  catharsis. You can borrow plots and plot ideas 
  from a vast array of sources, from Shakespeare 
  to Ed Wood. You can tailor the opposition to the 
  characters’ power level and personalities.
  On the downside, plotted adventures are 
  often too rigid in structure — the GM knows 
  where he wants the story to go, and forces the 
  heroes to go there. Players may feel they’re being 
  railroaded along, or that their actions don’t really 
  have an eﬀect. If they suspect the GM will let 
  them succeed anyway, all suspense is lost. Players 
  often try to use “metagame thinking” to deduce 
  the plot and ﬁgure out what their characters 
  should do, rather than acting as their characters 
  would behave in that situation.
  To avoid the problem of “railroading,” plan 
  out several possible resolutions for the adventure 
  (and for each major scene within the adventure) 
  depending on what the characters do. If the story 
  involves discovering an alien plot to sabotage a 
  space station, the climax can be a battle with the 
  saboteurs, an escape from the damaged station, or 
  a last-ditch attempt to defuse the bomb. And, of 
  course, no matter how many options you prepare, 
  be ready to abandon all of them when the players 
  think up something that hadn’t occurred to you; 
  the most profound truth in gaming is “the players 
  never do what you expect.”
  Unplotted Adventures
  Unplotted adventures, by contrast, have no 
  set storyline. The GM merely establishes a situa-
  tion and lets the players determine the action. The 
  situation can be dynamic or passive. In a dynamic 
  situation, things happen and it’s up to the players 
  to cope with them — the Xenovores are attacking, 
  the Empire is about to collapse, or the like. A pas-
  sive situation is one in which things are stable (at 
  least until the PCs show up) — pirates are preying 
  on the shipping in one star system, the Empire is 
  oppressing the telepaths, or a drifting starship holds 
  a lost treasure. If there are villains, they follow 
  whatever motives you wish to give them, rather 
  than ﬁlling the role of Antagonist in a story. The 
  Universe is there, running along on its own, and the 
  PCs must make their own decisions about what to 
  do and how to do it.
  Unplotted adventures have the advantage of 
  feeling realistic — after all, the real world doesn’t 
  neatly follow classical dramatic structure, and every 
  person is an NPC to other people. They give the 
  players a great deal of inﬂuence over the course of 
  the adventure, and let them choose to do what they 
  enjoy. If you’ve prepared the setting well, unplotted 
  adventures are a good way to show oﬀ the scope 
  and depth of your campaign universe.
  But unplotted adventures have their own set 
  of disadvantages. Often the action becomes just 
  a series of petty crimes or treasure grabs. In a 
  dynamic situation, the players may ﬁnd it frustrat-
  ing that they are at the mercy of events. You may 
  get overwhelmed by the need to either create new 
  encounters on the ﬂy or prepare a vast amount of 
  background and NPCs which may never get used. 
  Finally, the structure of unplotted adventures can 
  be unsatisfying — the heroes overcome the main 
  opposition early and spend the rest of their time 
  mopping up underlings, or they fail to acquire cru-
  cial information or weapons and end up outclassed 
  at the climax.
  Plotted and unplotted adventures aren’t com-
  pletely incompatible. Characters may start out in a 
  seemingly unplotted situation, but encounter vari-
  ous hooks for stories. Depending on which ones 
  they decide to follow up, they can get involved in 
  plotted stories. In the course of going through those 
  story plots, they exist in an unplotted environment, 
  so if they diverge from the story they don’t wander 
  oﬀ into “blank hexes.”
  RUNNING  
  THE GAME
  
  268 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  Plotting
  The most dependable basis for an adventure 
  plot is the tried and true three-act structure, familiar 
  from classic plays, comic books, ﬁlms, and almost 
  every other type of story. The ﬁrst act is the adven-
  ture hook, in which the heroes become involved 
  in the story and encounter initial obstacles. The 
  second act presents more obstacles for the heroes to 
  overcome (often with an intriguing twist or turn of 
  events), and the third act is the climax and resolu-
  tion of the story.
  THE FIRST ACT:  ADVENTURE HOOK
  Adventure hooks come in various forms. The 
  simplest is to have an NPC hire or order the heroes 
  to do something. That’s a standard hook for James 
  Bond movies or Star Trek episodes. It’s quick and 
  gets the story moving. Alternately, someone can 
  come to beg the heroes for help — if they’re prop-
  erly heroic, how can they resist? The actions of 
  an enemy can draw the heroes into an adventure 
  whether or not they want to. Many comic books 
  begin this way — a supervillain shows up and starts 
  blasting away at the heroes, and away the story goes. 
  The risk of death concentrates one’s attention very 
  well.
  Some adventure hooks are situational; almost 
  any circumstance the PCs ﬁnd themselves in can 
  draw them into an adventure. Being out of money 
  means the heroes need to ﬁnd a way to earn some 
  cash, so they answer a mysterious ad. An asteroid 
  hurtling toward their planet means someone needs 
  to stop it. The heroes are caught in the crossﬁre 
  when two rival gangs battle for control of the city. 
  Ready, set, go!
  Finally, objects often serve as adventure hooks. 
  A cryptic clue or message can draw the heroes into 
  danger; Alfred Hitchcock loved that method in his 
  ﬁlms. Another useful Hitchcock hook is “The Mac-
  Guﬃn.” A MacGuﬃn is an object of value or impor-
  tance to someone. If the heroes have the MacGuﬃn 
  (or if someone thinks they have it), then all sorts of 
  trouble results from other people trying to buy, steal, 
  or destroy it. In the early part of the ﬁlm Star Wars, 
  R2-D2 and the message he carried functioned as a 
  sort of MacGuﬃn.
  Sometimes the adventure hook is not the 
  same as the ultimate goal of the adventure itself. 
  Many times the heroes get involved because they 
  think they understand what’s going on, and then 
  learn better and must change their goals as a result 
  of events in the story. As an example, suppose a 
  wealthy patron hires a party of mercenaries to raid 
  a remote outpost. The hook is their mercenary con-
  tract. But after a successful raid, their transport mal-
  functions, and the characters have to travel across 
  thousands of miles of desert to reach safety. Sud-
  denly, the goal is no longer accomplishing the con-
  tract, but simple survival. After they return to base, 
  they discover their transport was actually sabotaged, 
  so now their goal is to solve the mystery of who did 
  it and why.
  THE SECOND ACT:  OBSTACLES
  The second act of an adventure focuses on 
  obstacles the heroes must overcome. Obstacles are 
  many and various, but fall into three main catego-
  ries.
  Foes
  The ﬁrst are actual foes — people or things spe-
  ciﬁcally trying to make the heroes fail, or do them 
  harm. If the foe wants to kill the heroes or stop 
  them from accomplishing their goal, then he’s a vil-
  lain. If he merely wants to beat them to the goal, or 
  surpass their accomplishments, he’s a rival. Finally, 
  there are adversaries — people whose goals are 
  opposed to the PCs’ plans even if they aren’t aware 
  of them. (In this context, HERO System Hunteds can 
  qualify as either adversaries or villains, but Rivals 
  are usually rivals.) If the heroes are trying to get a 
  vaccine across post-apocalyptic North America, 
  villains would be those who don’t want the vaccine 
  to reach its destination, rivals would be those who 
  want to beat the party across the continent and 
  thereby win the reward, and adversaries would be 
  the mutant gangs who don’t know about any vac-
  cine but do know they want to steal the party’s fancy 
  all-terrain vehicle.
  At times friends can be foes, if they don’t agree 
  with the goal the heroes are pursuing, or have been 
  duped into believing the heroes are a danger. A 
  friend may even betray the PCs, like Dr. Yueh in 
  Dune. Sometimes friends are correct, and it’s the 
  heroes who’ve been duped.
  
  269 
  Star Hero ■ Chapter Eleven
  Features Of The Setting
  The second type of obstacles the heroes must 
  face are features of the setting, which would exist 
  regardless of the heroes’ actions. They include natu-
  ral obstacles and mysteries.
  Natural obstacles are things like hostile 
  weather, sheer distance, dangerous terrain, hungry 
  animals, deadly radiation, and the like. In addi-
  tion to nature, there is society — laws, regulations, 
  restrictions, social customs, prejudices, and the like. 
  Obviously, natural obstacles are more important in 
  uncivilized areas, while social barriers come into 
  play in populated settings.
  Puzzles and mysteries are sometimes features 
  of the setting and sometimes the work of the party’s 
  opponents, but in either case make signiﬁcant and 
  intriguing obstacles. A mystery can either be some-
  thing the heroes must solve to continue toward the 
  goal, or it can be the key to the goal itself. In situ-
  ations with changing goals, solving a mystery may 
  be what ﬁnally points the heroes at their ultimate 
  objective. The common feature of all mysteries is 
  that they must be solved by thinking rather than 
  force (although sometimes the solution involves a 
  particular use of force). In science ﬁction, an espe-
  cially important kind of mystery is the scientiﬁc 
  puzzle, which turns on an interesting application of 
  natural laws. Gamemasters creating scientiﬁc puz-
  zles can base them on real science or rubber science 
  peculiar to the campaign setting, but it’s extremely 
  important to make the puzzle fair and logical, since 
  ultimately it’s the players who are going to be solv-
  ing it. An unfair puzzle just makes people angry.
  Internal Obstacles
  A ﬁnal kind of obstacle lies within the heroes 
  themselves — internal obstacles. Overcoming per-
  sonal ﬂaws, sacriﬁcing something for the greater 
  good, or learning a lesson are all obstacles, often 
  more diﬃcult to surmount than any horde of 
  armed thugs or diabolical puzzle. In game terms, 
  internal obstacles are often reﬂected by Disad-
  vantages such as Dependence, DNPC, Enraged/
  Berserk, Psychological Limitation, and perhaps 
  Rivalry. An honorable man who must break his 
  word to achieve his goal faces an internal obstacle; 
  so does a devious one who has to trust others to 
  succeed. Tailoring the internal obstacles to the play-
  ers is important:  some players routinely sidestep 
  their characters’ Psychological Limitations if they 
  can manage an EGO Roll, while others want to 
  remain true to the characters they created.
  THE THIRD ACT:  CLIMAX AND  
  CONCLUSION
  Once the charactes have surpassed or neutral-
  ized all the obstacles, it’s time for the climax of the 
  story, in which the heroes confront the main villain 
  or surmount the ultimate barrier to reach their 
  goal and win the reward. The goal may not be the 
  one they originally signed up to accomplish, but 
  it is the one which brings an end to this particular 
  adventure.
  Climaxes should be, well, climactic. This is the 
  time for the GM to “blow the budget” and strive to 
  make everything as tense and impressive as pos-
  RANDOM PLOT GENERATOR
  Sometimes GMs need a plot in a hurry, or maybe just some way to generate ideas to 
  kickstart their imaginations. For those times, here’s a Star Hero Random Plot Genera-
  tor. Start by rolling a Hook, then determine the Goal and the Obstacles standing in the 
  way. For more complex plots, roll for multiple Goals:  the ﬁrst is what the PCs think 
  they are going to be doing, and then they discover what their real goal is later.
  Hook (roll 1d6):  
  1  
  Client (NPC who asks or begs the party to do something)
  2  
  Clue (message or information which inspires the party to act)
  3  
  Enemy (NPC or other threat which menaces the party)
  4  
  MacGuﬃn (PCs acquire an object of great importance to someone)
  5  
  Patron (NPC who hires or orders the party to do something)
  6 
  Situation (Some event happens which requires the party to react)
  Goal (roll 2d6:)
  1st Die 
  2nd Die 
  Result
   1-3 
  1 
  Acquire Something
   1-3 
  2 
  Capture Someone
   1-3 
  3 
  Defeat an Enemy
   1-3 
  4 
  Destroy Something
   1-3 
  5 
  Escape from a Place
   1-3 
  6 
  Learn a Secret
   4-6 
  1 
  Prevent a Disaster
   4-6 
  2 
  Rescue a Captive
   4-6 
  3 
  Solve a Mystery
   4-6 
  4 
  Survive a Natural Environment
   4-6 
  5 
  Travel to a Place
   4-6 
  6 
  Win a Battle
  Obstacles (roll 1d6 for the number of obstacles, then 1d6 to determine the nature 
  of each):
  1 
  Adversary (someone whose goals bring him into conﬂict with the PCs)
  2 
  Friend (a DNPC or someone normally friendly, opposed to the party for 
  some reason)
  3 
  Nature (hostile features of the setting, creatures, and so forth)
  4 
  Rival (an existing rival or someone who wants to achieve the same goal 
  ahead of the party)
  5 
  Society (the authorities, the culture, laws, infrastructure, and so forth)
  6 
  Villain (someone who speciﬁcally opposes the PCs)
  Example:  Steve, the GM, needs a plot idea for an epic Space Opera adventure. He 
  starts by rolling the Hook, and gets a 2:  a Clue. For the Goal he decides to roll twice, 
  and gets 5, 2:  Rescue a Captive, and 4, 1:  Prevent a Disaster. He rolls for the number 
  of Obstacles and gets 3; the speciﬁc ones are 6:  Villain, 1:  Adversary, and 5:  Society. 
  Now Steve has to put these pieces together. The two goals work best in order — when 
  the heroes rescue the captive, they learn of the disaster which must be averted. What 
  sort of disaster is it? Since one of our obstacles is “Society,” that suggests a malfunc-
  tion in some industrial plant or location under police protection. Steve decides it’s an 
  antimatter-storage facility with a hidden design ﬂaw. If the magnetic containment 
  fails, the antimatter stockpile will detonate in a continent-shattering blast. The captive 
  must be someone who would know of this ﬂaw:  an engineer or technician.
  That in turn makes the nature of the villain obvious:  someone who wants to conceal 
  the design ﬂaw. Steve decides the contractor who built the facility cut corners and 
  embezzled money, and has kidnapped the engineer to prevent him from blowing the 
  whistle. 
  Steve now assembles the plot. First, the heroes get a cryptic message sent by the captive 
  engineer. They travel to the remote lab where the villain is keeping him prisoner, battle 
  the corrupt contractor and his goons, and liberate the captive. They have accom-
  plished their original goal — but now the engineer warns them about the antimatter 
  facility, giving them a new and more urgent goal. 
  On the way to the antimatter depot, they are delayed by adversaries:  a gang of crooks 
  try to ambush and rob them. As they near the facility, the heroes discover the vil-
  lain sent a warning, portraying them as rebels intent on stealing antimatter to make 
  bombs. The police, the depot’s security forces, and the counterterrorist commandos 
  are all on full alert to stop the party. Meanwhile the rescued engineer warns that the 
  containment ﬁelds are breaking down faster than he had expected. The PCs must 
  somehow evade the guards and enter the facility in time to eject the antimatter into 
  space before the containment ﬁelds fail. 
  
  270 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  sible. If the heroes are trying to accomplish a task to 
  foil the villain’s plans, put a time limit on them and 
  create all kinds of distractions. If they’re battling the 
  villain directly, set the battle in an exotic or impres-
  sive location — atop a skyscraper in a storm, on the 
  hull of a starship while everyone wears spacesuits, 
  or inside the whirring machinery of a giant robot. 
  Since this is a roleplaying game, an exciting setting 
  is no more expensive or diﬃcult to arrange than a 
  boring one.
  Even if it isn’t full of physical action, the climax 
  can be tense and dramatic. If the heroes have to 
  prevent a war or persuade someone, set the scene 
  right on the edge of disaster — the Emperor’s battle 
  ﬂeet is only minutes away from attacking the heroes’ 
  home planet, and they have to convince him right 
  now that the assassin who killed his wife was an 
  alien shapeshifter disguised as one of the PCs. If 
  someone is on trial, the crucial evidence should 
  arrive during the ﬁnal summing-up, after the oppo-
  sition has presented seemingly iron-clad arguments 
  against the heroes.
  DEALING WITH  
  DISCONNECTS
  Many ideas which work perfectly well in ﬁction 
  are less successful in roleplaying games. A game is 
  not a movie or a book, and diﬀerent rules apply. Sci-
  ence ﬁction stories and settings come with a com-
  plete set of booby-traps and pitfalls waiting to snare 
  unsuspecting GMs. 
  BUSINESS DIFFICULTIES
  One favorite cliche of science ﬁction is the 
  struggling merchant crew, ﬂying its rustbucket star-
  ship from world to world, barely scraping by. In 
  roleplaying games this kind of existence is hard to 
  maintain:  if the characters keep losing money or 
  getting stiﬀed on deals, the players start to feel as 
  though the GM is picking on them.
  This problem often results from mismatched 
  expectations regarding what a campaign featuring a 
  bunch of interstellar traders is all about. To the GM 
  this means “struggling merchant crew having adven-
  tures,” while the players may think it means “getting 
  obscenely rich.” Making it clear the characters will 
  just get by is one solution. Another possibility is to 
  keep the bookkeeping “oﬀstage,” either with an NPC 
  as the crusty old merchant captain, or else by simply 
  telling the players “once again, you’re having money 
  troubles” and letting it go at that. (Of course, if the 
  players and GM all enjoy the minutiae of interstellar 
  trade, the system presented in Chapter Six lets them 
  play out running a speculative trade operation, with 
  risks and beneﬁts.)
  CYBERSPACE
  A key trope of Cyberpunk science ﬁction is 
  the experience of “cyberspace.”  Skilled hackers 
  plug their consciousness directly into the computer 
  network and go adventuring in a virtual environ-
  ment. This is great fun for the GM and whoever’s 
  playing the hacker character, but the other players 
  may feel left out and bored. The same eﬀect applies 
  when a psionic explores some NPC’s dreamscape, or 
  any time one character does something the others 
  cannot participate in.
  In a sense, this is a form of splitting the party 
  (see below); as in that situation the solution is to 
  either ﬁnd a way to involve the others or to link 
  events in cyberspace to the outside world. A hacker 
  or netrunner may have semi-sentient “utility pro-
  grams” to help him — let the other players take 
  those roles temporarily. Or try to set up the situa-
  tion to allow cross-cutting, so the party in the “real 
  world” are ﬁghting oﬀ Information Police goons 
  while the netrunner is frantically trying to recover 
  a key ﬁle. The ﬁlm The Matrix features this kind of 
  cross-cutting at the climax. Or the GM can some-
  how provide a method for all the characters to enter 
  cyberspace — though the hacker character will 
  clearly be the most powerful party member in there.
  If those methods don’t work, then perhaps the 
  GM should “cut to the chase” — resolve the cyber-
  space session with a few quick die rolls and give the 
  results. That keeps things rolling, but can be unsat-
  isfying for the player who has created a computer 
  hacker and wants to go into cyberspace with gun 
  and camera. As a ﬁnal recourse, the GM can break 
  out extended solo sequences to run while the other 
  players are oﬀ getting pizza, or do them between 
  sessions via blue-booking or e-mail. 
  INFODUMPS
  A problem faced both by writers of science ﬁc-
  tion stories and GMs in science ﬁction roleplaying 
  adventures is how to explain the strange and com-
  plicated background without bringing things to a 
  screeching halt. In stories, long expository passages 
  are known as “infodumps,” and working them into 
  the narrative is a diﬃcult task for writers.
  One advantage a GM has over the author of ﬁc-
  tion is that he can give the players handouts, but you 
  shouldn’t do this with gamers who aren’t willing to 
  spend the time to read them — many gamers don’t 
  really like having homework assignments. Another 
  useful technique is to explain things as they come 
  up, and not penalize players for being ignorant of 
  the made-up game world — “You see an Imperial 
  Security oﬃcer enter the bar, and you know Security 
  frequently employs telepaths; what do you do?”
  POSSESSION AND MIND CONTROL
  Having characters fall victim to long-term 
  mental domination (or be replaced by an identical 
  duplicate, or succumb to a neuroparasite, or what-
  ever) creates some practical problems for the GM 
  and players. If the GM keeps it a secret from the 
  player, then he must continually dictate the charac-
  ter’s actions or demand die rolls to determine what 
  the character can do. The players know something 
  is up and react accordingly. (“Everyone in here for a 
  planning session — except Bob’s character!”)
  If the GM wants to bring the mind-controlled 
  character’s player into the secret, he is venturing 
  into the tricky waters of group dynamics and indi-
  vidual personalities. Some players happily run their 
  character as if under sinister mental control; others 
  
  271 
  Star Hero ■ Chapter Eleven
  ﬁnd subtle (or not-so-subtle) ways to give clues to 
  the other players. Even if the player does go along, 
  playing his character straight, the other players may 
  view him as a “traitor” for keeping the secret from 
  them.
  In most cases, the easiest way to eliminate this 
  problem is to ask all the players, at the beginning 
  of the campaign or well in advance of the actual 
  event, if they wouldn’t mind a storyline like the 
  ones described above. Of course, that means tipping 
  your hand a little, but if everyone agrees, and if you 
  do it far enough before you run the actual game, 
  that shouldn’t cause a problem. If too many players 
  object too strongly to this sort of story, don’t run it.
  REALITY QUAKES
  Time travel, reality-altering psi powers, and 
  intrusions from parallel dimensions can all trans-
  form the nature of reality as Humans know it. That 
  much is cool. But how can one portray this in a 
  game? Since everything the players know about the 
  game world comes from the GM, any changes or 
  inconsistencies are likely to be taken as mistakes or 
  “retroactive continuity” on his part. Often it’s neces-
  sary to hit the players over the head with the fact 
  that a change has taken place:  “You look out of the 
  viewport at the familiar skyline of Imperial City, and 
  suddenly realize it isn’t familiar at all. The looming 
  spire of the Terran Security Bureau tower is gone, 
  and so is the huge dome of the Residence. Other 
  buildings stand where they did, and with shock you 
  realize reality itself has changed!”
  Another potential problem with reality shifts 
  is that the players may not automatically want to 
  change things back — at least not right away. They 
  may want to spend time “playing tourist” in the new 
  conditions. They almost inevitably will want to try 
  to proﬁt from the shift, in terms of knowledge and 
  equipment if not actual money.
  To cope with this problem, you need to struc-
  ture “reality quakes” carefully. Plan the event so you 
  can alert the PCs about what’s happened without an 
  obvious infodump. Arrange the circumstances so 
  ontological proﬁteering becomes diﬃcult or impos-
  sible — maybe the shift back to “normal reality” 
  eliminates the powerful new government jobs the 
  PCs acquired, or all the cool new equipment they 
  got their hands on becomes highly unstable due to 
  the reality-shift. And make sure the “revised” reality 
  is deﬁnitely an undesireable alternative to the set-
  ting the PCs know and love (or at least tolerate).
  RELATIONSHIPS
  Heroes in ﬁction fall in love when the 
  author tells them to. If it’s important for Cap-
  tain Kirk to become infatuated with a blue-
  skinned woman on another planet, then the 
  good captain falls for her like a ton of bricks. 
  Player characters don’t do that. Using die rolls to 
  control a relationship doesn’t work for anything 
  more than a brief ﬂirtation. This is a case where 
  the personalities of individual players are impor-
  tant:  some gamers happily dive into a doomed 
  romance, while others view it all as mushy stuﬀ that 
  gets in the way of combat.
  Genre conventions often include “typical” 
  romance situations:  Space Operas lend themselves 
  to grand passions, love that endures beyond death, 
  and a thoroughly romantic approach to romance. 
  Planetary Romance stories follow an almost fairy-
  tale pattern:  hero wins girl (occasionally heroine 
  wins guy), and they live happily ever after until 
  the villain abducts her in the sequel. Cyberpunk 
  and Low SF have a much more cynical attitude, 
  and abound in casual pickups, android prostitutes, 
  kinky obsessions, and a very unromantic tone. Hard 
  SF traditionally doesn’t have much in the way of 
  romance at all; after all, love’s not very scientiﬁc. It’s 
  a good idea to respect the genre conventions — 
  would the Jedi Knights of Star Wars seem as heroic 
  if they had a James Bond attitude about women?
  Much depends on the personalities and matu-
  rity levels of the players. A mature or broad-minded 
  group may have no trouble with a fairly explicit 
  situation. Immature gamers may develop a terminal 
  case of snickering when anything of the sort comes 
  up in play. The simplest rule of thumb is to play 
  to the lowest comfort level — if even one member 
  of the group doesn’t handle “adult” situations well, 
  draw the curtain and leave 
  all that “oﬀ-screen.”  
  
  272 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  SPACE BATTLES
  Space battles are always fun in movies and 
  books, but often in roleplaying sessions they turn 
  tedious. How come?  Several reasons. In books or 
  movies the combat doesn’t have to follow game rules. 
  Everything is maximized for dramatic eﬀect, and the 
  author knows how it’s going to come out. In a game, 
  the players usually like to have some control over the 
  outcome, which means you have to resolve the battle 
  as an extended combat, with lots of die rolling and 
  table-checking.
  Another problem is that in a game session, one 
  player tends to wind up controlling the ship. The other 
  players either just watch passively, or do nothing but 
  roll dice when ordered to. They can’t really contribute 
  ideas — and if they do, the battle gets even slower 
  because every action has to be argued to death ﬁrst. 
  A related problems is the fact that one or two play-
  ers (not characters, players) may have more “tactical 
  smarts” than the others, making their characters the 
  stars of the scene whether the characters themselves 
  should know anything about interstellar battles.
  So, think carefully before including a space 
  battle in your campaign. This is not to say that there 
  shouldn’t be space battles in your Star Hero adven-
  tures, but you should consider how to set them up and 
  run them so they help the overall game instead of hin-
  dering it. Suit the style of battle to the preferences of 
  the players. A bunch of gamers who love working out 
  elaborate plans can come up with a “battle plan” which 
  gets resolved as a contest of Tactics or Combat Piloting 
  Skills against the enemy commander, with bonuses 
  for a clever plan. Gamers who like combat up close 
  and personal should face lots of boarding actions and 
  Space Marine raids. Groups interested in storytelling 
  and character interaction can simply have the battle 
  described to them, with plenty of bluﬃng and postur-
  ing via viewscreen with the enemy.
  SPLITTING THE PARTY
  A common situation in all roleplaying is when 
  the PC group has two things to do and the players 
  decide to split up. In ﬁlms and ﬁction it’s easy to cut 
  back and forth between two groups of characters, 
  because ﬁctional characters don’t get bored waiting 
  for their turn to do something. In roleplaying, the 
  characters have players who get ﬁdgety when they are 
  “oﬀ camera.” This is especially problematic when one 
  group’s actions are a secret from the rest of the party, 
  so the GM and some players are oﬀ in another room 
  or passing notes.
  The best way to deal with a split party situation 
  is not to let it happen. If that’s not possible, keep the 
  separation as brief as you can. If one group’s activities 
  don’t involve any conﬂict or roleplaying, summarize 
  it brieﬂy and keep the focus on the more interesting 
  events encountered by the others. You can put aside 
  secret exchanges that only involve a few players for 
  later — unless the events are going to have an imme-
  diate eﬀect, you and the players involved can resolve it 
  after the others go home, or by e-mail. If a prolonged 
  separation is unavoidable, the GM can let the other 
  players control NPCs or even villains when their char-
  acters are oﬀ stage.
  TIME TRAVEL
  As mentioned in Chapter Nine, time travel 
  creates some major headaches for GMs. In ﬁction, 
  
  273 
  Star Hero ■ Chapter Eleven
  characters fated to do something obligingly do it, or 
  else circumstances force them. Roleplaying charac-
  ters are not under the author’s control, and struggle 
  against taking predestined actions. In fact, players 
  often delight in resisting even the most trivial forms of 
  predestination.
  On the other hand, players also are quick to 
  “work the system” and squeeze as much advantage out 
  of time travel as they can. They try to have their future 
  selves leave clues (or spare ammunition) in the past to 
  help in the present. They often try to make big money 
  by investing in the past or setting up bank accounts 
  to accumulate millions in interest. They can’t resist 
  anachronistic technology — taking modern ﬁrepower 
  into the past or stocking up at future gun shops.
  You can short-circuit a lot of these potential 
  problems by carefully deﬁning how time travel and 
  causality work, adjusting the mechanics of space and 
  time to suit the tastes of your group. If players don’t 
  like predestination and hate to feel “railroaded” by a 
  ﬁxed timeline, set the rules for time travel to allow 
  changing the future, or put them into an organization 
  which prevents this kind of problem by ﬁat. If the 
  Time Patrol won’t let characters learn about their own 
  future, the players can’t feel bound by it.
  An in-game organization is also a good way to 
  prevent player abuse of time travel. Maybe the rules 
  forbid carrying anachronistic technology, or else 
  the Time Patrol issues a standard sidearm powerful 
  enough to keep the players happy but not unbalance 
  the game. Another method is to invoke some tech-
  nobabble which forbids moving nonliving items back 
  in time (as in the ﬁlm The Terminator). Finally, the 
  GM can just embrace it:  let the players fool around 
  getting wealthy in the past and loading up on future 
  tech, then create adventures which focus on other 
  matters. All the guns and money in the world won’t 
  help if the PCs have to arrange a romance between 
  Abelard and Heloise, or track Jack the Ripper in the 
  foggy streets of London.
  TOO MUCH TECHNOLOGY
  Unique to science ﬁction campaigns is the prob-
  lem of technology — too much of it, or types that are 
  too powerful. The characters, not their equipment, 
  should be the most important thing in the campaign; 
  they should solve problems themselves, rather than 
  simply using a planet-breaker or neural control 
  helmet to conveniently dispose of any diﬃculties they 
  encounter. See the sidebar on page 146 for more on 
  this subject.
  DISADVANTAGES AND  
  HOW TO USE THEM
  Stories are about characters, and roleplaying 
  game adventures are no exception. Characters, 
  of course, have personalities — ﬂaws and quirks 
  and personal goals. In the HERO System, these 
  are represented by the character’s Disadvantages, 
  particularly Psychological Limitations, Rivalries, 
  and Hunteds. (Getting points for Disadvantages is 
  partly a way to give players an incentive for creating 
  interesting and complex characters.) You use the 
  Disadvantages of your PCs to enrich the game in a 
  number of ways. They can serve as plot hooks, dis-
  tractions, sources of conﬂict, and ways to link the 
  party together. And of course, all the motivations 
  below may apply to villains just as well as heroes.
  ACCIDENTAL CHANGE
  As a plot hook, Accidental Change can sud-
  denly put the heroes on the run when it reveals 
  their true nature to a society that doesn’t tolerate 
  them. If something in the environment keeps trig-
  gering a character’s change, the party may have to 
  ﬁnd a way to cure or prevent it. As a distraction or 
  complication, Accidental Change is wonderful — in 
  the middle of a delicate situation one of the char-
  acter suddenly feels “the change” coming on, and 
  everyone must scramble to cover for him.
  If the character’s alternate form is a secret to 
  the other characters, Accidental Change can pro-
  vide a source of conﬂict. The character’s eﬀorts to 
  keep his true nature hidden lead to suspicion or 
  mistaken assumptions, and if the secret gets out 
  the other characters may suddenly have to decide 
  where their loyalties lie.
  Finally, if all the characters are subject to the 
  same form of Accidental Change, it gives them 
  a reason to adventure together. Perhaps they’re 
  searching for a cure for the mutagenic plague, or 
  for the secret homeworld of the shapeshifter spe-
  cies, or for a planet where super-soldiers aren’t 
  feared by the normal population.
  AGE
  Old age isn’t a common feature of charac-
  ters in most Star Hero campaigns, but it’s more 
  prevalent than in many Heroic campaigns. Thanks 
  to age-retarding technology and advanced medi-
  cal treatments, elderly characters in science ﬁc-
  tion settings can remain active and vibrant much 
  longer than twenty-ﬁrst century Humans can. For 
  example, on Star Trek:  The Next Generation, Cap-
  tain Picard is in his 60s and 70s, but goes right on 
  getting involved in all sorts of strenuous adventures 
  alongside his younger colleagues. But while prog-
  ress in life-extension and medical technology may 
  allow Humans to put oﬀ aging or avoid the worst 
  eﬀects, even the best-maintained mechanism still 
  wears out.
  As a plot hook, the Age Disadvantage ﬁts in 
  with one of the oldest story ideas in Human litera-
  ture:  the search for immortality. Characters who 
  feel old age creeping up on them may well go oﬀ 
  in pursuit of legends and rumors of rejuvenation 
  treatments, immortality serums, or other futuristic 
  versions of the Fountain of Youth. In an oppres-
  sive society which views the elderly as a waste of 
  resources, older characters may have to struggle to 
  simply survive.
  Even if the campaign doesn’t focus on the 
  battle against old age, character age can be a dis-
  traction at key moments. A very young adventurer 
  has to cope with the futuristic equivalent of truant 
  oﬃcers, or child-welfare authorities concerned 
  about a “dangerous environment.”  Old adventurers 
  must simply cope with the inevitable eﬀects of age 
  
  274 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  (it’s hard for a dashing secret agent to seduce an 
  enemy spy if she thinks he looks like her grandfa-
  ther, no matter what the movies say). Some societ-
  ies may have restrictive laws about the very young 
  or the very old — children might be property on 
  one world, while another culture might mandate a 
  digniﬁed suicide for the elderly. Long-lived aliens 
  who have formed friendships with Humans face 
  the anguish of losing them to old age... or might 
  exploit Humans’ short lifespans through policies 
  designed to weaken Human governments over time 
  while the aliens’ way of life remains unchanged.
  Age can create conﬂict among the characters 
  if a method of restoring youth does exist — but 
  involves matters of questionable morality. Young 
  heroes would see an operation raising clones for 
  brain transplants as a particularly horrible form of 
  slavery, but their older comrades might be tempted 
  to sign up for the process. A party of older char-
  acters might be thrown together by the search for 
  the Fountain of Youth, or by the need to struggle 
  against an oppressive youth-dominated culture. 
  Alternately, the Stellar Intelligence Service might 
  have to call in a team of semi-retired experts when 
  all the hot young agents have failed. Young charac-
  ters could ﬁnd themselves in a “Lord of the Flies” 
  situation, in which they must survive in a hostile 
  environment without adult help, or cope with the 
  most dangerous setting of all:  school.
  DEPENDENCE
  If a character in an alien environment depends 
  on something for survival, that typically counts as 
  a Dependence. This most commonly occurs with 
  respect to breathing gases — aliens who breathe 
  water or methane have to carry the proper envi-
  ronment around with them when they interact 
  with air-breathers such as Humans. You should 
  deﬁne the default environment for the campaign 
  (almost certainly the oxygen/nitrogen mix Humans 
  breathe), and then let characters who can’t survive 
  in the default atmosphere without assistance take a 
  Dependence (assuming they spend more than half 
  of their in-game time in the default atmosphere).
  The simplest way to use Dependence is as a 
  plot hook is to confront the characters with a short-
  age of the vital substance. (In the immortal cartoon 
  “Duck Dodgers in the 24 ½th Century,” Daﬀy Duck 
  sets out in search of Planet X because the Earth’s 
  supply of Illudium Phosdex — the shaving-cream 
  atom — is alarmingly low.) There are few people 
  more motivated than an astronaut who knows his 
  oxygen supply is running out!  More subtly, char-
  acters probably won’t like it if some enemy gains 
  control of the supply, giving him the power to cut 
  them oﬀ at will. Finally, NPCs with a Dependence 
  naturally turn to their heroic PC buddies when a 
  shortage develops in something they require.
  As a distraction during other events, a Depen-
  dence works in much the same way. Do the heroes 
  chase after the bad guy, or detour to reﬁll their 
  oxygen tanks?  Perhaps the villains anticipate them, 
  and set up an ambush outside the airlock.
  Characters can come into conﬂict because of 
  Dependences. An addict may have trouble persuad-
  ing his un-addicted companions that getting his 
  ﬁx of Nova Drug really is more important than 
  stopping the Galactic Tyrant’s latest scheme. Aliens 
  may even have Dependences which the other char-
  acters ﬁnd shocking or immoral. If your friend, an 
  alien composed mainly of psionic energy, needs to 
  engage in voyeuristic activities every day to main-
  tain his composure, do you help him ﬁnd victims?
  As a way of connecting party members, a 
  shared Dependence is an interesting and unusual 
  possibility. The only oxygen-breathers on Venus 
  will naturally work together to stop the terrorists 
  who have taken over the only source of the gas, 
  while in a gritty Cyberpunk setting the only dealer 
  with a supply of Metacaine can ask some of his cus-
  tomers to do a little job for him.
  DEPENDENT NPC
  As a distraction from the main action, DNPCs 
  are excellent. DNPCs are always reliable plot hooks, 
  either because they have gotten into trouble or 
  danger, or because someone has asked them for 
  help in a diﬃcult situation. Continuing villains 
  with a grudge against the heroes naturally try to 
  strike at vulnerable NPCs, or use them as the lure 
  in a trap.
  DNPCs work especially well as motivators in 
  more realistic, low-powered campaigns. Saving the 
  universe usually takes precedence over family mat-
  ters, but an interstellar merchant or mercenary sol-
  dier may well decide to go on vacation with a loved 
  one rather than undertake another mission this 
  week. Troublesome DNPCs like animals or small 
  children can wander oﬀ at inopportune times.
  Within a group of heroes, conﬂicts over 
  DNPCs can come up in several ways. The simplest 
  is when the other party members don’t appreciate 
  one character taking time oﬀ to indulge a loved 
  one, or don’t want to risk their necks because some 
  fool relative got into trouble. Things can get even 
  more tense when two characters have DNPCs — if 
  one hero wants to spend more time with his family, 
  and another hero’s loved one is in trouble, which 
  situation takes precedence?
  Finally, DNPCs give the GM a way to get char-
  acters together, because they increase the number 
  of possible social relationships. A tough mercenary 
  soldier may not know any scientists, but his little 
  brother at the Academy knows plenty of professors 
  in the science department — one of whom may 
  be the doting uncle of an interstellar explorer who 
  needs a little muscle for his next mission.
  DISTINCTIVE FEATURES
  As a plot hook, Distinctive Features can come 
  into play through mistaken identity — a character 
  hunted for a crime committed by his clone-sibling. 
  Strange cultures on distant worlds may have proph-
  ecies or superstitions about someone with par-
  ticular features (a real-life example is the explorer 
  Cortez, who ﬁt the description of the mythic Aztec 
  ﬁgure Quetzalcoatl, causing confusion and uncer-
  tainty among the Aztec leaders).
  During an adventure, Distinctive Features 
  function as a distraction to the extent they make it 
  ALTERING AGE  
  OR NORMAL 
  CHARACTERISTIC 
  MAXIMA  
  FOR ALIENS
  Alien species may age 
  more rapidly or more 
  slowly than Humans 
  do, with all sorts of 
  story implications. For 
  example, Star Trek has 
  featured 200-year-old 
  Vulcan ambassadors, 
  and a species called 
  the Ocampa who have 
  nine-year lifespans. You 
  can set aging thresholds 
  as appropriate for the 
  setting; some species 
  may reach the “40+” 
  Disadvantage threshold 
  after only 20 years, while 
  others still aren’t there 
  yet at age 100. However, 
  that may cause some 
  characters to obtain an 
  advantage they haven’t 
  paid for; a better solu-
  tion may be to give 
  long-lived species some 
  Life Support:  Longevity 
  through their Species 
  Package Deals.
  Similarly, a GM who’s 
  interested in “realism” 
  may want to consider 
  altering the Normal 
  Characteristic Maxima 
  for various species in 
  his Star Hero campaign. 
  This is dangerous, 
  though, because it ends 
  up giving some species 
  a beneﬁt (the ability to 
  buy certain Characteris-
  tics above 20 at normal 
  price), and restricts 
  others (by charging 
  them double for some 
  Characteristics before 
  other characters have to 
  pay the increased price). 
  In most cases it’s best to 
  leave the NCM totals the 
  same for all characters, 
  and simply rely on Pack-
  age Deal alterations to 
  Characteristics to reﬂect 
  relative diﬀerences 
  between species.
  
  275 
  Star Hero ■ Chapter Eleven
  hard for characters to disguise or hide themselves. 
  Heroes who are particularly disturbing in appear-
  ance may have trouble when people react with fear 
  or hostility. The heavily cyborged characters of 
  many Cyberpunk settings face this problem:  on 
  the street their chrome limbs and glittering claws 
  look intimidating enough, but at a fancy corporate 
  party they stand out like a beacon.
  A character’s Distinctive Feature could become 
  a source of conﬂict within the party. This can range 
  from the comic to the deadly serious. If a character 
  has the Distinctive Feature “intense body odor,” his 
  comrades are going to get pretty sick of his com-
  pany on a long space voyage. And if one of the party 
  is the target of bigotry and hostility because of his 
  looks, do the others stand up for him every time, or 
  let it slide because they’ve got a job to do?
  As a way to get the party together, Distinc-
  tive Features is only rarely useful. Characters who 
  are already part of an organization may adopt a 
  common badge or uniform, but that’s an eﬀect 
  rather than a cause. Gamemasters could set up a 
  weird adventure in which the characters are clones 
  who are unaware of their origin until they notice 
  how much alike they are.
  ENRAGED/BERSERK
  Using Enraged/Berserk to represent mental 
  conditioning (see page 63) makes for an interesting 
  plot hook:  the character may want to ﬁnd out who 
  programmed him, or the other heroes may have to 
  race against time to stop their friend from carrying 
  out his programming.
  More typical Enrageds/Berserks may cause 
  inter-party conﬂict, especially if the other charac-
  ters don’t share the Enraged character’s prejudices, 
  or even have conﬂicting opinions. If the guy who 
  gets Enraged around Rigelians discovers his best 
  pal has fallen in love with one, things will likely get 
  interesting.
  Using Enraged/Berserk to link party members 
  is tricky, but possible. For example, characters with 
  implanted programming may not be aware of it 
  until they all are confronted with the same stimulus 
  and ﬁnd themselves turning into killing machines. 
  When the dust clears, the characters could band 
  together to learn the source of their mysterious 
  compulsion.
  HUNTED
  The saga of a man (or woman, or alien, or 
  android) on the run has a long history in ﬁction, 
  and makes a natural plot hook. It also works in 
  the other direction:  the heroes can track a wily 
  foe who continually evades them. The best Star 
  Hero Hunter-Hunted situation is one allowing for 
  frequent ﬂight and escape, which requires proper 
  design of both the PC and the Hunter. Star-travel-
  ing merchants can move to a diﬀerent sector if 
  the heat gets too close, but an oﬃce worker in a 
  near-future city has much more trouble getting 
  away. Similarly, a greedy bounty hunter can pursue 
  a PC from planet to planet, whereas the Denebian 
  Guard may not be able to leave its home system. If 
  the campaign involves a lot of moving from world 
  to world, you should not let characters choose 
  Hunters who are restricted to a particular world or 
  sector unless they return there often.
  Even when the Hunters are not close on the 
  heroes’ trail, the simple fact of having to keep 
  moving and keep hidden is a continuing distrac-
  tion and source of conﬂict. Party members who 
  aren’t Hunted may resent having to live the life of 
  fugitives to help a friend, and may even have genu-
  ine conﬂicts of loyalty between the desire to obey 
  the law and the desire to help a comrade unjustly 
  accused. If some characters in a game are bounty 
  hunters or lawmen and others are Hunted, the 
  PCs may eventually ﬁnd themselves Hunting each 
  other!
  As the old adage has it, “the enemy of my 
  enemy is my friend,” and being chased by the same 
  people is a good way to link the characters in a 
  campaign. They may not like each other, and they 
  may disagree over everything... but they know 
  they have to work together to stay ahead of their 
  common foe.
  PHYSICAL LIMITATION
  Physical Limitations in a science ﬁction set-
  ting have to be pretty severe, or pretty distinctive, 
  to overcome advanced medicines, medical nano-
  bots, and other high-tech methods of keeping 
  bodies functioning properly. Typical ones, like 
  Blindness or Missing One Limb, aren’t applicable 
  in most Star Hero settings; players have to be more 
  imaginative than that. At the very least, they have 
  to explain why, for example, doctors can’t cure a 
  character’s blindness through implants or neuro-
  technology, as with Geordi La Forge on Star Trek:  
  The Next Generation.
  The search for some way to cure a hero’s 
  physical handicap can drive the plot of an adven-
  ture, as can the quest for revenge on whoever (or 
  whatever) caused it. Within an adventure, the 
  Physical Limitations of the heroes can cause inter-
  esting problems to overcome. Although in ﬁction 
  a character’s Physical Limitations can be a fertile 
  source of dramatic conﬂict, this isn’t true in role-
  playing games. Since the player who designed the 
  character wants him to have that Physical Limita-
  tion, there isn’t as much resentment or anger over 
  being handicapped (unless the player is very good 
  at roleplaying).
  Heroes who share a common aﬄiction may 
  come together to search for a cure, or perhaps 
  some handicapped rejects from a society of “per-
  fect” Humans could depend on each other for 
  help. A band of wounded military veterans might 
  reunite for a ﬁnal mission. Finally, the heroes may 
  be given their common Physical Limitation by 
  whatever organization employs them:  perhaps 
  the Imperial Secret Police keep their undercover 
  agents in line by implanting microscopic time 
  bombs inside their brains. As long as the agents 
  stay in the ISP’s good graces, the timer is reset 
  during debrieﬁng. Characters who defect have only 
  weeks before they go boom. A group of ex-agents 
  who know this certainly have a strong motivation  
  to work together!
  
  276 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  PSYCHOLOGICAL LIMITATION
  “Psychological Limitation” is eﬀectively just 
  another word for “motivation.” To turn a Psycho-
  logical Limitation into a plot hook, simply put the 
  character into a situation in which achieving his 
  goal comes into conﬂict with his personality traits. 
  This is, by the way, the quick and easy formula for 
  most ﬁction of the past thousand years. Hamlet’s 
  goal is revenge. His Psychological Limitation is 
  Needs To Be Sure He Is Doing The Right Thing. The 
  result is a pile of bodies on the stage at the end of 
  the play.
  Things become even more interesting when 
  one character has two Psychological Limitations 
  that conﬂict. For example, on Star Trek:  The Next 
  Generation and Deep Space Nine, Worf often expe-
  rienced problems when his Klingon Code Of Honor 
  conﬂicted with his Devotion To Duty. This forced 
  him to evaluate his priorities, and sometimes to 
  ﬁnd clever ways out of dilemmas.
  If the villain of the piece knows the heroes 
  well enough, he can turn their Psychological Limi-
  tations against them. If they are greedy for money, 
  he may simply bribe them to look the other way 
  while his nefarious plot goes ahead. If one of the 
  PCs fears rats, the Ministry of Love can torture 
  him by locking him in a rat-infested cell. If the 
  heroes won’t use deadly force, their adversary will 
  dare them to shoot him, then escape while they 
  look on in frustration.
  Even if overcoming the heroes’ Psychologi-
  cal Limitations isn’t the main plot engine of the 
  adventure, character traits can still distract PCs 
  and create subplots. Again, simply create situations 
  which set oﬀ the heroes’ Psychological Limitations 
  and enjoy the fun. Will the lecherous good guy 
  interrupt his mission to cruise the singles bars? 
  Will the devoutly religious hero attempt to observe 
  his dietary laws on an alien planet?
  Heroes with conﬂicting Psychological Limita-
  tions can create lots of juicy roleplaying opportu-
  nities, although at times this may go over the line 
  into “constant intra-party bickering.”  A scenario 
  that challenges the heroes to ﬁnd a solution all 
  of them can accept is entertaining; a scenario in 
  which someone’s character has to violate his beliefs 
  leaves at least one player unhappy.
  Naturally, people with similar desires or 
  beliefs work together well. Dedicated government 
  agents may all share the Patriotic or Loyal To The 
  Agency Psychological  Limitations. A band of 
  rebels would all have Dedicated To Overthrowing 
  The Empire. If the heroes are all in love with the 
  same person, they will naturally work together 
  when that person is in jeopardy, but at the same 
  time try desperately to undercut and outshine each 
  other.
  REPUTATION
  Reputations are a natural source of distrac-
  tions during other adventures. Just when the vil-
  lains are getting away, the hero is deluged by a 
  mob of angry parents who think he discriminates 
  against alien children.
  Reputation turns into a source of character 
  conﬂict when the individual’s Reputation doesn’t 
  match his real personality. Do his comrades 
  become disillusioned when he turns out to be not 
  nearly as much of a “ruthless mercenary” as they’d 
  heard? What if he has a Reputation as a “hotshot 
  pilot” — even though he barely knows how to ﬂy?
  To link characters together, a Reputation is 
  wonderful. It provides a pretext for completely 
  unrelated individuals to get in touch with each 
  other. (Not unlike the way people in the real world 
  get together.) After all, if one of the heroes has a 
  Reputation as a ruthless mercenary, anyone who 
  needs a ruthless mercenary might contact him. 
  On the other hand, a person known for cowardice, 
  or for inadvertantly causing immense collateral 
  damage, won’t be high on the calling list when 
  there’s a job to do; it may take some eﬀort to con-
  vince the other PCs to let him join the group.
  RIVALRY
  Building an adventure on a Rivalry usually 
  means coming up with a plan the Rival has to 
  embarrass or harm the heroes, and then letting 
  them either counter it or get themselves out of 
  trouble. More subtly, a Rival’s plot could involve 
  the heroes in something bigger, something the 
  Rival didn’t know about, so that the two sides have 
  to suspend their feud for a while until the greater 
  menace is defeated.
  Rivalries serve as a perennial source of dis-
  traction in an adventure. Bold ﬁghter pilots may 
  be battling the Galactic Tyrant’s space ﬂeet, but 
  sometimes that takes second place to outdoing 
  one another in the squadron rankings. This kind 
  of distraction becomes a plot element if the heroes 
  are so busy sabotaging each other that the bad guy 
  gets away.
  Perhaps the best use of Rivalries is as a source 
  of conﬂict and tension among the characters in a 
  group. If the Rivals are both PCs, their dislike for 
  each other will constantly be on display. It may 
  be tempered by grudging respect, or it may be a 
  genuine dislike limited only be the fact that they 
  are on the same side. Characters who aren’t part of 
  the Rivalry may be drawn into the conﬂict, or may 
  stand apart, amused or disgusted.
  Oddly, a Rivalry can be a way to get the char-
  acters together in the ﬁrst place. Rivals will natu-
  rally keep tabs on each other, and if one is going 
  oﬀ on a dangerous mission that oﬀers the chance 
  to win glory (or proﬁt), the other has to tag along.
  SOCIAL LIMITATION
  Social Limitations can drive the plot, as a 
  character from an oppressed background struggles 
  for acceptance, or someone with a secret tries to 
  keep it. The heroes don’t necessarily even have to 
  be the ones with the Disadvantage:  Human char-
  acters can ﬁght for alien rights.
  If the characters aren’t trying to change the 
  world, but simply have to live with a Social Limita-
  tion, the GM can still use the Disadvantage as a 
  story complication. How can alien characters con-
  vince the Human authorities that a Human is the 
  one to blame for a series of crimes? Obviously they 
  
  277 
  Star Hero ■ Chapter Eleven
  need to get some ironclad evidence themselves, 
  and that’s where Our Heroes come in. Sometimes a 
  Social Limitation can even help the PCs — getting 
  downtrodden aliens to talk is much easier when a 
  character is a downtrodden alien himself.
  Within a party of heroes, Social Limitations 
  can be a fertile source of interaction and conﬂict. 
  An alien character may need to win the respect of 
  his Human comrades, and later convince them that 
  the injustices his people suﬀer are real and need 
  correcting. A robot character may in fact be the 
  property of another PC.
  Social Limitation, like Reputation or Hunted, 
  is a natural way to draw the heroes together. 
  Characters subject to the same persecution come 
  together for mutual protection. A duty to the same 
  organization means superior oﬃcers can simply 
  assign the characters to work together.
  SUSCEPTIBILITY
  The simplest way to use a Susceptibility as a 
  plot hook is to put a character into an environ-
  ment ﬂooded with whatever he’s Susceptible to, 
  then create obstacles to make it hard for him to 
  escape. Will he get away before he succumbs? The 
  character in question can be one of the PCs, or an 
  NPC they must rescue before time runs out. In the 
  course of a larger adventure, encounters involving 
  a character’s Susceptibility make good scenes or 
  distraction. 
  UNLUCK
  Unluck as a plot hook is hard to pull oﬀ. 
  Perhaps an NPC wants to ﬁnd a way to “cure” his 
  chronic bad fortune, and hires the party to accom-
  pany him on his quest (this can work even if there 
  really is no cure for Unluck in the campaign). 
  Unluck works better as a distraction — the super-
  competent PCs are plagued by accidents and mis-
  fortune despite their skills.
  An Unlucky character in the party may well 
  be a source of conﬂict (see the Biblical story of 
  Jonah for an example). This can also be true of the 
  players as well as the characters — gamers may 
  well start to resent it when all their cool plans fail 
  because of one character’s disadvantage.
  VULNERABILITY
  Vulnerabilities don’t make very good plot 
  hooks, since they don’t lend themselves well to the 
  kind of “burning fuse” situation mentioned under 
  Susceptibility. Unless someone is trying to ﬁnd a 
  cure for an artiﬁcial Vulnerability, they work better 
  as an obstacle to overcome in play.
  If a character’s Vulnerability isn’t well known, 
  his reluctance when facing certain attacks may be 
  interpreted as cowardice or treachery by his com-
  rades. On the other hand, there is great potential 
  for real heroism in the same situation — a Chirop-
  tan braving a barrage of sonics to save his com-
  rades, for instance.
  
  278 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  S
  cience ﬁction lets characters travel to a wide 
  variety of new environments, some of which 
  pose unusual hazards. This section tells how 
  to cope with unusual conditions peculiar 
  to SF.
  Albedo
  Albedo refers to the percentage of light (or 
  other electromagnetic radiation) the surface of 
  an object (such as a moon, asteroid, or starship) 
  reﬂects. The higher an object’s albedo, the easier it 
  is to see, since that makes it “brighter.” On the other 
  hand, in the dead black of space, an object with a 
  low albedo may be so diﬃcult to see that characters 
  only detect it by colliding with it. An albedo of 1 
  indicates an object with perfect reﬂectivity (one 
  that reﬂects all light falling upon it); an albedo of 0 
  indicates an object that absorbs all light falling upon 
  it and reﬂects none. Earth’s Moon, for example, 
  has an overall albedo of about 0.12; Mars has an 
  overall albedo of about 0.25. Gamemasters can use 
  the accompanying sidebar to determine the PER 
  Roll modiﬁers for detecting objects based on their 
  albedos.
  In some science ﬁction stories, such as Orson 
  Scott Card’s Ender’s Game, space militaries deliber-
  ately keep the albedo of space stations and starships 
  low, to minimize the enemy’s ability to detect them. 
  To simulate this, starships, space stations, and other 
  such objects can buy Images to impose the appro-
  priate penalties on the Sight and Radio Groups, with 
  the Limitations Self Only (-½) and Set Eﬀect (-1). 
  Alternately, GMs could have the object buy a Stealth 
  roll and engage in Skill Versus Skill Contests with 
  characters who try to perceive it.
  Gravity
  When physicists talk about an invisible energy 
  ﬁeld which permeates the universe and binds it 
  together, they’re talking about gravity. One of the 
  weakest of the fundamental forces on a small scale, 
  gravity becomes important when you have masses 
  the size of planets and stars around.
  GENERAL RULES
  As discussed on page 203, the G force from 
  gravity/acceleration is rated as 5 STR for 1 G, +5 
  STR for each +1 G thereafter. That rule provides a 
  quick and easy way to evaluate the force of gravity/
  acceleration in most circumstances, and thus to 
  set a guideline by which to determine how much 
  extra STR a heavyworlder should have, the eﬀects 
  of increasing the artiﬁcial gravity on a space sta-
  tion, and so forth. If appropriate, a character should 
  have to make STR Versus STR Rolls simply to move 
  against the force of gravity. If he loses the contest, he 
  can’t move (or, at the GM’s option, can only move 1” 
  per Phase). That way, security forces can trap char-
  acters in “high gravity ﬁelds” and so forth.
  Heavyworlders have +5 STR above what’s 
  needed for the gravity they normally live in to make 
  these rolls easy for them (and to represent their 
  relative STR versus characters accustomed to 1 G). 
  In general, neither they nor other characters should 
  have to roll to move in normal circumstances, or in 
  any situation where the character’s STR equals or 
  exceeds the STR of gravity/acceleration.
  ENCUMBRANCE
  In heavy gravity, a character is not only encum-
  bered by the things he carries, but by his own body. 
  To determine encumbrance in high G, multiply the 
  weight of equipment by the local gravity, then add 
  an amount equal to the character’s body weight 
  times (local G -1). So a 100-kilogram man with STR 
  10, carrying 10 kilograms of gear in a 1.5 G environ-
  ment, would calculate his encumbrance as follows:  
  10 kg of gear times 1.5 G equals 15 kg of encum-
  brance from equipment. Increased body weight 
  equals 100 kg times (1.5 - 1 = 0.5), or 50 kg. His total 
  encumbrance is 65 kilograms, which means he takes 
  a penalty of -3 to his DCV and DEX rolls, a -2” 
  movement penalty, and burns 2 END per Turn just 
  moving around. (See page 379 of the HERO System 
  5th Edition, Revised.) Characters can counteract 
  the penalty for high gravity by buying extra STR, 
  possibly with the Only To Counteract High Gravity 
  Encumbrance Penalties (-1) Limitation — 5 STR per 
  +1 G suﬃces to reduce the character’s Encumbrance 
  penalty to what he’d experience in 1 G.
  In light gravity, the reverse is true:  the char-
  acter can not only multiply the weight of what he’s 
  carrying by the local gravity, thus making it lighter, 
  he can also subtract the diﬀerence between his own 
  normal weight and his current weight in low gravity. 
  Our 100-kilogram man in an 0.75-G environment 
  could not only carry 13 kg of stuﬀ without encum-
  brance, he could add to that the 25 kg of body 
  weight he doesn’t have to carry. So in low G he can 
  move easily with a load of 38 kilograms.
  FALLING
  High gravity makes things fall harder and 
  faster; low gravity makes them fall slower and land 
  gently. In an environment with diﬀerent G, multiply 
  falling velocity and damage by the local gravity. In 
  THE STAR HERO 
  ENVIRONMENT
  ALBEDO TABLE
   
  PER Roll  
  Albedo 
  Modiﬁer
  0.81 to 1.0 
  +4
  0.51 to 0.80 
  +2
  0.31 to 0.50 
  -0
  0.21 to 0.30 
  -2
  0.11 to 0.20 
  -4
  0.01 to 0.10 
  -6
  
  279 
  Star Hero ■ Chapter Eleven
  a normal atmosphere, falling objects move at 5” per 
  Segment, and rapidly reach terminal velocity — 30” 
  under standard gravity. Multiply these values by 
  local gravity to determine falling speed and termi-
  nal velocity on other worlds. Local air density may 
  reduce this; for atmospheres exerting a pressure of 
  1.1 atmospheres or greater, divide terminal veloc-
  ity by the local atmospheres. If there is no air at all, 
  objects continue to accelerate indeﬁnitely, adding 
  (5” x local gravity) to their velocity each Segment. 
  This means very long falls on a low-gravity but air-
  less body like the Moon can be more dangerous 
  than comparable falls on Earth.
  FIGHTING
  Gravity aﬀects both HTH and Ranged Combat.
  Hand-To-Hand Combat
  Hand-To-Hand Combat in high or low gravity 
  is more diﬃcult for ﬁghters who aren’t used to the 
  environment.
  In low gravity, there is an OCV/DCV penalty 
  of -1 in a gravity ﬁeld of 0.5 to 0.9, -2 in a ﬁeld 
  between 0.1 and 0.5, and -3 in less than 0.1 G.
  Heavy gravity imposes a straight -1 penalty to 
  CV, but that is in addition to the increased encum-
  brance penalty (see above).
  A character can negate the CV penalty for 
  high or low gravity by taking the appropriate Envi-
  ronmental Movement (page 51). However, this does 
  not eliminate the encumbrance penalty.
  Ranged Combat
  Gravity aﬀects the maximum range of projec-
  tile weapons. Simply divide range by local gravity to 
  get the new maximum range. Thus, a weapon with 
  a maximum range of 150” in 1 G has a maximum 
  range of only 100” in 1.5 G (150”/1.5), but a maxi-
  mum range of 200” in .75 G (200”/.75). The Range 
  Modiﬁer to accuracy does not change; it has more 
  to do with perception than with the actual distance 
  the projectile can travel.
  Characters using ballistic weapons in a new 
  and unfamiliar gravity should suﬀer at least a -1 
  OCV penalty, as shots tend to fall short. One hour 
  worth of practice (or one actual combat lasting at 
  least 1 Turn) in the new conditions can correct this 
  penalty.
  MOVING
  High and low gravity aﬀect Flight, Gliding, 
  Leaping, Running, Swimming, and Swinging. As 
  a general rule, don’t forget that moving opposite 
  gravity (i.e., straight up, when on a planet) halves a 
  character’s gravity-based movement rate; moving in 
  a direction consistent with gravity doubles it. (See 
  page 364 of the HERO System 5th Edition, Revised.)
  Flight
  Gravity makes ﬂying more diﬃcult. In high 
  gravity, winged ﬂyers have to go faster to keep aloft, 
  helicopters or thrust-based ﬂying machines have to 
  work harder, and antigravity and other “rubber sci-
  ence” methods of levitation require more power.
  In gravities greater than 1 G, divide Flight 
  movement by local gravity, since ﬂyers are burning 
  more power just staying oﬀ the ground. Winged 
  craft with Stall Velocity should multiply Stall Veloc-
  ity by the square root of local gravity (lift is pro-
  portional to velocity squared). Maneuvers become 
  more strenuous:  climbing (Flying opposite the pull 
  of gravity) requires 2” times local gravity to gain 
  1”. Thus, a jetpack with 12” of Flight in a 2 G ﬁeld 
  would only be capable of 6” Flight, and would burn 
  4” of movement to gain 1” of altitude. This means 
  a jetpack with less than 6” of Flight can’t take oﬀ in 
  a 2 G environment. Alternately, GMs may rule that 
  any Flight device simply can’t operate at gravity 
  levels more than 50% greater than the environment 
  it was designed for (unless they buy extra inches 
  of Flight with a -1 Limitation, Only To Counteract 
  Gravity Flight Penalty; these inches allow the device 
  to take oﬀ, but do not counteract or add to the 
  modiﬁer for ﬂying with/against the pull of gravity).
  In gravities lower than 1 G, Flight gets more 
  complicated. Maximum speed remains unchanged, 
  but it gets easier to maneuver. Climbing uses 2” 
  times local gravity to gain altitude — though the 
  value can never be less than +1” per 1” used to gain 
  altitude. The rules for diving (moving with the pull 
  of gravity) are unaﬀected; characters still add +1” 
  per 1” moved.
  Forms of Flight requiring lift (wings, rotor 
  blades, and the like) depends a lot on atmosphere 
  density, which can aﬀect carrying ability and the 
  ability to stay aloft; see the section on Atmospheres, 
  below.
  Gliding
  Gliding requires a local gravity ﬁeld to work. 
  Beings and gadgets with Gliding can’t use it to 
  move in zero gravity, although GMs may let them 
  try to “swim” clumsily through the air at 1-2” or so.
  Gliding works ﬁne in heavy gravity — if the 
  local air density is high enough (see below). How-
  SOLAR SYSTEM GRAVITIES
  Here are the gravities of major objects in Earth’s 
  solar system, where Earth’s gravity = 1 G.
  Object 
  Gravity
  Asteroids 
  Negligible
  Earth 
  1.00
   Moon 
  0.16
  Jupiter 
  2.60*
   Europa 
  0.13
   Ganymede 
  0.14 
  Mars 
  0.38
   Deimos 
  Negligible
   Phobos 
  Negligible
  Mercury 
  0.37
  Neptune 
  1.20*
   Triton 
  0.76
  Pluto 
  0.06
   Charon 
  0.015
  Saturn 
  1.20*
   Titan 
  0.14
  Uranus 
  0.80*
   Miranda 
  0.008
  Venus 
  0.88
  *:  Indicates gravity as of the cloud-tops; all others 
  are surface gravity.
  
  280 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  ever, multiply the 1” the character must descend 
  per Phase by local gravity; Gliding characters drop 
  more quickly in high G.
  The same rule applies for low gravity — mul-
  tiply the 1” by local gravity — but in this case the 
  eﬀect is to allow characters to Glide longer/further 
  without losing altitude. For example, on a world 
  with .5 G, a Gliding character only has to drop ½” 
  per Phase (or 1” per two Phases).
  Leaping
  Gravity aﬀects a character’s vertical Leaping 
  and horizontal Leaping distance. Divide the charac-
  ter’s inches of Leaping by the local gravity level.
  Example:  The New Patagonian Pampas-Leaper 
  can normally jump 10” in a 1 G environment. 
  In the Martian Interstellar Zoo, where the grav-
  ity is 0.4, the Pampas-Leaper can jump 25”, but 
  on the planet Adamant (local gravity 2 G) it 
  can only cover 5”.
  Swimming
  Swimming is aﬀected by gravity much like 
  Flight. In high-G environments, divide Swimming 
  movement by local gravity, and multiply the inches 
  needed to gain 1” when Swimming against gravity 
  by local gravity. In low-G environments, maximum 
  speed and diving speed remains unchanged, but 
  climbing speed improves (multiple the normal 2” per 
  inch climbed by the local gravity).
  Swinging
  Swinging, like Gliding, requires gravity to work; 
  in a zero-G situation, characters cannot Swing. In 
  high or low gravity situations, Swinging suﬀers no 
  net aﬀect; the aﬀect on the downward arc of the 
  swing balances out the aﬀect on the upward arc.
  LIFTING
  The Lift amount listed on the Strength Table 
  assumes a standard 1 G environment. In high grav-
  ity, multiply an object’s mass by the local gravity to 
  determine its apparent weight. Thus, a 100 kg barrel 
  on a 1.6 G planet weighs as much as 160 kilograms 
  do on Earth, and so requires STR 14 to get oﬀ the 
  ground.
  In low gravity, lifting gets easier. Multiply weight 
  by local gravity as above to determine its local 
  weight. This means characters can pick up extremely 
  heavy items in low gravity — a STR 0 person can 
  pick up 250 kilograms in a 0.1 G ﬁeld!  Below 0.1 G, 
  use the guidelines for Zero Gravity, below.
  THROWING
  Throwing distance in diﬀerent gravities is 
  simply a matter of multiplying the mass of the 
  thrown item by the local gravity and consulting the 
  Strength Table to determine the thrower’s available 
  extra STR based on the increased weight. Then con-
  sult the Throwing Table, as usual.
  Zero Gravity
  The complete absence of gravity imposes its 
  own set of diﬃculties on characters (some of which 
  are noted above in reference to lighter-than-normal 
  gravity). Since there is no force holding them down, 
  there is also little or no friction on surfaces. It 
  becomes very hard indeed to exert any force unless 
  the character is properly braced.
  The standard Skill Roll and OCV penalty for 
  all activity in zero gravity (a.k.a. free fall) is -3; the 
  standard DCV penalty is ½ DCV. Characters can 
  overcome this penalty in two ways. First, they can 
  buy the PS: Zero-G Operations Skill (page 45). This 
  method is the most “realistic,” and is best suited 
  for characters used to normal gravity but trained 
  for zero-G work. Second, they can buy the Zero-G 
  Training form of Environmental Movement (HERO 
  System 5th Edition, Revised, page 90). This costs 
  4 Character Points and automatically cancels all 
  Skill Roll and CV penalties caused by zero-G. This 
  method is most appropriate for characters born to 
  a zero-G environment, or who spend virtually all of 
  their time in one (such as Spacers, page 32).
  GRAVITY AND  
  FLIGHT/SWIMMING
  Here’s a quick reference table for the eﬀects of gravity 
  on Flight and Swimming. The table rounds oﬀ the 
  results for a more even curve of eﬀect.
  Normal Movement:  divide inches by local gravity
  Gravity 
  5” Movement Equals...
  .25 
  5”
  .50 
  5”
  .75 
  5”
  1.0 
  5”
  1.5 
  3”
  2.0 
  2½”
  2.5 
  2”
  3.0 
  1½”
  Climbing:  multiply 2” by local gravity  
  (minimum 1”/1”)
  Gravity 
  Climbing 1” Requires...
  .25 
  1”
  .50 
  1”
  .75 
  1½”
  1.0 
  2”
  1.5 
  3”
  2.0 
  4”
  2.5 
  5”
  3.0 
  6”
  GRAVITY AND LEAPING
  Here’s a quick reference table for the eﬀects of 
  gravity on Leaping. The table rounds oﬀ the 
  results for a more even curve of eﬀect.
  Divide inches of Leaping by local gravity
  Gravity 
  5” Leaping Equals...
  .25 
  20”
  .50 
  10”
  .75 
  7”
  1.0 
  5”
  1.5 
  3”
  2.0 
  2½”
  2.5 
  2”
  3.0 
  1½”
  
  281 
  Star Hero ■ Chapter Eleven
  FIGHTING
  The eﬀects of zero-G on Hand-To-Hand 
  Combat fall into four categories: OCV Penalties, 
  DCV Penalties, Damage Penalties, and Action/
  Reaction (Knockback). These penalties all apply 
  when the character is in free fall in zero-G. If he’s 
  braced against a surface (for instance, if he wears 
  magnetic shoes and stands on a steel surface), they 
  do not apply.
  OCV Penalties
  A character suﬀers a -3 OCV penalty for 
  all attacks requiring him to have his feet on the 
  ground (such as kicks in Martial Arts packages) 
  performed in zero-G. In some situations the GM 
  may rule that characters cannot use these maneu-
  vers at all. He also suﬀers a -3 OCV penalty for 
  other HTH attacks, reﬂecting the general diﬃculty 
  he has moving and contorting his body in zero-G.
  DCV Penalties
  Characters are at ½ DCV when in zero-G.
  Damage Penalties
  All HTH Combat attacks suﬀer a minimum of 
  a -1 DC damage penalty when performed in free 
  fall, as they normally beneﬁt from the character’s 
  secure contact with a surface or momentum aris-
  ing from a leap from a surface. These penalties are 
  usually higher (-3 DC), but the GM can adjust the 
  penalty as he sees ﬁt.
  Action/Reaction (Knockback)
  Combat in free fall should always use the 
  Knockback rules, even if the campaign normally 
  only uses Knockdown rules.
  Knockback becomes a very serious problem in 
  zero-G combat. When a character takes Knockback, 
  he continues to move that many inches per Seg-
  ment until he hits something. If the character has a 
  safety line or tether, he moves until he reaches the 
  limit of the rope and stops. Without a tether, there’s 
  a real danger of ﬂoating oﬀ helplessly into deep 
  space. Characters in that situation can make a DEX 
  Roll once per Phase to attempt to grab objects in 
  adjacent hexes and thereby keep from ﬂying away. 
  Victims wearing any sort of zero-G ﬂight pack can 
  bring themselves to a stop using their thrusters.
  For characters in free fall, roll 1d6 less than 
  normal to determine Knockback, as if they were 
  ﬂying — which, in essence, they are. Moreover, 
  instead of applying Knockback just to the target, 
  divide it between attacker and target. If an attack 
  does 4” Knockback, then the target doesn’t sail back 
  4” — both attacker and target sail away from one 
  another 2”.
  Grappling
  Grabbing someone negates OCV penalties 
  for strikes and the Action/Reaction eﬀect (when a 
  character has Grabbed someone and hit him, doing 
  Knockback, neither of them goes anywhere).
  LIFTING AND THROWING
  Lifting and throwing objects in zero gravity 
  are both easier and harder. A character can theo-
  retically move any mass, and once something is 
  moving it keeps on moving until it hits something. 
  When shoving an object in zero-G, consult the 
  Throwing Table (HERO System 5th Edition, Revised, 
  page 35) to determine the character’s Extra STR as 
  if making a Standing Throw. The accompanying 
  Zero-G Strength Table gives the velocity per Seg-
  ment imparted by a braced shove. (If a shove is not 
  braced, divide the inches of velocity between the 
  character and the shoved object, as with unbraced 
  Knockback.) The object continues to move until it 
  hits something.
  Stopping something in zero gravity is as hard 
  as starting it. A person trying to halt a moving 
  object in free fall compares the Extra STR (from the 
  Throwing Table, as if making a Standing Throw) to 
  the object’s velocity on the table below. Subtract the 
  inches a character could throw the object from its 
  velocity. If the character slows the object to 0” or 
  less, it stops moving. If the character doesn’t have 
  the STR to slow the object to 0” of movement, he 
  takes damage from a Move Through attack at what-
  ever the remaining velocity is (the object has STR 0 
  for Move Through purposes).
  Example:  Big John the astronaut has STR 18 
  and wants to move a 100 kg fuel tank. The 
  Throwing Table indicates he has an Extra STR 
  of 8, which means he can impart a velocity of 
  15” per Segment to the tank. It goes hurtling 
  across the Space Shuttle’s cargo bay to where 
  Little Willie the mission specialist tries to catch 
  it. Willie has STR 8. According to the Throw-
  ing Table, Willie has -2 Extra Strength, which 
  means he can slow the tank by 4” per Segment 
  (Willie gets to round in his favor). Subtracting 
  4” from 15” shows the tank retains a velocity of 
  11”. That means poor Willie gets hit by a Move 
  Through from the tank moving at its remaining 
  11”. Crunch! Poor Willie takes 3d6 damage.
  Vacuum
  Most of the Universe consists of nothing at all. 
  When characters venture out into that nothingness, 
  they’d better have protection. There are four things 
  to worry about in space:  lack of air to breathe; lack 
  of pressure; extremes of temperature; and radiation.
  Scientist and doctors have debated, and con-
  tinue to debate, the precise eﬀects of vacuum on 
  an exposed Human body; for obvious reasons, 
  it’s diﬃcult to test what happens thoroughly. The 
  information and rules below are based on the best 
  information available as of 2002. Gamemasters who 
  prefer some other interpretation — such as bodies 
  instantly freezing, or instantly exploding into crim-
  son mush due to internal pressure — are free to 
  adopt those interpretations for their games.
  BREATHING VACUUM
  Characters stuck in space without life support 
  are in trouble. They have no oxygen to breathe. The 
  standard rules for drowning (HERO System 5th Edi-
  tion, Revised, page 424) apply. However, as noted 
  below, attempting to hold one’s breath in space can 
  have severe negative consequences.
  ZERO-G  
  STRENGTH TABLE
  Extra STR Velocity
   
  -25 
  ⅛”
   
  -23 
  ¹⁄₆”
   
  -20 
  ¼”
   
  -18 
  ⅓”
   
  -15 
  ½”
   
  -13 
  ¾”
   
  -10 
  1¼”
   
  -8 
  1½”
   
  -5 
  2½”
   
  -3 
  3”
   
  0 
  5”
   
  3 
  7½”
   
  5 
  10”
   
  8 
  15”
   
  10 
  20”
   
  13 
  30”
   
  15 
  40”
   
  18 
  60”
   
  20 
  80”
  
  282 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  LACK OF PRESSURE
  The Human body is adapted to an environ-
  ment with external pressure. The Earth’s atmo-
  sphere presses against every square centimeter of 
  our skin with a force of about 10 Newtons. Take 
  away that pressure, and the body tries to expand 
  to ﬁll the void. However, the Human body turns 
  out to be a pretty good spacesuit, at least for short 
  periods. Skin is strong enough to resist rupturing, 
  so nobody’s going to explode in vacuum (though 
  the body swells up to as much as twice its size). 
  The chief danger is blood vessels rupturing, espe-
  cially in the lungs, where there is a vast network of 
  them separated from the air by only a thin mem-
  brane. Additionally, eardrums might rupture.
  In game terms, characters in a vacuum 
  without Life Support:  Safe Environment (Low 
  Pressure/Vacuum) suﬀer ½d6 Normal Damage, 
  NND Does BODY, per Segment of exposure to 
  vacuum. Increase the damage to 1d6 per Segment 
  if he holds his breath; the increase represents 
  rupturing of the lungs and the like. Swelling and 
  related problems result in a DEX Drain ½d6 NND 
  per Segment (to a maximum of -10 points of 
  DEX); the character cannot recover any of the lost 
  DEX until he’s recompressed, after which it returns 
  at the usual rate. Roll 3d6; on an 8-, the character 
  suﬀers eardrum damage (leading to a Physical 
  Limitation of -2 [or greater] Hearing PER Roll 
  penalties, or total Deafness if exposure lasts more 
  than three Turns). The result is that most charac-
  ters should enjoy a period of “useful conscious-
  ness” of about 9-12 seconds, and can survive as 
  much as about 90 seconds of exposure.
  Because decompression damage is internal, 
  Paramedics is of limited use (impose a Skill Roll 
  penalty of -3). Characters need advanced medical 
  procedures and technology to treat it.
  TEMPERATURE
  Science ﬁction writers frequently refer to 
  “the icy blackness of space” and the like, but in 
  fact vacuum itself has no temperature — it’s a 
  near-perfect insulator. What coldness there is in 
  space exists because the trace atoms ﬂoating in 
  the vacuum radiate energy into it, causing a chill. 
  Compared to suﬀocation and loss of pressure, any 
  threat posed by the low temperature is minimal; 
  characters exposed to vacuum die long before they 
  get cold.
  A Human exposed to vacuum can only cool 
  oﬀ by radiating heat or sweating. This causes a 
  rise in body temperature of 1 Temperature Level 
  per minute of activity (see page 441 of the HERO 
  System 5th Edition, Revised), or per ﬁve minutes of 
  rest. Of course, a person just resting in vacuum has 
  other problems....
  A related eﬀect is that unprotected exposure 
  to the ultraviolet rays of a star causes characters 
  to suﬀer very bad sunburns. See page 439 of the 
  HERO System 5th Edition, Revised for more infor-
  mation on sunburn.
  RADIATION
  Solar and cosmic radiation can be a seri-
  ous problem in space, even to space travelers 
  in shielded spacecraft. For someone ﬂoating in 
  vacuum with just a suit, the danger is very real.
  Gamemasters can also use these rules for 
  other types of radiation encountered on planetary 
  surfaces and the like.
  General Principles
  Radioactivity harms living things as energetic 
  particles destroy cell nuclei or damage the complex 
  molecules which carry on biological processes in 
  the cells. Very intense radiation kills cells en masse, 
  producing eﬀects like burns. More insidious is 
  long-term exposure to lower levels of radiation, 
  which kills oﬀ body cells and induces mutations 
  leading to cancer and leukemia.
  RADIATION LEVEL TABLE
  Source 
  Rads
  Occupational Safety Limit 
  5 per year
  Medical X-Ray 
  0.01 to 0.05 per shot
  X-Ray Laser 
  1 per die of Killing 
  Damage
  Cosmic Rays (in space) 
  30 per year
  (Lunar surface) 
  15 per year
  (Earth surface) 
  0.03 per year
  Jovian Radiation Belt 
  1,000 per hour
  Solar Flare (Earth orbit) 
  100-1,000 per event
  Nuclear Fallout (within plume) 240 per year
  Plutonium (1 gram) 
  1 per second
  Reactor Core (unshielded) 
  7,000 per second
  
  283 
  Star Hero ■ Chapter Eleven
  Radiation exposure is measured in Rads, short 
  for “Radiation Absorbed Dose.” One rad is deﬁned 
  as 100 ergs of energy per gram of material. The 
  radiation level of various sources of radioactivity 
  is given in the Radiation Level Table. The eﬀects of 
  exposure are given in the Radiation Eﬀects Table. 
  Radiation, like all forms of energy, is subject to the 
  inverse square rule — so divide the rad level given 
  on the table by the square of the distance to the 
  source to determine a character’s exposure.
  Fallout And Half Life
  Fallout is radioactive material released by 
  nuclear weapons explosions. Typically, a bomb 
  going oﬀ scatters bits of radioactive material high 
  into the atmosphere, creating a long plume, extend-
  ing hundreds of miles, where the radiation levels 
  are temporarily higher than normal. The problem 
  with fallout is that it aﬀects an area — the radiation 
  level rises over the whole region covered by the 
  plume.
  Some sources of radiation, like ongoing 
  nuclear reactions, emit radiation at a constant level. 
  Others, like radioactive isotopes or fallout, have a 
  half life. The half life is the amount of time it takes 
  for half of the radioactive material to decay to a 
  stable form. Because of the way radioactive decay 
  works, this time is constant, so the rad level drops 
  by half for each half life increment. The process of 
  decay is gradual — the radiation level doesn’t sud-
  denly drop when the half-life period is up.
  Radiation Shielding
  Radiation shielding absorbs high-energy par-
  ticles. In practice, diﬀerent materials stop diﬀerent 
  kinds of radiation better than others, but for the 
  sake of simplicity you can lump them all together 
  as “radiation shielding” and leave it at that. The 
  Radiation Shielding Table gives the amount of pro-
  tection for diﬀerent materials. Radiation shielding 
  is exponential:  each additional layer of protection 
  halves the radiation which penetrates.
  Atmospheres
  Earth is the only known planet with air 
  Humans can breathe. Characters venturing to other 
  worlds will encounter a variety of atmospheres, 
  many of them with harmful eﬀects. (See pages 86-
  88 for more on atmospheres.)
  DENSE ATMOSPHERES
  Atmospheres denser than Earth’s may cause 
  two problems for Humans and other living crea-
  tures:  pressure and toxicity.
  Pressure
  As indicated on page 87, to determine atmo-
  spheric pressure on the surface of a planet, deter-
  mine the density of the atmosphere relative to that 
  of Earth, then multiply by the surface gravity. For 
  example, on a world with a Standard atmosphere 
  120% as dense as Earth’s, and a surface gravity of 
  1.3 G, the atmospheric pressure is 156% that of 
  Earth’s, or roughly half again as strong.
  Earth’s average atmospheric pressure at sea 
  level (one atmosphere, or approximately 1000 mil-
  libars) is the default for game purposes. At 1 atmo-
  sphere or below, a character’s normal PD is enough 
  to resist the eﬀects of pressure.
  Heavier pressure, such as from descending 
  into a dense atmosphere like Jupiter’s or diving 
  deep into the sea, can cause injury and death. As of 
  2002, the free-diving record for Humans is to 137 
  meters, where the pressure is about 14 atmospheres 
  (see sidebar) — but without special protection, they 
  can only remain at such pressures for short periods. 
  For game purposes, 10 atmospheres of pressure is 
  the most an unprotected Human can withstand 
  for extended periods. For each +1 atmosphere (or 
  fraction thereof) thereafter, a character suﬀers 1d6 
  Normal Damage, NND Does BODY, per Turn (the 
  damage accrues on Segment 1). For example, at 
  15.5 atmospheres, a character suﬀers 6d6 damage 
  per Turn. The defense to the damage is Life Support 
  (Safe Environment:  High Pressure).
  In Hard SF or “realistic” settings, Safe Envi-
  ronment (High Pressure) only constitutes a total 
  defense to pressure damage up to 30 atmospheres. 
  RADIATION EFFECTS
  Exposure (Rads) is... 
  Effect
  Greater than 5 x CON 
  Radiation Sickness:  Indi-
  vidual loses 1d6 CON 
  (heals normally)
  Greater than 10 x CON 
  Serious Sickness:  Lose 
  2d6 CON (heals nor-
  mally)
  Greater than 20 x CON 
  Internal Damage:  Lose 
  2d6 CON and 1d6 BODY 
  (heals normally)
  Greater than 30 x CON 
  Lethal Threshold:  Lose 
  3d6 CON and 2d6 BODY 
  (heals at half normal rate)
  Greater than 50 x CON 
  Fatal Dose:  Lose 4d6 
  CON and 3d6 BODY 
  (does not heal)
  Armor and other defenses do not reduce BODY 
  damage from radiation; consider it as NND Does 
  BODY damage, with the defense being Life Support:  
  Safe Environment (High Radiation).
  RADIATION SHIELDING
  Substance 
  Radiation Multiplier
  Trace Atmosphere (per meter) 
  .98
  Thin Atmosphere (per meter) 
  .9 
  Standard Atmosphere (per meter) 
  .75
  Dense Atmosphere (per meter) 
  .9
  Water (per cm) 
  .9  
   
  Brick, Soil, or Rock (per cm) 
  .75  
  Wood or Plastic (per cm) 
  .95
  Steel (per mm) 
  .9 
   
  Lead (per mm) 
  .8
  Spacesuit 
  .9
  Radiation Suit 
  .7 
   
  Vehicle Hull (per point of DEF) 
  .9
  Radiation protection is exponential. Steel plating 
  reduces rad levels by .9 per millimeter, so a layer 
  of steel 5 millimeters thick would reduce it by a 
  factor of (.9 x .9 x .9 x .9 x .9), or about .59 overall.
  ATMOSPHERIC 
  PRESSURES
  As a guideline, on Earth, 
  10 meters (5”) of depth 
  in the ocean equals 1 
  atmosphere, and every 
  +10 meters (+5”) (or 
  fraction thereof) equals 
  +1 atmosphere. Thus, a 
  character swimming 43 
  meters below the surface 
  experiences 5 atmo-
  spheres of pressure.
  For Dense atmospheres 
  (181% or greater than 
  Earth’s atmosphere), the 
  GM must establish what 
  the surface pressure 
  is (see page 87), then 
  determine how quickly 
  pressure decreases as 
  one rises in the atmo-
  sphere (page 87-88). 
  That way he can deter-
  mine at what point char-
  acters and ships start to 
  suﬀer damage, based on 
  the rules in this section.
  
  284 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  Above that, Safe Environment (High Pressure) 
  alone is not enough. At that point, for each +1 
  atmosphere (or fraction thereof) above 30, a person 
  suﬀers the damage indicated above (beginning at 
  1d6, not 21d6) unless he has the proper defense:  
  Safe Environment (High Pressure) and a minimum 
  of 1 Resistant PD for every 3 atmospheres of pres-
  sure. (Normally the defense to an NND shouldn’t 
  vary this way, but in this case it’s a realistic and 
  valid way to represent the increasing eﬀects of pres-
  sure.) This defense can come from armor, personal 
  force ﬁelds, or any other source. Thus, at 31 atmo-
  spheres, a character with Safe Environment (High 
  Pressure) and 10 rPD is ﬁne; at 32 atmospheres, he 
  starts taking damage, because his rPD is no longer 
  enough to protect him.
  The Bends
  Even when the pressure isn’t high enough to 
  cause harm, being in a high-pressure environment 
  has other dangers. Nitrogen and other gases dis-
  solve in the bloodstream under pressure. When 
  the pressure is reduced quickly, the dissolved gases 
  form bubbles and expand. For a graphic demon-
  stration of this, shake up a bottle of carbonated 
  soda and open the top — then imagine that hap-
  pening in your veins. The eﬀects of the bends are 
  highly variable; some deep-sea divers have survived 
  dozens of dives with no permanent eﬀects, but 
  others died or were left paralyzed.
  The bends are only a problem in rapid 
  decreases in pressure. For any decrease in pressure 
  of greater than 1 atmosphere per minute, make a 
  CON Roll, with a penalty of -1 for each additional 
  atmosphere of pressure. Success means no bends 
  this time; failure means RKA 1d6 NND Does 
  BODY damage (the defense is Life Support [Safe 
  Environment:  High Pressure]).
  Toxicity
  Where the air pressure is greater than 10 
  atmospheres, the concentrations of gases become 
  toxic. A character without Life Support (Safe Envi-
  ronment:  High Pressure) eﬀectively drowns (use 
  the standard drowning rules).
  THIN ATMOSPHERES
  In air pressure below 25% Earth normal (.25 
  atmospheres), characters can’t get enough oxygen to 
  stay alive. The drowning rules apply unless they have 
  artiﬁcial protection. (In situations with no pressure 
  at all, use the Lack Of Pressure rules under Vacuum, 
  above.)
  Thin air also aﬀects how ﬂying creatures and 
  vehicles stay aloft. Any type of Flight requiring lift 
  from wings, propellors, rotors, or gas bags has its lift 
  reduced in proportion to the lower pressure. In game 
  terms, this means the weight a ﬂying character or 
  vehicle can carry is reduced by the atmospheric pres-
  sure — in 25% pressure, reduce its STR to one-fourth 
  of normal for purposes of carrying objects while 
  ﬂying. (See the Encumbrance Table on page 379 
  of the HERO System 5th Edition, Revised for rules 
  regarding the eﬀects of encumbrance on movement.) 
  In atmospheres 10% of Earth’s, or thinner (includ-
  ing no atmosphere),  any type of Flight requiring lift 
  cannot function at all; there’s not enough atmosphere 
  to “push” against.
  Gliding works poorly in thin atmospheres, since 
  there’s less air to “support” a Gliding character. Multi-
  ply the glider’s inches of movement by the percentage 
  of air pressure relative to Earth; at 20% or less pres-
  sure, Gliding is not possible.
  ATMOSPHERIC COMPOSITION
  There are dozens of likely atmospheric gases 
  — hydrogen, helium, methane, carbon dioxide, 
  oxygen, nitrogen, ammonia, argon, chlorine, ﬂuo-
  rine, and various combinations of them (see page 
  88). Most of them are poisonous to Humans (even 
  oxygen and nitrogen, if the concentration or pres-
  sure are too high). Rather than detailing the eﬀects 
  of each, you can simply divide them into Breathable, 
  Unbreathable, and Poisonous atmospheres. A Breath-
  able atmosphere is of course one a character can 
  breathe normally.
  Unbreathable atmospheres are any mix of gases 
  not containing free oxygen but also not poisonous. 
  Noble gases like helium and argon are unbreathable, 
  as are carbon dioxide, methane, and pure nitrogen. 
  Characters in an unbreathable atmosphere without 
  appropriate Life Support suﬀer the same eﬀects as 
  drowning in water. Otherwise, Unbreathable atmo-
  spheres are not harmful. A character with oxygen 
  tanks can operate in an Unbreathable atmosphere 
  without other protection (unless the pressure or tem-
  perature demand it).
  Poisonous atmospheres, also referred to as Cor-
  rosive, contain primarily gases that react with Human 
  tissues, killing cells and causing pain. Poisons include 
  pure hydrogen, ammonia, chlorine, ﬂuorine, hydro-
  gen sulﬁde, nitrogen oxides, and most combina-
  tions of those chemicals. Characters in a poisonous 
  atmosphere without protection suﬀer the eﬀects of 
  suﬀocation, plus 1d6 Normal Damage, NND Does 
  BODY,  per Turn (damage accumulates on Segment 
  1) as the toxic gases burn skin and exposed mucous 
  membranes (and corrode equipment). If the charac-
  ter breathes in the poison air, he takes an additional 
  1d6 Killing Damage, NND Does BODY, per Phase 
  as the poison sears his lungs and nasal passages. The 
  defense against poisonous atmospheres is Life Sup-
  port (Self-Contained Breathing) plus some sealed, 
  airtight Resistant Defense such as a suit of Armor 
  or a Force Field. If the character doesn’t have the 
  Life Support, he’ll suﬀocate, but at least the corrosive 
  eﬀects of the atmosphere won’t get him.
  ATMOSPHERES AND STARSHIPS
  Starships may run into several problems in 
  atmospheres.
  Entering An Atmosphere
  Vehicles entering an atmosphere from space 
  experience heat as the result of friction generated by 
  moving into/through air. Entering an atmosphere 
  causes a ship to suﬀer 5 BODY damage per Phase; 
  therefore, 5 DEF (or other defenses providing equiva-
  lent Resistant Defense) protects the ship from that 
  eﬀect.
  Many ships have the Physical Limitation Cannot 
  Enter Atmospheres (page 204), because their designers 
  
  285 
  Star Hero ■ Chapter Eleven
  intend them solely for use in space and see no reason 
  to spend the time and money to reinforce them to 
  handle atmospheric pressures. These ships may be 
  able to make it into an atmosphere, but they’ll soon 
  crack under the strain regardless of their defenses.
  Atmospheric Pressure
  Even ships designed to enter atmospheres may 
  encounter problems when descending deep into one, 
  however. On planets with large or dense atmospheres, 
  the atmospheric pressure increases the further into 
  the atmosphere the ship goes, eventually crushing 
  it if it’s not sturdy enough (in much the same way 
  that a submarine going too deep into the ocean gets 
  crushed).
  Ships designed to enter atmospheres need two 
  things:  a minimum of 5 DEF (see above) and Life 
  Support (Safe Environment:  High Pressure). A ship 
  without the Safe Environment (High Pressure) can 
  stay in up to 5 atmospheres of pressure without dif-
  ﬁculty, but suﬀers 1d6 Normal Damage, NND Does 
  BODY, per Turn (the damage accrues on Segment 1) 
  for each +1 atmosphere above 5 (or fraction thereof).
  In a Space Opera or cinematic setting, Safe Envi-
  ronment (High Pressure) lets a ship withstand any 
  level of pressure without diﬃculty (though the ship 
  may creak and groan alarmingly, as its hull adjusts 
  to the stress). In “realistic” or Hard SF settings, things 
  aren’t quite so simple. As with Humans, the Safe 
  Environment only oﬀers complete protection up to 
  a point — 50 atmospheres. At that point, for each +1 
  atmosphere (or fraction thereof) above 50, a space-
  craft suﬀers the damage indicated above (beginning 
  at 1d6, not 46d6) unless it has the proper defense:  
  Safe Environment (High Pressure) and a minimum 
  of 1 Resistant PD for every 3 atmospheres of pres-
  sure. This defense can come from its hull, defense 
  screens, or any other source. Eventually, though, 
  suﬃcient atmospheric pressure will crush even the 
  strongest ship.
  Corrosive Atmospheres
  Suﬃciently corrosive atmospheres may aﬀect 
  ships. In this case, the GM determines the amount 
  of damage and how quickly it accrues. Typically a 
  ship suﬀers 1d6 Killing Damage, NND Does BODY 
  (defense is Force Field or Force Wall), per Turn, with 
  the damage accruing on Segment 1. More corrosive 
  atmospheres do more dice of damage.
  Atmospheric Interference
  In some situations, the composition of a planet’s 
  atmosphere, or the eﬀects of weather, may interfere 
  with a ship’s ability to use sensors or communications 
  through/into that atmosphere. A Systems Operation 
  penalty of -1 to -3 may apply.
  Explosive  
  Decompression
  Although sometimes used to describe what 
  happens to the lungs of a person who’s exposed to 
  vacuum and holds his breath, in general explosive 
  decompression refers to the sudden loss of air and 
  air pressure when a sealed environment (such as a 
  starship’s hull) is opened to the vacuum of space. 
  Typically this occurs due to a puncturing of the envi-
  ronment (from, say, a meteor impact, or an enemy 
  ship’s laser blast), or when a heroic character deliber-
  ately opens an airlock to put out a ﬁre or suck some 
  
  286 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  bug-eyed alien monster out into space.
  When explosive decompression occurs, two 
  issues are important:  how long before all the air 
  leaks out; and is the outward ﬂow of air strong 
  enough to pull objects or characters out of the 
  ship? While formulae do exist to calculate the loss 
  of a volume of substance through a hole of given 
  size, that’s more complex than necessary for all but 
  the hardest of Hard SF Star Hero games. Instead, 
  use the accompanying Explosive Decompression 
  Table to determine the eﬀects.
  Decompression STR
  The STR of the decompression depends on 
  two things:  the size of the rupture in the environ-
  ment, and the pressure in the environment. First 
  use the accompanying table to determine the STR 
  based on rupture size — the larger the hole, the 
  more air can rush out quickly, resulting in a stron-
  ger pull. Then, for each +1 atmospheric pressure 
  (or fraction thereof) in the environment above 1 (1 
  being Earth-normal average atmospheric pressure, 
  used in Human starships), add +5 STR. Thus, if the 
  interior of a ship is pressurized to 3 atmospheres 
  and develops an Enormous (4”) rupture, the pull of 
  the decompression is equal to 35 STR (base of 25, 
  +10 for the two atmospheres above 1).
  The GM determines the size of a hole in a 
  sealed environment’s walls/hull. The standard 
  rules for breaking walls (HERO System 5th Edi-
  tion, Revised, page 449) indicate a Human-sized 
  (i.e., about 1” square) hole for 1 BODY damage, 
  with the size doubling per +1 BODY thereafter. 
  That rule works ﬁne on the average, but it may not 
  make much sense in the case of a micrometeor or a 
  pinpoint laser blast, so the GM should use his judg-
  ment when deciding how big a rupture is.
  The Pull
  The pull of decompression aﬀects everything 
  in the environment — people, objects both loose 
  and attached, dust, and so forth. Even a tiny pull 
  can be dangerous; after all, stray computer chips 
  and pieces of paper don’t weigh much, and may 
  contain invaluable data. But what characters are 
  most concerned about is whether they’ll be yanked 
  into the deadly depths of space. To save themselves, 
  they must have something to hang onto or brace 
  themselves against (if not, out they go, though the 
  GM may allow a DEX Roll for a character to snag 
  something to hold onto as he ﬂies toward the rup-
  ture). Then he engages in a STR Versus STR Roll 
  against the pull every Phase. As long as he keeps 
  winning the contest, he stays put; otherwise, out 
  he goes. If a character is particularly well braced, 
  strapped in, or the like, the GM may give him a 
  bonus to his STR Roll for the contest. The GM 
  should also assign STRs to ﬁxed objects (like desks 
  bolted to the ﬂoor) to determine if they come 
  detached; typically an object should have 5 STR for 
  every 1 DEF it has.
  The decompression STR pulls characters and 
  objects at the rate it could make a Running Throw 
  with them (so characters may have more than one 
  chance to grab something and hold on for dear 
  life). It has SPD 6 for these purposes.
  The Outcome
  If a character gets pulled all the way to the 
  rupture, what happens next depends on the relative 
  size of the rupture and the character. (The same 
  applies to objects, of course.) If the rupture is larger 
  than the character, he goes ﬂying out into space 
  (where he continues traveling at the same direction 
  and velocity every Segment thereafter until some-
  thing stops him).
  If the rupture is smaller than the character, but 
  larger than one-third the character’s size, he gets 
  forced violently through the rupture. Convert the 
  decompression STR’s damage into an equivalent 
  number of DCs of Killing Damage and apply it 
  to him. (Some gamers refer to this as the “sausage 
  grinder eﬀect.”) After he takes the damage once, he’s 
  out in space, as described above.
  If the rupture is one-third the character’s 
  size, or smaller, he takes the decompression’s STR 
  damage and then plugs the rupture with his body. 
  Thereafter he takes half the decompression’s STR 
  damage per Phase (again, based on SPD 6) until 
  someone saves him, he pries himself away, or the 
  like.
  EXPLOSIVE DECOMPRESSION TABLE
  Size Of Hole 
  Rate Of Air Loss 
  STR Of Decompression
  Insectile (.031” or smaller) .031 cubic hex/Segment, or less 
  -15
  Minute (.032”) 
  .032 cubic hex/Segment 
  -10
  Minuscule (.064”) 
  .064 cubic hex/Segment 
  -5
  Tiny (.125”) 
  .125 cubic hex/Segment 
  0
  Diminutive (.25”) 
  .25 cubic hex/Segment 
  5
  Small (.5”) 
  .5 cubic hex/Segment 
  10
  Human (1”) 
  1 cubic hex/Segment 
  15
  Large (2”) 
  2 cubic hexes/Segment 
  20
  Enormous (4”) 
  4 cubic hexes/Segment 
  25
  Huge (8”) 
  8 cubic hexes/Segment 
  30
  Gigantic (16”) 
  16 cubic hexes/Segment 
  35
  Gargantuan (32”) 
  32 cubic hexes/Segment 
  40
  Colossal (64” or larger) 
  64 cubic hexes/Segment, or more 
  45+
  OBJECT DEFENSE 
  AND BODY IN  
  STAR HERO
  The Object Table 
  (HERO System 5th Edi-
  tion, page 303) lists 
  many objects that might 
  appear in Star Hero 
  games. Some (such as 
  large spaceships) are 
  almost exclusively the 
  province of science 
  ﬁction settings; others 
  could occur in many 
  diﬀerent types of games.
  Generally speaking, 
  objects manufactured in 
  science ﬁction settings 
  are sturdier — better 
  made, and of more 
  durable materials — 
  than objects from earlier 
  time periods. They also 
  often weigh less. When 
  determining an object’s 
  DEF and BODY using 
  the Object Table, con-
  sider increasing the rat-
  ings of all multi-period 
  objects by 1-2 in each 
  category (sometimes 
  more). When determin-
  ing the weight of large 
  objects, consider reduc-
  ing the rulebook’s listed 
  weight by as much as 
  one-ﬁfth (20%).
  
  287 
  Star Hero ■ Chapter Eleven
  P
  erhaps the most important single aspect of 
  any scenario is the villain(s) — the adver-
  saries and enemies the characters encoun-
  ter or pursue during the course of the 
  game. Closely related to the villain are the NPCs:  
  other characters the PCs encounter who may be 
  helpful, hostile, or annoying. A good villain or NPC 
  can make a lackluster scenario enjoyable, and a 
  poor one can diminish the impact of an otherwise 
  wonderful adventure.
  VILLAINS
  Quick:  think of half a dozen memorable 
  characters from science ﬁction ﬁlms and stories. 
  Chances are, your list includes people like Darth 
  Vader, Harry Mudd, Khan Noonien Singh, and the 
  Mule. Villains.
  A good villain makes a good story. The reader 
  may not care much about the heroes, but every-
  body loves to root against a good villain. This isn’t 
  limited to science ﬁction:  Lucifer in Milton’s Para-
  dise Lost is by far the most striking character in the 
  whole epic poem.
  In a Star HERO game, the PCs’ adversary often 
  drives the plot, and consequently should be more 
  than just some game stats on a sheet. What makes 
  a good villain? What makes a good science ﬁction 
  villain?
  Villain Qualities
  In science ﬁction (and other genres, for that 
  matter), good villains have certain qualities that set 
  them apart.
  COMPETENCE
  The best villains in ﬁction are competent, often 
  extraordinary in their abilities. They are powerful, 
  clever, and subtle; overcoming them is a worthwhile 
  challenge for the good guys. Think of Darth Vader 
  in Star Wars:  he can out-plot Princess Leia, out-ﬂy 
  Han Solo, out-ﬁght Luke Skywalker, and has the 
  whole might of the Empire at his beck and call.
  A villain who isn’t competent isn’t very inter-
  esting. It hardly seems fair for the heroes to take on 
  somebody weaker than themselves. Note, however, 
  that “power” here doesn’t necessarily mean sheer 
  muscle or available ﬁrepower. A weak but clever 
  opponent who can maneuver the heroes into a 
  situation where their superior abilities are useless 
  is just as powerful as one who can bat them aside 
  with casual ease.
  Exactly how powerful the villain is depends 
  on the campaign’s scale and tone, the abilities of 
  the PCs, and the role the GM intends for the vil-
  lain. Role is perhaps most important. What part 
  will the villain play in the campaign? Is he the Big 
  Bad Guy behind all the heroes’ problems? In that 
  case he must be powerful indeed, with underlings 
  and henchmen who can each serve as the main 
  villain of adventures themselves. If he’s one of those 
  henchmen, then the villain should be only slightly 
  more powerful than the heroes. If he’s only a one-
  shot opponent in a casual encounter, he can be the 
  same level or even weaker than the PCs.
  MENACE
  Just being powerful doesn’t make a good vil-
  lain. Blue whales are immensely powerful animals, 
  but nobody’s afraid of them because they’re shy and 
  don’t harm Humans. A villain requires a credible 
  menace:  the heroes must believe the villain is not 
  only able, but willing, to cause harm.
  The best way to create this sense of menace 
  is to give the villain the chance to demonstrate his 
  power without directly harming the PCs. When the 
  Imperial forces destroy Alderaan at the beginning 
  of Star Wars, everyone learns they mean business. 
  Similarly, you could have a villain in your game 
  harm a character’s DNPC, kill a favorite NPC, 
  destroy a large chunk of a major city, or reveal 
  information to the characters that makes it plain he 
  could attack them at any time.
  SYMPATHY
  The best villains have a streak of humanity or 
  at least some admirable traits. They may be people 
  the heroes might have been friends with in other 
  circumstances, or at least enemies they can main-
  tain a grudging respect for. Otherwise, they’re just 
  two-dimensional cutouts; it’s not hard to hate, or 
  oppose, someone who’s unlikeable and villainous in 
  all aspects.
  Examples of “admirable” villains abound in 
  ﬁction. Long John Silver is a vicious pirate, but 
  he’s brave, resourceful, and doesn’t let young Jim 
  Hawkins come to harm. Darth Vader is a callous, 
  brutal tyrant, but there’s a spark of humanity within 
  him that Luke Skywalker, his son, can perceive and 
  use to redeem him. Khan Noonien Singh is a ruth-
  less dictator, but he can be polite and charming if 
  necessary.
  MOTIVATION
  Hardly anyone gets up in the morning and says 
  “How can I be evil today?” Even the worst villains 
  can justify their own actions to themselves. The 
  motives of villains are the same as those of most 
  VILLAINS  
  AND NPCs
  
  288 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  people:  they want things (desire); they fear things 
  (fear); and they believe things (conviction).
  Wanting something is easy to understand. 
  Everyone wants something. Villains may be moti-
  vated by a desire for wealth, lust for the opposite sex, 
  a simple urge to survive, or even love for another 
  person or being. Sometimes a villain’s desires aren’t 
  quite normal — twisted sexual urges, mad plans to 
  conquer the galaxy, or the obsessive pursuit of some 
  object. But other villains can have quite prosaic 
  desires, such as revenge.
  Fear is another powerful motive. Most living 
  things fear death, most Humans fear poverty and 
  hardship, a ruler might fear losing power, an oﬃcial 
  in a tyrannical regime might fear the consequences 
  of failure. Even the most incredibly powerful villain 
  can still have fears:  the Galactic Tyrant fears rebels 
  and threats to his throne, and the Cosmic Over-
  mind fears the heat death of the universe. Often 
  people (not just villains) take great risks to avoid or 
  overcome the things they fear; as long as the con-
  sequences are not as bad (in their opinion) as the 
  thing they fear, it’s a rational choice.
  Finally, most Humans have beliefs about right 
  and wrong. Even villains do, although their beliefs 
  may not match everyone else’s. People often endure 
  great danger and make tremendous sacriﬁces in the 
  name of what they believe in; villains may do the 
  same.
  These three motives can feed on and 
  strengthen one another. A villain who’s greedy for 
  wealth may also fear losing his property and sources 
  of income, and may believe he’s doing the right 
  thing by stimulating economic growth and provid-
  ing employment.
  The motives for villains are not necessarily dif-
  ferent from those of heroes. Han Solo was greedy 
  for money, and Captain Kirk certainly had an eye 
  for the ladies. What separates heroes from villains 
  is how they go about achieving their goals. Bring-
  ing unity and peace to the Galaxy is a noble goal. 
  Exterminating all other species is not a heroic way 
  to accomplish it.
  In some campaigns, the distinction between 
  the heroes’ motives and those of the villains is all 
  but invisible. Interstellar mercenaries or spies can 
  resort to pretty sleazy methods to accomplish their 
  missions, and some cyberpunk heroes are villains by 
  the standards of their society.
  STAR HERO PLOT HOOKS
  Here are a few Star Hero plot hooks, organized 
  by villain motivation.
  Desire
  An antiquities collector hires mercenaries to steal a 
  priceless religious relic from an alien temple.
  An AI expanding its processing power is taking over 
  the planet’s datanet — and the brains of everyone 
  linked into cyberspace!
  A con man has just “sold” the party’s starship to four 
  diﬀerent customers and skipped out with the loot.
  A dictator plans to invade a neighboring planet rich 
  in resources.
  A military commander fakes reports of alien raids 
  along a peaceful border so he can gain glory leading 
  the counterattack.
  An obsessive fan illegally clones a famous dead 
  actress, but the clone escapes.
  A parasitic alien implants its eggs in several people, 
  including one of the heroes’ DNPCs; when the eggs 
  hatch, the larvae will consume the host... but ordi-
  nary surgery can’t remove them.
  A starship captain is determined to open an ancient 
  alien artifact to learn its secrets.
  Fear
  An alien species must ﬂee its homeworld because its 
  star is going nova, so it’s invading nearby systems.
  An astronaut believes many of the people around 
  him are aliens in disguise.
  An energy creature living in Jupiter’s radiation belts 
  mistakes a spaceship’s radar beams for an attack.
  A growing political movement pressures the gov-
  ernment to sterilize all psionics to prevent them 
  from taking over.
  A megacorp covers up evidence that its new implant 
  computer causes psychotic episodes in many users.
  The government sends a military force to destroy an 
  alien artifact because it may pose a danger.
  A native tribe on an alien world captures some 
  explorers, whom they believe to be demons.
  A powerful alien civilization destroys all warlike, 
  dangerous species it encounters — and it’s just 
  found Earth.
  Conviction 
  A deep-cover spy works for an enemy species 
  because he respects their stable civilization and 
  sophisticated culture.
  The Cosmic Overmind wants everyone to join it 
  and share the wisdom of the Galaxy; refusal is a sign 
  of illogical thinking.
  A group of space rebels wages a guerrilla war 
  against the Empire.
  A new planetary government orders all citizens to 
  work for the common good... or else.
  A powerful alien empire wants to bring peace to a 
  planet’s warring nations by taking over at gunpoint.
  A religious fanatic believes all who link into cyber-
  space lose their souls.
  A robot leads a campaign to liberate machines from 
  the tyranny of organic life.
  A time traveller believes that by changing history he 
  can make a better future.
  
  289 
  Star Hero ■ Chapter Eleven
  Villain Archetypes
   Over the years, science ﬁction stories and ﬁlms 
  have developed a set of standard villainous arche-
  types that turn up again and again. Gamemasters 
  looking for inspiration can employ them as is, or use 
  them as the basis to create variations or combina-
  tions.
  ENEMY SPECIES
  In any setting with a large ongoing conﬂict, 
  one side can be the designated “bad guys.” Fictional 
  examples include the Klingons from the original 
  Star Trek series, House Harkonnen and its minions 
  in Dune, the Kzin in Larry Niven’s works, and the 
  minions of Boskone from E. E. Smith’s “Lensman” 
  novels; a historical version might be the Nazis. 
  When these guys show up, the heroes know who to 
  ﬁght.
  Useful Features:  Enemy species or civilizations 
  have lots of resources and minions to throw at the 
  heroes, making them versatile, powerful opponents. 
  Once you introduce them, you can use them again 
  and again, saving you the trouble of creating new 
  enemies. Even if the heroes kill oﬀ or capture one 
  leader, you’ve got an endless supply of replacements 
  to put on the black hat. Moral issues get very simple 
  when the players know who the bad guys are.
  Potential Problems:  Mowing down an endless series 
  of Space Mongols becomes boring after a while, and 
  the sheer scale and resilience of the bad guys may 
  make the heroes wonder if they’re really accom-
  plishing anything. The idea of an “evil species” may 
  have racist overtones, which could either oﬀend 
  players or bring out their less admirable qualities.
  Variations:  In a “cold war” situation, the heroes may 
  know who their enemies are, but blazing away at 
  them with ray guns could plunge the galaxy into 
  war. Instead, the PCs have to approach the problem 
  subtly; a series of chess-game adventures of plots 
  and counterplots may be entertaining. Giving the 
  villains understandable motives goes a long way 
  toward negating the problem of racism.
  GALACTIC TYRANTS
  For tyrants, there’s a depressingly long list of 
  historical examples to draw on. Notable ﬁctional 
  ones include Emperor Palpatine (from Star Wars) 
  and Ming of Mongo (from Flash Gordon). Tyrants 
  command vast ﬂeets and armies, and tend to remain 
  in their heavily fortiﬁed headquarters until the ﬁnal 
  battle with the heroes. The main diﬀerence between 
  an Enemy Species and the forces of a Galactic 
  Tyrant is that the Tyrant holds his empire together 
  by force of will and personality. Without the top 
  man, the Tyrant’s legions are easily mopped up, and 
  may convert to the right side with a little talking-to.
  Useful Features:  Giving evil a face and a name solves 
  the problem of how to defeat an entire empire — cut 
  oﬀ the head and the body will die. A colorful tyrant 
  can be whimsical or motivated by love or revenge. 
  If the heroes learn something about the tyrant’s per-
  sonality and blind spots, they may be able to fool or 
  outmaneuver him.
  Potential Problems:  A tyrant who’s too villainous 
  risks becoming implausible. If the Galactic Emperor 
  casually shoots underlings who fail him, why haven’t 
  his underlings conspired to overthrow him? If he 
  annihilates planets which are home to rebel activity, 
  eventually he won’t be Emperor of anything but a 
  bunch of gravel.
  Variations:  An hereditary empire might have a 
  whole family of Galactic Tyrants, all busily schem-
  ing against each other for the throne — oﬀer-
  ing plenty of 
  opportunities 
  for wily heroes 
  to divide and 
  conquer. A more 
  sympathetic 
  Galactic Tyrant 
  may become 
  an Honorable 
  Enemy. Some-
  times the Tyrant 
  turns out to be 
  nothing but a 
  Puppet of some 
  even bigger and 
  badder oppo-
  nent. For a more 
  scaled-down 
  tyrant, GMs may 
  want to use the 
  “Napoleon on 
  Elba” option of a 
  former overlord 
  scheming to 
  regain power.
  
  290 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  HERO GONE BAD
  Maybe the Galactic Tyrant is controlling his 
  mind, maybe he’s miﬀed because he got passed over 
  for promotion, or maybe he just looks better in 
  black. Being a hero is hard work, and even the best 
  may give up and decide that if you can’t beat the 
  hordes of Evil, you may as well join ’em. Sometimes 
  even PCs turn to the wrong side.
  Useful Features:  The great strength of a Hero Gone 
  Bad is that he knows what the good guys are likely 
  to try, and can anticipate and frustrate them. If they 
  have some sort of unique technology or powers, he 
  can counter them. A Hero Gone Bad may well have 
  a personal connection to the PCs, making for good 
  roleplaying opportunities.
  Potential Problems:  An ex-PC turned villain could 
  simply be too eﬀective as an enemy — he knows 
  the heroes, knows their weaknesses and secrets, and 
  if played properly could do serious damage. This 
  may turn the campaign into a vendetta.
  Variations:  Ex-heroes are often Honorable Enemies, 
  or may have simply turned Mercenary. Whipping 
  oﬀ the Galactic Tyrant’s mask to reveal a familiar 
  face can be a stunning climax to the campaign. 
  Maybe the Hero Gone Bad didn’t go bad at all 
  — either he’s operating under deep cover, ready 
  to switch sides again at the critical moment; or 
  maybe he was bad to the bone all along and only 
  pretended to support the heroes’ cause in the ﬁrst 
  place.
  HONORABLE ENEMY
  Just because he’s on the other side doesn’t 
  mean a villain can’t be a gentleman. Honorable ene-
  mies respect the heroes as worthy opponents even 
  as they try to foil or kill them. Historical examples 
  are common:  even amid the carnage of World War 
  I, pilots sometimes dropped ﬂowers over enemy 
  airﬁelds when an ace was killed.
  Useful Features:  An Honorable Enemy may well 
  grant mercy to defeated opponents, letting them 
  run away to ﬁght another day. When confronted 
  with some genuine evil, an Honorable Enemy could 
  join forces temporarily with his adversaries in the 
  name of common decency. An Honorable Enemy 
  who meets his foes on neutral territory could form 
  friendships or even romantic connections — catnip 
  for dedicated roleplayers.
  Potential Problems:  It’s diﬃcult to make a villain 
  ruthless enough to pose a genuine threat and still 
  keep him likeable. Players sometimes hold grudges 
  against anyone who thwarts them, no matter how 
  honorable. They can also be very Machiavellian, 
  using the Honorable Enemy’s own code of honor 
  against him.
  Variations:  A villain may only pretend to be hon-
  orable, abandoning his facade when things get 
  desperate (or when he thinks he’s won). A really 
  successful Honorable Enemy can reach Galactic 
  Tyrant rank. Heroes who violate the code of con-
  duct an Honorable Enemy follows may discover he 
  now views them as unworthy opponents — vermin 
  to be destroyed.
  MAD SCIENTIST
  A cliche of early pulp ﬁction which nowadays 
  is less common, the mad scientist’s lineage goes back 
  through the original Dr. Frankenstein to Faust. The 
  size and expense of major research programs has 
  made the lone genius creating wonders in his base-
  ment less plausible, but the possibilities of genetic 
  engineering and nanotechnology could revive the 
  Mad Scientist in ﬁction. A more realistic version is 
  the researcher who cuts ethical corners to complete 
  his experiments.
  Useful Features:  Mad Scientists can have seemingly 
  magical technology which is otherwise unavailable 
  in the game world. Their demented experiments can 
  create monsters. It’s traditional for every Mad Scien-
  tist to have a beautiful daughter suitable for romantic 
  attachments.
  Potential Problems:  Unless handled very deftly, the 
  Mad Scientist is such a creaky old cliche that play-
  ers may start rolling their eyes. The question of “why 
  doesn’t he just license these inventions and get rich?” 
  must be answered for the cynical modern gamer.
  Variations:  Galactic Tyrants sometimes dabble in 
  Mad Science as a hobby, or else keep some Mad Sci-
  entists on the staﬀ. In a Cyberpunk setting, the Mad 
  Scientist gets major corporate backing and a squad 
  of loyal security goons. Desperate Rebels may turn to 
  Mad Science in search of a secret weapon.
  MERCENARY
  The ﬂip side of an Honorable Enemy is the 
  Mercenary. He serves the opposition simply because 
  they pay him, and if Good oﬀers a better price than 
  Evil, he’ll happily change sides. Han Solo, in his ﬁrst 
  appearance in Star Wars, was close to being a Mer-
  cenary, and his adversaries Greedo and Boba Fett 
  certainly ﬁt that description. Star Trek’s Ferengi are a 
  whole Mercenary civilization.
  Useful Features:  It may reassure slightly shady heroes 
  to ﬁnd a foe with motives similar to their own. 
  A Mercenary with highly marketable skills could 
  wind up serving diﬀerent master villains, turning 
  up against the heroes when they least expect him. 
  Mercenaries can be bribed in a pinch, and could be 
  motivated to join forces against some menace which 
  threatens the free enjoyment of their wealth. Merce-
  nary villains usually cut and run when the situation 
  looks hopeless.
  Potential Problems:  The major diﬃculty with a Mer-
  cenary villain is that suﬃciently wealthy heroes may 
  be able to simply buy them oﬀ; GMs who don’t like 
  credit-card diplomacy should beware (or institute a 
  “Code of the Mercenary” system whereby honorable 
  Mercenaries don’t abandon a contract until its terms 
  have been met). Unless the Mercenary is powerful, 
  or protected by a heavy helping of Combat Luck or 
  GM’s ﬁat, keeping him alive to bedevil the PCs again 
  and again may prove diﬃcult.
  Variations:  To make a Mercenary more sympathetic, 
  perhaps his greed has a noble purpose — supporting 
  a loved one, acting as a Robin Hood for the poor folk 
  of the Galaxy, or paying oﬀ some helpless person’s 
  debts to the Interstellar Maﬁa. To make him less 
  
  291 
  Star Hero ■ Chapter Eleven
  attractive, give him depraved appetites or a sadistic 
  streak. Since players may expect a Mercenary to 
  redeem himself, the GM can throw them a curve by 
  having him decide to put aside his materialistic goals 
  and support the Galactic Tyrant!
  OMNIPOTENT ALIEN
  Most alien species aren’t far diﬀerent from 
  Humans in terms of personal power. They may have 
  slightly diﬀerent physical capabilities, mental powers, 
  or the like, but by and large they’re interchangeable 
  with Humans. But sometimes science ﬁction heroes 
  encounter aliens who blow that paradigm out of the 
  water. Like the Q of Star Trek:  The Next Generation, 
  the Slavers of Larry Niven’s “Known Space” stories, 
  or the mysterious aliens watching Earth in Arthur C. 
  Clarke’s Childhood’s End, they possess so much power 
  — either innately, or due to their ultra-advanced 
  technology — that they’re eﬀectively omnipotent.
  Useful Features:  Because he outclasses the PCs so, 
  the Omnipotent Alien can put them in whatever 
  situation he (i.e., the GM) wants. Hurl the characters’ 
  starship across the Galaxy, transform all the PCs into 
  members of a diﬀerent species (or gender), create 
  new foes for the PCs to ﬁght — whatever you as GM 
  want, the Omnipotent Alien can provide it, and often 
  in such a way as to raise intriguing moral or ethical 
  issues.
  Potential Problems:  Because he outclasses the PCs so, 
  the Omnipotent Alien may be regarded as unbeat-
  able. Frustrated and depressed, the PCs don’t act 
  as heroes should, but instead give in to the Alien’s 
  demands or become silly. And the old Omnipotent 
  Alien chestnut of “grant a Human absolute power 
  and see what he does with it” is as likely to backﬁre as 
  work in a roleplaying game.
  Variations:  Make the Omnipotent Alien a member 
  of the characters’ own species who’s been “elevated” 
  somehow, thus possibly giving them psychological 
  “hooks” with which to oppose him. Or perhaps the 
  Omnipotent Alien is genuinely helpful, not the aloof, 
  condescending  “superior being” or wise-cracking 
  gadﬂy he’s usually depicated as. Take the Omnipotent 
  Alien’s power away for a while and see how he and 
  the PCs interact.
  PUPPET
  A Puppet is a villain controlled by another. The 
  fact that he is controlled may be common knowledge, 
  or a deep secret revealed only at the climax. Mundane 
  puppets are people like a weak ruler dominated by 
  his shrewd minister, or a politician who owes favors 
  to a crime syndicate. Science ﬁction allows for pup-
  pets who really are puppets — psionically brain-
  washed, controlled by brain implants (like Chekov in 
  Star Trek II: The Wrath of Khan), or replaced by alien 
  shapeshifters (like several characters in Star Trek:  
  Deep Space Nine).
  Useful Features:  If nobody knows the Puppet is con-
  trolled by another, the heroes may struggle to defeat 
  their ultimate enemy, only to discover he’s a hapless 
  victim. If the Puppeteer is a weak-willed incompe-
  tent, the heroes have to cope with the problem that 
  removing the evil councillor leaves the Puppet in 
  charge by himself. And of course, a suﬃciently pow-
  erful Puppeteer may decide the heroes themselves 
  make good Puppets.
  Potential Problems:  Trigger-happy heroes may not let 
  their opponent survive long enough to reveal that he 
  was a Puppet. Mundane Puppets tend to be weak per-
  sonalities, making them kind of boring as enemies.
  Variations:  A really shrewd villain may only pretend 
  to be a Puppet, so that when things go bad he can 
  blame his Puppeteer. In a really Machiavellian cam-
  paign, there could be several layers of Puppeteers, 
  each pulling the strings of those below him. A Hero 
  Gone Bad may turn out to be a Puppet.
  REBELS
  Rebels are sometimes heroes, when the gov-
  ernment they oppose is evil or tyrannical. But a 
  legitimate state can still have enemies. A look at the 
  evening news may give an idea of the evil people are 
  capable of when they are ﬁghting what they consider 
  oppression.
  Useful Features:  Rebels often are few in number and 
  poorly equipped, making them good opponents for 
  PCs. They may put millions at risk through acts of 
  terrorism, so that in even a small-scale campaign the 
  heroes can have a major eﬀect on the world. Fanati-
  cal terrorists are gaining on the Nazis as the enemy 
  everyone loves to hate.
  Potential Problems:  The very topicality of adventures 
  involving terrorism and guerrilla warfare can make 
  some players uncomfortable. Practical-minded 
  heroes may simply call the Galactic Patrol and let 
  them handle the rebels (unless the heroes are the 
  Patrol, of course). And as the old saying goes, one 
  man’s terrorist is another’s freedom ﬁghter — play-
  ers may ﬁnd the rebel cause more attractive than the 
  established order the GM expects them to defend.
  Variations:  Sometimes a rebel turns out to be the 
  Puppet of some rival state, trying to sow chaos and 
  weaken its enemies. If the rebels’ motives really are 
  noble, a rebel villain makes a good Honorable Enemy. 
  Historically, rebels often contract with Mercenaries 
  who have useful skills. 
  ROGUE PSI
  The psionic villain, using his insidious mental 
  powers to dominate normals, dates back to the dis-
  covery of hypnotism, at the very least. One of the best 
  psionic villains is the creepy Mr. Bester of Babylon 5’s 
  Psi Corps, but plenty of others populate the pages of 
  science ﬁction. While telepathy is the most common 
  Rogue Psi power, the anime ﬁlm Akira includes 
  powerful telekinetics run amok. Of course, the term 
  “Rogue Psi” assumes people with psionic powers nor-
  mally have to follow a set of rules and that mecha-
  nisms exist to control them — otherwise “Psi” itself 
  may qualify as a villain category.
  Useful Features:  Rogue Psi villains make excellent 
  puppet masters, especially if their powers are a 
  secret. Player characters with secret abilities of 
  their own may have to oppose a Rogue Psi without 
  exposing their own powers. If society oppresses 
  psionic individuals, the PCs may sympathize with 
  
  292 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  them, creating a blind spot the Rogue Psi can 
  exploit.
  Potential Problems:  A powerful psi pitted against 
  non-psionic characters may be too strong to over-
  come. Conversely, if the psi’s powers aren’t eﬀective 
  in a confrontation, the PCs can simply shoot him 
  or beat him up.
  Variations:  If an Enemy Species has psi powers, it 
  may be a nearly unstoppable (and very sinister) foe. 
  A Rogue Psi may well be a Rebel against whatever 
  oppressive measures are used to control mental 
  powers. Psionic tyrants (like Asimov’s Mule) can 
  literally rule the Galaxy by force of will, turning 
  captured enemies into loyal servants.
  ROGUISH CON MAN
  Somewhere in the grey area between heroes 
  and villains stands the Roguish Con Man. His 
  motives are unworthy, his methods are unethical, 
  but you can’t help but like the guy. Star Trek’s Harry 
  Mudd is one well-done example, the early Han Solo 
  is another; historical ﬁgures like Casanova serve as 
  a model. Con Man characters are typically moti-
  vated by greed and selﬁshness.
  Useful Features:  Con Man opponents are good foils 
  for heroes who are similarly devious and 
  manipulative. They allow the GM to 
  play the villain as intelligently as pos-
  sible. Since their plots revolve around 
  scams and crooked deals, they make 
  for a less violent campaign.
  Potential Problems:  Coming up with 
  a good con game to ensnare the PCs is 
  hard work for the GM. Finding the right 
  mix of charm and callous greed is tricky. 
  Above all, it’s impor-
  tant to actually make 
  the Con Man likeable, 
  and that can be dif-
  ﬁcult to pull oﬀ.
  Variations:  A Roguish Con Man doesn’t have to be 
  just in it for the money; a silver-tongued enemy 
  spy can work the same way for ideological motives. 
  They make good puppetmasters for Puppet villains. 
  A Roguish Con Woman with devastatingly attrac-
  tive looks becomes a Femme Fatale.
  NON-PLAYER CHARACTERS
  The world isn’t divided evenly into heroes 
  and villains. Most people in a campaign setting are 
  simply non-player characters — NPCs.
  In most cases what you need for a good, enjoy-
  able NPC is a realistic, well-developed character. 
  But that isn’t always true. Realistic, well-developed 
  NPCs tend to take over the story, leaving the heroes 
  as spectators. It’s actually more eﬀective to keep 
  many of your NPCs one-dimensional, but make 
  them into memorable one-dimensional characters. 
  Give them a distinctive habit or a manner of speak-
  ing for the heroes to remember. Players often forget 
  NPC names, but they recall “the stuttering guy” or 
  “the man with the onion.”
  Nonplayer characters have the same motiva-
  tions as villains — desires, fears, and beliefs — and 
  these motives provide a good way to give them a 
  little personality. The PCs can bribe a secu-
  rity goon who’s greedy, but one who joined 
  up because he believes order is an abso-
  lute good reacts poorly (to say the least) 
  to bribe oﬀers. Obviously, spear-carriers 
  and faceless hordes don’t all need to be 
  this well-developed, but it’s worth coming 
  up with one or two motivations for any 
  NPC the heroes directly interact with.
  Important NPCs need as much 
  care and feeding as villains — a 
  hero’s DNPC, Rival, or Hunter 
  should have some independent 
  goals and a recognizable 
  identity. Dependent NPCs 
  usually are nice people 
  (though one can have a 
  good deal of fun with a 
  hero who feels protective of 
  a cranky or irritating NPC). 
  Rivals should have a mix of 
  good and bad traits, and above 
  all should be competent enough 
  for the Rivalry to mean some-
  thing — if the hero always wins, 
  it’s scarcely a Rivalry.
  If a hero is Hunted, the GM 
  should give some thought to the 
  motives of the Hunters. This is true 
  even if it’s a large organization. 
  Why is the Imperial Intelligence 
  Service tracking the character? 
  What do they want him for? Even 
  when the Hunter is a group, it’s 
  useful to give that group a face in 
  the form of a “case oﬃcer” or some 
  other member of the group who is 
  the one the heroes have the most 
  
  293 
  Star Hero ■ Chapter Eleven
  dealings with. So when free-lance explorer Jamaica 
  Jones is hunted by the Imperial Intelligence Service, 
  the IIS oﬃcer in charge of the operation is Captain 
  Zorm. Other IIS operatives may track Jones’s move-
  ments or intercept her communications, but it’s 
  Zorm who questions her about the missing alien 
  artifacts, Zorm who kidnaps Jamaica’s clone sister 
  to lure her into a trap, and Zorm who tracks her 
  through the dark tunnels of the lost alien city.
  NPC Archetypes
  These are some standard character types who 
  turn up again and again in SF stories and ﬁlm. 
  Gamemasters can use them as-is, or play against 
  the stereotype by creating NPCs very diﬀerent from 
  these.
  ALIEN SPECIES
  As noted in Chapter Six, entire alien species 
  sometimes play NPC-like roles in the campaign. See 
  page 122 for more details.
  CRUSTY OLD ADMIRAL
  A dependable standby in all Space Opera 
  games, the Crusty Old Admiral is the authority 
  ﬁgure who sends the heroes out on missions, must 
  be warned about the intergalactic menace, and 
  sometimes needs rescuing from insidious perils. 
  The Admiral is short-tempered, grey-haired, and 
  usually conceals a twinkle in his steely eyes. In 
  classic science ﬁction the Crusty Old Admiral was 
  always a man, but more recent books and ﬁlms have 
  featured women just as gruﬀ and overbearing as 
  their male predecessors. The Crusty Old Admiral 
  and other authority ﬁgures are a godsend to GMs, 
  since they can order the heroes into an adventure 
  point-blank.
  Variations:  In dark settings the Crusty Old Admiral 
  may turn out to be a traitor, or plotting to make 
  himself Emperor, or both. Even if his motives are 
  good, the Crusty Old Admiral may be too suspi-
  cious of old enemies, too willing to use force instead 
  of diplomacy, or too dismissive of things like civil 
  rights and due process. Take away his Admiral’s uni-
  form and he becomes the Crusty Old Colony Gov-
  ernor or Sector Administrator. In Cyberpunk games 
  he gets a greying ponytail and a vocabulary studded 
  with Marxist jargon as the Crusty Old Activist.
  DOCTOR
  When you’ve been shot by the Mind Police, 
  or need a new face to evade the Interstellar Maﬁa, 
  or want to get some alien goop analyzed without 
  tipping oﬀ the authorities, it’s time to visit your 
  friendly Doctor. On Galactic Patrol ships, the 
  Doctor sometimes serves as the informal advisor 
  for everyone on board, including the captain. In 
  Cyberpunk settings, the street doc wears dreadlocks 
  and lost his license because he wouldn’t knuckle 
  under to the corps. Post-apocalyptic Doctors have a 
  carefully-hoarded supply of antibiotics and strong 
  opinions about sanitation. Many Doctors take a 
  dim view of technology, even as they make use of 
  advanced medical gadgets.
  In Star Hero campaigns, the Doctor is often 
  just a faceless “repair station” for heroes after they 
  shoot it out with the villains. Gamemasters can 
  make Doctors more vivid by giving them strong 
  opinions and personality quirks the players can 
  remember. Using the Doctor as a plot hook is one 
  way to make him (or her) come alive. Medical pro-
  fessionals know a lot of conﬁdential information 
  about people — sometimes more than is healthy....
  Variations:  Doctors sometimes dabble in Mad Sci-
  ence, both for good and evil. Historically, frauds 
  often promised miracle cures and claimed medical 
  degrees; a fake doctor on a frontier planet may be 
  the only medical care available. 
  SECURITY OFFICER
  When someone calls the cops, this is who 
  shows up. Security oﬃcers may wear red shirts, 
  white armor, or blue uniforms, but their job is 
  always the same — they keep the peace and enforce 
  the law. In lawless settings the Security boys are 
  there to serve whoever has power — corporations 
  in Cyberpunk worlds, warlords in post-apocalyptic 
  campaigns, or the Galactic Tyrant in Space Operas. 
  They tend to be large, humorless, and bad shots... 
  and distressingly short-lived, even when they’re 
  working for the good guys.
  While it’s traditional for Security goons to be 
  faceless and say little besides “Halt!” and “Unnh!”, 
  a clever GM can personalize them and add a little 
  depth to encounters. If the heroes have gotten to 
  know Ensign Kowalski over a few game sessions, 
  they’ll be genuinely upset and vengeful when the 
  Superego Monster eats his cerebellum.
  Variations:  The best Security oﬃcers enforce the law 
  and obey it themselves, respecting the rights of the 
  accused even as they pursue lawbreakers tirelessly. 
  Less admirable cops serving tyrants or villainous 
  corporations may be little better than thugs. A few 
  walk the ﬁne line in between — doing their best 
  to preserve order but a little weak on things like 
  Miranda rights. Psionic Security oﬃcers become 
  the scary Mind Police. Security robots are even 
  more humorless and worse shots than their Human 
  analogues. In a Planetary Romance setting, Security 
  oﬃcers become Guards, whose job description is 
  mostly seizing people. 
  STREETWISE KID
  Ever since Tom Sawyer and Huck Finn, med-
  dling kids have been uncovering villainous plots, 
  acting as the eyes and ears of grown-up heroes, and 
  generally having a ball getting into trouble. If Street-
  wise Kids have families at all, they’re massively dys-
  functional, so that no bothersome parents object to 
  their child staying out all night or going on pick-up 
  commando raids with live ammo. Streetwise Kids 
  have high DEX and remarkable skill at acting, lying, 
  and conning grown-ups. They often have well-
  developed abilities at picking pockets, shoplifting, 
  and climbing walls. Combat Luck is very common. 
  Cyberpunk Kids have fantastically high skills at 
  computer hacking and programming, while Space 
  Opera Kids exhibit precocious scientiﬁc or starship 
  piloting abilities.
  
  294 ■ A Journey Into The Unknown  
  HERO SYSTEM 5TH EDITION
  Gamemasters can use Streetwise Kids as an 
  occasionally reliable source of information, victims 
  to be rescued, or even as the innocent-looking 
  stooges of the villains. Most people are protective of 
  the young, which makes it that much more wrench-
  ing when a Streetwise Kid falls into the clutches of a 
  serial killer or alien parasite.
  Variations:  Planetary Romance Kids are known as 
  Urchins, and may be the only ones who believe the 
  heroes are really from another planet. Kids with 
  psionic powers may be a lot more formidable than 
  they appear, and can turn into Rogue Psis if the 
  heroes aren’t careful; wild talents are surprisingly 
  common among psionic outcast children. To give 
  the players a nasty surprise, borrow from contem-
  porary headlines and make the Streetwise Kid a 
  deadly and conscienceless killer. 
  SUPPLIER
  Whatever you want to buy, he’s got it. Legality 
  is no obstacle as long as the price is right. In a Space 
  Opera setting he runs a trading post on the frontier; 
  in Cyberpunk games he has a shop down in the 
  city’s lowest levels, his address known only to the 
  top hackers and samurai. Frontier traders are often 
  generalists, but starbase or big-city Suppliers usually 
  specialize in a single type of commodity — guns, 
  drugs, software, or rumors.
  Suppliers tend to be shifty-eyed, cynical, and 
  furtive. They follow two rules: get payment in 
  advance; and don’t get involved. But when the situ-
  ation is desperate and defeat seems inevitable, the 
  Supplier disappears into his back room to bring out 
  the heavy-duty special merchandise he’s been saving 
  for emergencies.
  Suppliers are handy NPCs for GMs, as they can 
  release just enough information to steer the play-
  ers in the right direction, without giving them the 
  whole story (“Sorry, you didn’t pay me for that.”) 
  As a plot hook, the Supplier is ideal for putting the 
  heroes together with someone who wants to hire 
  them (perhaps in exchange for a cut of their fee...).
  Variations:  Sometimes the shady Supplier with his 
  ﬁnger on the pulse of black-market trade turns out 
  to be an agent for either the Rebels or the Galactic 
  Patrol. Sometimes he’s working for both. A Supplier 
  whose trade is genuinely immoral — dangerous 
  drugs, slaves, stolen organs — can be a questionable 
  ally for heroic characters.
  TECHNICIAN
  Science ﬁction settings usually have lots of 
  machines, and someone has to operate and repair 
  those machines. Technicians can be civilian engi-
  neers, military techs, highly-trained mission special-
  ists, brilliant programmers, or grimy street techs. In 
  Post-apocalyptic settings, they may be the only ones 
  left who understand ancient machinery. Whatever 
  the setting, technicians are usually portrayed as 
  more comfortable around machines than people, 
  sometimes with eccentricities a mad scientist would 
  envy. Occasionally one is a beautiful woman (and 
  potential romantic interest for the PCs) once you 
  clean the grease and grime oﬀ her face and change 
  her out of a spaceman’s jumpsuit into more present-
  able clothing. Regardless, when the chips are down 
  and the clock is ticking, the Technician can work 
  miracles, re-engineering starships or computer net-
  works on the ﬂy to save the day.
  Technician NPCs can be a good GM’s mouth-
  piece when the PCs need to learn some details of 
  the setting’s technology. The GM can also use an 
  NPC technician to keep vital systems 
  running when the plot demands it.
  Variations:  In many science-ﬁction 
  settings, Technicians may be spe-
  cialized repair robots. This usually 
  doesn’t improve their social skills 
  any, but it does provide them with 
  all kinds of nifty built-in tools 
  and gadgets. Give a Technician 
  some combat training and a utility 
  belt full of high-tech toys and he 
  becomes the Specialist, an essential 
  part of any special-ops military 
  unit or espionage team. Combine a 
  Technician and a Supplier and you 
  get a Street Tech, who’ll ﬁx your 
  cyber-arm and sell you the latest 
  in illegal Finnish hacking software 
  — cash only.
  
  295 
  Star Hero ■ Chapter Twelve
  T
  o help you get your Star Hero 
  campaign started, here are ﬁve 
  sample player characters — the 
  members of Argos Exploration 
  — and ﬁve adversaries they might 
  encounter. All of them are from Hero’s 
  “Terran Empire” setting for Star Hero, 
  but you can easily adapt them to your 
  own universe. You can ﬁnd out more 
  about the Terran Empire in the appro-
  priately-named Terran Empire source-
  book.
  Because GMs may need to adapt 
  these characters to a wide variety of 
  settings and situations, their lists of 
  “Equipment Carried” are fairly short and 
  simple. In addition to listed items, they 
  could certainly have just about any com-
  monly-available piece of technology the 
  GM needs them to have.
  
  296 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  Membership:  Robert Avilla, Jennifer DeGraff, Jason 
  Grigori, Segaro Krez’shul, and Kiritha Tal
  Background/History:  Argos Exploration looks on 
  paper, and tries to pass itself oﬀ in person, as a 
  “freelance exploration and mercantile ﬁrm” — a 
  small company of bold explorers and traders who 
  “prospect” among the stars of the Galaxy for inhab-
  itable planets, new trade routes and markets, and 
  other such things of value. But while it is that, in 
  truth it’s also a refuge for a number of kind-hearted 
  scoundrels who’ve found themselves on, one might 
  say, less than the best of terms with the Imperial 
  authorities.
  Argos was founded by Robert Avilla, a free 
  trader and gambler with a reputation for taking on 
  dangerous trade runs, and even engaging in a bit of 
  smuggling and other shady dealings. Then he ran 
  afoul of a notorious Hzeel arms merchant named 
  Zee’gansh, from whom he won a prodigious sum 
  of money in a card game Zee’gansh himself had 
  rigged. Zee’gansh exposed some of Avilla’s less-
  than-legal activities to the Imperial Security Police, 
  and had him framed for other crimes he wasn’t 
  responsible for. Unwilling to spend the rest of his 
  life on an Imperial prison-world, Avilla realized he 
  needed to disappear.
  Using his skills, and a few contacts he’d devel-
  oped over the years, Avilla created a new iden-
  tity (Kaithon Argosina, a Human merchant and 
  explorer), used Zee’gansh’s money to buy a ship 
  (the aptly-named Jackpot), and set up Argos Explo-
  ration as a way of making money and preserving 
  his freedom to move about the Galaxy. But he real-
  ized he needed to make Argos look legitimate; a 
  one-man company wouldn’t provide much cover 
  for very long.
  His ﬁrst “employee” came along in the form 
  of Segaro Krez’shul, a Mon’dabi con artist and thief 
  whose life Avilla had saved. Feeling bound by the 
  obligations of honor, Krez’shul appointed him-
  self Avilla’s “bodyguard,” and the two became fast 
  friends. Argos now had an “executive assistant.”
  Since Argos had a ship, it needed a crew. For 
  a pilot, Avilla could think of no one better than his 
  ex-wife, Jennifer DeGraﬀ. While the two of them 
  had learned long ago they couldn’t live together, 
  they never seemed to remain away from one 
  another for very long — and she was an ace pilot, 
  no question about that. Seeking to escape some 
  legal entanglements of her own, DeGraﬀ was glad 
  to go to work for Argos Exploration.
  For the position of ship’s engineer, Avilla 
  tapped his old friend Jason Grigori, whom he’d 
  known since the time the two of them formed an 
  impromptu team during a barﬁght and ended up 
  as the only two people left standing when the dust 
  settled. A hard-drinking, hard-working, hard-ﬁght-
  ing, wise-cracking genius of a mechanic, Grigori 
  loved to travel and see new sights, so the Argos job 
  suited him perfectly.
  It then occurred to Avilla that his exploration 
  company probably needed an explorer — a scientist 
  versed in planetology and the skills of survey-
  ing worlds. After scouring a number of Imperial 
  universities, he found Kiritha Tal, a young Perseid 
  woman with an unconventional outlook on life and 
  a thirst for adventure. Eager for a job that wouldn’t 
  bore her, Tal accepted Avilla’s oﬀer to join the 
  Jackpot’s crew.
  Argos Exploration has maintained its pay-
  roll of ﬁve for a couple of years now as the team 
  journeys into uncharted regions of space, engages 
  in free trading, and occasionally gets mixed up in 
  some rather unusual adventures. Often just one 
  step ahead of the law, the Argosians have somehow 
  managed to come out ahead in all of their esca-
  pades. They’re having a ﬁne time and making good 
  money, so they plan to keep on doing exactly what 
  they’re doing. They’re always on the lookout for 
  “bold new opportunities,” as Avilla likes to say.
  Group Relations:  Kindred souls brought together 
  by circumstance and a mutual love of free travel 
  and adventure, the members of Argos Exploration 
  get along quite well. Although Avilla is the Jackpot’s 
  captain, and nominally “ﬁrst among equals,” the 
  group actually runs more like a democracy. Proﬁts 
  are split evenly ﬁve ways, and everyone has a say in 
  major decisions.
  Other than the unwelcome attentions of the 
  Imperial authorities and other enemies they’ve 
  made, only two things trouble the Argosians. The 
  ﬁrst is the relationship between Avilla and DeGraﬀ. 
  Still attracted to one another, but with personalities 
  that frequently clash, they often end up quarrelling. 
  Even though these ﬁghts are rarely serious, they 
  sometimes cause stress and strain within the crew. 
  Second is the fact that they have to keep some of 
  the truths about Argos from Kiritha Tal. The young, 
  and in some ways still naive, Perseid isn’t so blind 
  as to think Argos Exploration doesn’t engage in 
  some questionable activities, but she’s not aware of 
  “Kaithon Argosina”’s true identity or all of his back-
  ground. Sooner or later, she’s bound to ﬁnd out, 
  and Avilla worries about how she’ll react. He’s also 
  concerned she may unknowingly alert the Imperial 
  Security Police to his presence without meaning 
  to. So far, none of the things he fears have come to 
  pass, but you never know what may lurk just over 
  ARGOS  
  EXPLORATION
  
  297 
  Star Hero ■ Chapter Twelve
  the galactic horizon....
  Tactics:  The members of Argos prefer not to ﬁght 
  if possible; they’d rather avoid anyone who intends 
  them harm, or at worst ﬁnd a way to talk them-
  selves out of any predicament they’ve gotten into. 
  But when push comes to shove and blasters are 
  drawn, they’re skilled and dangerous combatants. 
  Krez’shul and Grigori usually prefer hand-to-hand 
  ﬁghting (though they’re good shots as well). While 
  they mix it up with the enemy, the others usually 
  try to get behind cover and support them with 
  blaster ﬁre. DeGraﬀ can sometimes call upon her 
  psionic powers to help in combat situations, but 
  because they’re so diﬃcult for her to use Avilla 
  rarely counts on them.
  Campaign Use:  Argos Exploration makes a good 
  ally or rival for a group of similarly-minded PCs. 
  Its members, though not exactly squeaky clean, are 
  good-hearted people who don’t use their criminal 
  skills to steal from innocent people, wreck lives, or 
  cause serious harm to anyone who doesn’t deserve 
  it. The authorities may assign a group of PCs asso-
  ciated with the Imperial government to capture 
  them, while a group one with little or no respect 
  for the Empire’s oﬃcials may team up with the 
  Argosians for an adventure or 
  two. A friendly — or not-
  so-friendly — rivalry, or 
  romantic relationships, 
  may develop between 
  the members of the two 
  groups.
  ROBERT AVILLA
   Val Char 
  Cost 
  Roll 
  Notes
   10 STR 
  0 
  11- 
  Lift 100 kg; 2d6 [1]
   18 DEX 
  24 
  13- 
  OCV:  6/DCV:  6
   15 CON 
  10 
  12-
   12 BODY 4 
  11-
   18 INT 
  8 
  13- 
  PER Roll 13-
   11 EGO 
  2 
  11- 
  ECV:  4
   20 PRE 
  10 
  13- 
  PRE Attack:  4d6
   14 COM 
  2 
  12-
   5 PD 
  3 
   
  Total:  8 PD (3 rPD)
   5 ED 
  2 
   
  Total:  8 ED (3 rED)
   4 SPD 
  12 
   
  Phases:  3, 6, 9, 12
   5 REC 
  0
   30 END 
  0
   30 STUN 
  5 
  Total Characteristics Cost:  82
  Movement: 
  Running: 
  7”/14”
  Cost Powers 
  END
  2 
  Fast On His Feet:  Running +1” (7” total) 
  1
   
  Perks
  2 
  Deep Cover (Kaithon Argosina)
   
  Talent
  6 
  Combat Luck (3 PD/3 ED)
   
  Skills
  3 
  Bureaucratics 13-
  3 
  Combat Piloting 13-
  3 
  Disguise 13-
  1 
  Electronics 8-
  2 
  Gambling (Card Games) 13-
  3 
  High Society 13-
  2 
  AK: Centauri Trade Routes 11-
  2 
  KS:  Imperial Scout Service 11-
  1 
  Mechanics 8-
  2 
  Navigation (Space) 13-
  3 
  Persuasion 13-
  1 
  SS: Planetology 8-
  3 
  Sleight Of Hand 13-
  3 
  Stealth 13-
  3 
  Streetwise 13-
  4 
  Systems Operation (Communications  
  Systems, Radar, FTL Sensors)13-
  5 
  Trading 14-
  8 
  TF:  Commercial Spacecraft & Space Yachts, 
  Industrial & Exploratory Vehicles, Military 
  Spacecraft, Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons,  
  Small Arms
  Total Powers & Skills Cost:  68
  Total Cost:  150
  75+ Disadvantages
  20 
  Hunted:  Imperial Security Police 8- (Mo 
  Pow, NCI, Capture)
  15 
  Hunted:  Zee’gansh 8- (As Pow, NCI, Kill)
  10 
  Psychological Limitation:  Wanderlust 
  (Common, Moderate)
  5 
  Reputation:  wanted criminal 11- (through-
  out the Empire; about 20 billion people are 
  
  298 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  aware of Reputation)
  10 
  Rivalry:  Professional, with Bertrand 
  Devereaux (Seeks To Harm Avilla)
  15 
  Social Limitation:  Secret Identity (maintains 
  the cover of “Kaithon Argosina”) (Frequently, 
  Major)
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Blaster pistol
  Pocket blaster
  Body armor applicable to situation
  Hand computer
  Nightsight monocular
  Quick disguise kit
  Deck of cards
  100-1,000 credits’ worth of the local currency (if 
  applicable)
  Background/History:  As a restless young man 
  growing up on Sigma Draconis III, Robert Avilla 
  yearned to see the wider Galaxy, so when he turned 
  18 he joined the Imperial military. Based on his 
  aptitude tests and performance evaluations, he was 
  assigned to the Imperial Scout Service — just what 
  he wanted. He spent a year learning how to ﬂy star-
  ships and astronavigate, and then for the rest of 
  his hitch surveyed various regions of space for the 
  Terran Empire.
  When his hitch was up, he decided he’d had 
  enough of military discipline, so he mustered out 
  and joined a group of free traders. His time with 
  them was educational, but ultimately no more 
  satisfying than being a scout; he still had to follow 
  orders and curb his desire to do what he wanted. He 
  took out his frustrations through gambling, drink-
  ing, and general misbehavior, which didn’t help his 
  reputation among his fellow traders.
  After several years, Avilla’s conduct became too 
  much for his bosses to tolerate, and he was ﬁred. 
  He drifted into the underworld, and got involved 
  in smuggling and other unsavory activities. This 
  wasn’t exactly what he wanted to do, either, but he 
  had a lot more personal freedom than he did as 
  a normal free trader. He almost got caught by the 
  Imperial Security Police a few times, but somehow 
  he always came out free and clear, with nothing but 
  a few suspicious notes in his growing Imperial ﬁle.
  During one of his smuggling runs, he had the 
  misfortune to encounter some pirates. He tried to 
  run, but in the end they caught him, beat him, and 
  took his cargo. After that, no one would trust him; 
  somehow the word got out that he’d been working 
  with the pirates to cheat his employer.
  That’s when Lady Luck stepped up and kissed 
  him smack on the lips. Figuring he had nothing to 
  lose, he took all of his remaining money to a casino 
  on Shalagar VII and got into a high-stakes card 
  game. Then he started winning... and winning... and 
  winning. He knew he should cash out and thank his 
  lucky stars, but he just couldn’t do it — the smug 
  Hzeel across the table kept taking too many pots 
  from him, and he was determined to win once and 
  for all.
  Eventually, it came down to him and the 
  Hzeel, an arms dealer named Zee’gansh. Raise fol-
  lowed raise, until literally billions of credits were 
  in play and the entire casino had gathered around 
  to watch. Avilla called, and the Hzeel triumphantly 
  laid down his cards:  a golden rhombus! The crowd 
  looked sorrowfully at Avilla as Zee’gansh reached 
  for the money — only to gasp in astonishment as 
  Avilla showed that he held a diamond rhombus!
  Avilla knew opportunity when he saw it. 
  Rather than waste the money on foolish luxuries, 
  he decided it was time to turn himself around and 
  get on with living the life he’d always envisioned. 
  With some help from his friend Segaro Krez’shul, 
  he created a new identity — Kaithon Argosina, 
  merchant and explorer — and used his winnings to 
  buy a small ship which he christened the Jackpot. 
  Then he set up Argos Exploration, and ever since 
  he’s been enjoying a life of adventure, excitement, 
  and proﬁt.
  Personality/Motivation:  Avilla is a classic “rogue with 
  a heart of gold.” Although he often ﬁnds himself 
  slightly on the wrong side of the law, his intentions 
  are usually good, and he doesn’t commit crimes 
  that hurt people who don’t deserve it. Really, all he 
  wants is to live his life free of unnecessary entangle-
  ments or Imperial interference. He wants to go 
  where he pleases, when he pleases. He loves to see 
  and experience new things, making him an enthu-
  siastic (if not formally trained) explorer and free 
  trader. Getting him to sit still in one place for much 
  longer than a month is diﬃcult.
  Quote:  “Okay, what have you gotten us into now?”
  Powers/Tactics:  Avilla’s been in his share of 
  barﬁghts and blaster battles, but he’s not a ﬁghter 
  — he’d rather avoid, outrun, or talk himself out of 
  trouble. If forced to ﬁght, he’ll often ﬁght sneaky, 
  using concealed weapons or underhanded tactics; 
  he cares about winning, not nobility or honor.
  In most combats, Avilla gets behind cover as 
  soon as possible, and then begins shooting at the 
  most obvious targets. He favors unorthodox tactics, 
  such as tricking an opponent into thinking he’s 
  facing twice as many people as he really is, and has 
  something of a ﬂair for thinking them up.
  Appearance:  Robert Avilla is a handsome Human 
  male in his early 30s, standing 6’2” tall with a broad, 
  muscular build. He has dark hair, which he keeps 
  short and well-styled, and is clean-shaven. When he 
  expects to encounter important people or conduct 
  business, he wears appropriate attire that’s styl-
  ish but not overly expensive. When he’s lounging 
  around the Jackpot or on an exploration mission, 
  he dresses more comfortably — typically in dark 
  pants, matching shirt, and well-polished boots, and 
  sometimes with a jacket or vest if appropriate or 
  necessary.
   THE JACKPOT
  For Avilla’s ship, the 
  Jackpot, you can use 
  the Merchant Ship on 
  page 222. Just install a 
  few unlisted (and pos-
  sibly illegal) “upgrades” 
  — a little more speed, 
  an extra weapon or two, 
  or the like — to make it 
  distinctive.
  
  299 
  Star Hero ■ Chapter Twelve
  JENNIFER DEGRAFF
   Val Char 
  Cost 
  Roll 
  Notes
   10 STR 
  0 
  11- 
  Lift 100 kg; 2d6 [1]
   20 DEX 
  30 
  13- 
  OCV:  7/DCV:  7
   15 CON 
  10 
  12-
   10 BODY 0 
  11-
   15 INT 
  5 
  12- 
  PER Roll 12-
   18 EGO 
  16 
  13- 
  ECV:  6
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   16 COM 
  3 
  12-
   4 PD 
  2 
   
  Total:  7 PD (3 rPD)
   4 ED 
  1 
   
  Total:  7 ED (3 rED)
   3 SPD 
  0 
   
  Phases:  4, 8, 12
   5 REC 
  0
   30 END 
  0
   30 STUN 
  7 
  Total Characteristics Cost:  79
  Movement: 
  Running: 
  6”/12”
  Cost Powers 
  END
  10 
  Telepathic Probe:  Telepathy 8d6; Activation 
  Roll 14- (-½), Concentration (0 DCV  
  throughout Extra Time and probing the  
  subject’s mind; -1), Extra Time (1 Turn;  
  -1¼), Limited Range (15”; -¼) 
  4
  7 
  Mental Attack:  Ego Attack 1d6,  
  Continuous (+1); Activation Roll 14-  
  (-½), Concentration (½ DCV throughout; 
  -½), Extra Time (Full Phase; -½), Limited 
  Range (15”; -¼) 
  2
   
  Talent
  6 
  Combat Luck (3 PD/3 ED)
   
  Skills
  7 
  Combat Piloting 15-
  1 
  Cryptography 8-
  1 
  Electronics 8-
  1 
  Gambling (Card Games) 8-
  2 
  AK: Centauri Trade Routes 11-
  1 
  KS:  Alphadyne Mercantile Combine 8-
  4 
  Navigation (Space) 14-
  3 
  Persuasion 13-
  1 
  SS: Planetology 8-
  3 
  Stealth 13-
  9 
  Systems Operation (Communications  
  Systems, FTL Sensors, Radar, Sensor  
  Jamming Equipment) 14-
  3 
  Trading 12-
  6 
  TF:  Commercial Spacecraft & Space  
  Yachts, Industrial & Exploratory Vehicles, 
  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons, Small 
  Arms
  Total Powers & Skills Cost:  71
  Total Cost:  150
  75+ Disadvantages
  5 
  Distinctive Features:  Margravite psionic’s 
  tattoos (Easily Concealed, Noticed And Rec-
  ognizable)
  25 
  Hunted:  Alphadyne Mercantile Combine 
  11- (Mo Pow, NCI, Capture/Kill)
  15 
  Psychological Limitation:  Thrillseeker 
  (Common, Strong)
  10 
  Psychological Limitation:  Still Attracted To 
  Robert Avilla Even Though She Knows He’s 
  Bad For Her (Common, Moderate)
  5 
  Reputation:  risk-taking pilot 11- (through-
  out the Empire; about 20 billion people are 
  aware of Reputation)
  5 
  Social Limitation:  Psionic (Occasionally, 
  Minor)
  10 
  Susceptibility:  to strong mental emanations 
  within 4”, takes 1d6 per Turn (Uncommon)
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Blaster pistol (or pocket blaster, depending on situ-
  ation)
  Body armor applicable to situation
  Hand computer
  Personal HoloChamberTM goggles
  Background/History:  Born and raised on Epsilon 
  Indi III, better known as Margrave’s World after its 
  discoverer, Jennifer DeGraﬀ tested as psionic-posi-
  tive while still in school. Following Margravite tra-
  dition, her inner wrists were tattooed with a purple 
  square moline cross, so everyone would know she 
  possessed mental powers.
  Eager to leave her homeworld, which she 
  considered sort of a boring backwater, Jennifer 
  attended piloting school. While still a student, she 
  met Robert Avilla, a cadet at the Imperial Scout 
  Service Academy. The two fell in love, and after 
  a whirlwind courtship, were married. That soon 
  proved to be a mistake. Although they were in love, 
  they just couldn’t live together for long periods of 
  time, or really get along well. They soon obtained a 
  divorce, though they remained in contact and peri-
  odically saw each other after that.
  Based on her high scores at piloting school, 
  Jennifer got a pilot’s job with the Alphadyne Mer-
  cantile Combine, a large corporation. She soon 
  developed a reputation as a skilled, even slightly 
  daredevil, starship jockey — though her risk-taking 
  cost her more than a few jobs, too. She enjoyed the 
  work, though it got monotonous at times.
  Things took a turn for the worse when 
  Alphadyne discovered she was psionic — a fact 
  she’d carefully failed to mention on her employ-
  ment application. She was soon transferred to the 
  company’s psionics division, where she sat in on 
  important business meetings to monitor whether 
  the parties with whom Alphadyne was negotiating 
  were telling the truth. She loathed the job; it was 
  distasteful and boring.
  One day, while monitoring a high-level meet-
  ing concerning the acquisition of an Altairan 
  manufacturing corporation, Jennifer picked up 
  thoughts from one of the Alphadyne executives 
  that revealed some highly illegal conduct by the 
  company in regard to this deal, and other deals. 
  Shocked, Jennifer reported the executive... only to 
  ﬁnd out his superiors, and for that matter the direc-
  
  300 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  tors of the corporation, were aware of it! They’d 
  sanctioned the criminal conduct, not only for those 
  deals but on many other occasions. And now that 
  Jennifer knew about it, they’d have to see that she 
  didn’t talk... ever.
  Jennifer ran, but without having a good place 
  to hide, she found the Alphadyne “bounty hunter” 
  teams always just a few steps behind her. Then she 
  heard from Robert again. He was starting up a new 
  exploration business, and needed a pilot. Would she 
  be interested in the job?
  Personality/Motivation:  Jennifer, like many pilots, 
  has a well-deserved reputation as a thrillseeker. She 
  dislikes anything that’s routine, boring, or ordinary; 
  she wants excitement and danger (though not too 
  much of the latter). She’s got a strong streak of “No 
  problem, I can do it!” conﬁdence that causes her 
  shipmates to become concerned whenever there’s 
  an asteroid ﬁeld blocking their ﬂight path. Her 
  favorite phrase, “Nothing to worry about!”, is guar-
  anteed to make them worry.
  One of the reasons Jennifer accepted Avilla’s 
  job oﬀer is that she’s still attracted to him (as he 
  is to her, just not quite as strongly). Although she 
  knows getting involved with him would be stupid, 
  and that he’s really not good for her, she can’t help 
  how she feels. In any dangerous situation, she’s 
  likely to rescue or help him ﬁrst, even if some other 
  Argosian needs her help more.
  Quote:  “Sit tight! We’ll be through this in a minute. 
  Nothing to worry about!”
  Powers/Tactics:  Jennifer DeGraﬀ is a skilled, 
  experienced pilot with a natural gift for astroga-
  tion and spaceﬂight. But she’s got something other, 
  equally-skilled pilots don’t:  psionic powers. She 
  has two low-level abilities, telepathy and the abil-
  ity to induce mental pain (“You’re a headache in 
  more ways than one,” as Avilla sometimes tells 
  her). She may develop additional powers in time, 
  or improve the ones she has. Unfortunately, her 
  psionic defenses aren’t well-developed (i.e., she has 
  not bought Mental Defense). This makes it diﬃcult 
  for her to block out strong mental emanations near 
  her, which cause her intense pain. (“Strong mental 
  emanations” include the use of any Mental Power, 
  the use of most other powers with a “psionics” 
  special eﬀect, and sometimes even the presence of 
  extremely strong minds.)
  Because her psionic powers take time to work 
  and aren’t really powerful, DeGraﬀ rarely uses them 
  in combat. Instead, she prefers to rely upon her fast 
  reﬂexes and good aim. She has no hand-to-hand 
  combat skills to speak of.
  Appearance:  Jennifer DeGraﬀ is an attractive 28-
  year-old Human female, short (5’4”) and of slight 
  build. Her blonde hair is a little longer than shoul-
  der length; she keeps it tied back in a ponytail so 
  it doesn’t get in her way during zero-g situations. 
  Both of her inner wrists sport a small purple tattoo 
  of a square moline cross, marking her as a psionic 
  to those who are aware of Margravite customs. Jen-
  nifer typically wears a dark blue pilot’s jumpsuit, 
  with sleeves that end halfway down her lower arm 
  so they never interfere with working a starship’s 
  controls.
  
  301 
  Star Hero ■ Chapter Twelve
  JASON GRIGORI
   Val Char 
  Cost 
  Roll 
  Notes
   15 STR 
  5 
  12- 
  Lift 200 kg; 3d6 [1]
   15 DEX 
  15 
  12- 
  OCV:  5/DCV:  5
   18 CON 
  16 
  13-
   15 BODY 10 
  12-
   18 INT 
  8 
  13- 
  PER Roll 13-
   10 EGO 
  0 
  11- 
  ECV:  3
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   10 COM 
  0 
  1x-
   8 PD 
  5 
   
  Total:  8 PD (0 rPD)
   6 ED 
  2 
   
  Total:  6 ED (0 rED)
   4 SPD 
  15 
   
  Phases:  3, 6, 9, 12
   7 REC 
  0
   36 END 
  0
   37 STUN 
  5 
  Total Characteristics Cost:  86
  Movement: 
  Running: 
  6”/12”
  Cost Powers 
  END
  7 
  Brawling:  HA +2d6; Hand-To-Hand  
  Attack (-½) 
  1
   
  Talent
  3 
  I Can Drunk Just As Good Fight!:   
  Environmental Movement (no penalties 
  when drunk)
   
  Skills
  5 
  +1 Hand-To-Hand
  5 
  Computer Programming 14-
  3 
  Demolitions 13-
  5 
  Electronics 14-
  1 
  AK: Centauri Trade Routes 8-
  2 
  KS: Obscure Tech Specs & Trivia 11-
  1 
  KS: Classical Music 8-
  3 
  Inventor 13-
  1 
  Lockpicking 8-
  5 
  Mechanics 14-
  3 
  Security Systems 13-
  3 
  Stealth 12-
  9 
  Systems Operation (Communications  
  Systems, Environmental Systems, Medical 
  Systems, FTL Sensors, Radar, Sensor  
  Jamming Equipment) 13-
  2 
  TF:  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons, Small 
  Arms
  Total Powers & Skills Cost:  64
  Total Cost:  150
  75+ Disadvantages
  15 
  DNPC:  Napoleon (his pet sokar) 8- (Incom-
  petent)
  15 
  Hunted:  Yorgen Vlar’s pirate band 8- (Mo 
  Pow, Kill)
  10 
  Hunted:  Dargen 8- (As Pow, Hurt/Kill)
  15 
  Psychological Limitation:  Loves A Good 
  Fight (Common, Strong)
  10 
  Psychological Limitation:  Perpetually 
  Grumpy (Common, Moderate)
  5 
  Reputation:  temperamental engineer 11- 
  (throughout the Empire; about 20 billion 
  people are aware of Reputation)
  5 
  Rivalry:  Professional, with other engineers
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Blaster riﬂe (or blaster pistol when he needs to be 
  “subtle”)
  Body armor applicable to situation
  Hand computer
  Portable toolkit
  Some spare parts
  Background/History:  A gifted engineer with a 
  knack for making any system, no matter how 
  jury-rigged or bizarre, work properly, Jason 
  Grigori had no diﬃculty ﬁnding a job working 
  on starships after he graduated from technical 
  school. Keeping a job was another matter. He 
  just didn’t seem to ﬁt in anywhere. During the 
  day he was constantly grumpy, and at night he 
  mostly seemed to spend a lot of time drinking, 
  frequently getting into barﬁghts in the process. 
  With behavior like that, it wasn’t easy to hold on 
  to a job, so he drifted from ship to ship and world 
  to world, getting by on the strength of his skills 
  instead of his personality.
  One night, in a bar on a space station orbit-
  ing a mining world on what was at the time the 
  Imperial frontier, he picked a barﬁght bigger than 
  even he could handle. Over a dozen Humans and 
  aliens were about to start pounding him into the 
  ground when another Human, a rakish look-
  ing free trader, said, “This doesn’t look like even 
  odds. I think I’ll join him.” By the time he and 
  the other man — Robert Avilla — were done, the 
  other ﬁghters were all unconscious, and the two 
  of them had become fast friends. Though their 
  careers took them to diﬀerent parts of the Galaxy, 
  they kept in touch and periodically ran into each 
  other.
  A few years later, Grigori heard from Avilla 
  again. It seems Avilla had gotten himself a ship 
  somehow, and needed an engineer. The ﬁrst 
  person he thought of was his old friend Jason. 
  Preferring to have a boss he was simpatico with, 
  instead of the ones who constantly nagged and 
  berated him, Grigori walked out on his job at the 
  time (for an unsavory group of pirates, who’ve 
  sworn revenge for the trouble he caused them) 
  and became a part of Argos Exploration.
  Personality/Motivation:  Most of the time, Grigori 
  is a quiet loner who gets grumpy, even surly, if 
  people try to talk to him or otherwise distract 
  him from his work — he’s only truly pleasant 
  with people he genuinely likes, such as Avilla or 
  Segaro Krez’shul. Though he’s not rude, he doesn’t 
  have as much tact as he should, and is quick to 
  make his dislike of a situation or person evident 
  through facial expressions and clipped comments. 
  When working, he prefers to be left alone, with 
  only the ship’s computer playing classical music 
  far too loudly to keep him company.
  
  302 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  The only time Grigori “comes alive” is when 
  he’s drinking. He has a prodigious capacity for 
  alcohol, which rarely seems to impair him (in 
  fact, he says he does some things, such as ﬁghting, 
  better when he’s been drinking). After he’s had a 
  few, he’s prone to mischief, and often picks ﬁghts. 
  He loves a good scrap, be it with ﬁsts or lasers, and 
  it’s often hard to drag him away from a battle even 
  when he knows it would be smarter to leave.
  Quote:  “Yeah yeah, ﬁx the food processing unit, I 
  got it. Go away.”
  Powers/Tactics:  In combat, Grigori is a straight-
  forward and aggressive ﬁghter. He’ll pick the big-
  gest guy he can ﬁnd and light into him with ﬁsts 
  (if possible), or look for the best shot and then 
  start shooting (if not). If Avilla can get him to 
  stop acting and start thinking, he often ﬁnds clever 
  ways to use 
  his engineer-
  ing skills 
  in battle 
  that would 
  ordinarily get 
  drowned out by 
  his love of ﬁght-
  ing.
  Appearance:  
  Jason Grigori is 
  a male Human, 
  age 31, with 
  short black hair 
  and a short black 
  beard. He’s 5’9” 
  tall and weighs 
  about 200 pounds 
  (he’s a little pudgy, 
  but not overly so). 
  He usually wears 
  a typical spacer’s 
  jumpsuit with lots of pockets, plus a 
  broad belt with a toolpack attached 
  to it, but if he’s going to spend the 
  day working somewhere hot (like the 
  access conduits near the engine) he’ll 
  usually ditch the jumpsuit in favor 
  of a light shirt and shorts. He’s often 
  accompanied by Napoleon, his pet 
  sokar (a friendly squirrel-like mammal 
  from one of the Lalande worlds).
  Jason is a coﬀee addict. If he 
  doesn’t have a mug of coﬀee in his 
  hand, there’s sure to be one on a table 
  near him.
  SEGARO KREZ’SHUL
   Val Char 
  Cost 
  Roll 
  Notes
   20 STR 
  10 
  13- 
  Lift 400 kg; 4d6 [2]
   16 DEX 
  18 
  12- 
  OCV:  5/DCV:  5
   20 CON 
  20 
  13-
   18 BODY 16 
  13-
   13 INT 
  3 
  12- 
  PER Roll 12-
   10 EGO 
  0 
  11- 
  ECV:  3
   18 PRE 
  8 
  13- 
  PRE Attack:  3 ½d6
   10 COM 
  0 
  11-
   8 PD 
  4 
   
  Total:  8 PD (1 rPD)
   6 ED 
  2 
   
  Total:  6 ED (1 rED)
   3 SPD 
  4 
   
  Phases:  4, 8, 12
   8 REC 
  0
   40 END 
  0
   45 STUN 
  7 
  Total Characteristics Cost:  92
  Movement: 
  Running: 
  6”/12”
  Cost Powers 
  END
  3 
  Mon’dabi Teeth:  HKA 1 point; No STR 
  Bonus (-½) 
  1
  7 
  Brawling:  HA +2d6; Hand-To-Hand  
  Attack (-½) 
  1
  1 
  Mon’dabi Skin:  Damage Resistance  
  (1 PD/1 ED) 
  0
  3 
  Mon’dabi Senses:  +1 PER with all Sense 
  Groups 
  0
  5 
  Tail:  Extra Limb (tail), Inherent (+¼; 
  Limited Manipulation (-¼) 
  0
   
  Skills
  3 
  Bribery 13-
  3 
  Computer Programming 12-
  3 
  Conversation 13-
  2 
  Forgery (Documents) 12-
  1 
  Gambling (Card Games) 8-
  1 
  AK: Centauri Trade Routes 8-
  2 
  KS: Mon’dabi Underworld 11-
  1 
  Lockpicking 8-
  3 
  Persuasion 13-
  3 
  Shadowing 12-
  3 
  Sleight Of Hand 12-
  3 
  Stealth 12-
  3 
  Trading 13-
  2 
  TF:  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons, Small 
  Arms
  Total Powers & Skills Cost:  58
  Total Cost:  150
  75+ Disadvantages
  5 
  Distinctive Features:  scars on neck, left leg, 
  tail (Easily Concealed, Noticed And Recog-
  nizable)
  15 
  Enraged:  if tricked or fooled (Uncommon), 
  go 11-, recover 11-
  15 
  Hunted:  Mon’dabi organized crime group 8- 
  (Mo Pow, NCI, Limited Geographical Area, 
  Kill)
  10 
  Hunted:  one of his scam victims 8- (As Pow, 
  Capture)
  15 
  Psychological Limitation:  Protective Of 
  
  303 
  Star Hero ■ Chapter Twelve
  Robert Avilla (Common, Strong)
  10 
  Psychological Limitation:  Prefers Brains 
  Over Brawn (Common, Moderate)
  5 
  Reputation:  wanted criminal 11- (through-
  out Mon’dabi space, parts of the Empire, and 
  elsewhere; about 20 billion people are aware 
  of Reputation)
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Pocket blaster (sometimes a blaster pistol instead)
  Body armor applicable to situation
  Hand computer
  Precision writing implements (for Forgery)
  Lockpicking equipment
  Two or three diﬀerent decks of cards
  Background/History:  Born into a poor family in 
  a poor neighborhood of the capital on Mon’da, 
  Segaro Krez’shul got involved in petty crime as a 
  teenager. Althought big and strong, and therefore 
  good at “muscle” work and protection rackets, he 
  preferred to use his mind and agile hands rather 
  than his ﬁsts whenever possible. Slowly but surely, 
  he drifted away from street crime and into conﬁ-
  dence games and fraud.
  He was on his way to what might have been 
  a brilliant career as a grifter when he made the 
  mistake of pulling a scam on a Mon’dabi associated 
  with a large organized crime group on his home-
  world. The “mark” brought a few “friends” over to 
  teach Segaro a lesson... a permanent lesson. Segaro 
  ﬂed, hopping from world to world as he tried to 
  keep ahead of his bloodthirsty pursuers.
  But he couldn’t run forever. They ﬁnally caught 
  up to him in an alley on Vardel IV and were about 
  to kill him when Robert Avilla, who saw what he 
  thought was an innocent Mon’dabi being attacked 
  by thieves, came to his rescue. Together they 
  defeated the thugs and got away from Vardel IV 
  without any serious repercussions.
  Touched by Avilla’s rescue, and believing he 
  owed the Human his life, Segaro chose to become 
  the free trader’s constant companion, assistant, and 
  “bodyguard.” They worked together well, with Sega-
  ro’s con-man skills complementing Avilla’s abilities 
  as a smuggler. When Avilla decided to go into busi-
  ness as Argos Exploration, Segaro came right along 
  with him. 
  Personality/Motivation:  Segaro Krez’shul is a clever, 
  cagey individual who prefers to rely on his wits 
  and guile rather than his muscles. He’s perfectly 
  capable of projecting an air of physical menace, or 
  even ﬁghting, if necessary — he’d just rather not if 
  he can ﬁnd a more “sophisticated” way to avoid his 
  problems. He still uses his grifting skills whenever 
  he gets the chance; as a result, more than a few 
  people are pursuing him to get back their money 
  or take revenge. (In game terms, the GM should 
  roll the “scam victim” Hunted, and if the roll suc-
  ceeds, one of these people has caught up to Segaro 
  and causes trouble for him somehow during the 
  adventure.)
  Segaro hates to be fooled or outwitted. His 
  self-image makes him think he’s smarter than other 
  people, and being proved wrong infuriates him. He 
  may attack then and there, or may bide his time 
  and take revenge later.
  Although he’s not normally that honorable a 
  person, for some reason Segaro feels honor-bound 
  to Robert Avilla because Avilla saved his life. He’s 
  protective of his “boss,” and tries not to let him 
  go into any threatening situation without coming 
  along to help keep Avilla safe. He’d gladly risk his 
  life for Avilla’s if necessary... though he prefers to 
  arrange things so it’s not necessary.
  Quote:  “Why didn’t you tell me we had a proton 
  inductor? If I’d known that, I could’ve thought of 
  something to keep us out of this mess!”
  Powers/Tactics:  Segaro is big and strong, able to use 
  his size and muscles to hit fast and hard if he has 
  to. He’s also a good shot with a blaster. However, 
  he’d rather use his smarts than his ﬁsts if he can. 
  He may spend more time maneuvering for a clever 
  shot, or trying to concoct a plan to trick the enemy, 
  than he ought to, leaving himself and his friends 
  exposed when more direct action would eliminate 
  the problem.
  Segaro ﬁnds that many non-tailed humanoids 
  forget about his tail. It’s not very manipulable, 
  but in a battle it can hit just as hard as a ﬁst. In 
  some cases he may get a Surprise Move bonus 
  the ﬁrst time he hits someone with it.
  Appearance:  Segaro Krez’shul is a 
  light-scaled Mon’dabi male. He’s 
  29 years old, stands 6’4” tall, 
  and weighs nearly 250 
  pounds. He usually 
  dresses in typical 
  Mon’dabi fash-
  ion — sandals, 
  blousy pants, 
  and a blousy 
  cross-
  breasted 
  tunic 
  that 
  comes 
  down to 
  the mid-thigh.
  
  304 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  KIRITHA TAL
   Val Char 
  Cost 
  Roll 
  Notes
   10 STR 
  0 
  11- 
  Lift 100 kg; 2d6 [1]
   18 DEX 
  24 
  13- 
  OCV:  6/DCV:  6
   16 CON 
  12 
  12-
   10 BODY 0 
  11-
   13 INT 
  3 
  12- 
  PER Roll 12-
   12 EGO 
  4 
  11- 
  ECV:  4
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   14 COM 
  2 
  12-
   4 PD 
  2 
   
  Total:  7 PD (3 rPD)
   10 ED 
  9 
   
  Total:  13 ED (5 rED)
   4 SPD 
  12 
   
  Phases:  3, 6, 9, 12
   5 REC 
  0
   32 END 
  0
   25 STUN 
  2 
  Total Characteristics Cost:  75
  Movement: 
  Running: 
  7”/14”
   
  Swimming: 
  3”/6”
  Cost Powers 
  END
  1 
  Perseid Physiology:  Damage Resistance  
  (0 PD/2 ED) 
  0
  5 
  Perseid Eyes:  Sight Group Flash Defense  
  (5 points) 
  0
  2 
  Fast On Her Feet:  Running +1” (7” total) 1
  1 
  Strong Swimmer:  Swimming +1” (3” total) 1
   
  Talents
  6 
  Combat Luck (3 PD/3 ED)
  3 
  Lightning Calculator
   
  Skills
  3 
  Climbing 13-
  3 
  Computer Programming 12-
  5 
  Cramming
  3 
  Deduction 12-
  3 
  Electronics 12-
  1 
  AK: Centauri Trade Routes 8-
  2 
  KS: Perseid Politics 11-
  2 
  KS: Sendravian Scientiﬁc University 11-
  3 
  Paramedics 12-
  3 
  Stealth 13-
  4 
  Systems Operation (Communications  
  Systems, FTL Sensors, Radar) 12-
  1 
  Trading 8-
  2 
  TF:  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons,  
  Small Arms
  3 
  Scientist
  4 
  1)  SS: Planetology 14-
  1 
  2)  SS: Anthropology 11-
  1 
  3)  SS: Archaeology 11-
  1 
  4)  SS: Astronomy 11-
  1 
  5)  SS: Biology 11-
  1 
  6)  SS: Botany 11-
  1 
  7)  SS: Chemistry 11-
  1 
  8)  SS: Geology 11-
  1 
  9)  SS: Physics 11-
  1 
  10)  SS: Zoology 11-
  Total Powers & Skills Cost:  75
  Total Cost:  150
  75+ Disadvantages
  15 
  DNPC:  Nalee (her young daughter) 8- 
  (Incompetent)
  15 
  Hunted:  Vaxandrosian Intelligence Bureau 
  8- (Mo Pow, NCI, Limited Geographical 
  Area, Capture)
  10 
  Hunted:  Imperial Planetological Society 8- 
  (Mo Pow, NCI, Watching)
  15 
  Psychological Limitation:  Scientiﬁc Curios-
  ity (Common, Strong)
  10 
  Psychological Limitation:  Reckless 
  (Common, Moderate)
  10 
  Rivalry:  Professional, with Bertrand 
  Devereaux (Seeks To Harm Tal)
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Blaster pistol
  Body armor applicable to situation
  Hand computer
  Field science kit (including hand-held scanner)
  Field medical kit
  Background/History:  Ever since she was a little girl, 
  climbing cliﬀs and exploring forests on her native 
  Dorvala, Kiritha Tal wanted to be a scientist — a 
  planetologist, someone who looks for, explores, and 
  studies new worlds. When she was older, she was 
  smart enough and fortunate enough to win a schol-
  arship to the prestigious Sendravian Scientiﬁc Uni-
  versity to study a wide variety of scientiﬁc subjects, 
  with an emphasis on planetology and related mat-
  ters. While there she met and married her husband 
  Jennor, and they had a daughter.
  Tal nearly gave up her studies when Jennor 
  was killed in a rockslide during a student ﬁeld 
  expedition, but eventually worked through her 
  grief and returned to the University. When she 
  completed her degree and was ready to start work-
  ing, she found that most of the job opportunities 
  available were boring assignments for the Imperial 
  government. Then Kaithon Argosina came along, 
  looking for an adventurous soul to join his small 
  exploring and trading company, Argos Exploration. 
  Intrigued not just by the nature of the job, but by 
  him, she interviewed and was hired.
  Since then, Tal’s been an important part of the 
  Argos staﬀ, since she’s got more formal scientiﬁc 
  training than all the rest of them combined. She 
  usually leads the company’s exploratory missions. 
  Sometimes, when her parents aren’t able to take 
  care of her daughter Nalee, she brings her along on 
  Argos trips.
  As a result of her activities as a member of the 
  Jackpot’s crew, Tal has made herself a few enemies. 
  One is her boss’s nemesis, Bertrand Devereaux, 
  a Human who envies her skills as a planetologist 
  (and resents her usefulness to Avilla), and seeks to 
  thwart her. Another is the Intelligence Bureau of 
  Vaxandros Prime, which is convinced, because of 
  the way one of Segaro’s scams backﬁred, that she’s 
  some sort of spy. Lastly, the Imperial Planetological 
  Society has raised some questions about her cre-
  
  305 
  Star Hero ■ Chapter Twelve
  dentials as a professional planetologist, and keeps 
  hounding her to ﬁle more accurate reports and 
  answer the Society’s questions about her qualiﬁca-
  tions and activities.
  Personality/Motivation:  Unlike the other Argos 
  employees, most of whom are motivated by money 
  (to at least some degree) and a desire for adventure, 
  Tal is driven by her scientiﬁc curiosity. She loves 
  exploring, not because she’s restless or on the run, 
  but because discovering a new world and unravel-
  ing its mysteries fascinates her. She sometimes side-
  tracks the company’s missions to look into some 
  phenomenon that’s strange or interesting, but of no 
  monetary value.
  Tal also displays a certain degree of reckless-
  ness that even the daredevil DeGraﬀ worries about 
  sometimes. She’s prone to acting on the spur of the 
  moment, and leaping before looking — a trait that’s 
  almost gotten her seriously hurt a time or two. Usu-
  ally a reminder of her daughter is enough to curb 
  any unjustiﬁed “enthusiasm.”
  Quote:  “Everybody fan out! There’s a deposit of sar-
  venite around here somewhere. If we can ﬁnd it, we 
  can stake a claim.”
  Powers/Tactics:  Tal may be reckless, but she has 
  no desire to ﬁght. The other Argosians have taught 
  her how to ﬁre blasters and similar weapons, and 
  she’ll back them up in a pinch if she has to, but her 
  preferred reaction to that sort of danger is to cower 
  behind cover.
  By virtue of her training in ﬁeld medicine, Tal 
  has become Argos’s de facto “doctor,” even though 
  her medical knowledge is scant. She ﬁnds she 
  enjoys the subject, and has entertained thoughts of 
  someday returning to school to study medicine.
  Appearance:  Kiritha Tal is, at age 24, the youngest 
  member of Argos Exploration. She’s 5’6” tall, with 
  the blue-black skin of a Perseid from the equato-
  rial regions of Dorvala. She keeps her straight hair 
  cut short, but well-styled. She usually wears ﬁeld 
  clothes when planetside (unless circumstances call 
  for more formal garb), and a jumpsuit on the ship.
  
  306 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  H
  ere are a few of the adversaries and 
  antagonists the members of Argos Explo-
  ration have encountered during their 
  travels and adventures. Most of them 
  have access to resources such as groups of Impe-
  rial Security Police oﬃcers, gangs of thugs, or 
  squads of hired goons, so any one of them should 
  be able to challenge the entire group of PCs if 
  necessary.
  MAJOR ALLYSSA BARTH
   Val Char 
  Cost 
  Roll 
  Notes
   15 STR 
  5 
  12- 
  Lift 200 kg; 3d6 [1]
   16 DEX 
  18 
  12- 
  OCV:  5/DCV:  5
   15 CON 
  10 
  12-
   10 BODY 0 
  11-
   14 INT 
  4 
  12- 
  PER Roll 12-
   11 EGO 
  2 
  11- 
  ECV:  4
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   12 COM 
  1 
  11-
   6 PD 
  3 
   
  Total:  9 PD (3 rPD)
   4 ED 
  1 
   
  Total:  7 ED (3 rED)
   4 SPD 
  14 
   
  Phases:  3, 6, 9, 12
   6 REC 
  0
   30 END 
  0
   30 STUN 
  4 
  Total Characteristics Cost:  67
  Movement: 
  Running: 
  7”/14”
  Cost Powers 
  END
  2 
  Fast On Her Feet:  Running +1” (7” total) 1
   
  Martial Arts:  Karate
   
  Maneuver 
  OCV DCV 
  Notes
  4 
  Atemi Strike 
  -1 
  +1 
  2d6 NND(1)
  4 
  Block 
  +2 
  +2 
  Block, Abort
  4 
  Dodge 
  +0 
  +5 
  Dodge all 
  attacks, Abort
  4 
  Knifehand 
   
  Strike 
  -2 
  +0 
  1d6 HKA
  4 
  Punch/
   
  Snap Kick 
  +0 
  +2 
  5d6 Strike
   
  Perks
  10 
  Contacts (GM’s choice)
  8 
  Fringe Beneﬁt:  Interstellar Police Powers
  6 
  Fringe Beneﬁt:  Membership (Major in Impe-
  rial Security Police)
  4 
  Fringe Beneﬁt:  Security Clearance
   
  Talent
  6 
  Combat Luck (3 PD/3 ED)
   
  Skills
  6 
  +2 with Imperial Security Police Weapons
  3 
  Bureaucratics 12-
  3 
  Computer Programming 12-
  3 
  Criminology 12-
  1 
  Forensic Medicine 8-
  3 
  Interrogation 12-
  2 
  AK: Karilath IV 11-
  2 
  KS: Criminal Law 11-
  2 
  KS: Interstellar Organized Crime 11-
  2 
  PS: Law Enforcement Agent 11-
  3 
  Stealth 12-
  3 
  Streetwise 12-
  2 
  TF:  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons, Small 
  Arms
  Total Powers & Skills Cost:  97
  Total Cost:  164
  75+ Disadvantages
  5 
  Distinctive Features:  Imperial Security 
  Police Uniform (Easily Concealed, Noticed 
  And Recognizable)
  15 
  Hunted:  Gha’krl Mob 11- (As Pow, NCI, 
  Limited Geographical Area, Kill)
  10 
  Hunted:  Imperial Security Police 8- (Mo 
  Pow, NCI, Watching)
  25 
  Psychological Limitation:  Scrupulously 
  Honest (Very Common, Total)
  20 
  Social Limitation:  Subject To Orders (Very 
  Frequently, Major)
  14 
  Experience Points
  Total Disadvantage Points:  164
  EQUIPMENT CARRIED
  Blaster pistol
  Other weaponry applicable to situation (e.g., stun-
  rods, knockout grenades)
  Body armor applicable to situation
  Hand computer
  Uniform and badge/identiﬁcation
  Background/History:  Smart, self-conﬁdent, and 
  aggressive, Allyssa Barth attended the Imperial 
  Security Police Academy after ﬁnishing her sec-
  ondary education, and graduated at the top of her 
  class. After several boring and dangerous assign-
  ments on Karilath IV (where she earned the 
  enmity of the Gha’krl organized crime “family” 
  because of her unﬂagging eﬀorts to topple it), her 
  success record led to a posting back on Earth as 
  VILLAINS
  ALLYSSA BARTH 
  PLOT SEEDS
  To her surprise, Major 
  Barth ﬁnds herself 
  romantically attracted to 
  one of the PCs. How will 
  she reconcile her devo-
  tion to duty with her 
  feelings? What repercus-
  sions will her decision 
  have for the PCs?
  Major Barth uncovers a 
  major corruption scan-
  dal within the Interstel-
  lar Organized Crime 
  Task Force. Unsure of 
  how high up the cor-
  ruption may reach, and 
  unable to investigate the 
  situation herself without 
  tipping oﬀ her superiors, 
  she turns to the PCs 
  (whom she’s previously 
  encountered and knows 
  to be honorable) for 
  help.
  High-ranking Imperial 
  government oﬃcials 
  who are enemies of the 
  PCs manipulate Major 
  Barth into going after 
  them. How can the PCs 
  convince such a scrupu-
  lously honest cop that 
  they’re not the biggest 
  threat in this situation?
  
  307 
  Star Hero ■ Chapter Twelve
  part of the I.P.’s Interstellar Organized Crime Task 
  Force.
  While working with the TF, Barth got 
  involved in a case against one Robert Avilla 
  because of his smuggling activities. After 
  he “disappeared,” Barth (now a Major) lost 
  track of him for several years. She’s now 
  received reports that make her think 
  one “Kaithon Argosina” of Argos 
  Exploration is, in fact, Avilla. She 
  has spent a lot of time and 
  money tracking Argosina, 
  trying to trip him up 
  and prove he’s Avilla. 
  So far she hasn’t 
  succeeded, but she 
  knows she’s right; it’s 
  just a matter of prov-
  ing it....
  Personality/Motivation:  Major 
  Barth is a tough, hard-nosed cop 
  known for her scrupulous honesty. 
  She wouldn’t even think of ignoring 
  regulations, doing something other 
  than in the “by the book” way, or 
  taking a bribe. Her incorruptibil-
  ity makes her perfect for opera-
  tions against organized crime (or 
  groups of PCs!). Unfortunately, her 
  frank nature also tends to make her 
  blunt and tactless, which has kept 
  her from advancing further in the 
  I.P. or forming many lasting personal 
  relationships.
  Quote:  “No, that’s all wrong. They’ll 
  see through that in a minute. We 
  should do it this way....”
  Powers/Tactics:  Major Barth has 
  received the standard Imperial 
  Security Police training with energy 
  weapons and hand-to-hand combat, 
  which she’s supplemented by study-
  ing karate. She prefers to avoid 
  violence (primarily by approaching 
  arrestees only when backed up by 
  overwhelming force), but if forced 
  to ﬁght is aggressive and imagina-
  tive on the battleﬁeld.
  Although she’s a formidable 
  combatant, what makes Major Barth really dan-
  gerous are her devotion to duty and her ability 
  to call on the resources of the Imperial Security 
  Police if she needs them. In essence she rep-
  resents the strength of the Imperial govern-
  ment, not just a single adversary for the 
  PCs to overcome. If necessary she can call 
  up squads of heavily-armed special opera-
  tions oﬃcers, or the like, to help her catch 
  criminals.
  Campaign Use:  Major Barth embod-
  ies and personiﬁes the threat the 
  Terran Empire poses to any group 
  of PCs that isn’t strictly law-abiding 
  (i.e., virtually any group of PCs), 
  particularly for campaigns set in the 
  mid-to-late 2600s (when the Empire 
  has descended into corruption, 
  decadence, and oppression). At the same 
  time, her honesty makes her a somewhat 
  sympathetic ﬁgure; she’s no more likely 
  to enforce an illegal order against the PCs 
  than she is to take a bribe from them, 
  which may eventually lead her to work 
  with the PCs to topple the Empire.
  If Major Barth’s not tough enough 
  for your campaign, boost her physi-
  cal Characteristics a bit, give her a few 
  more Skills (and perhaps Skill Levels), 
  and provide her with better equipment. 
  If she’s too tough already, get rid of 
  her Martial Arts and her Combat Skill 
  Levels.
  As a Hunter, Major Barth is 
  tenacious, versatile, and aggres-
  sive, as Robert Avilla has already 
  learned. But unlike many I.P. 
  cops, she won’t abuse her author-
  ity, plant evidence on suspects, 
  or engage in any other under-
  handed police tricks — she’s a 
  completely by-the-book oﬃcer.
  Appearance:  Allyssa Barth is a 
  Human female, mid-30s, 5’10”, 
  in excellent shape due to fre-
  quent workouts and martial 
  arts training. She’s attractive, 
  in a severe sort of way, with 
  brown hair cut short. When 
  on duty, she wears her uniform; oﬀ-duty she 
  favors casual clothes.
  
  308 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  BERTRAND DEVEREAUX
   Val Char 
  Cost 
  Roll 
  Notes
   10 STR 
  0 
  11- 
  Lift 100 kg; 2d6 [1]
   14 DEX 
  12 
  12- 
  OCV:  5/DCV:  5
   14 CON 
  8 
  12-
   12 BODY 4 
  11-
   20 INT 
  10 
  13- 
  PER Roll 13-
   18 EGO 
  16 
  13- 
  ECV:  6
   20 PRE 
  10 
  13- 
  PRE Attack:  4d6
   12 COM 
  1 
  11-
   4 PD 
  2 
   
  Total:  4 PD (0 rPD)
   4 ED 
  1 
   
  Total:  4 ED (0 rED)
   3 SPD 
  6 
   
  Phases:  4, 8, 12
   5 REC 
  0
   28 END 
  0
   30 STUN 
  6 
  Total Characteristics Cost:  76
  Movement: 
  Running: 
  6”/12”
  Cost Perks
  6 
  Contacts:  deﬁned by GM
  5 
  Money:  Well Oﬀ
   
  Skills
  3 
  Bribery 13-
  3 
  Concealment 13-
  3 
  Conversation 13-
  2 
  Cryptography 13-; Translation Only (-½)
  1 
  Electronics 8-
  4 
  Forgery (Art Objects, Documents) 13-
  2 
  Gambling (Card Games) 13-
  3 
  High Society 13-
  2 
  KS: Art History 11-
  2 
  KS: History 11-
  2 
  KS: Literature 11-
  3 
  Persuasion 13-
  2 
  PS: Appraising 11-
  3 
  Stealth 12-
  3 
  Streetwise 13-
  4 
  Survival (Mountains, Temperate/ 
  Subtropical, Tropical) 13-
  2 
  TF:  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons,  
  Small Arms
  3 
  Scientist
  2 
  1)  SS: Anthropology 13-
  2 
  2)  SS: Archaeology 13-
  1 
  3)  SS: Astronomy 11-
  1 
  4)  SS: Biology 11-
  1 
  5)  SS: Chemistry 11-
  2 
  6)  SS: Planetology 13-
  1 
  7)  SS: Physics 11-
  Total Powers & Skills Cost:  74
  Total Cost:  150
  75+ Disadvantages
  15 
  Hunted:  Jenak iv Gerasha 8- (Mo Pow, Kill)
  10 
  Hunted:  Imperial Security Police 8- (Mo 
  Pow, NCI, Watching)
  15 
  Psychological Limitation:  Greedy; 
  Determined To Rebuild Family Fortune 
  (Common, Strong)
  10 
  Psychological Limitation:  Collector’s Mania 
  (Common, Moderate)
  5 
  Reputation:  man who can obtain illegal 
  antiquities 11- (throughout parts of the 
  Empire, and elsewhere; about 20 billion 
  people are aware of Reputation)
  5 
  Rivalry:  Professional, with Argos Explora-
  tion
  5 
  Social Limitation:  Harmful Secret (career 
  as illegal antiquities dealer) (Occasionally, 
  Minor)
  10 
  Experience Points
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Pocket blaster
  Hand computer
  Field science kit
  Lucky threedel’s foot
  Background/History:  Descended from a long line 
  of wealthy industrialists, Bernard Devereaux 
  had the misfortune to be born at a time when 
  the family’s coﬀers were nearly empty due to 
  centuries of mismanagement and foolish spend-
  ing. Even worse, he had no head for business or 
  numbers; his interests ran to history, art, and 
  literature. Despite this, his father made it clear the 
  responsibility for rebuilding the family’s wealth 
  lay on his shoulders.
  After studying archaeology and art at univer-
  sity, Devereaux decided there was more than one 
  way to skin a cat. Industry and ﬁnance weren’t the 
  only ways to get rich; he’d read dozens of stories 
  about explorers and scientists who made them-
  selves fabulously wealthy by discovering a rich 
  new world, or an ancient civilization whose art 
  comes into vogue among collectors. Determined 
  to re-create their success, he embarked on a 
  career as a freelance explorer/archaeologist.
  He spent much of his family’s remaining 
  money trying to make his “business” a success, to 
  no avail. He ﬁnally cast professional ethics away 
  and began traﬃcking in illegal antiquities, forged 
  art, and other such illicit goods. That he’s proven 
  quite skilled at. Though a few of his deals have 
  gone sour (one ex-client, Jenak iv Gerasha, wants 
  to kill him because Devereaux tried to swindle 
  him), most have come oﬀ without a hitch. He’s on 
  his way back to wealth and power, and he doesn’t 
  intend to stop until he gets there.
  During his career, Devereaux has encoun-
  tered many other “freelance explorers” like him-
  self, some honest, others not. Robert Avilla is an 
  old adversary; the two have competed for the 
  same prize many a time, with Devereaux usually 
  losing out to the dashing “merchant.” He’s deter-
  mined to defeat Argos Exploration once and for 
  all... some day.
  Personality/Motivation:  Devereaux has a genuine 
  appreciation for art and antiquities, and enjoys 
  collecting them. Unfortunately, his desire to 
  rebuild the family fortune (resulting not only 
  from personal greed, but family pressure) wars 
  BERTRAND 
  DEVEREAUX  
  PLOT SEEDS
  One of Devereaux’s 
  clients wants a price-
  less, unique artifact 
  that’s kept under tight 
  security as a display at 
  the Beldana V Museum 
  of Fine Art. Devereaux 
  can’t steal it himself... 
  but maybe he can trick 
  the PCs into doing the 
  job for him.
  Judith Craswell, a well-
  known maven of Impe-
  rial society, is found 
  murdered in her luxu-
  rious space-mansion. 
  The death is a complete 
  mystery; the Imperial 
  Security Police have no 
  suspects. The PCs get 
  involved somehow and 
  have to solve the mys-
  tery. Devereaux killed 
  her because she found 
  out about him and was 
  going to reveal his “job” 
  to her friends, but he’s 
  cleverly concealed the 
  evidence.
  In search of a valuable 
  archaeological treasure, 
  the PCs end up with 
  half the information 
  they need to ﬁnd it. 
  Devereaux, it turns out, 
  has the rest of the data. 
  If they team up, can they 
  trust him?
  
  309 
  Star Hero ■ Chapter Twelve
  with his collector’s mania most of the time. 
  Should he keep a unique and intriguing relic... or 
  sell it for hundreds of thousands of credits? Usu-
  ally avarice wins, but not always.
  Devereaux is terriﬁed his peers in high soci-
  ety will discover what he does to make money. 
  (Some already know, because they’re his clients, 
  and they certainly won’t reveal their own com-
  plicity in interstellar crime.) If word got 
  out that he was, in essence, a smuggler 
  and forger, he’d be banned from polite 
  society, and that’s something he 
  couldn’t tolerate. If necessary, he’ll 
  kill to keep his secret.
  Quote:  “Ah, yes, you have an 
  excellent eye. That drinking-cup 
  is of early Toractan manufacture; 
  it was used by priests in religious 
  ceremonies. Very rare... very valuable.”
  Powers/Tactics:  Devereaux has no combat 
  skills to speak of (though he does know 
  how to ﬁre a gun, and has a steadier aim 
  than most people). He’ll run from a ﬁght 
  if he can, or try to talk his way out of it. 
  He’ll surrender rather than risk harm to 
  his person.
  Campaign Use:  The GM can use Devereaux 
  as a competitor for PC groups engaged in 
  similar occupations, and as a colorful NPC 
  if not. If one of the heroes has an interest 
  in art, he may encounter Devereaux in a 
  museum, perhaps striking up a friendship with 
  him before learning who and what he 
  really is. If the PCs have a connection 
  with the authorities, a friend in the 
  Imperial Secu-
  rity Police 
  may ask for 
  their help in 
  exposing and 
  catching the wily 
  pseudo-archaeolo-
  gist.
  Appearance:  Bertrand 
  Devereaux is a Human 
  male in his early 40s (he 
  refuses to reveal his exact 
  birthdate, and Imperial 
  records are strangely silent 
  on the matter). His sandy blonde 
  hair is thinning on top and start-
  ing to grey throughout, and that, 
  combined with his rather long nose 
  and thin face, give him a vultur-
  ine appearance that’s not entirely 
  undeserved, though most people 
  would call him “aristocratic-looking.” 
  Although he seems somewhat frail, in 
  truth he’s pretty energetic and muscu-
  lar for a man his age due to spending so 
  much time in the ﬁeld. He usually wears a 
  ﬁeld jacket or vest over sturdy but comfort-
  able outdoor clothes.
  
  310 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  DARGEN
   Val Char 
  Cost 
  Roll 
  Notes
   20 STR 
  10 
  13- 
  Lift 400 kg; 4d6 [2]
   18 DEX 
  24 
  13- 
  OCV:  6/DCV:  6
   18 CON 
  16 
  13-
   15 BODY 10 
  12-
   13 INT 
  3 
  12- 
  PER Roll 12-
   10 EGO 
  0 
  11- 
  ECV:  3
   18 PRE 
  8 
  13- 
  PRE Attack:  3 ½d6
   8 COM 
  -1 
  11-
   8 PD 
  4 
   
  Total:  8 PD (0 rPD)
   7 ED 
  3 
   
  Total:  7 ED (0 rED)
   4 SPD 
  12 
   
  Phases:  3, 6, 9, 12
   8 REC 
  0
   36 END 
  0
   40 STUN 
  6 
  Total Characteristics Cost:  95
  Movement: 
  Running: 
  6”/12”
  Cost Powers 
  END
  7 
  Brawling:  HA +2d6; Hand-To-Hand  
  Attack (-½) 
  1
   
  Perks
  4 
  Fringe Beneﬁt:  Membership (in  
  Nakeerash organized crime family)
   
  Skills
  5 
  +1 Hand-To-Hand
  5 
  +1 with Ranged Combat
  3 
  Combat Piloting 13-
  1 
  Demolitions 8-
  1 
  Electronics 8-
  4 
  Gambling (Card Games, Sports Betting) 13-
  3 
  Interrogation 13-
  2 
  KS:  Nakeerash Organized Crime Family
  3 
  Lockpicking 13-
  3 
  Security Systems 13-
  3 
  Stealth 13-
  3 
  Streetwise 13-
  2 
  TF:  Personal-Use Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons, Small 
  Arms
  Total Powers & Skills Cost:  55
  Total Cost:  150
  75+ Disadvantages
  20 
  Hunted:  Imperial Security Police 8- (Mo 
  Pow, NCI, Capture)
  20 
  Psychological Limitation:  Amoral (Very 
  Common, Strong)
  10 
  Reputation:  hard-core, violent criminal 11- 
  (throughout parts of the Empire, and else-
  where; about 20 billion people are aware of 
  Reputation) (Extreme)
  5 
  Rivalry:  Professional, with another gangster
  20 
  Experience Points
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Blaster pistol
  Brass knuckles, or the like
  Body armor applicable to situation
  Hand computer
  100-500 credits’ worth of local currency
  Background/History:  Dargen doesn’t talk much 
  about his background — in fact, he doesn’t even 
  tell most people his family name. Supposedly his 
  family’s been associated with the Nakeerash mob 
  for several generations, and there wasn’t any ques-
  tion he’d “join the family business” when he got old 
  enough.
  Fortunately, Dargen grew up not only big and 
  strong, but smart. He quickly moved from strong-
  arm work to leading gangs, a task he excelled at. 
  He was doing well, earning a lot of credits for his 
  bosses, succeeding at every mission — until he ran 
  into Argos Exploration. Thanks to Robert Avilla 
  and friends, a sweet little scam Dargen had going 
  on Vinarcus fell apart, costing the family a lot of 
  money, and Dargen a lot of prestige. When he tried 
  to express his “displeasure” to the Argosians, a ﬁght 
  resulted in which Jason Grigori got lucky and beat 
  Dargen bloody... for which Dargen has sworn an 
  equally bloody revenge.
  Personality/Motivation:  Dargen is an amoral, brutal 
  thug — smart and cunning, to be sure, but a thug 
  nevertheless. He has no scruples whatsoever; theft, 
  violence, and even murder are all casual acts to 
  him. Though it’s often slow to wake, he has a fear-
  some temper, and holds grudges a long, long time.
  But Dargen’s brutality doesn’t make him stupid 
  or predictable. He wouldn’t have gotten as far as 
  he did in the Nakeerash family if he wasn’t smart 
  enough to know his way around some sophis-
  ticated con games and other criminal schemes. 
  Player characters who think they can deal with him 
  by returning violence for violence may soon be 
  unpleasantly surprised at his deviousness.
  Quote:  “This was a simple job, but you had to go 
  and butt yer noses into it. Now I’ve gotta kill you. 
  What a mess.”
  Powers/Tactics:  Dargen prefers to use his ﬁsts and 
  strength in combat; he hits hard and fast, enjoying 
  the crunch of bone when he connects with a good 
  roundhouse. But he’s good with a blaster, too, and is 
  pretty quick to draw his if he thinks his opponent is 
  armed. Hit ﬁrst and hit hard, that’s his motto — that 
  way the other guy won’t get to hit back at all. Dirty 
  tricks, underhanded blows, and unfair advantages 
  are all part of his stock in trade.
  Because he’s a gang leader in the Nakeerash 
  family, Dargen usually has a gang of up to two 
  dozen criminals at his beck and call. You can 
  include just about any sort of gangster in that group 
  to make Dargen a better opponent for the PCs.
  Campaign Use:  Dargen is a pretty simple, combat-
  oriented opponent for the PCs. Though he’s tougher 
  than the average street thug because of his intel-
  ligence and organized crime connections, he’s still 
  DARGEN  
  PLOT SEEDS
  A high-ranking Nakeer-
  ash gangster wants to 
  eliminate the PCs, and 
  gets Dargen to take 
  on the job. But what if 
  Dargen is really the one 
  he wants to eliminate, 
  and he starts tipping oﬀ 
  the PCs so that they’ll all 
  end up dead?
  With the Imperial 
  Security Police about 
  to expose one of his 
  criminal operations, 
  Dargen decides to frame 
  the PCs so they’ll take 
  the fall while he skips 
  the planet. Can the PCs 
  avoid the cops, ﬁnd out 
  what’s going on, and 
  catch Dargen before the 
  I.P. arrests and impris-
  ons them?
  After a battle between 
  the PCs and Dargen 
  leaves both of them 
  with stranded starships 
  that are running out of 
  air, the heroes and the 
  crooks have to work 
  together to save all their 
  lives. Can they trust 
  each other long enough 
  to get to safety?
  
  311 
  Star Hero ■ Chapter Twelve
  best used as a straightforward enemy for the PCs to 
  encounter and enjoy defeating.
  If Dargen’s not a powerful enough enemy for 
  your PCs, bulk up his Characteristics some, and 
  give him Contacts and Followers to call upon. If 
  he’s already too much of a challenge, reduce his 
  STR, CON, and DEX a few points each.
  As mentioned above, Dargen holds grudges, 
  so it wouldn’t be out of character for him to start 
  Hunting a hero that crosses his path — even on an 
  11- or 14-, if he’s been badly enough humiliated or 
  defeated. His early attacks will be brutal assaults 
  and the like, gradually transforming into clever 
  scams and distractions as he realizes force alone 
  won’t get the job done.
  Appearance:  Dargen is a Human male 32 years old. 
  Although big and beefy — he stands 6’2” tall and 
  weighs about 225 pounds, most of it muscle — he’s 
  quick and graceful when he moves; he knows how 
  to use his size to his advantage. He has dirty blonde 
  hair and a matching beard. He frequently smokes 
  Centauran cigarettes, and wears expensive but 
  comfortable clothing. 
  GHENAK VAA’RESH
   Val Char 
  Cost 
  Roll 
  Notes
   25 STR 
  20 
  14- 
  Lift 800 kg; 5d6 [2]
   20 DEX 
  30 
  13- 
  OCV:  7/DCV:  7
   20 CON 
  20 
  13-
   18 BODY 16 
  13-
   13 INT 
  3 
  12- 
  PER Roll 12-
   12 EGO 
  4 
  11- 
  ECV:  4
   20 PRE 
  10 
  13- 
  PRE Attack:  4d6
   10 COM 
  0 
  11-
   10 PD 
  7 
   
  Total:  10 PD (1 rPD)
   7 ED 
  3 
   
  Total:  7 ED (1 rED)
   4 SPD 
  10 
   
  Phases:  3, 6, 9, 12
   9 REC 
  0
   40 END 
  0
   41 STUN 
  0 
  Total Characteristics Cost:  123
  Movement: 
  Running: 
  8”/16”
  Cost Powers 
  END
  3 
  Mon’dabi Teeth:  HKA 1 point; No STR 
  Bonus (-½) 
  1
  1 
  Mon’dabi Skin:  Damage Resistance  
  (1 PD/1 ED) 
  0
  4 
  Fast On His Feet:  Running +2” (8” total) 
  1
  3 
  Mon’dabi Senses:  +1 PER with all Sense 
  Groups 
  0
  5 
  Tail:  Extra Limb (tail), Inherent (+¼); 
  Limited Manipulation (-¼) 
  0
   
  Perks
  10 
  Contacts (GM’s choice)
  5 
  Money:  Well Oﬀ
   
  Talent
  3 
  Lightsleep
   
  Skills
  8 
  +1 with All Combat
  5 
  +1 with Ranged Combat
  3 
  Combat Piloting 13-
  3 
  Computer Programming 12-
  3 
  Electronics 12-
  3 
  Fast Draw (Small Arms) 13-
  2 
  Gambling (Card Games) 12-
  3 
  KS: Bounties 12-
  3 
  Lockpicking 13-
  1 
  Mechanics 8-
  2 
  Navigation (Space) 12-
  2 
  PS: Bounty Hunter 11-
  3 
  Security Systems 12-
  3 
  Shadowing 12-
  3 
  Stealth 13-
  3 
  Streetwise 13-
  5 
  Systems Operation (Communications  
  Systems, FTL Sensors, Radar, Sensor Jam-
  ming Equipment) 12-
  4 
  TF:  Military Spacecraft, Personal-Use  
  Spacecraft
  8 
  WF: Beam Weapons, Common Melee  
  Weapons, Energy Weapons, Small Arms
  Total Powers & Skills Cost:  101
  GHENAK VAA’RESH 
  PLOT SEEDS
  Trapped in an aban-
  doned (and oxygen-
  poor) orbital mining 
  facility by a group 
  of Xenovore pirates, 
  the PCs and Ghenak 
  Vaa’resh must team 
  up to defeat a mutual 
  enemy. Will Vaa’resh try 
  to betray his erstwhile 
  allies to steal from them, 
  or capture them for any 
  money they might have 
  on their heads?
  A cleverly-planned 
  ambush by Vaa’resh 
  cripples the PCs’ ship. 
  Now they have to ﬁght 
  oﬀ both him and his 
  gang of hired cut-
  throats as he inﬁltrates 
  their vessel to capture 
  them.
  The PCs compete with 
  Vaa’resh to locate and 
  capture an infamous 
  mass murderer with a 
  10 million credit bounty 
  outstanding. What will 
  Vaa’resh do to sabotage 
  the PCs’ chances of beat-
  ing him?
  
  312 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  Total Cost:  224
  75+ Disadvantages
  15 
  Hunted:  Alphadyne Mercantile Combine 
  11- (Mo Pow, NCI, Watching)
  10 
  Hunted:  Imperial Security Police 8- (Mo 
  Pow, NCI, Watching)
  15 
  Psychological Limitation:  Code Of The Mer-
  cenary (Common, Strong)
  10 
  Psychological Limitation:  Vengeful 
  (Common, Strong)
  5 
  Reputation:  violent, dangerous bounty 
  hunter 11- (throughout parts of the Empire, 
  and elsewhere; about 20 billion people are 
  aware of Reputation)
  5 
  Rivalry:  Professional, with another bounty 
  hunter (GM’s choice)
  89 
  Experience Points
  Total Disadvantage 
  Points:  223
  EQUIPMENT  
  CARRIED
  Blaster riﬂe
  Blaster pistol
  Another blaster 
  pistol
  Some grenades
  A knife
  Body armor appli-
  cable to situation
  Hand computer
  A surly attitude
  Background/History:  
  Ghenak Vaa’resh was born on 
  Mon’da, in the same neighbor-
  hood as Segaro Krez’shul. 
  He grew up big, tough, and 
  mean. It didn’t take long for 
  him to get involved with local 
  gangs, and then organized 
  crime. That’s where his talent 
  for ﬁnding and killing people 
  was ﬁrst discovered. Put him on 
  someone’s trail, and that person was 
  as good as dead, his boss said... and 
  he was right.
  Eventually Vaa’resh got tired of 
  working for other people and left 
  Mon’da to become an interstellar 
  bounty hunter. He’s done well 
  enough at it to earn a reputation 
  throughout the Empire, and to 
  buy himself a small ship, the 
  Mal’eeth. But his track record 
  hasn’t been perfect. A few “impro-
  prieties” with some of his jobs 
  have got the Imperial Security 
  Police watching him closely, and 
  the Alphadyne Mercantile Com-
  bine is convinced a “botched” 
  job that resulted in the death of Vaa’resh’s quarry 
  is actually part of a scheme to steal valuable trade 
  secrets. As soon as it has “proof,” it will send other 
  bounty hunters after Vaa’resh... equipped with “dead 
  or alive” orders!
  Personality/Motivation:  Ghenak Vaa’resh is cold-
  hearted, hard, and brutal — qualities his job 
  demands and rewards. He’s suspicious and cautious, 
  and that, combined with his hair-trigger reactions, 
  sometimes makes it diﬃcult to deal with him.
  As a professional bounty hunter, Vaa’resh 
  abides by a professional code that mandates he do 
  his best to complete a job, obey all of his employer’s 
  instructions, and reveal his employer’s identity 
  only with permission or to a duly-authorized law 
  enforcement oﬃcer. He does a good job living up to 
  this code, most of the time. He only has diﬃculties 
  when his vengeful streak gets in the way — some-
  times he’s so eager to hurt someone who’s hurt him 
  that he forgets what his employer wanted.
  Quote:  “See this warrant? It says I can bring you in 
  “dead or alive,” reward’s the same. Decisions, deci-
  sions....”
  Powers/Tactics:  Vaa’resh is quick, strong, and clever, 
  a dangerous opponent in just about any battle. He 
  prefers to use his blaster, but he’s got big, strong ﬁsts 
  and knows how to use them if he has to. If possible, 
  he’ll try to “talk his way out” of a battle, but only 
  until he can get a decent shot without fear of being 
  shot at in return. He has no honor; he cares only 
  about winning.
  Vaa’resh owns a small, agile ship, the Mal’eeth. 
  Althought it’s not heavily armed, it has enough 
  weapons mounted  to let him ﬁght oﬀ larger ships. 
  It also comes equipped with the best stealth tech-
  nology he can aﬀord.
  Campaign Use:  Vaa’resh is a pretty tough opponent 
  for most individual PCs, though you may have to 
  give him some “backup” if he’s got to face an entire 
  PC group on his own (or arrange the situation to 
  his advantage somehow). He might also make a 
  useful underworld contact for the PCs.
  If you need Vaa’resh to be tougher, give him 
  some Martial Arts and increase some of his Figured 
  Characteristics a little. If he’s already too strong, 
  shave some points oﬀ his Primary Characteristics 
  and get rid of his Brawling ability.
  Vaa’resh’s vengefulness makes him a good can-
  didate to Hunt a PC who defeats him. He’ll usually 
  pursue the matter vigorously (i.e., on at least an 11-), 
  and call on all his contacts and friends throughout 
  the Empire to help him get the job done.
  Appearance:  Ghenak Vaa’resh is a 6’8” Mon’dabi 
  with a scarred face and a bad attitude. Instead 
  of typical Mon’dabi garb, he wears a dark green 
  jumpsuit with a broad leather belt and matching 
  bandolier. He usually wears at least one weapon, if 
  not more; even in situations where he can’t openly 
  carry a blaster or knife, he probably has one or two 
  small weapons concealed on his person. 
  
  313 
  Star Hero ■ Chapter Twelve
  ZEE’GANSH
   Val Char 
  Cost 
  Roll 
  Notes
   8 STR 
  -2 
  11- 
  Lift 75 kg; 2 ½d6 [2]
   12 DEX 
  6 
  11- 
  OCV:  4/DCV:  4
   13 CON 
  6 
  12-
   10 BODY 0 
  11-
   20 INT 
  10 
  13- 
  PER Roll 13-
   14 EGO 
  8 
  12- 
  ECV:  5
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   8 COM 
  -1 
  11-
   3 PD 
  1 
   
  Total:  6 PD (3 rPD)
   3 ED 
  0 
   
  Total:  6 ED (3 rED)
   2 SPD 
  0 
   
  Phases:  6, 12
   5 REC 
  0
   26 END 
  0
   25 STUN 
  4 
  Total Characteristics Cost:  37
  Movement: 
  Running: 
  6”/12”
  Cost Powers 
  END
  4 
  Hzeel Eyes:  +2 PER with Sight Group 
  0
  15 
  Lucky Bastard:  Luck 3d6
   
  Perks
  30 
  Contacts (GM’s choice)
  15 
  Money:  Filthy Rich
   
  All the Followers, Bases, and Vehicles he 
  needs
   
  Talent
  6 
  Combat Luck (3 PD/3 ED)
   
  Skills
  3 
  Computer Programming 13-
  3 
  Conversation 13-
  8 
  Gambling (Card Games, Board Games, 
  Sports Betting) 14-
  5 
  KS: Interstellar Arms Market 15-
  1 
  KS: Fine Art 8-
  3 
  Security Systems 13-
  3 
  Streetwise 13-
  7 
  Trading 14-
  4 
  TF:  Military Spacecraft, Personal-Use  
  Spacecraft
  6 
  WF: Beam Weapons, Energy Weapons,  
  Small Arms
  Total Powers & Skills Cost:  113
  Total Cost:  150
  75+ Disadvantages
  15 
  Hunted:  Draconis Defenseworks, Inc. 8-  
  (As Pow, NCI, Kill)
  10 
  Hunted:  Imperial Security Police 8- (Mo 
  Pow, NCI, Watching)
  15 
  Psychological Limitation:  Vengeful 
  (Common, Total)
  10 
  Psychological Limitation:  Compulsive  
  Gambler (Common, Strong)
  25 
  Experience Points
  Total Disadvantage Points:  150
  EQUIPMENT CARRIED
  Hand computer
  Expensive Hzeel clothes
  Background/History:  Zee’gansh got involved in 
  gambling early — as a child, he ran errands for 
  the pit bosses that operated an illegal casino near 
  his home on Shendara III. He was pretty good at 
  the games himself, often winning tidy sums of 
  money when he was allowed to play.
  He might have gone on to become a profes-
  sional gambler, if not for a stroke of good luck. 
  He got into a game with a drunken trader and 
  won his entire cargo — stolen weapons — from 
  him. After getting some help from friends who’d 
  been in the military, Zee’gansh sold all the guns 
  for an enormous proﬁt. He used that money to 
  buy other weapons for other customers, and so 
  on, and so on....
  Today, several decades later, Zee’gansh has 
  established a vast interstellar arms empire and is 
  fabulously wealthy. Although most of his business 
  is entirely aboveboard, he’s got nothing against 
  selling on the black market, which has aroused 
  the suspicion of the Imperial Security Police 
  (though they can’t prove anything yet). As long as 
  a customer has money and doesn’t cause trouble, 
  Zee’gansh is happy to deal with him. But his no-
  holds-barred business practices have earned him 
  more than a few enemies, including Draconis 
  Defenseworks, a large military contractor deter-
  mined to get rid of him.
  Unfortunately, the gambling tables haven’t 
  always been as kind to Zee’gansh as they were 
  back in his childhood. He still gambles fre-
  quently; he has a hard time passing up any sort 
  of game or bet. One night a few years back, he 
  got into a card game with a Human named Avilla. 
  Though the game was rigged — Zee’gansh was 
  supposed to win easily — Avilla somehow turned 
  the tables on him, winning billions of credits. 
  Convinced Avilla somehow cheated, Zee’gansh 
  has sworn to get revenge... and get back his 
  money.
  Personality/Motivation:  Zee’gansh is a bitter, 
  lonely, grasping Hzeel who cares about no one 
  and nothing but himself and his proﬁts — except 
  perhaps for the turn of the cards, for he dearly 
  loves to gamble. On a few occasions his adversar-
  ies have gotten out of his clutches by challenging 
  him to a game and beating him, but he still can’t 
  resist the lure of the casino.
  Zee’gansh hates to suﬀer any sort of defeat or 
  insult. He’s used to getting his way in just about 
  everything, and anyone who denies him (as Avilla 
  did) gets put on “the list.” The list is long, and 
  he enjoys concocting schemes to remove people 
  from it permanently. His vengeance, though it 
  may be long in coming, always arrives, and is 
  never pleasant.
  Quote:  “Don’t play me for a fool. I can get twice 
  that price in the Selvi system. Pay up, or I’m 
  taking the goods elsewhere.”
  ZEE’GANSH  
  PLOT SEEDS
  Zee’gansh captures the 
  PCs and puts them in a 
  gigantic “arena zone” on 
  a desolate planet. If they 
  can win their way to 
  freedom past wild beasts 
  and armed patrols, he’ll 
  give them a ship and 
  let them go wherever 
  they want (not really, 
  but that’s what he tells 
  them). Meanwhile, he 
  and his friends bet on 
  the outcome.
  After losing in a high-
  stakes card game to 
  an abrasive Zurite, 
  Zee’gansh hires the 
  PCs to investigate or 
  eliminate him (what-
  ever seems appropriate, 
  given the nature of the 
  PCs). When the arms 
  merchant betrays and 
  refuses to pay them, 
  what will the PCs do?
  One side in a planetary 
  war is losing because 
  Zee’gansh sells only 
  to the other side. The 
  losing nation hires the 
  PCs to disrupt the trade 
  between Zee’gansh and 
  its enemies, or to ﬁnd it 
  an equivalent source of 
  weaponry.
  
  314 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  Powers/Tactics:  Zee’gansh doesn’t ﬁght; he hires 
  other people to ﬁght for him. He knows how to use 
  most types of blasters — he enjoys testing out his 
  own products from time to time — but he has no 
  intention of risking his own neck in battle.
  Campaign Use:  Zee’gansh is a sort of “master vil-
  lain” for use in Star Hero campaigns. Not as over-
  powering or deadly as the Terran Empire or other 
  governments, he nevertheless presents a signiﬁcant 
  threat to most groups of PCs due to his vast wealth 
  and resources. All they have to do is defeat him 
  once, and he’ll never leave them alone.
  Zee’gansh isn’t intended to overpower or 
  outﬁght the PCs. If you need to make him more 
  “powerful,” do so in social or political ways:  give 
  him more Contacts and resources to draw upon, 
  rather than personal combat skills. If he’s already 
  too powerful, cut down on his wealth and resource 
  base a little.
  Zee’gansh’s vengeful nature makes it quite 
  likely he’ll starting Hunting one or more PCs after 
  they thwart him. He usually Hunts on at least an 
  11-, but not always; it depends on how badly he 
  feels the sting of the “humiliation” of losing. 
  He starts out simple, with squads of assas-
  sins and bounty hunters, but progresses 
  to more sophisticated tactics like ruining 
  credit ratings if that doesn’t work.
  Appearance:  Zee’gansh, like other Hzeel, is 
  short, blue-skinned, 
  large-eyed, 
  and has a 
  sort of 
  gnarled 
  look that 
  makes him appear 
  older (to Humans) than he 
  actually is. He wears ﬁnely-tai-
  lored Hzeel male garb, which con-
  sists of a shirt-like upper garment, a 
  short cloak-like garment worn over it, 
  and a kilt-like lower garment that’s cut 
  lower in the back than in the front. His 
  voice is harsh and rasping.
  GENERIC NPCs
  The following character sheets are for “generic” 
  NPCs you can quickly adapt for use in a game 
  instead of taking the time to create your own. They 
  reﬂect the way these types of characters are por-
  trayed in science ﬁction, and so may not be appro-
  priate for other types of campaigns.
  DOCTOR
   Val Char 
  Cost 
  Roll 
  Notes
   8 STR 
  -2 
  11- 
  Lift 75 kg; 1 ½d6 [1]
   10 DEX 
  0 
  11- 
  OCV:  3/DCV:  3
   8 CON 
  -4 
  11-
   10 BODY 0 
  11-
   13 INT 
  3 
  12- 
  PER Roll 12-
   10 EGO 
  0 
  11- 
  ECV:  3
   13 PRE 
  3 
  12- 
  PRE Attack:  2 ½d6
   8 COM 
  -1 
  11-
   2 PD 
  0 
   
  Total:  2 PD (0 rPD)
   2 ED 
  0 
   
  Total:  2 ED (0 rED)
   2 SPD 
  0 
   
  Phases:  6, 12
   4 REC 
  0
   16 END 
  0
   20 STUN 
  2 
  Total Characteristics Cost:  1
  Movement: 
  Running: 
  4”/8”
  Cost Powers 
  END
  -4 
  A Little Slow:  Running -2”
   
  Perks
  20 
  Contacts:  in the galactic medical community
   
  Skills
  9 
  Devoted To His Craft:  +3 on all rolls to resist 
  attempts to deprive people of medical care, 
  take patients away from him, or make him 
  compromise his medical ethics.
  3 
  Computer Programming 12-
  1 
  Electronics 8-
  5 
  AKs/CKs of GM’s choice
  2 
  KS: Hobby 11-
  7 
  Paramedics 14-
  3 
  PS: Doctor 12-
  3 
  Scientist
  4 
  1)  SS: Biology 14-
  2 
  2)  SS: Chemistry 12-
  4 
  3)  SS: Medicine 14-
  4 
  4)  SS: Surgery 14-
  2 
  5)  SS: Virology 12-
  2 
  6)  SS: Xenobiology 12-
  Total Powers & Skills Cost:  67
  Total Cost:  68
  25+ Disadvantages
  20 
  Psychological Limitation:  Hippocratic Oath 
  (Common, Total)
  23 
  Additional Disadvantages (typically Age, Physi-
  cal Limitation, Psychological Limitation, or 
  Social Limitation) and/or Experience Points
  
  315 
  Star Hero ■ Chapter Twelve
  Total Disadvantage Points:  68
  Typical Equipment
  Field medical kit
  Field medical scanner
  FREE TRADER/MERCHANT
   Val Char 
  Cost 
  Roll 
  Notes
   10 STR 
  0 
  11- 
  Lift 100 kg; 2d6 [1]
   10 DEX 
  0 
  11- 
  OCV:  3/DCV:  3
   10 CON 
  0 
  11-
   10 BODY 0 
  11-
   13 INT 
  3 
  12- 
  PER Roll 12-
   12 EGO 
  4 
  11- 
  ECV:  4
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   12 COM 
  1 
  11-
   2 PD 
  0 
   
  Total:  2 PD (0 rPD)
   2 ED 
  0 
   
  Total:  2 ED (0 rED)
   2 SPD 
  0 
   
  Phases:  6, 12
   4 REC 
  0
   20 END 
  0
   20 STUN 
  0 
  Total Characteristics Cost:  13
  Movement: 
  Running: 
  6”/12”
  Cost Perks
  10 
  Contacts:  people he knows along the  
  trade routes
  20 
  Vehicle/Base:  a small trader’s ship, or a shop
   
  Skills
  3 
  Bribery 12-
  3 
  Bureaucratics 12-
  3 
  Computer Programming 12-
  3 
  Conversation 12-
  1 
  Electronics 8-
  10 
  AKs/CKs of GM’s choice
  2 
  KS: Hobby 11-
  3 
  KS: The Market 12-
  4 
  Languages:  4 points’ worth
  1 
  Mechanics 8-
  2 
  Navigation (Space) 12-
  3 
  Persuasion 12-
  3 
  PS: Trader 12-
  3 
  Seduction 12-
  2 
  SS: Astronomy 11-
  2 
  WF:  of player’s choice
  7 
  Trading 14-
  2 
  TF: Commercial Spacecraft & Space Yachts
  Total Powers & Skills Cost:  87
  Total Cost:  100
  25+ Disadvantages
  20 
  Psychological Limitation:  Always Looking 
  For Major Deals And Other Good Sources 
  Of Income (Very Common, Strong)
  55 
  Additional Disadvantages (typically Age, 
  Physical Limitation, Psychological Limita-
  tion, or Social Limitation) and/or Experience 
  Points
  Total Disadvantage Points:  100
  Typical Equipment
  Hand computer
  Blaster (in rough territories)
  Trade goods
  SCIENTIST/TECHNICIAN
   Val Char 
  Cost 
  Roll 
  Notes
   10 STR 
  0 
  11- 
  Lift 100 kg; 2d6 [1]
   10 DEX 
  0 
  11- 
  OCV:  3/DCV:  3
   10 CON 
  0 
  11-
   10 BODY 0 
  11-
   13 INT 
  3 
  12- 
  PER Roll 12-
   10 EGO 
  0 
  11- 
  ECV:  3
   10 PRE 
  0 
  11- 
  PRE Attack:  2d6
   10 COM 
  0 
  11-
   3 PD 
  1 
   
  Total:  3 PD (0 rPD)
   3 ED 
  1 
   
  Total:  3 ED (0 rED)
   2 SPD 
  0 
   
  Phases:  6, 12
   4 REC 
  0
   20 END 
  0
   20 STUN 
  0 
  Total Characteristics Cost:  5
  Movement: 
  Running: 
  6”/12”
  Cost Skills
  10 
  Scientiﬁc/Technical Genius:  +2 with all  
  science- and technology-oriented Skills
  3 
  Computer Programming 12-
  3 
  Electronics 12-
  3 
  Inventor 12-
  4 
  AKs/CKs of GM’s choice
  4 
  KSs related to job/profession
  2 
  KS: Hobby 11-
  3 
  Mechanics 12-
  7 
  Paramedics 14-
  3 
  PS: Scientist or Technician 12-
  3 
  Security Systems 12-
  8 
  Systems Operation (Communications 
  Systems, Environmental Systems, Medical 
  Systems, FTL Sensors, Radar) 12-
  3 
  Scientist
  15 
  SSs of GM’s choice
  Total Powers & Skills Cost:  71
  Total Cost:  76
  25+ Disadvantages
  15 
  Psychological Limitation:  one appropriate to 
  the profession, such as Scientiﬁc Curiosity or 
  Prefers Technology To The Company Of People
  36 
  Additional Disadvantages (typically Age, 
  Physical Limitation, Psychological Limita-
  tion, or Social Limitation) and/or Experience 
  Points
  Total Disadvantage Points:  76
  Typical Equipment
  Hand computer
  Field kit appropriate to mission or profession
  
  316 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  SECURITY OFFICER
   Val Char 
  Cost 
  Roll 
  Notes
   13 STR 
  3 
  12- 
  Lift 150 kg; 2 ½d6 [1]
   14 DEX 
  12 
  12- 
  OCV:  5/DCV:  5
   13 CON 
  6 
  12-
   10 BODY 0 
  11-
   13 INT 
  3 
  12- 
  PER Roll 12-
   10 EGO 
  0 
  11- 
  ECV:  3
   15 PRE 
  5 
  12- 
  PRE Attack:  3d6
   8 COM 
  -1 
  11-
   4 PD 
  1 
   
  Total:  4 PD (0 rPD)
   4 ED 
  1 
   
  Total:  4 ED (0 rED)
   3 SPD 
  6 
   
  Phases:  4, 8, 12
   6 REC 
  0
   26 END 
  0
   24 STUN 
  0 
  Total Characteristics Cost:  36
  Movement: 
  Running: 
  6”/12”
  Cost Perks
  2 
  Fringe Beneﬁt:  Membership (member of  
  law enforcement agency)
  5 
  Fringe Beneﬁt:  Planetary Police Powers
   
  Skills
  3 
  Criminology 12-
  1 
  Forensic Medicine 8-
  3 
  AK: character’s “beat” 12-
  2 
  KS: Criminal Law 11-
  2 
  KS: Hobby 11-
  2 
  KS: The Law Enforcement World 11-
  3 
  PS: Security Oﬃcer 12-
  3 
  Stealth 12-
  3 
  Streetwise 12-
  4 
  TF: GM’s choice
  6 
  WF: Beam Weapons, Energy Weapons,  
  Small Arms
  6 
  Choose two Skills from this list:  Bureaucratics, 
  Combat Piloting, Computer Programming, 
  Concealment, Conversation, Deduction, Per-
  suasion, Security System, Shadowing
  Total Powers & Skills Cost:  45
  Total Cost:  81
  25+ Disadvantages
  5 
  Distinctive Features:  Uniform (Easily Con-
  cealed; Noticed And Recognizable)
  10 
  Hunted:  police agency he works for 8- (Mo 
  Pow, NCI, Watching)
  20 
  Social Limitation:  Subject To Orders (Very 
  Frequently, Major)
  21 
  Additional Disadvantages (typically Hunted, 
  Physical Limitation, Psychological Limitation, 
  or Social Limitation) and/or Experience Points
  Total Disadvantage Points:  81
  Typical Equipment
  Blaster pistol
  Body armor (12 PD/12 ED, Activation Roll 14-)
  Hand computer
  Badge/identiﬁcation)
  
  317 
  Star Hero ■ Chapter Twelve
  T
  he literature of science and science ﬁction 
  is vast. The selections below are either the 
  author’s favorites, books the author thinks 
  would be useful for Star Hero gamers, or 
  sources used in writing this book (plus a few added 
  by the Line Developer, a notorious meddler) — this 
  is not a comprehensive attempt to review the genre 
  as a whole. Readers interested in a more thorough 
  discussion of the genre should consult The Encyclo-
  pedia Of Science Fiction or similar reference works.
  I.  NONFICTION REFERENCES
  Asimov, Isaac. The Universe
  Berry, Adrian. The Next Ten Thousand Years
  Bova, Ben, series ed. The Science Fiction Writer’s 
  Series books
  Bretnor, Reginald, ed. The Craft Of Science Fiction
  Clarke, Sir Arthur C. The Exploration Of Space
  Clute, John and Peter Nicholls, eds. The Encyclope-
  dia of Science Fiction
  Couper, Heather and Nigel Hembest. The Dorling-
  Kindersley Space Encyclopedia
  Diamond, Jared. Guns, Germs, And Steel
  Dozois, Gardner, et al., eds. Writing Science Fiction 
  And Fantasy
  Goldsmith, Donald and Tobias Owen. The Search 
  For Life In The Universe
  Heppenheimer, T.A. Colonies In Space
  Langford, David. War In 2100
  Menzel, Donald. A Field Guide To The Stars And 
  Planets
  National Audobon Society Pocket Guide. Planets 
  And Their Moons
  Niven, Larry. Essays including “Bigger Than 
  Worlds,” “Theory and Practice of Teleportation,” 
  and “Theory and Practice of Time Travel”
  O’Byrne, John. Space
  Oberg, James. New Earths
  Regis, Ed. Great Mambo Chicken And The Transhu-
  man Condition
  Sagan, Carl and I.S. Shklovskii. Intelligent Life In 
  The Universe
  Vogel, Steven. Life’s Devices
  Yenne, Bill. The Atlas Of The Solar System
  Zubrin, Robert. The Case For Mars
  Zuckerman, Ben and Michael Hart. Extraterrestri-
  als: Where Are They?
  II.  APOCALYPSES
  Anderson, Poul. Orion Shall Rise
  Anthony, Piers. BattleCircle
  Brin, David. The Postman
  Hoban, Russell. Riddley Walker
  King, Stephen. The Stand
  Miller, George, dir. The Road Warrior (ﬁlm)
  Miller, Watler. A Canticle For Leibowitz
  Niven, Larry and Jerry Pournelle. Lucifer’s Hammer
  Williams, Paul. The “Pelbar Cycle” novels
  Zelazny, Roger. Damnation Alley
  III.  COMEDY
  Adams, Douglas. The Hitchiker’s Guide To The 
  Galaxy and sequels
  Foglio, Phil. The “Buck Godot” series (comics)
  Ford, John M. How Much For Just The Planet?
  IV.  CYBERPUNK
  Delany, Samuel R. “Time Considered as a Helix of 
  Semi-Precious Stones”
  Gibson, William. Neuromancer, Count Zero, and 
  Burning Chrome
  Harris, Anne. The Nature Of Smoke
  Katsuhara Otomo. Akira (ﬁlm and comic)
  Max Headroom (television series)
  Scott, Ridley, dir. Blade Runner (ﬁlm)
  Stephenson, Neal. Snow Crash
  Sterling, Bruce. Schismatrix Plus
  Swanwick, Michael. Vacuum Flowers
  Vance, Jack. “The Augmented Agent”
  Varley, John. The Ophiuchi Hotline
  Williams, Walter Jon. Hardwired
  V.  HARD SCIENCE FICTION
  Clarke, Sir Arthur C. 2001:  A Space Odyssey, The 
  Fountains Of Paradise, Rendezvous With Rama, and 
  other novels and short stories
  Forward, Robert. Dragon’s Egg
  Heinlein, Robert A. The Moon Is A Harsh Mistress 
  and Rocket Ship Galileo
  Landis, Geoﬀrey. Mars Crossing
  Niven, Larry. Much of the “Known Space” series of 
  novels and stories
  Robinson, Kim Stanley Red Mars, Green Mars, and 
  Blue Mars
  Steele, Allen. Orbital Decay
  BIBLIOGRAPHY & 
  FILMOGRAPHY
  
  318 ■ Argos Exploration
  HERO SYSTEM 5TH EDITION
  Verne, Jules. 20,000 Leagues Under The Sea and 
  From Earth To The Moon
  VI.  LOW SCIENCE FICTION
  Heinlein, Robert A. Friday
  Herbert, Frank. Dune and its sequels
  VII.  MILITARY SCIENCE FICTION
  Bujold, Lois McMaster. Shards Of Honor
  Cameron, James, dir. Aliens (ﬁlm)
  Card, Orson Scott. Ender’s Game
  Dickson, Gordon R. Dorsai! and its sequels
  Drake, David. Hammer’s Slammers and its sequels
  Haldeman, Joe. The Forever War
  Heinlein, Robert A. Starship Troopers
  Laumer, Keith. Bolo
  Pournelle, Jerry. King David’s Spaceship
  Saberhagen, Fred. The Berserker series
  Wells, H.G. The War Of The Worlds
  VIII.  MYSTERIES
  Asimov, Isaac. The Caves of Steel and sequels
  Bester, Alfred. The Demolished Man
  Niven, Larry. The Long ARM Of Gil Hamilton
  Niven, Larry and Stephen Barnes. Dream Park
  Vance, Jack. The Araminta Station trilogy
   
  —The Many Worlds Of Magnus Ridolph
  IX.  PLANETARY ROMANCE/BIG DUMB 
  OBJECTS
  Brackett, Leigh. The Book Of Skaith
  Burroughs, Edgar Rice. The Mars series
  De Camp, L. Sprague. The Viagens Interplanetarias 
  series
  Niven, Larry. Ringworld and its sequels
  Silverberg, Robert. Lord Valentine’s Castle
  Swanwick, Michael. Stations Of The Tide
  Vance, Jack. Big Planet and Planet Of Adventure
  Varley, John. Titan, Wizard, and Demon
  Woﬂe, Gene. The Book Of The New Sun
  X.  SPACE OPERA
  Asimov, Isaac. The Foundation trilogy
  Babylon 5 (television series)
  Banks, Iain M. The Culture series
  Banks, Iain. M. Against A Dark Background
  Brin, David. Startide Rising and its sequels
  Bujold, Lois McMaster. The Vorkosigan series
  Lucas, George, dir. Star Wars and its sequels/
  prequels (ﬁlms)
  Niven, Larry and Jerry Pournelle. The Mote In God’s 
  Eye
  Resnick, Mike. Santiago
  Reynolds, Alastair. Revelation Space and its sequels
  Simmons, Dan. Hyperion and its sequels
  Smith, E.E. “Doc.” The Lensman series
  Star Trek (television and ﬁlm series)
  Vance, Jack. “The Moon Moth” and numerous other 
  short stories and novels
  Williamson, Jack. The Legion Of Space series
  XI.  STEAMPUNK
  Chadwick, Frank. Space: 1889 (roleplaying game)
  Foglio, Kaja, Phil Foglio, and Mark McNabb. Girl 
  Genius (comic)
  Gibson, William and Bruce Sterling. The Diﬀerence 
  Engine
  Jeter, K.W. Infernal Devices
  Moore, Alan, et al. The League Of Extraordinary 
  Gentlemen (comic)
  Pondsmith, Mike. Castle Falkenstein (roleplaying 
  game)
  Rowland, Marcus. Forgotten Futures (roleplaying 
  game)
  Stoddard, William H. GURPS Steampunk (roleplay-
  ing game)
  The Wild, Wild West (television series)
  XII.  TIME TRAVEL/ALTERNATE HISTORY
  Anderson, Poul. The Time Patrol series
  Baker, Kage. The Company series
  De Camp, L. Sprague. Lest Darkness Fall
  Doctor Who (television series)
  Leiber, Fritz. The Big Time
  Piper, H. Beam. Lord Kalvan Of Otherwhen and its 
  sequels
  Twain, Mark. A Connecticut Yankee In King Arthur’s 
  Court
  Wells, H.G. The Time Machine and Men Like Gods
  Zemeckis, Robert, dir. Back To The Future and its 
  sequels (ﬁlms)
  XIII.  UTOPIAN/DYSTOPIAN
  Atwood, Margaret. The Handmaid’s Tale
  Bass, T.J. The Godwhale
  Fleischer, Richard, dir. Soylent Green (ﬁlm)
  Heinlein, Robert A. Revolt In 2100
  Huxley, Aldous. Brave New World
  LeGuin, Ursula K. The Dispossessed
  Menzies, William Cameron. Things To Come (ﬁlm)
  Orwell, George. 1984
  XIV.  MISCELLANEOUS
  Cambias, James. GURPS Mars (roleplaying game)
  Jackson, Steve, et al. GURPS Space (roleplaying 
  game)
  Miller, Marc, et al. Traveler (various incarnations) 
  (roleplaying game)
  The Star Trek roleplaying games from Last Unicorn 
  Games and Decipher, Inc.
  
  319 
  Star Hero ■ Index
  STAR HERO INDEX
  360 View System (example  
  technology) ..............................................207
  61 Cygni ..........................................74, 78, 108
  Abbreviations ................................................. 5
  Ablative And Reﬂective Armors ......155-56
  Ablative Foam (example technology) ...156
  Ablative Vest (example technology) ......156
  Absolute Time Sense ..................................50
  Absorption ..............................................52-54
  Acceleration in space ..........................185-87
  Accelerator Pack (example  
  technology) ..............................................153
  Accidental Change ..............................61, 273
  Achernar .................................................74, 78
  Ackálian Sickle (example technology) ..148
  Acting ............................................................40
  Actions in Starship Combat ..............212-13
  Adreno-Booster Drug (example  
  power)  ........................................................53
  Advanced Firearms .............................148-50
  Advanced Personal Force Screen  
  (example technology) ......................157-58
  Advanced Tech (Perk) ................................48
  Advanced technology .........................143-44
  Age .............................................61-62, 273-74
  Aid ..................................................................53
  Airlocks .......................................................200
  Albedo .............................................88-89, 278
  Aldebaran ...............................................74, 78
  Algol .........................................................74, 78
  Alien blade weapons .................................148
  Alien civilizations ................................109-40
  Alien cuisine ...............................................117
  Alien life, eﬀect on atmospheric  
  composition ...............................................87
  Alien Pheromones (example power) ......57
  Alien Physiology (Physical Limitation) ..64
  Alien species
   Generally ....................................................14
   As NPCs .............................................122-24
   Creating ..............................................115-23
   SF without aliens ..............................110-11
  Alien technology .......................................144
  Alpha Centauri ........................74, 78, 107-08
  Altair ................................................74, 78, 108
  Alternate histories ...............................240-41
  Always On ....................................................61
  Ammunition, buying ................................178
  Amphibian aliens ................................116-17
  Analyze ..........................................................40
  Ancients alien civilizations ................122-23
  Android Package Deal ...............................23
  Androids ...................................15-16, 165-68
  Andromeda Galaxy ....................................69
  Animal Handler ..........................................40
  Anomalies, astronomical ...........................77
  Anomalies in planetary systems ...............81
  Anomalies of moons ..................................85
  Anonymity ...................................................48
  Antares ............................................74, 78, 108
  Antimatter Bullets (example  
  technology) ..............................................150
  Antimatter Power ................................171-72
  Antimatter rockets ....................................189
  Apocalypse SF ................................................ 8
  Apport (example power) .........................254
  Archetypes, aliens ......................................115
  Architecture, alien .....................................139
  Arcturus ..........................................74, 78, 108
  Argos Exploration (sample PC  
  group) ...............................................295-305
  Armor, for space vehicles .........................198
  Armored Spacesuit (example  
  technology) ..............................................175
  Armored Vest (example technology) ....155
  Art, alien ......................................................139
  Artiﬁcial gravity for space vehicles ..203-04
  Artiﬁcial Gravity (example  
  technology) ........................................203-04
  Asteroids
   Generally ..............................................95-96
   Flying among or attacking ......................96
   In Earth’s Solar System ....................103-04
  Astronomical units (AUs) .........................73
  Atmosphere
   Planetary, generally ............................86-88
   Components ..............................................88
   Eﬀects of on characters and space  
  vehicles ...............................................283-85
  Atmospheric Composition Table .............87
  Atmospheric Density Table .......................87
  Attacking a planet .....................................197
  Attacking in space combat ................216-20
  AUs .................................................................73
  Autocannon (example technology) .......206
  Autodoctor (example technology) ........175
  Avilla, Robert (example PC) .............297-98
  Axial tilt, planetary ......................................86
  Background Skill .........................................39
  Barnard’s Star .................................74, 78, 108
  Barter ...........................................................128
  Barth, Major Alyssa (example  
  villain) .................................................306-07
  Base (Perk) ....................................................50
  Bases in space .................................98, 208-11
  Basic Mecha Sensors (example  
  technology) ..............................................207
  Battle Armor (example technology) ......156
  BD +5o 1668 ...........................................74, 78
  Beam Weapons, for space vehicles ...195-97
  Beamed Power ...........................................171
  Bellatrix ...................................................74, 78
  Bends, the ....................................................284
  Betelgeuse .......................................74, 78, 108
  Bibliography & Filmography ............317-18
  Big Dumb Objects ......................................14
  Bigger Tailﬁns civilizations ................110-11
  Binary stars .............................................73-74
  Bioplastic Armor (example  
  technology) ..............................................157
  Biotechnology ......................................168-69
  Black holes ..............................................75-76
  Blasters ................................14, 54-55, 152-53
  Blazing Energy Sword (example  
  technology) ..............................................206
  Blob aliens ...................................................117
  Bode’s Law ..............................................80-81
  Bodiless Being aliens ................................117
  Body control (psionic power) .................244
  BODY and DEF of objects in  
  Star Hero ...................................................286
  Botanoid Package Deal ........................23-24
  Brain Hacking (example power) ............254
  Breakfall ........................................................40
  Breaking objects in Star Hero .................286
  Bright giant stars .........................................74
  Bright Quasar 3C 273 ...............................108
  Brown dwarfs ...............................................76
  Bugging .........................................................40
  Bullets ....................................................149-50
  Bussard ramjets .........................................190
  Buying equipment ...............................177-78
  Campaign creation .............................259-66
  Caninoid Package Deal ..............................24
  Canopus ..................................................74, 78
  Capella .............................................74, 78, 108
  Captured planets .........................................81
  Carbon-ammonia life .................................90
  Carbon-hydrogen life .................................90
  Carbon-methane life ..................................90
  Cargo Loader/Heavy Labor Robot  
  (example technology) ............................166
  Cargo Price Table ......................................130
  Catastrophes, cozy ......................................... 8
  Causality ......................................................233
  Cerebral Enhancement (example  
  power) .......................................................168
  Chaﬀ Generator (example  
  technology) ..............................................199
  Champions ...................................................20
  Character Creation, generally .............20-65
  Characteristics .............................................39
  Characteristics (Power) ..............................53
  Characters in space combat ..............219-20
  Charon ........................................................107
  Chemical rockets .......................................188
  Chronometer Implant (example  
  power)  ........................................................52
  Civilizations, alien and future ...........109-40
  Clairsentience ..............................................53
  Clarke’s Law ................................................160
  Classes of minds ........................................250
  Classiﬁcation systems for planets .............92
  Climate ....................................................88-90
  Climate Types Table ....................................89
  Clinging .........................................................53
  Cloaking Device (example  
  technology) ..............................................199
  Clones ......................................................14, 54
  Cloning ........................................................168
  Cold Fusion ................................................172
  Cold Fusion Generator (example  
  technology) ..............................................172
  Colonies ..........................................91, 126-27
  Colonist Package Deal ................................33
  Colony Creature aliens .............................117
  Colony planets .....................................126-27
  Combat Maneuvers in space  
  combat ................................................216-17
  Combat Modiﬁers in space combat ......216
  Combat Suit (example technology) .......155
  Comedy .........................................................17
  Comeliness ...................................................39
  Comets ....................................................71, 96
  Comm Button (example technology) ...175
  Command Oﬃcer Package Deal .............37
  Communications And Sensor  
  Devices ...............................................175-76
  Communications Implant (example  
  power)  ..................................................29, 52
  Communications Implant (example  
  power)  ........................................................52
  Communications Systems, for space 
  vehicles ...............................................200-02
  Complexity of life ........................................91
  Composition, planetary .............................83
  Computer Programming .....................40-41
  Computers ......................................14, 160-65
  Computers as characters ....................160-62
  Concentration ..............................................61
  Constitution .................................................39
  Contemplative Culture Package Deal .....27
  Corrosive atmospheres ......................284-85
  Counterworlds .............................................81
  Cozy catastrophes ......................................... 8
  Creating Package Deals ......................120-22
  Creating PC species ............................119-22
  Crew casualties in space combat ......220-21
  Crew Skills, in space combat ...................221
  Criminal Culture Package Deal ................27
  Criminology .................................................41
  Cryptography ...............................................41
  Cube Roots Table ........................................84
  Cuisine, alien ......................................117, 140
  Cultural Fusion civilizations .............111-12
  Cultural Package Deals ........................27-28
  Cultural Stereotypes civilizations ...........111
  Culture, alien ........................................139-40
  Cumulative (as applied to Flight) ...........187
  Currency ...............................................127-28
  Cybernetic Arm (example power)  ..........29
  Cybernetic Eye (example power)  ......29-30
  Cybernetic Leg (example power)  ............30
  Cyberpunk SF .............................................8-9
  Cyberspace ...........................................162-65
  Cyborgs ...................................................28-30
  Damage in space combat ...................217-19
  Damage Reduction .....................................53
  Danger Sense ...............................................51
  Dargen (example villain) ...................310-11
  Dark Champions .........................................20
  Darkness .......................................................54
  Deep Telepathic Probe (example  
  power) .......................................................255
  DEF and BODY of objects in  
  Star Hero ...................................................286
  Defending in space combat ...............216-20
  Defense Powers ............................................52
  Defense technology ............................155-57
  Defenses, for space vehicles ...............197-99
  Deﬂector Field (example technology) ..199
  DeGraﬀ, Jennifer (example PC) .....299-300
  Deimos ........................................................103
  Delayed Eﬀect ..............................................59
  Delta-V ........................................................188
  Demolitions ..................................................41
  Deneb ..............................................74, 78, 108
  Dense atmospheres .....................................87
  Density, planetary ........................................83
  Dependence .........................................62, 274
  Dependent NPC ..................................62, 274
  Devereaux, Bertrand (example  
  villain) .................................................308-09
  Dexterity .......................................................39
  Diameter, planetary ....................................83
  Digger aliens ...............................................117
  Dimensional Missile (example  
  technology) ..............................................158
  Dimensions ..................................................70
  Diplomat Package Deal ..............................33
  Disadvantages
   Generally ..............................................61-65
   Space vehicle Disadvantages ................204
   Using in a campaign ........................273-77
  Disassembler Grenade (example  
  technology) ..............................................170
  Disasters, planetary ...................................127
  Disconnects, dealing with ..................270-73
  Disguise ...................................................41-42
  Disintegrators .............................................154
  Disintegrenade (example technology) ..155
  Dispel .............................................................54
  Distant Stars Table ......................................78
  Distinctive Features ................62-63, 274-75
  Diversity among alien populations ..138-39
  Docking and docking systems ..........200-01
  Doctor Package Deal ..................................34
  Does BODY ..................................................59
  Double Heart (example power)  ..............31
  Drain ..............................................................54
  Drake Equation ...........................................68
  Dream Hacking (example power) .........255
  Duplication ...................................................54
  Duration ........................................................59
  Dwarf stars ...................................................74
  Dyson spheres ..............................................98
  Dystopia SF ............................................13-14
  Dystopias ....................................................112
  Early Gauss Cannon (example  
  technology) ..............................................150
  Early Ion Gun (example technology) ....152
  Early Plasma Gun (example  
  technology) ..............................................153
  Early Rocket Gun (example  
  technology) ..............................................155
  Early Starship Fusion Plant (example  
  technology) ..............................................172
  Earth, attacking and destroying ..............197
  Earthbound SF ............................................... 9
  Eccentricity, orbital .....................................82
  Economics ............................................127-31
  Education, alien ...................................139-40
  Eidetic Memory ...........................................51
  Elder Civilization aliens .....................122-23
  Electric guns .................................................55
  Electric Whip (example technology) ....149
  Electron Beams ..........................................152
  Electron Riﬂe/Pistol (example  
  technology) ..............................................152
  
  320 ■ Index
  HERO SYSTEM 5TH EDITION
  Electronic Binoculars (example  
  technology) ..............................................175
  Electronic Counter-Countermeasures 
  (example technology) ............................202
  Electronic warfare ...............................201-02
  Electronics ....................................................41
  Elements and features of SF ................14-16
  Empathic Communication (example 
  power) .................................................255-56
  Empathic Control (example power) .....255
  Emplaced Plasma Cannon (example  
  technology) ..............................................158
  Encumbrance, aﬀect of altered  
  gravity on .................................................278
  Endurance for space vehicle  
  movement ................................................185
  Endurance Reserve .......................54, 170-73
  Enemy species ............................................289
  Energy Being Package Deal ......................24
  Energy beings .................................24, 91, 115
  Energy Blade Fencing (Martial Arts  
  style) ............................................................44
  Energy blades .............................................148
  Energy Blast ............................................54-55
  Energy Form (example power) ..............118
  Energy Grenades (example  
  technology) ..............................................155
  Energy Sword (example technology) ....148
  Energy Technology .............................170-73
  Engineering Oﬃcer Package Deal ...........37
  Enhanced Flight Control (example  
  technology) ..............................................202
  Enhanced Senses .........................................55
  Enhanced Sensor/Communications  
  System (example technology) ..............202
  Enraged/Berserk ..................................63, 275
  Entertainment, alien .................................140
  Environment Package Deals ...............28-32
  Environmental Movement ........................51
  Environments in Star Hero ................278-86
  Epsilon Eridani ..............................74, 78, 108
  Epsilon Indi ............................................74, 78
  Equipment, acquiring .........................177-78
  Escape velocity ...........................................187
  ESP ...............................................................244
  Espionage ..............................................135-36
  Europa .........................................................104
  Everyman Powers .......................................52
  Everyman Skills .....................................40-42
  Exotic life ................................................90-91
  Exotic objects .........................................75-77
  Expanded Base Size Table .......................210
  Expanded Time Chart .............................234
  Expanded Vehicle Size Table ...................183
  Experimental Antimatter Reactor  
  (example technology) ............................172
  Experimental Laser Riﬂe (example  
  technology) ..............................................151
  Explorer Package Deal ...............................34
  Explosion ................................................59-60
  Explosive decompression ..................285-86
  Extra-Dimensional Movement ........55, 233
  Falling, aﬀect of altered gravity on ...278-79
  Fangs (example power)  .............................31
  Fantasy Hero ..........................................20-21
  Fast Being aliens ..................................117-18
  Faster-Than-Light propulsion ..........190-94
  Features and elements of SF ................14-16
  Felinoid Package Deal ................................24
  Fifties SF ........................................................12
  Fighter (example space vehicle) .......223-24
  Fighting, aﬀect of altered gravity  
  on .......................................................279, 281
  Filmography .........................................317-18
  Fire Extinguishing System (example  
  technology) ..............................................210
  Firearms, Advanced ............................148-50
  Fission power .............................................171
  Flare stars ......................................................77
  Flight (Power) ..............................................56
  Flight, aﬀect of altered gravity on .....279-80
  Flight Mode (example technology) .......206
  Fluorine-silicon life .....................................91
  Fluorocarbon-sulfure life ...........................91
  Flyer aliens ..................................................118
  Focus, space vehicle design and .......184-85
  Fomalhaut .......................................74, 78, 108
  Force Blade (example technology) ........148
  Force Dome (example technology) .......158
  Force Field ....................................................56
  Force Field Technology ......................157-58
  Force Shield Projector (example  
  technology) ..............................................158
  Force Shields, for space vehicles .............198
  Force Wall .....................................................56
  Forcebeam Tool (example  
  technology) ..............................................176
  Forensic Medicine .......................................41
  Forgery ....................................................41-42
  Forms and functions of  
  government ........................................131-38
  Four Arms (example power)  ....................31
  Four Eyes (example power)  ......................31
  Free Robot (Fringe Beneﬁt) ......................50
  Fringe Beneﬁts .............................................49
  FTL ................................................................... 5
  FTL missiles (example technology) .......195
  FTL Pilot (Talent) ........................................51
  FTL propulsion ....................................190-94
  FTL Travel (Power) .....................................56
  Fuel Cell Generator (example  
  technology) ..............................................171
  Fuel Cells .....................................................171
  Full Body Armor (example  
  technology) ..............................................155
  Funny-looking Humans aliens ...............115
  Fusion Beam (example technology) ......196
  Fusion power .............................................172
  Fusion rockets ............................................189
  Future civilizations ..............................109-40
  G forces .......................................................186
  Galactic Computernet ..............................161
  Galactic Computernet Access Card  
  (Fringe Beneﬁt) .........................................49
  Galactic empires ..........................................14
  Galactic energy barriers .............................68
  Galactic habitable zone ..............................67
  Galactic tyrants ..................... 14, 133-34, 289
  Galaxies and galaxy creation ...............66-69
  Gamemastering Star Hero .................258-94
  Ganymede ..................................................104
  Gas giants ......................................................83
  Gaseous Form (example power) ............118
  Gauss Pistol (example technology) ........150
  Gauss Riﬂe (example technology) .........150
  Gauss Weapons ....................................150-51
  Generation ships ...........................14-15, 190
  Generic NPCs ......................................314-16
  Genetic engineering .................................168
  Genres, mixing Star Hero with  
  others ....................................................20-21
  Giant aliens .................................................118
  Giant Brain (example power)  ..................31
  Giant stars .....................................................74
  Gland Override (example power) ............52
  Gliding, aﬀect of altered gravity on .279-80
  Globular clusters ..........................................69
  Government .........................................131-38
  Gradual Eﬀect ..............................................61
  Gravity Adaptation (Physical  
  Limitation) .................................................64
  Gravity
   General rules for ...................83-84, 278-81
   Artiﬁcial, for space vehicles ............203-04
   Penalty to Skills .........................................39
   Planetary ..............................................83-84
  Gravity Lifter (example technology) .....176
  Greenhouse eﬀect .......................................89
  Grenades ...............................................154-55
  Grey Goo Grenade (example  
  technology) ..............................................170
  Grigori, Jason (example PC) .............301-02
  Groombridge 34 ....................................74, 78
  Ground vehicles ...................................205-07
  Guardian Robot (example  
  technology) ........................................167-68
  Guns, for space vehicles .....................196-97
  Habitats in space ....................................96-98
  Hand Computer (example  
  technology) ..............................................161
  Handless Being aliens ...............................118
  Hangars .................................................201-02
  Hard Science Fiction .............................. 9-10
  Head Of State (Fringe Beneﬁt) .................49
  Healing ..........................................................56
  Heat beams ...................................................55
  Heavy Gauss Gun (example  
  technology) ........................................150-51
  Heavy Weapons .........................................158
  Heavyworlder Package Deal ...............28-29
  Herdfolk Package Deal ...............................25
  Hero Universe ..............................................20
  Hibernation aboard STL spacecraft ......190
  Hideous Being aliens ................................118
  High gravity, rules for .........................278-80
  High Gravity Training  
  (Environmental Movement) ..................51
  High Society .................................................42
  History of space travel ........................180-81
  Hit Locations in space combat ...............218
  Hive creatures ............................................115
  Hive minds ...................................................15
  Holographic entertainment ....................204
  Holoprojector (example  
  technology) ........................................175-76
  Homing Bullets (example  
  technology) ..............................................150
  Horror .....................................................17-18
  Hotshot Pilot (Talent) .................................51
  Hovercraft ...................................................205
  HTH Combat, aﬀect of altered gravity  
  on .......................................................279, 281
  Huge Eyes (example power)  ....................31
  Humanity, origin of ....................................15
  Hunted ..................................................63, 275
  Hydrosphere .................................................92
  Hyperdrive ..................................................192
  Hyperspace ...................................................15
  Hyperspace Drive ........................................55
  Hyperspace Engine (example  
  technology) ........................................192-93
  Ichthyoid Package Deal ..............................25
  Images......................................................56-57
  Immaterial Aliens ......................................118
  Immobile Being aliens .............................118
  Imperial Ship Classiﬁcation ....................182
  Imperial Station Classes ...........................208
  Improving technology ........................145-46
  Incantations ..................................................61
  Inclination, planetary .................................82
  Incredible Digestive System (example 
  power)  ........................................................31
  Incredible Immune System (example 
  power)  ........................................................31
  Inertial Gloves (example technology) ...149
  Inertialess Drive .........................................194
  Insectoid Package Deal ..............................25
  Intelligent life ...............................................91
  Intense Interferiation Field (example  
  technology) ..............................................202
  Interaction Skills ....................................39-40
  Interference, with sensors and  
  communications ...............................201-02
  Interferiation Field (example  
  technology) ..............................................202
  Intergalactic space
   Perils in .......................................................68
   Traveling through .....................................69
  Internal Security Monitor (example  
  technology) ..............................................211
  Interrogation ................................................42
  Interspecies societies .................................116
  Interstellar Brain Link (example  
  power) .......................................................256
  Interstellar governments ....................133-34
  Interstellar life ........................................71-72
  Intersteller phenomena and dangers .......71
  Intrinsic Language (example power)  .....52
  Introduction ................................................... 5
  Inventor ...................................................42-43
  Invisibility .....................................................57
  Ion Beams ...................................................152
  Ion Cannon (example technology) .......196
  Ion Pistol (example technology) ............152
  Ion Riﬂe (example technology) ..............152
  Ion rockets ............................................188-89
  Jackpot (Argos Exploration’s ship) .........298
  Jetpack (example power) ...........................56
  Jump Drive .................................................193
  Jumpjets (example technology) ..............206
  Jupiter ..........................................................104
  Kapteyn’s Star .........................................74, 78
  Kardashev classiﬁcations .........................124
  Knowledge Skills .........................................43
  Krez’shul, Segaro (example PC) ........302-03
  Kruger 60 ................................................74, 78
  Kuiper Belt ..................................................107
  Lacaille 8760 ...........................................74, 78
  Lacaille 9352 ...........................................74, 78
  Lalande 211385 ......................................74, 78
  Language .....................................................138
  Languages ...............................................42-44
  Laser Assault Cannon (example  
  technology) ..............................................206
  Laser Flashing ............................................152
  Laser Pistol (example technology) .........151
  Laser Riﬂe (example technology) ..........151
  Lasers
   Personal ..............................................151-52
   For space vehicles .............................195-96
  Latent Psionic (Talent) .........................51-52
  Law and justice ....................................136-38
  Law Enforcement Agent Package  
  Deal .......................................................34-35
  Laws Of Robotics ......................................165
  Leaping, aﬀect of altered gravity on .......280
  Legal Strictness Table ...............................136
  Legal System Table ....................................136
  Legal systems ........................................136-38
  Licensed Psionic (Fringe Beneﬁt) ............50
  Life ............................................................90-91
  Life of stars .............................................74-75
  Life support systems, for space  
  vehicles ...............................................202-03
  Life Support (Power) ..................................57
  Lifting, aﬀect of altered gravity on ...280-81
  Light distances ...........................................186
  Light-year ......................................................73
  Lightworlder Package Deal .................28-29
  Limited Maneuverability .........................186
  Limited Power ..............................................61
  Limiting PCs’ technology ..................146-47
  Liquid helium life ........................................91
  Liquid-Propellant Sniper Riﬂe (example 
  technology) ..............................................149
  Literature, alien ..........................................140
  Lockpicking ..................................................44
  Longeivty Treatment (example power) ..52
  Low gravity, rules for ..........................278-80
  Low Gravity Training (Environmental 
  Movement) ................................................51
  Low Science Fiction ....................................10
  Low-Tech SF .........................................144-45
  Luyten 725-32 ........................................74, 78
  Luyten 726-8 ..........................................74, 78
  Luyten 789-6 ..........................................74, 78
  Macro-Life ............................................127-28
  Mag-Boots (example power)  ...................53
  Magellanic Clouds ......................................69
  Makarides High Port (example space  
  station) ................................................227-29
  Maneuvering and movement in starship 
  combat ................................................214-16
  Mars .......................................................102-03
  Martial Arts ............................................44-45
  Mass media, alien ......................................140
  Mass, planetary ......................................82-84
  Matter Fax Booth (example  
  technology) ..............................................173
  Mech Limbs (example technology) .......206
  Mecha ....................................................205-07
  Mechanics .....................................................45
  Medical Devices ........................................175
  Medical duty, in space combat ................220
  Medical facilities, on space vehicles .......204
  Medical Nanobots (example  
  
  321 
  Star Hero ■ Index
  technology) ..............................................170
  Medkit (example technology) ................175
  Mega-Bases ...................................................98
  MegaScale
   Generally ....................................................60
   For Senses ..................................................55
  Megastructures ......................................97-98
  Melee weapons ....................................148-49
  Mental Defense ............................................57
  Mental Powers (see also Psionics)
   Classes of minds .....................................250
   Computers and .......................................160
  Mercantile Culture Package Deal .............27
  Merchant Ship (example space  
  vehicle) ......................................................222
  Mercury .................................................100-01
  Merfolk Package Deal ................................29
  Metagenres .............................................17-20
  Microverse travel .........................................55
  Militaries, planetary and space .........134-35
  Military Communicator (example  
  technology) ..............................................158
  Military Rocket Pistol (example  
  technology) ..............................................155
  Military Rocket Riﬂe (example  
  technology) ..............................................155
  Military SF ....................................................10
  Military Technology ...........................158-59
  Military UV Riﬂe (example  
  technology) ..............................................151
  Milky Way Galaxy .......................................67
  Mimicry ........................................................45
  Mind Control ...............................................57
  Mind Control Drug (example power) ....57
  Mind Shield (example power) ................256
  Mind Transfer, form of time travel ........237
  Mindscapes ...................................................55
  Miranda .......................................................106
  Missile Deﬂection & Reﬂection ...............57
  Missile Pod (example technology) .........206
  Missiles, for space vehicles .......................195
  Mon’dabi Cha’shur (example  
  technology) ..............................................148
  Money (Perk) ...............................................50
  Moon, Earth’s .......................................101-02
  Moons ......................................................84-85
  Movement and maneuvering in  
  starship combat .................................214-16
  Movement in space .............................185-87
  Movement Powers ......................................52
  Moving, aﬀect of altered gravity on .279-80
  Multi-Purpose Energy Weapon (example 
  technology) ..............................................154
  Multiform ...............................................57-58
  Multiple Limbs aliens ...............................118
  Multiple species on a single planet ..........91
  Multisyringe (example technology) ......175
  Multitool (example technology) ............176
  Music, alien .................................................139
  Mutant abilities ............................................31
  Mutant Package Deal ..................................29
  Mystery .........................................................18
  Naming planets ............................................83
  Naming stars ................................................73
  Nanobot Immune Enhancers (example 
  power) .........................................................52
  Nanotechnology ..................................169-70
  Navigation ....................................................45
  Navigation Computer (example  
  technology) ..............................................202
  Near Stars Table ...........................................78
  Near-Future Body Armor ........................155
  Nebulae .........................................................71
  Neptune .......................................................106
  Neural Probe (example power) ................57
  Neutron stars ................................................77
  Nightsight Glasses (example  
  technology) ..............................................176
  No Normal Defense ....................................60
  Non-player Characters, creating and  
  using ....................................................292-94
  Nuclear Bomb, Self-Propelled (example 
  technology) ..............................................158
  Nuclear Fission ..........................................171
  Nuclear Reactor (example  
  technology) ........................................171-72
  Nuclear Space Missile (example  
  technology) ..............................................195
  Object DEF and BODY in Star Hero ....286
  Obsolete technology ...........................143-44
  Omnipotent aliens ....................................291
  Oort Cloud .................................................107
  Operations Oﬃcer Package Deal .......37-38
  Operations Systems, for space  
  vehicles .............................................199-202
  Optional Starship Hit Location Table ...218
  Orbital distance ...........................................80
  Orbital eccentricity .....................................82
  Orbital eﬀects ...............................................82
  Orbital Military Base (example space  
  station) ................................................229-31
  Orbital separation .................................73-74
  Orbitals (type of space habitat) ................97
  Origin of humankind .................................15
  Package Deals
   Creating ..............................................120-22
   Cultural .................................................27-28
   Environment .......................................28-32
   Racial ....................................................23-32
   Species ..................................................23-27
  Paradox ...............................................233, 236
  Parasite and Symbiote aliens .............118-19
  Parsec .............................................................73
  Particle Accelerator (example  
  technology) ..............................................196
  Particle Beams, for space vehicles ..........196
  Particle Blaster (example technology) ...153
  Particle Guns ..............................................153
  Penetrating ...................................................60
  Perks ........................................................48-50
  Personal Force Field Generator  
  (example power) .......................................56
  Personal Force Screen (example  
  technology) ..............................................157
  Personal Force Shield (example power) .56
  Personal Sensor Unit (example  
  technology) ..............................................176
  Personal Teleporter (example  
  technology) ..............................................158
  Personal Tractor Beam (example  
  power) .........................................................58
  Personnel Systems, for space  
  vehicles ...............................................202-04
  Philosophy, alien ........................................140
  Phobos .........................................................103
  Physical Limitation .................63-64, 275-76
  Pilot Package Deal .................................34-35
  Piloting Systems for space vehicles ........202
  Planet classiﬁcation .....................................92
  Planetary economics ..........................128-29
  Planetary Kinetic Bombarder (example 
  technology) ..............................................197
  Planetary Romance SF .........................10-11
  Planetary Surface Area Table ..................124
  Planetary systems ..................................80-81
  Planetary vehicles ................................205-07
  Planets
   Generally ..............................................79-98
   As Bases ....................................................209
   Attacking a planet ...................................197
   Wandering planets ...................................71
  Plasma Battle Riﬂe (example  
  technology) ..............................................153
  Plasma Cannon, Emplaced (example  
  technology) ..............................................158
  Plasma Guns ..............................................153
  Plasma Pistol (example technology) .....153
  Plasma Riﬂe (example technology) .......153
  Plasma rockets .....................................188-89
  Pleasure planets ...........................................15
  Plot Generator, Random ..........................269
  Plot hooks for Star Hero ...........................288
  Plotting an adventure .........................268-70
  Pluto .......................................................106-07
  Pocket Ion Pistol (example  
  technology) ..............................................152
  Point Defense Lasers (example  
  technology) ..............................................199
  Point Defenses, for space vehicles ..........198
  Poisonous atmospheres ...........................284
  Polaris ......................................................74, 78
  Police Powers (Fringe Beneﬁt) .................49
  Pollux .......................................................74, 78
  Population, alien ..................................124-27
  Population I and II stars .............................68
  Post-Apocalypse civilizations ...........112-14
  Post-Apocalyptic SF ...................................... 8
  Posteconomic civilizations ......................129
  Power .............................................................45
  Power Advantages .................................59-60
  Powered Battlesuit (example  
  technology) ........................................156-57
  Powered Exoskeleton (example  
  technology) ..............................................176
  Power for space vehicles ....................184-85
  Power Frameworks for psionics .......249-50
  Power Limitations .......................................61
  Power Mace (example technology) .......206
  Power Technology ...............................170-73
  Powers .....................................................52-59
  Premonitions (example power) ..............256
  Pressure, atmospheric ...........................87-88
  Pressure, atmospheric .........................283-84
  Pressure Table ..............................................88
  Pricing Guide .......................................177-78
  Probability Drive .......................................194
  Probes ..........................................................201
  Procyon ...................................................74, 78
  Professional Package Deals .................33-38
  Professional Skill: Zero-G  
  Operations ...........................................45-46
  Programs, for cyberspace (example  
  technology) ........................................163-65
  Propulsion Systems for space  
  vehicles ...............................................185-94
  Protective Nanoswarm (example  
  technology) ..............................................170
  Proton Riﬂe (example technology) ........153
  Protostars ................................................76-77
  Proxima Centauri ..................................74, 78
  Psi-Agent Package Deal .............................35
  Psionic Jamming (example power) .......256
  Psionic Package Deal ............................29-30
  Psionics
   Generally ......................................15, 242-57
   Campaigns .........................................251-54
   Classes of minds for in SF .....................250
   How they work .......................................243
   Power level of ............................243-44, 249
   Power Frameworks and ..................249-50
   Powers common in SF .....................244-46
   Rarity of ....................................................246
   Rules considerations for ..................249-50
   Social issues relevant to ...................246-49
  Psychic Diagnosis (example power) ......257
  Psychic Invisibility (example  
  power) .................................................256-57
  Psychological Limitation ...................64, 276
  Psychological Limitation, in Professional 
  Package Deals ............................................33
  Psychotronic Translator (example  
  power)  ..................................................52-53
  Pulp Hero ......................................................21
  Pulp SF ....................................................11-12
  Pulsars ...........................................................77
  Pure Psionic Energy Form (example  
  power) .......................................................118
  Quantum Displacement Transporter 
  (example technology) ............................174
  Quaoar ........................................................107
  Quarantines of technology ......................145
  Quick Planet Creation Checklist ........92-93
  Quick planetary system creation .............82
  Racial Package Deals ............................23-32
  Radar Jammer (example technology) ...199
  Radar Spooﬁng (example technology) .199
  Radiation, eﬀects of .............................282-83
  Radiothermal Generators ........................171
  Railgun (example technology) ...............197
  Ramjets, Bussard .......................................190
  Random Plot Generator ..........................269
  Ranged Combat, aﬀect of altered  
  gravity on .................................................279
  Ranged Weapons .................................148-55
  Ray guns ........................................................13
  Reactionless drives ....................................189
  Realism ............................................................ 5
  Recreation, alien ........................................140
  Red giant stars ........................................74-75
  Refelctive Coverall (example  
  technology) ..............................................156
  Reﬂective Undervest (example  
  technology) ..............................................156
  Regulus ....................................................74, 78
  Religion, alien .............................................140
  Remote Viewing (example power) ........257
  Repairs in space combat ....................220-21
  Reptiloid Package Deal ..............................25
  Reputation (Disadvantage) ...............64, 276
  Reputation (Perk) ........................................50
  Resources, planetary .............................93-94
  Retro-SF ..................................................11-12
  Riding ............................................................46
  Rigel .................................................74, 78, 108
  Ringworlds .............................................97-98
  Rivalry ...................................................64, 276
  Robots
   Generally ................................15-16, 165-68
   Robot characters ...............................165-66
  Rocket propulsion for space  
  vehicles ...............................................188-89
  Rockets (weapons) ..............................154-55
  Rogue Package Deal .............................35-36
  Rogues ...........................................................16
  Romance .......................................................18
  Rosettes .........................................................81
  Ross 128 ..................................................74, 78
  Ross 154 ..................................................74, 78
  Ross 248 ..................................................74, 78
  Rotation, planetary ................................85-86
  Rubber science ...............................16, 146-47
  Rubber suit aliens ......................................115
  Ruchbah ..................................................74, 78
  Running a campaign ..........................267-77
  Sample Tactical Computer ................213-14
  Satire ........................................................18-19
  Saturn ..........................................................105
  Scale of a campaign ............................265-66
  Science ﬁction elements and  
  features ..................................................14-16
  Science ﬁction without aliens ...........110-11
  Science Oﬃcer Package Deal ....................37
  Science Skill ..................................................46
  Science! ............................................................ 5
  Scientist Package Deal ................................36
  Scientists .......................................................16
  Se’ecra Wrist Blade (example  
  technology) ..............................................149
  Secondary Life Support System (example 
  technology) ..............................................211
  Sector Creation Checklist ..........................71
  Secure Laser Communication System 
  (example technology) ............................207
  Security Systems ..........................................46
  Seduction ................................................46-47
  Self-Propelled Nuclear Bomb (example 
  technology) ..............................................158
  Sense-Aﬀecting Powers .............................52
  Sensor Drone (example power)  ..............53
  Sensor Ghosts (example technology) ....202
  Sensor Locks in space combat ................216
  Sensor Systems, for space vehicles ...200-02
  Sensory Enhancements (example  
  power) .......................................................169
  Setting for a campaign .......................265-66
  SF ...................................................................... 5
  Shape Shift ....................................................58
  Shaped-Charge Bullets (example  
  technology) ..............................................150
  Shapeshifter Package Deal .........................26
  Ship Facilities Table ...................................131
  Sickbays, on space vehicles ......................204
  Side Eﬀects ....................................................61
  Sigma 2398 .............................................74, 78
  Sigma Draconis .....................................74, 78
  Silicon Life-Form Package Deal ...............26
  
  322 ■ Index
  HERO SYSTEM 5TH EDITION
  Simulate Death ............................................52
  Single-Shot Plasma Gun (example  
  technology) ..............................................153
  Singularity Power ......................................173
  Sirius ................................................74, 78, 108
  Size, of Bases .........................................208-10
  Size of stars ...................................................74
  Size/Weight (Physical Limitation) .....63-64
  Size/Weight Package Deal ...................30-32
  Skillchip Interface System (example  
  power) .........................................................58
  Skills .........................................................39-48
  Skills ...............................................................58
  Skills as tools ................................................48
  Slingshotting ........................................212-13
  Slow Being aliens .......................................119
  Slower-Than-Light propulsion ...............188
  Small Aliens ................................................119
  Small Radiothermal Generator (example 
  technology) ..............................................171
  Social commentary ...............................18-19
  Social Limitation ...........................65, 276-77
  Sol .................................................................100
  Solar ﬂares ..................................................100
  Solar Panel (example technology) .........171
  Solar power .................................................171
  Solar System Gravities Table ...................279
  Solar System of Earth .........................99-108
  Solar systems ..........................................80-81
  Soldier Package Deal ..................................36
  Sonic Multitool (example power) ............58
  Sonic Multitool (example technology) .176
  Sonic weapons .............................................55
  Space combat .......................................212-21
  Space Combat Laser (example  
  technology) ........................................195-96
  Space elevators .....................................187-88
  Space habitats .........................................96-98
  Space militaries ....................................134-35
  Space Opera SF ............................................12
  Space sails .............................................189-90
  Space stations .................................16, 208-11
  Space storms .................................................72
  Space trade ............................................129-30
  Space travel, history of ..............................180
  Space vehicles
   Generally ..........................................179-204
   Atmospheres and ..............................284-85
   Equipment .........................................183-84
   Obtaining ...........................................182-83
   Power for ............................................184-85
   Propulsion ..........................................185-94
   Size and Characteristics ..................183-84
  Spaceports .............................................130-31
  Spacer Package Deal ...................................32
  Spacesuit (example technology) .......174-75
  Spatial Analysis (example power) ..........169
  Special weapons for starships .................197
  Species Package Deals ..........................23-27
  Species within a species ...........................119
  Spectrum of stars ........................................74
  Speed ..............................................................39
  Spica .........................................................74, 78
  Spinning Gravity (example  
  technology) ..............................................203
  Spy Package Deal ...................................36-37
  Standard atmospheres ................................87
  Standard Energy Grenade (example  
  technology) ..............................................155
  Standard Immaterial Form (example 
  power) .......................................................118
  Star Gates ..............................................193-94
  Star Hero Pricing Guide .....................177-78
  Star sectors ..............................................70-72
  Star System Data Table ...............................77
  Star Types Table ...........................................76
  Starbases ................................................208-11
  Stars
   Generally ..............................................73-78
   Life of ....................................................74-75
   Naming .......................................................73
   Size ...............................................................74
   Spectrum ....................................................74
   System types ........................................73-74
   Types ...........................................................74
  Starship Antimatter Reactor (example 
  technology) ........................................172-73
  Starship Creation ...............................180-204
  Starship Force Shield, Type II (example 
  technology) ..............................................199
  Starship Force Shield, Type I (example 
  technology) ..............................................199
  Starship License (Fringe Beneﬁt) .............50
  Starship Maneuvers ............................215-16
  Starship Oﬃcer Package Deals ...........37-38
  Starships
   Generally ....................................16, 179-204
   Obtaining ...........................................182-83
  Stealth Field (example technology) .......158
  Stealth Hull (example technology) ........199
  Stealth systems, for space vehicles ..........199
  Steampunk SF ..............................................11
  Stellar cartography ......................................70
  Stellar engineering ......................................69
  Sticky ..............................................................60
  STL ................................................................... 5
  Storms, space ................................................72
  Strategic Oﬃcer Package Deal ..................38
  Strength .........................................................39
  Structuring adventures .......................267-70
  Stun Rod (example technology) .............149
  Subdwarf stars .............................................74
  Subgenres .................................................. 8-14
  Subgiant stars ...............................................74
  Subject of a campaign ........................262-65
  Sun, Earth’s ..................................................100
  Super Intellect aliens .................................116
  Superconducting surfaces for armor .....156
  Supereﬃcient Sleep (example power) .....52
  Supergiant stars ...........................................74
  Superheavy Laser (example technology) 196
  Superheroes and SF ....................................20
  Supernova .....................................................75
  Supernova remnant ....................................77
  Supertanks ....................................................11
  Surface, planetary ..................................92-94
  Surrealistic SF ...............................................10
  Survival ..........................................................47
  Survival Devices ..................................174-75
  Susceptibility ........................................65, 277
  Sustained-Beam Laser Riﬂe (example 
  technology) ..............................................151
  Swimming, aﬀect of altered gravity  
  on ...............................................................280
  Swords and starships ..................................12
  Systems Operation ......................................47
  Tactical Computer, Sample ................213-14
  Tactical Oﬃcer Package Deal ...................38
  Tal, Kiritha (example PC) ..................304-05
  Talents ......................................................50-52
  Talking Beast aliens .............................115-16
  Target:  Earth! .............................................197
  Targeting Computers (example  
  technology) ..............................................150
  Targeting Sensor (example  
  technology) ..............................................207
  Tau Ceti ...........................................74, 78, 108
  Tech Package Deal ......................................38
  Technology
   Generally ............................................141-78
   Acquiring ...........................................177-78
   Civilizations and .....................................124
   Compatability of diﬀerent species’s  
  tech ............................................................144
   Improving ..........................................145-46
   Problems it can cause in the game 146-57
  Technology Classiﬁcations Table ...........125
  Technology levels ................................142-44
  Technology quarantines ...........................145
  Telekinesis .....................................................58
  Telekinesis, as psionic power ...................244
  Telekinetic Hand (example power) .......257
  Telepathic Shriek (example power) .......257
  Telepathy .......................................................58
  Telepathy, as psionic power ...............244-45
  Teleportal Network (example  
  technology) ..............................................174
  Teleportation (Power) ................................58
  Teleportation (technology) ...............173-74
  Teleportation, as psionic power ........245-46
  Terraforming ......................16, 87, 89-90, 102
  Terrain, dominant .......................................92
  Theme of a campaign ...............................259
  Thermal rockets .........................................188
  Thickened Skin (example power)  ...........31
  Thin atmospheres ........................................87
  Thought Speech (example power) .........257
  Three-dimensional mapping ....................68
  Three-dimensional movement ...............215
  Throwing, aﬀect of altered gravity  
  on .........................................................280-81
  Thrusters (example technology) ............202
  Tidal heating of moons ..................84-85, 89
  Time Belt (example technology) ............234
  Time Chart (Expanded) ..........................234
  Time dilation at FTL speeds ...................194
  Time loops ............................................233-34
  Time Machine License (Fringe  
  Beneﬁt) .......................................................50
  Time travel ......................................16, 232-41
  Time travel campaigns .......................237-41
  Time Travel SF .......................................12-13
  Titan .............................................................105
  Tools .............................................................176
  Tools, Skills as ...............................................48
  Topopolis ......................................................97
  Towel (example technology) ...................176
  Trace atmospheres ......................................87
  Tractor beams ............................................202
  Trade, planetary and space ................129-30
  Trader Package Deal ...................................38
  Tragedy ..........................................................19
  Transdimensional .......................................60
  Transform ...............................................58-59
  Translator Chip (example power)  ...........53
  Transmit Sense Modiﬁer, range of ...........55
  Transport Familiarity ...........................47-48
  Travel .............................................................16
  Trinary stars ...........................................73-74
  Triton ...........................................................106
  Type of campaign ................................259-62
  Types of space vehicles .......................181-82
  Types of stars ..........................................74, 78
  Underwater Impeller Pack  
  (example power) .......................................58
  Universal Translation Matrix (example 
  power)  ........................................................52
  Universal Translator ...................................52
  Universal Vaccine (example power) ........52
  Unluck .........................................................277
  Uranus ...................................................105-06
  Ursoid Package Deal ...................................26
  Usable Land Table .....................................125
  Utopia SF ................................................13-14
  Utopias ........................................................110
  UV Laser Pistol (example  
  technology) ..............................................151
  Vaa’resh, Ghenak (example  
  villain) .................................................311-12
  Vacuum, eﬀects of ...............................281-83
  Van Maanen’s Star .........................74, 78, 108
  Variable Advantage .....................................60
  Variable Special Eﬀect ................................60
  VASIMR rocket .........................................189
  Vega ..................................................74, 78, 108
  Vehicle (Perk) ...............................................50
  Vehicles, obtaining ..............................182-83
  Venus ...........................................................101
  Victorian SF ..................................................21
  Villains, creating and using ...............287-92
  Visiting the Sun ...................................100-01
  Vulnerability .........................................65, 277
  Wandering planets ......................................71
  Warp Drive .................................................192
  Warrior aliens ............................................116
  Warrior Culture Package Deal ..................28
  Warship (example space vehicle) .....225-27
  Weapon Familiarity ....................................48
  Weapons ................................................148-55
  Weapons, for space vehicles ..............194-97
  Weaponsmith ...............................................48
  Weird diets ..................................................117
  Well-known stars ........................................74
  Wells Device (example technology) 234-35
  Western Hero ...............................................21
  White dwarf stars ..................................74-75
  Winged Humanoid Package Deal .....26-27
  Wolf 359 ..................................................74, 78
  Wormhole Gate, Fixed Dates (example 
  technology) ..............................................235
  Wormhole Gate, Standard (example  
  technology) ..............................................235
  Wormholes, as method of FTL  
  travel ....................................................193-94
  X-780 Combat Mech (example  
  vehicle) ......................................................227
  X-Ray Laser Riﬂe (example  
  technology) ..............................................152
  Year length ....................................................82
  Zee’gansh (example villain) ...............313-14
  Zero gravity, rules for ..........................280-81
  Zero Point Power ......................................173
  Zero-G Strength Table .............................281
  Zones in solar systems ...............................80
  
SOURCE: textdata/thevault/Hero System/Hero System - Star Hero.pdf