
This is an idea that’s been bouncing around in my head for awhile. I don’t have a clear system in mind yet, this is more of an observation of something I’d like to see, and something I appreciate when it works well, and it’s the sort of thing I’d like to see implemented well in a game like GURPS, but I’m not yet sure how.
What is a Remixed Hero?
Have you ever noticed that in fiction, especially comic books or long-running movie franchises, TV shows or book series, that the characters change? A lot of this change is simply growth. I’ve been revisiting One Piece, and you can track their growth over the series, which goes to great lengths to justify each power-up the characters get. But, generally speaking, these power-ups are either additive (Luffy gains Haki abilities in addition to his Devil Fruit powers) or they replace existing abilities (Usopp functionally replaces his dials with the green shots from the Boin archipelago).
But sometimes, the change is a major shift of the character, and temporary, and becomes a sort of alternate mode. It’s not that the character adds a new set of abilities so much as adopts a new mode, a new set of themes that are at least tangentially related to their original themes. This change is temporary and often explores a distinct aspect of the character in more detail, and then once that particular story is done, the character “forgets” those abilities or, at least, swaps back into their more standard “power-set.” They might at a later time return to this alternate mode if the story warrants it.
This sort of “power swap” is most common in comic books, often accompanied by “palette” swap as the character changes costumes. I’ve included Iron Man above because he can simply swap out suits and thus is perhaps the most memorable example, but he’s hardly alone. Spider-Man and Spawn are both pretty notorious for costume changes (Spider-Man, especially, has his symbiote/black suit) that come with power changes, or at least thematic changes.
This formula allows the comic book writers to “change up” a tired formula. We may have “classic spider-man,” the character we fell in love with, and then some sort of “cyber spider-man” that more deeply explores the technological aspects of the character. The “black suit” allowed us a darker, edgier spider-man that explored both his angst and his sci-fi themes. We might have a “man-spider” variant where we explore how far we can take the mutation and so on. If a particular theme proves popular, we may bring it back in future stories, but we can also simply remove the theme and “forget about it” for awhile, returning to our classic theme.
These don’t represent incremental power-improvements, or at least they don’t have to. It’s not necessarily so that cyber-spider is stronger or weaker than symbiote spider-man. What matters is that these represent lateral, thematic changes. In a tabletop RPG, these would’t reflect “level up” so much as a re-imagining of the character. We’re playing the same character, but differently
Why Do You Want This?
One thing I regularly run into when playing an RPG is that I get bored of my character. Half the fun in an RPG for me is imagining my build, working out how the character will play, and then seeing that character in play. The fun of “leveling up” is moving closer to a fully realized vision of the character, but also about getting new toys to play with. As you play the same character over and over again, you eventually settle into a strategy that works the vast majority of the time, and so you play that same strategy over and over again. A lot of GMs focus on testing you by throwing you against unusual enemies. To use Psi-Wars as an example, your space knight will get used to fighting imperial troopers pretty quick, but the tactics necessary to fight a satemo or space dragon, or a sorcerer, are quite different, which means you must re-interpret how your character and their toolbox works given the new situation.
But what if they had a different toolbox to play with? The idea here isn’t that you’re playing a new character. The character should feel similar, but what if your space knight pivoted from their focus on martial arts to a deeper focus on their psychic abilities, or explored their genetic legacy more deeply, or explored what it would be like to have some sort of advanced cyber-suit? This would prevent gameplay from getting stale, as we explored alternate modes for how the character could fight and interact with the world?
A Darker Remix
Most of this focuses on how to take the hero’s advantages and remix them, but what about disadvantages? Hill Folk, inspired by Hamlet’s Hitpoints, tries to emulate TV show procedurals by giving every character a dramatic pole: two different aspects of their character that pull in tension with one another, and every session, the GM is encouraged to focus on one pole or another, or to put those poles in tension.
For example, Luke Skywalker is driven to escape his mundane life. He wants to get away from Tatooine, to become a great jedi, and to be the Big Damn Hero. But at the same time, he is deeply driven by family. When he gets his chance to escape, he hesitates and is drawn back to his home, and it is only the death of his family that liberates him to escape the confines of his childish banality. He wants to become a great jedi like his father, and he is driven to rage by the threat against his family in RotJ. These are two different aspects to his character, and in a given “episode” or “session” we could explore one or the other, or put both into tension. But it’s not the idea that every aspect of a character is always in effect all the time: not every “episode” about Luke Skywalker needs to be about ambition and family. One or the other could be the primary driver of the drama. Both should exist, as they define the character, but only one needs to be the focus at any given time.
So How Would This Work?
Okay, I think we’ve explored the concept enough. We have a character, but instead of imagining them as a “hard” set of fixed values, we can imagine them as something fuzzier. Certainly, they are built around a core of ideas, but at any given moment, only some aspect of the character is essential to the story or conflict. But how does this work in practice?
A lot of RPGs impelement something like this, though rarely overtly. Some of them are so good at it that when you look closely, you realize it must be intentional, but it’s hidden under the surface, so it needs to be drawn out.
D&D Remixed
D&D is famous for its hard “class” structure: a fighter is a fighter, and a wizard is a wizard, so it would seem to be a strange candidate for this sort of “flexible character” but if you look close, it’s clearly present and there, it’s just not necessarily obvious.
The case for a wizard is clearer, because they had modularity built into their design. A wizard has spell slots, but nothing is defined about what spells they must have. It is generally possible to specialize, to be a Necromancer or an Enchanter, but this is not strictly necessary. A wizard is, by their nature, defined by their grimoire and how flexible they are within that space. They may have, for example, 6 spell slots, but 18 spells, so for any given adventure, they can have three completely different “loadouts.” When they level up, they expand the number of spell slots, and their consistency is defined by what feats or class features they elect to take as they level up: one wizard might focus on maximizing their damage, becoming an “artillery wizard” while another might focus on maximizing their flexibility, so they can tailor their wizardry to any situation, even swapping out a limited number of spell slots on the fly if necessary. But how they actually play from session to session is necessarily unique and different every time, making them less boring. They can also adapt dynamically without leveling up, as the DM grants them new spells for their grimoire, or gives them scrolls or enchanted wands to grant them temporary new powers to explore, and see if they like these new options or new modes, and if so, gives them the option to integrate them into their character. One of my major goals with Psi-Wars Sorcery was emulating this “modular wizard” approach to achieve a similar character flexibilty.
The case for a fighter is far less intuitive. Fighters are generally considered “the most boring” of the classes, at least in a game mechanic sense, as they are the most consistent in tactics. Where the wizard can cast one of an entire collection of spells, the fighter just… attacks. And as they level, they can attack harder or more often. And that’s it. Except that ignores how fighters tend to interact with magic items and equipment in general. Fighters often have high Str and thus high encumbrance, which means they can carry a lot of gear. There is no need, often no ability, to specialize in a single weapon. You may imagine your fighter as a swordsman, but nothing actually prevents them from swinging an axe or using a spear. Furthermore, though people complain about it, D&D encourages the swapping of weapons when you find better gear. You may have a precious sword, but if you get a Mace of +1 Skeleton Slaying, you swap over to it, because it’s a better weapon. Furthermore, the game builds in vulnerabilities and damage types that encourage weapon swapping, so the GM can alter a fighter the same way Iron Man alters how they fight: by giving them a choice in gear. The fighter is always great at fighting, but they’ll fight different if stripped down and cast into a gladiatorial pit than if they can armor up and wage war on the open battlefield, or if they carry sacred relic-weapons into the crypt of the tomb-king.
Kung Fu Remixed
My favorite-game-you’ve-never-heard-of is Legends of the Wulin, which is a masterclass of the character remix. Characters have “external styles” which are different combat modes, similar to martial arts in most games, except a character can only use one at a time. The game is built around swapping styles for different situations, so if your Tiger Style isn’t working, you swap into Drunken Fist or the defensive Crane style, and so on. Characters advance in power, yes, but they are also expected to broaden, and explore alternate strategies.
The other central component of Legends of the Wulin are the Secret Arts, also known as “chi conditions.” These are conditions that if you embrace, you either gain a benefit, or avoid a penalty. These can be built into the character, or they can be inflicted and manipulated by other characters, and this is assumed to happen all the time, and to be central to the game.
So not only will your martial artist have to choose what style they need to use to fight an opponent, they have to handle the secret arts of their opponent. They may face a courtier who manipulates their passions and jealousy to mess with their chi. Perhaps your character is especially vulnerable to jealous anger or lonely depression, and she can tug on these heart strings to, yes, make you stronger, to empower your chi and let you use abilities at a higher level than every before, but only if you misbehave in ways that benefit her. Or perhaps you face a dark sorcerer who can degrade your chi by inflicting strange, occult requirements on you that can strip you from your chi and force you to rely on more mundane combat methods unless you can line up your behavior with their strange occult requirements.
The net result is every major encounter is always a unique experience, where the core of your character is preserved, but they will need to express their nature in a variety of ways depending on the nature of their encounter.
Remixing GURPS characters
So how would this work in GURPS or Psi-Wars? I’m not sure. If I have a good answer for that, I would work it in directly. GURPS tends to punish this sort of thing or, better said, deeply reward narrow specialization. The more finely you can define your character, the cheaper they get, and permanent investments tend to see more reward than temporary flexibility. I have a few ideas, though.
Modular Powers, Alternate Abilites, and similar traits
GURPS has a few traits that directly promote flexible characters. Modular abilities allow the character to directly swap out their abilities, and this is a central trait of my ongoing treatment of Deep Engine Sorcery, which expects that characters slot spells at least as often as they learn spells. Wild Talent and Wildcard skills allow characters to use whatever they need, at the time they need it. Alternate Abilities give a considerable discount on different combat modes, or different sets of abilities, and are also central to how Divine Favor and Sorcery work. Finally, Alternate Forms allow you to fully swap out your character build with another build, and is best used when it gives you two very different modes: a weak but cunning human with a dangerous and stupid werewolf form, for example.
The problem with these abilities is that they’re constant. If you have a modular power, you always have a modular power, and the flexibility of your character’s build is part of their build. It’s no worse than the D&D wizard, of course, or Hillfolk’s dramatic poles: perhaps some adventures focus on your human side, and others more on your werewolf side. But these don’t really encourage a remixed character.
Alternate Builds
What about entirely different character designs? You have your space knight, what about an entirely different design that remains true to the core of the character, but focuses on their psychic abilities or their genetic legacy, or invests deeply in their new relic sword?
There’s nothing inherent here that “breaks the rules” of GURPS. You could treat it like Troupe play, except all the characters you have are, actually, your character, and you swap them in and out as necessary, or with some narrative support.
The problem with this design is that you’d have to maintain several different characters at once. If you have, three modes, you’d have to build all three modes, and GURPS character creation is pretty grueling. When your GM gave you points, presumably you’d have to spend points on all three, which could be tedious.
A game where this was how everything worked could be pretty exhausting, maybe even off-putting, especially to players who weren’t interested in the idea of a remixed character. It is, after all, a rather advanced concept, only relevant after you’ve realized playing the same character tends to bore you. If it doesn’t bore you, it’s unnecessary make-work.
Still, an alien race that worked like this might be interesting. It was the core idea of the Herne. Maybe I should return to them.
A New Disadvantage Paradigm
The more I’ve played GURPS, the more I’ve come to love Quirks, not as an after thought, but the essential nature of a character. Yes, they have a negligible impact on your character, but they tend to have an outsized role in characterizing who your character is. They give your character their “voice,” and their narrative signature. The reason I think most people give them short shrift is that disadvantages tend to do this, but even more so. If your character is very into cute girls, you give them Lecherousness. But why not Desirous instead? It achieves the same narrative result, without necessarily forcing your character to behave in certain ways, and without added mental load to the GM.
The problem with disadvantages is that any disadvantage that isn’t “in play” is free points. If we imagine a character who is Lecherous but also has Bad Temper, then they must always be in love and also angry (so, presumably, yelling at the girls they like so much). If they are only in love or angry, then they have “stolen” 10 to 15 points from the GM, and this is bad, so we must enforce both at once.
What we’d want to do is treat disadvantages as a sort of “pool of narrative possibilities.” It would need to be okay that your character is either angry and picking fights or falling in love with every character they see. Sanji, from One Piece, is like this: quick to anger, quick to fall in love, but I’ve never seen him be angry with the girl he’s in love with!
The Ham Clause tries to get around this. It suggests imposing a penalty instead of character behavior strictures. So we could focus on our character being head over heels for a wicked woman who will manipulate them, thus justifying the -15 points for lecherousness that session, and imposing a -2 penalty on their roles for a particular scene do to them being “angry” about something, and thus justifying the -10 point bad temper.
But what if we instead treated all the disadvantages as a pool of potential disadvantages. You just get your disad budget for free, as a reward for articulating what sort of dramatic poles they represent in your character, and we treat them as quirks until such time we want them to be narratively meaningful: you are angry, yes, sure, and you fall in love at the drop of a hat, but that’s not necessarily important this session.
The problem with this approach is some disadvantages don’t work like this. If you are blind, you are always blind. If you have -1 ST, you always have -1 ST. It might not matter for a given session: perhaps you spend the whole time talking to people, or lost in dreams during a dream quest, or something else where your physical disadvantages aren’t relevant, which is no worse than saying your lecherousness doesn’t matter this session either because there are no cute girls, or the GM doesn’t want to focus on it this session.
What I seem to be aiming for is something similar to Chi Conditions or Fate Aspects, where disadvantages are relevant only when it’s nice that they’re relevant, and they act more like descriptors the rest of the time, but enforcing that is such a dramatic paradigm shift to GURPS that it would require a bottom-up rework of all the various templates. Regardless,something to take the mental load disadvantages impose on GMs would be nice, something that turns them from things the GM must enforce to tools they can use to create interesting scenarios would be welcome.
Out of Ideas
I don’t have any answers here. I’ve just been thinking about this sort of character for awhile, and how to integrate them into games, to keep games from getting stale, and to allow players to express different aspects of their character when it interests them, and downplay others when it suits them. I want gameplay to change without constant power escalation, and it’s been something that’s bugged me for awhile. While I note several games that do it well, I’ve found no games that really focus on it as essential. If you know of any, or have any ideas, I’d love to hear them.

