0

Parts Per Million

 1

Credits
Written By Peter Rudin-Burgess

Game Icons Carl Olsen, Cath Elineau, Dark Zaitzev,

Delapouite
CC BY (https://creativecommons.org/licenses/by/3.0/)

Interior Art ComiCONNMitch, Thibault

CC BY-SA (https://creativecommons.org/licenses/by-
sa/3.0)

ICONS is © 2010, 2014, Steve Kenson, published by

Ad Infinitum Adventures. All rights reserved.
Reference to other copyrighted material in no
way constitutes a challenge to the respective
copyright holders of that material.
ICONS: ASSEMBLED EDITION is published by
Green Ronin Publishing, LLC. Green Ronin and the
Green Ronin logo are Trademarks of Green Ronin
Publishing, LLC. Printed in Canada. First Printing.

Gotham BB, BigBadBold, CCComicCrazy Font

made from oNline Web Fonts is licensed by CC
BY 3.0

ICONIC HERO Copyright© 2020 Parts Per Million

Limited
 2

CONTENTS
INTRODUCTION ......................................................................................... 3
How Does This Work? ......................................................................... 3
BASIC CONCEPTS .................................................................................... 4
ASKING QUESTIONS ................................................................................. 5
Possibly ..................................................................................................7
Negative Attitudes ............................................................................... 9
Neutral Attitudes ................................................................................. 9
Positive Attitudes ................................................................................ 9
Open-Ended Questions ...................................................................... 10
ACTIVATING QUALITIES ............................................................................ 11
Skills, Powers, Qualities, and Questions ........................................ 11
DETERMINATION TOKENS .........................................................................12
RANDOM SUPERVILLAINS ........................................................................ 13
SUPER MYSTERIES ................................................................................. 16
RECORD KEEPING ................................................................................... 17
Advanced Heroics ............................................................................... 17
Starting Big .......................................................................................... 17
Tag Team................................................................................................ 18
Assistant Editor Month ....................................................................... 18
What If..?............................................................................................... 19
OPEN GAME LICENSE VERSION 1.0A ...................................................... 20
 3

Introduction
For most roleplayers, the idea of solo
roleplaying is a little unusual. However, the idea of
roleplaying is embedded in the social elements of
gaming around a table with friends.
Roleplaying grew out of wargaming, and solo
gaming is a long-standing part of wargaming. In
wargaming, players start thinking about entire
armies, but when they get down to small actions
with a single officer, it is common practice to write
up the individual action as the officer’s dispatch.
This turns the dice rolls on the map into imagined
scenes, with named individuals and characters
living and dying to save the day.
These moments of individual heroes on the
battlefield sparked the creation of the biggest
roleplaying game.
Solo playing rules for games like Icons take
things full circle.
How Does This Work?
Solo play uses a couple of simple dice
mechanics and tables to provide the answers the
Game Master [GM] would normally give you when
you play.
No table can possibly know your hero’s
situation. You must take the answer and apply it
to the panel or page. Solo play is a great workout
for your improvisation skills. It will also improve
your roleplaying in every style of game.
 4

Basic Concepts
A lot of rolls in Iconic Hero will ask you to roll
2d6. Mostly, these are rarely 2-12.
If you had a GM running the game, they would
be rolling 1d6, and you would be rolling 1d6, and
the difference between them is the modifier to
find your Effort.
With no GM, you will have to roll both these
dice yourself. I like to think of this as a Red-Blue
roll. Take a Red d6 and a Blue d6. Because they
are different colors, you can easily tell them apart.
Claim one for yourself, and one is the rest of the
universe. The other dice is their roll if you are
rolling to grapple a villain. If you are rolling to stop
a runaway locomotive, it uses the second die.
Another kind of roll is the Oracle Roll. The ‘Red’
d6 is used as a 1-2, 3-4, 5-6, and the second or
‘Blue’ die is then used to find the specific answer.
Many tables used for random Powers in the
ICONS rulebook use this format.
One of the cornerstones of solo play is the
question. Of course, different questions are
handled differently, but they all come down to the
same dice roll.
Inspiration prompts. All roleplaying is about
improvising and using the last action to inspire
your imagination to create the next opportunity.
This book’s questions and answer rules are
designed to give you that prompt for your
creativity.
 5

Asking Questions
Having a simple way of answering questions is
an incredibly powerful tool. My Hero is The Last
Centurion, a cast-off super soldier from the Cold
War era.
When Centurion is out on patrol, looking for
trouble, you could easily flip a coin and call heads
for yes. If you asked can I hear any sirens that
indicate trouble? Toss a coin. I got Tails, or No. So
it is a quiet night. I head down to the harbor. Is
there much going on? Toss a coin. Heads, Yes.
This could be interesting. I move in and try and
get a look at what is going on. This could be some
kind of drug shipment. Is there a load of armed
thugs around? Toss a coin. Heads, Yes.
Can you see how, as long as you are prepared
to accept the answer and apply it to your
character’s situation, you can build an issue or
chapter quite easily.
Having only yes and no answers gets a bit
limiting rather quickly, so the rules here give you
more to work with.
The first refinement is to add likelihood to the
yes-no question. A coin is no longer adequate, so
we go to 1d6.
1-2 or less Yes
3-4 Possibly
5-6 or more No

We can now add -1 for more likely questions

and +1 for less likely ones.
One of the best things about pen and paper
roleplaying games is that you have unlimited
options. Yes, No, and a vague Possibly do not
really do justice to all the possible situations your
hero could face. We need to add more options.
 6

Roll Questions Characters

1 No, because… Aggressive
2 No, but… Threatening
3 No Demands payment
1-2 Yes /
Blocks or
Positive 4 No
Obstructive
5 No, and… Plays a trick
6 No, and… Working against you
1 New Hero? Not interested
2 New Villain Prepared to trade
3-4 Possibly 3 Complication Wants paying
/ Neutral 4 New GMC? Needs a job doing
5 Old GMC Tries to deceive
6 New Organisation Has their own goal
1 Yes and… Talkative
2 Yes and… Wants to trade
5-6 No / 3 Yes Offers help
Negative 4 Yes Needs a favor
5 Yes but… Has a lead/clue
6 Yes, because Offers Assistance
-1 For unlikely Questions.
+1 For more likely Questions
50/50 no modifier

The results on this table require some

explanation.
Yes and No should be obvious. You should
have had an idea of the yes and no answers when
you asked the question. In addition to the plain
yes and no, we have several modifiers.
And… This is the best or worst possible
answer. For example, if you wanted
to know if a thug was armed, a yes,
and… could mean they are not only
armed but also have some kind of
experimental energy weapon. On the
other hand, a no and… answer to the
same question may have the thug
throw down a weapon and flee.
But… The but… modifier tones down the
yes or no, so make it less extreme.
For example, a thug is armed but…
only with a bat and pickax handles.
 7

Or no, they are

not armed,
but… nearby is
a crate marked
“Weapo-Tech™.”
Because… The Because clause is similar
to the but… except that it
should suggest a way for the hero
to change the answer, or if that isn’t
suitable, it should offer a new fact for
the game universe. Are the thugs
armed? No, because they are Kung
Fu Ninjas, or yes, because they are
wearing stolen SWAT team uniforms
and gear.
Possibly
If your result was a 3-4, you might have many
interesting options.
New Hero Introduce a new Hero to
the game fiction. This
doesn’t need to be a
superhero. It could be a
vigilante, a brave cop, or a
have-a-go hero.
New Villain Was there a sidekick villain
you didn’t notice? Are
there more thugs than you
previously guessed? Are
some street punks taking
an opportunity to loot a
store while you create the
distraction?
Complication Complications are special.
When you roll this result,
stop and think, ‘what could
possibly happen that
would make the question I
just asked completely
irrelevant?
 8

This is the moment when

you ask if the thugs are
armed, just for a 200’
monster to stomp on
them. Complications stop
your stories from
becoming predictable!
New/Old GMC A GMC enters the story,
either a GMC from your
own story, Aunt Mae, or a
new GMC like an
inquisitive journalist. Who
or what their role all
depends on the fiction.
New Organisation Much like the GMC above,
this organization could be
a law enforcement,
military, alien, or evil
organization that has
developed an interest in
your actions. How they
manifest in your story
could be a single agent, a
siren in the background, or
a mysterious figure on a
rooftop. Again, this does
not need to be an entirely
new organization, just a
new interaction.

There is a column in the table for characters.

You will probably know their attitude towards
your hero when encountering a GMC.
If they are broadly positively, neutral, or
negatively disposed towards you, you can roll a
single d6 on the table above.
If you have no idea how they would react to
you, use a two-dice roll.
 9

Negative Attitudes
Aggressive characters may attack if they are
thugs or villains, and threats may be real or bluffs.
Demanding payment implies that the GMC is not
included to help; if they do, they have a ‘what’s in
it for me attitude’. Playing tricks could mean
abandoning your hero at a crucial point or simply
lying instead of helping. Working against you can
be as obvious or subtle as the situation requires.
Neutral Attitudes
There is a lot of crossover with negative
attitudes. A GMC not interested in interacting may
become more negative if forced to interact;
someone prepared to trade may not be looking to
trade but could be persuaded. If they want
paying, that could be with money or in a quid pro
quo way. A GMC with their own goal may work
with your hero while their goals align but turn
away when it suits them.
Positive Attitudes
GMCs with positive attitudes are the most likely
to actively help or interact with your hero. This is
not always a good thing. They become a liability
if you get a really talkative GMC while trying to
sneak around unobserved. The key concept with
positive reactions is how they can add to your
fiction. Negative and even neutral reactions often
come in the form of confrontation. The positive
responses can be too helpful or a chance to gain
clues or information. They are most frequently
roleplaying challenges. You should play them as
such. Suppose an overly helpful retired sheriff
decides to join in your battle with the
supervillains. In that case, you may end up with
another innocent to try and protect.
 10

Open-Ended Questions
An open-ended question cannot be answered
with a simple yes or no. Last Centurion is sneaking
into the harbor. One of the shipping containers is
open. I want to know what is inside.
We use the film strips at the bottom of every
page to answer questions like this. Each frame, or
ICON, should be used as an inspiration prompt
from which you can improvise an answer.
Each icon is intentionally vague, so you can
apply them to almost any situation. You do not
need to think of them literally. Start on the first
page and roll a d6. Count this many images in on
the film strip. Then roll the second d6 and count
on that many icons. You now have a pair of
images. I happened to roll 2 and 2. My result is:

At the top of this page, I asked what was inside

the shipping container? Those images suggest
that an academic, possibly a professor, is being
held at gunpoint, perhaps being interrogated?
You may have seen these as someone being
held up at gunpoint and a document or book
being stolen.
Or is one of the villain’s own thugs being
punished for breaking the organization’s rules?
There are no right or wrong answers. What the
pictures mean to you will change as your
adventure progresses. Some icons will take on
special significance, and others will be more
challenging.
If you reach the end of the book, wrap around
and start again on the first page, or start counting
backward with the dice.
 11

Activating Qualities
Your hero will have Qualities that you can
choose to activate. With villains, when you
normally ask your GM if you can activate a specific
quality, use the yes-no roll, with the likelihood at
+1 in your favor.
The +1 reflects how the GM should always try
and say yes. Positive answers move your story
forward. It is generally accepted good practice for
the GM to try and say yes, whenever they can.
Suppose you roll a ‘possibly’ result. In that case,
you could activate the Quality for advantage, but
you have to justify it in the fiction. How are you
going to activate that Quality? How are you going
to learn about the villain’s Quality? Be critical of
your plan. If your justification for activating the
Quality is a bit weak, increase the difficulty by +1;
if your reason is positively weak, increase the
difficulty by +2.

Skills, Powers, Qualities, and Questions

Do not be tempted to circumvent the rules of
ICONS by asking rules-related questions. Skills are
skills, powers are powers, and activating Qualities
are all covered by the ICONS rules, and those
rules should be used.
Questions are about the game universe, the
GMCs, how people behave, what evidence you
can find, and whether it is a clue or a red herring?
 12

Determination Tokens
Determination Tokens are a key element to any
great game of ICONS. Hoarding tokens adds
nothing to the game. Things work best when
there is a natural ebb and flow of tokens between
your hero and the GMCs.
I suggest you take a “Sorry, I don’t think so…”
stance. Then, whenever something comes up that
you think is not the best result for the game, use
a token.
I suggest having an economy of 1
determination token for each villain in a chapter;
count a group of thugs as a villain in this case.
When you force a villain to spend a token, it
passes to you. Every time you spend one, it passes
to the villains.
In this situation, all the villains draw from a
common pool of tokens.
The more often you spend tokens on either
side, the wilder and more comic book your game
will be. Conversely, the fewer tokens used, the
more mundane the game will be.
When Last Centurion confronted the evil
genius behind his adventure “The Collector”, the
dice rolls said that Centurion delivered a Massive
Success with Stun and would have rendered The
Collector unconscious in the first panel. That is an
example of “Sorry, I don’t think so…” Taking out
the major villain so easily would not have been the
best possible final scene. The Collector spent the
Determination Token, and it passed to Centurion.
 13

Random Supervillains
These rules do not recommend trying to create
random villains ‘on the fly’. However, you can use
many free villains and collections starting from
only $1 from publishers such as Misfit Studios and
Ad Infinitum Adventures.
Throughout your adventuring, you can create
clues as to the identity of a new villain. These
could be clues inspired by the graphic icons or
when roleplaying GMCs in the game.
The time to create this new villain is between
solo sessions. Then, you can take the facts you
have pinned down and build the rest of the villains
around those fixed points.
Use what you have learned of the villain and
their schemes to create interesting Qualities. This
is where human creativity is vastly greater than
any random table could be.
It is unfair to just tell you to make up a great
villain. To help you out, below are some tables to
fill in some more blanks.
 14

Roll Archetype
1 Elder Being A survivor of an ancient
race and now wants to
ruin your hero’s world.
This type of villain is often
imprisoned and uses your
hero to escape.
2 Snubbed Sibling The villain is the brother
or sister of your hero.
Their evil actions come
from feelings of
inadequacy, entitlement,
or envy of your hero.
3 Evil Clown Comedic, caustic, killer.
Don’t let the makeup
smile fool you. This villain
plays for keeps, and his
main goal is to inspire
fear.
4 Femme/Homme Uses sexuality and
1-3 Fatale seduction to get their
way. Their motives come
from abuse, hunger for
power, or revenge against
your Hero.
5 Mad Scientist This super-smart villain
has dire your hero must
counter.
6 Psychotic The villain has two minds.
The first lets them
brilliantly plan and plot
against the world with a
good chance their clever
plans will succeed. The
second is tainted by
madness and broken with
reality, meaning motives
and behaviors are
unpredictable and
irrational.
 15

1 Power-mad They want more power

for its own sake or to
prove something to your
hero.
2 Dark God A demon or fallen god
looking for retribution or
return to glory.
3 Evil Dictator People are just property
for the dictator to chew
and spit out if they
oppose the dictator’s
plans.
4 Killer Frenemy The bad guy is an ally
who secretly plots against
your hero.
4-6
5 Vengeful One Spurned or betrayed, the
villain now seeks revenge
against a person or group
formerly close to them.
6 Nemesis The villain cannot be
overcome through direct
means. ~They are too
powerful, smart, or
resourceful. Instead,
defeat must come
through a secret Quality,
such as taking advantage
of the villain’s ego or
susceptibility t a rate
element.
This list was originally created by Johnn Four from
material on TVTropes. I have modified it to better fit the
superhero genre and for a lone hero.
This table will give you their archetype, and you
can play them true to that type, but add other
facts you have learned.
As you build the villain, include everything you
know to be true, and then use the standard ICONS
rules to fill in the blanks
 16

Super Mysteries
Superhero stories are investigative stories at
their heart. The villain has a plan. The hero must
discover that plan, defeat it, unmask the villain,
throw them in jail, or banish them to another
dimension.
Solo games based on mysteries pose the
problem of how you cannot know the solution if
you are the person who created the mystery. If
you don’t see the mystery’s resolution, how do
you know if you have solved it?
The solution to this conundrum is the clue,
theory, and test method.
When you think you have discovered a
potential clue, you can ask a simple question, “Is
this a clue?” If you get a yes answer, you add it to
a list of clues. Each time you add a clue to your
list, you formulate a theory that makes sense of
the clues.
Once you have a theory, you use it to shape
your adventure.
This is normally subconscious on your part. For
example, suppose you think the supervillain will
hold everyone in Grand Central Station hostage.
In that case, you are going to go to Grand Central
Station. Because the story is driven by the
questions and answers you ask, and you are in the
station, that is likely to be where the action
happens.
 17

Record Keeping
In a regular game, the GM would have a plan
and keep notes for each issue and chapter. The
story isn’t written, but the GM will have an idea,
the villain’s scheme, who is involved, and so on.
In a solo game, you don’t have that. To help you
get back into your character and story, it is a good
idea to keep a journal of your solo adventure. How
much or little you write is down to you. I prefer
something very brief.
• the questions I asked
• the rolls
• answers and interpretations
• the action of each page and panel.
On a separate page, I keep a list of GMCs in the
chapter and the clues I have found.
This short format is quick to skim over before
each game session to bring you up to speed. You
can write as much as you like, right down to
dialogue and descriptions of scenes if that is your
style.
I also recommend using Highlighter pens to
pick out interesting or important events.
Advanced Heroics
Solo play gives you options that, at worst, are
either unavailable or, at best, not common in most
traditional games. These break the traditionally
linear progression from plot hook to adventure to
the showdown that makes up most issues,
chapters, and pages.
Starting Big
In this scenario, you have an idea for an
awesome villain you would love to throw your
hero against. Create your villain, and the opening
panel has you roll for initiative and start the big
showdown battle. Set up everything as you
imagined it, like those show-stopping scenes at
the end of a classic James Bond movie with secret
 18

bases under volcanoes, exploding Apollo rockets,

and timers counting down to the last second. Play
out the panels until you reach a vital moment.
Now jump back in time and play everything that
leads up to that battle. As a roleplayer, the
challenge is to not use your prior knowledge. As a
soloist, the challenge is knowing that you need to
get your character from Manhattan to a volcanic
island in the pacific. You have hard plot points
that need to be introduced into your game in
what feels like a natural way. Once you reach the
point in the story where you first started playing,
you can now jump to the last moment you played
in that showdown. Play it out and discover if you
save the world or die trying.
Tag Team
I do not suggest trying to play multiple
characters simultaneously, but some challenges
are too tough for a single hero. The answer is to
try tag teams. Create a few distinctly different
heroes, such as a stealthy cloak and dagger hero,
a high-flying super blaster, and a mystic with
arcane powers. You can now play one hero at a
time, investigating your mysteries from different
angles. If a hero gets knocked unconscious from a
lack of stamina, you can mount a rescue with a
different hero. Keep direct contact to a minimum,
but they can still interact, leave messages, or
share knowledge.
Tag Teams let you play various characters and
take on bigger challenges, but you must guard
against using knowledge that the hero you are
playing does not have.
Assistant Editor Month
When I was growing up, once a year, there
would be an off-the-wall edition of my favorite
hero comics under the title of assistant editor
month. But, unfortunately, not every player
appreciates a game session run for laughs. Trying
to be funny in an RPG is harder than it looks. In
contrast, doing something completely wacky with
 19

your own character, for your own amusement, is

really easy and, as a one-off, now and again, can
add variety to a long-running series of issues.
What If..?
You may notice, in hindsight, that an adventure
pivoted on one specific question and answer. In a
solo game, you can rewind to that fateful moment
and pick up play as if you had rolled a different
answer. You keep all established facts the same
but follow a different timeline to see how it plays
out. For example, if the dice said that no, there
were no footprints in the dust, what would have
happened had you been able to track those thugs
back to Ultra-mind’s hideout?
This is not a way to cheat or change a roll you
don’t like. Instead, it is about exploring different
possibilities.
 20

OPEN GAME LICENSE Version 1.0a

The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000
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1. Definitions: (a)”Contributors” means the copyright and/or trademark owners
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15. COPYRIGHT NOTICE
Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc.
Fudge System Reference Document Copyright 2005, Grey Ghost Press, Inc.; Authors
Steffan O’Sullivan and Ann Dupuis, with additional material by Peter Bonney,
Deird’Re Brooks, Reimer Behrends, Shawn Garbett, Steven Hammond, Ed Heil,
Barnard Hsiung, Sedge Lewis, Gordon McCormick, Kent Matthewson, Peter
Mikelsons, Anthony Roberson, Andy Skinner, Stephan Szabo, John Ughrin, Dmitri
Zagiduin.
FATE (Fantastic Adventures in Tabletop Entertainment), Copyright 2003 by Evil Hat
Productions, LCC; Authors Robert Donoghue and Fred Hicks.
 22

Spirit of the Century, Copyright 2006, Evil Hat Productions, LLC. Authors Robert
Donoghue, Fred Hicks, and Leonard Balsera.
Icons, Copyright 2010, Steve Kenson, published by Adamant Entertainment in
partnership with Cubicle Seven Entertainment, Ltd.
Icons Team-Up, Copyright 2013, Adamant Entertainment, Authors Steve Kenson,
G.M. Skarka, and Morgan Davie.
Icons: The Assembled Edition, Copyright 2014, Ad Infinitum Adventures; Author:
Steve Kenson.
Iconic Hero, Copyright 2020, Parts Per Million Limited; Author: Peter Rudin-Burgess