Capes, Cowls, and Character Points: An Encyclopedic History of Superhero Tabletop Role-Playing Games

Introduction: The Birth of the Four-Color Multiverse

The emergence of the superhero tabletop role-playing game (RPG) in the late 1970s occurred at the confluence of two distinct cultural streams: the nascent tabletop RPG hobby, dominated by the fantasy wargaming legacy of Dungeons & Dragons, and the American superhero comic book industry, then in its “Bronze Age” of storytelling. This period in comics saw a shift toward more complex character motivations and socially relevant themes, creating an audience receptive to more interactive and personalized heroic narratives. However, the very nature of the superhero genre presented a unique and formidable challenge to early game designers. Unlike fantasy, which could draw from a diffuse collection of myths and legends, the superhero genre was a highly codified, visually-driven medium with its own specific narrative conventions: secret identities, non-lethal combat, dramatic monologues, and reality-defying powers.

This inherent tension between the established RPG framework and the unique demands of the superhero narrative gave rise to a fundamental design dichotomy that has defined the genre’s evolution: the conflict between simulationism and narrativism. Early RPGs, born from tactical wargames, were inherently simulationist; their mechanics sought to model a consistent, physics-based reality, however fantastical. Applying this model to superheroes immediately raised difficult questions: What is Superman’s Armor Class? How many hit points does the Hulk have? How can rules simulate powers that rewrite the laws of physics? The attempts to answer these questions led to two divergent paths. One path, exemplified by games like Champions, pursued a deep, granular simulation, creating complex rules engines to model the “physics” of a comic book universe. The other path, epitomized by games like TSR’s Marvel Super Heroes, prioritized emulating the feel and story structure of a comic book, employing simpler, more abstract mechanics that favored narrative convention over physical simulation. This foundational tension—simulating the world versus simulating the story—has been the primary engine of innovation in superhero RPGs, with every significant title finding its place along this spectrum.

Chapter 1: The First Wave (1977–1984) – Forging the Genre

The initial wave of superhero RPGs was a period of bold experimentation, as designers grappled with how to translate the four-color page to the gaming table. These early efforts established the core mechanical and philosophical debates that would shape the genre for decades to come.

1.1 Superhero: 2044 (1977): The Abstract Progenitor

Widely recognized as the first professionally published superhero RPG, Superhero: 2044 was designed by Donald Saxman and released first by Saxman himself and later in a revised edition by Lou Zocchi of Gamescience.1 The game’s setting was a post-holocaust future on the fictional island of Inguria, a new center of civilization off the American west coast.1 Its mechanics were heavily influenced by the wargaming traditions of the era, featuring an abstract system for resolving a hero’s weekly activities, such as patrolling, research, and crime prevention, often through the use of extensive tables.2

The game introduced three character types: the “ubermensch” (enhanced physical combatant), the “unique” (mutant with extraordinary abilities), and the “toolmaster” (technological expert).1 Its most forward-thinking feature was a point-buy system for character creation, where players allocated 140 points among seven characteristics—a significant departure from the random-roll generation dominant at the time.1 However, in a move that highlights the design challenges of the period, the game provided no specific rules for superpowers, leaving their creation and adjudication entirely to the players and the referee for “copyright reasons”.2 This abstract, simulation-focused approach, combined with its lack of defined power mechanics, made the game difficult to access and it never achieved widespread popularity.1

Publication Status: Superhero: 2044 is long out of print. Physical copies are exceedingly rare and considered collector’s items, occasionally appearing on second-hand markets like Noble Knight Games.4 It has never been officially released in a digital format.5

1.2 Villains and Vigilantes (1979): The D&D Lineage

Designed by Jeff Dee and Jack Herman and published by Fantasy Games Unlimited (FGU), Villains and Vigilantes (V&V) represented a more direct adaptation of existing RPG conventions.7 Heavily influenced by

Dungeons & Dragons, the game featured character levels, hit points, and classes (based on power origin, such as “Mutant” or “Sponsored”).7 Its two most distinctive features were the premise that players create super-powered versions of themselves to serve as their secret identities and a character creation system based entirely on random die rolls to determine a character’s powers.7

This reliance on randomness stood in stark opposition to the controlled design of point-buy systems. It often resulted in bizarre and mechanically unbalanced characters, a quality that was embraced by its player base as part of the game’s charm but criticized by others for its lack of conceptual cohesion.7 The first edition appeared in 1979, followed by a significantly revised and expanded second edition in 1982.7 The game’s ownership was the subject of a lengthy legal dispute, which ultimately resulted in the rights reverting to the original creators, who now publish a 2.1 edition through Monkey House Games.7

Publication Status: The 2.1 edition of Villains and Vigilantes is available in PDF from DriveThruRPG.10 Original printings from FGU are common on the second-hand market through retailers like Noble Knight Games.11

1.3 Champions (1981): The Point-Buy Paradigm Shift

If V&V followed the D&D model, Champions from Hero Games represented a radical break. Created by George MacDonald and Steve Peterson, it was the first superhero RPG built entirely around a comprehensive point-buy system, granting players unprecedented control over character creation.13 This approach treated character creation like a budget; players received a pool of Character Points (CP) to purchase everything from core characteristics to skills and powers.13

The game’s most profound and lasting innovation was its effects-based power system. Instead of providing a list of specific powers like “Laser Vision,” Champions offered generic effects like “Energy Blast”.13 Players would purchase the core effect and then customize it with a vast menu of Advantages (e.g., Armor Piercing, Area of Effect) and Limitations (e.g., Requires a Gesture, Limited Charges), each modifying the power’s final point cost.14 This toolkit approach allowed for the simulation of virtually any power imaginable and became the gold standard for crunchy, simulationist superhero game design. This complexity, however, came at a cost: a notoriously steep learning curve and a character creation process that could be as mathematically intensive as filing a tax return.15 The robust core mechanics of

Champions would eventually be spun off into the universal Hero System.16

Publication Status: Champions has gone through six editions. The 4th Edition, often considered a fan favorite, is available as a PDF and Print-on-Demand book on DriveThruRPG, though early scans suffered from quality issues.18 Later editions and the full

Hero System rulebooks are also available digitally.19 Physical copies of all editions are widely available on the second-hand market.20

1.4 Other Foundational Titles

The fertile ground of the early 1980s produced several other notable titles that explored different facets of the genre.

Supergame (1980): Published by DAG Productions, this title predates Champions and is credited by some as the first RPG to give players complete control over character creation via a point-based system.23 A second edition was released in 1982, and the game is now published by Precis Intermedia, which offers classic reprints of the first two editions as well as a new third edition.23 It is available in PDF and print on DriveThruRPG and Noble Knight Games.26
The Official Superhero Adventure Game (1981): A combat-centric game by Brian Phillips that was unique for its lack of a character creation system, instead providing dozens of pre-generated heroes and villains.28 Its rules were heavily reliant on mathematical formulas, requiring a calculator for play.28 It is long out of print and extremely rare.29
Crimefighters (1981): Written by David “Zeb” Cook, this pulp-adventure game was published within the pages of TSR’s Dragon Magazine #47.30 It focused on non-powered, street-level heroes in the vein of The Shadow or Doc Savage, representing an early attempt to cater to a specific sub-genre of heroic action.30 It is available via second-hand copies of the magazine or the
Dragon Magazine Archive compilation.32
Superworld (1983): Chaosium’s entry into the genre, Superworld adapted the company’s house system, Basic Role-Playing (BRP), which uses percentile dice for resolution.33 Originally part of the
Worlds of Wonder multi-genre boxed set, it was released as a standalone game but struggled to gain market share against its more established rivals and was supported by only three supplements.33 It is available as a PDF from Chaosium and on DriveThruRPG.34
Golden Heroes (1981/1984): A British game first self-published by Simon Burley and Peter Haines, then professionally released by Games Workshop.35 It featured a random character generation system but required players to create a plausible origin story to justify their collection of powers.35 Its combat system was notable for being structured in terms of comic book “frames,” encouraging a more narrative visualization of action.2 The game is out of print, though a spiritual successor,
Squadron UK, is available digitally.35
Super Squadron (1983): An Australian RPG from Adventure Simulations, this game offered a hybrid character creation system that blended random rolls with point-buy options.37 It was notable for its refreshing emphasis on the hero’s private life, including mechanics for romance and family, a level of detail uncommon for the time.37 It is long out of print and considered a collector’s item.39

Chapter 2: The Licensed Age and the Universal System (Mid-1980s – 1990s)

The mid-1980s marked a significant shift in the superhero RPG landscape. The success of the foundational games proved the genre’s viability, attracting major publishers and, crucially, the owners of the most recognizable intellectual properties (IPs) in comics. This era was defined by the commercial power of licensed settings and the concurrent development of universal, genre-agnostic game systems.

2.1 The Rise of the IPs: Emulating the Greats

The ability to play as established, beloved characters proved to be a powerful market driver, leading to the creation of some of the most popular and fondly remembered games in the genre’s history.

Marvel Super Heroes (1984): Published by TSR, the creators of Dungeons & Dragons, this game was a massive commercial success that introduced countless comic fans to role-playing.40 Designed by Jeff Grubb, it utilized the elegant and highly accessible FASERIP system, named for the character’s core attributes: Fighting, Agility, Strength, Endurance, Reason, Intuition, and Psyche. All actions were resolved by cross-referencing an ability rank with a percentile dice roll on a single, color-coded “Universal Table”.40 This design choice prioritized ease of play and the emulation of the Marvel Comics “feel” over granular simulation, making it a direct philosophical counterpoint to the complexity of
Champions. TSR supported the game extensively with supplements and adventures, and released an expanded Marvel Superheroes Advanced Game in 1986.40
DC Heroes (1985): Mayfair Games’ licensed RPG for the DC Universe was the mechanical antithesis of TSR’s Marvel game. It employed the Mayfair Exponential Game System (MEGS), a highly mathematical engine designed to handle the vast, cosmic power scales of characters like Superman and the Green Lantern.41 The system was built around Attribute Points (APs), where each integer increase represented a doubling of real-world capacity (e.g., lifting weight, speed).43 While MEGS was praised by some for its ambition and power in modeling a comic book universe, it was notoriously difficult to learn and use, earning a reputation for its intimidating complexity.41 The system’s legacy was later carried on by Pulsar Games’
Blood of Heroes.41
Teenage Mutant Ninja Turtles & Other Strangeness (1985): Capitalizing on the breakout success of the independent comic, Palladium Books published this RPG developed by Erick Wujcik.44 It used Palladium’s house “Megaversal” system and perfectly captured the gritty, street-level tone of the original black-and-white comics.44 Its most celebrated feature was a detailed and imaginative character creation system where players could generate a vast array of mutant animal characters by spending BIO-E points on anthropomorphic traits and animal-specific abilities.45 The game was a huge hit, spawning numerous supplements and the popular post-apocalyptic spin-off game,
After the Bomb.44

The success of these licensed games demonstrated a crucial market reality: for a large segment of the audience, the appeal of playing in a familiar, beloved universe with accessible rules outweighed the desire for the mechanical precision and creative freedom offered by more complex, generic systems. This established a powerful commercial incentive for publishers to pursue high-profile licenses, a trend that continues to shape the industry.

2.2 The Universal Systems: One System to Rule Them All

Concurrent with the rise of licensed games, several publishers refined their mechanics into generic, universal systems designed to handle any genre, with superhero gaming being a key pillar.

Hero System: The rules engine powering Champions was formally spun off into a universal system with the release of the 4th Edition in 1989.16 This allowed the same detailed, effects-based, point-buy mechanics to be applied to other genres through dedicated sourcebooks like
Fantasy Hero, Star Hero, and the pulp-themed Justice, Inc..16
GURPS Supers (1989): Steve Jackson Games released GURPS Supers as a core genre book for its Generic Universal RolePlaying System.47 Like the
Hero System, GURPS is a point-buy toolkit that allows for detailed character customization. GURPS Supers provided a framework of advantages, disadvantages, and skills tailored to the genre, along with a default campaign setting known as the “IST World,” centered on a UN-sponsored super-team.47
Palladium’s Megaversal System: Palladium Books built its entire product line around a single, cross-compatible ruleset. Heroes Unlimited, first published in 1984, was the company’s dedicated generic superhero game.49 It featured a class-and-level-based system with random power generation, and its rules were designed to be fully compatible with
Teenage Mutant Ninja Turtles & Other Strangeness, the post-apocalyptic Rifts, and dozens of other titles, encouraging a “kitchen sink” style of crossover play.44

2.3 The “Grim and Gritty” Trend: Reflecting a Darker Age of Comics

The late 1980s and 1990s saw a dramatic shift in the tone of mainstream superhero comics, spurred by landmark works like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns. This “Dark Age of Comics” embraced moral ambiguity, psychological complexity, and often brutal violence. The RPG market quickly followed suit, producing games that deconstructed the classic four-color tropes.

Dark Champions (1993): Originally a supplement for the 4th edition of Champions, this book provided rules and setting material for playing morally ambiguous vigilantes in the vein of The Punisher.52 It introduced optional rules for more lethal combat and focused on street-level crime, criminal organizations, and the legal ramifications of vigilantism, all centered on the fictional Hudson City.53
Underground (1993): Published by Mayfair Games, Underground was a satirical and deeply political game set in a dystopian 2021 America.55 Players took on the roles of genetically-engineered, super-powered veterans of corporate wars who are discharged into a society that fears and despises them.55 The game was a direct commentary on 1990s society and drew heavy inspiration from deconstructionist comics like
Marshal Law.55
Brave New World (1999): From Pinnacle Entertainment Group, this game presented an alternate history where the assassination attempt on John F. Kennedy was thwarted by a superhero, leading to Kennedy declaring martial law and establishing a neo-fascist American government.58 Players portray “Deltas” (superhumans) who are part of the “Defiance,” a resistance movement fighting the oppressive regime.58

These games represented a significant maturation of the genre. They moved beyond simple power fantasies to explore complex ethical and political themes, introducing mechanics that engaged with moral consequence and the societal impact of superhumans in a way their four-color predecessors had not.

Chapter 3: The d20 Revolution and the Indie Renaissance (Late 1990s – 2010s)

The turn of the millennium brought two transformative forces to the tabletop RPG industry: the d20 System Open Game License (OGL), which standardized a core mechanic for a generation of gamers, and the rise of a vibrant independent design scene, which challenged the very definition of what a role-playing game could be.

3.1 The d20 Phenomenon and the Rise of Mutants & Masterminds

The release of Dungeons & Dragons 3rd Edition and its d20 System under the OGL in 2000 allowed third-party publishers to create compatible content, leading to a market boom. Green Ronin Publishing’s Mutants & Masterminds (M&M), first published in 2002, masterfully capitalized on this moment to become the dominant superhero RPG of its era.61

Designed by Steve Kenson, M&M used the familiar d20 framework—rolling a 20-sided die and adding modifiers—but heavily adapted it for the superhero genre. It did away with character classes and levels, instead using a flexible point-buy system governed by a “Power Level” (PL) that set caps on a character’s combat abilities to ensure balance.61 Its most significant mechanical innovation was the replacement of hit points with a “Toughness Save.” Instead of tracking accumulating damage, characters would make a save against the rank of an incoming attack; the degree of failure determined the severity of the consequences, from a minor penalty to being knocked out.61 This elegantly modeled the way comic book characters could shrug off massive blows yet still be taken down by a single, well-placed punch. By offering a “middle ground” of complexity—more customizable than

Marvel Super Heroes but less mathematically intensive than Champions—within a familiar d20 context, M&M attracted a massive audience and has remained a market leader through three editions.61

Publication Status: Mutants & Masterminds is currently in its 3rd edition and is widely available in print and as a PDF from Green Ronin Publishing and DriveThruRPG.64 A playtest for a 4th edition was released in 2025.64

3.2 Other d20 and Storyteller Era Games

While M&M dominated the d20 space, other notable games of the period explored different systems and settings.

Aberrant (1999): White Wolf Publishing’s entry into the genre was a prequel to its sci-fi game Trinity.67 Using the house Storyteller System (which uses pools of ten-sided dice),
Aberrant presented a dark, high-powered setting where superhumans, called “Novas,” were global celebrities whose powers inevitably corrupted them, transforming them into monstrous Aberrants.67 The game was known for its deep world-building and its exploration of power’s corrupting influence. A d20 version was released in 2004, and the line was rebooted in 2021 by Onyx Path Publishing using the new Storypath System.69
Silver Age Sentinels (2002): Published by Guardians of Order, this game was uniquely released in two parallel editions: one using the company’s proprietary d10-based Tri-Stat System, and another using the d20 System.71 It featured an original setting, Empire City, designed to evoke the classic “four-color” feel of Silver Age comics but updated with modern sensibilities.71 The game is now out of print, but a spiritual successor,
Absolute Power, was recently released by Dyskami Publishing.73
Godlike (2001): This groundbreaking game from creators Dennis Detwiller and Greg Stolze presented a gritty, alternate-history World War II where super-powered “Talents” emerge on all sides of the conflict.74 Its most significant contribution was the introduction of the One-Roll Engine (O.R.E.), a dice pool system where players roll multiple ten-sided dice and look for matching sets. The number of matching dice (the “width”) determines the speed of the action, while the number showing on the dice (the “height”) determines its quality, allowing initiative, success, and hit location to be resolved in a single roll.74 The game was lauded for its lethal combat and meticulously researched setting.75

3.3 The Indie Counter-Movement: Narrative First

The market dominance of the d20 system, with its focus on tactical, simulation-style play, spurred a counter-movement among independent designers. These creators focused on “story games,” which prioritized narrative structure and thematic emulation over mechanical simulation.

Truth & Justice (2005): Designed by Chad Underkoffler, this award-winning indie game used the rules-light Prose Descriptive Qualities (PDQ) system.78 Characters were defined by freeform traits (Qualities) rather than numerical attributes, and the mechanics were designed to be simple and flexible, focusing on story outcomes rather than tactical minutiae.79
Capes (2005): A radical experiment in game design by Tony Lower-Basch, Capes was a competitive, GM-less storytelling game.81 All players collaboratively told a story, taking on the roles of both heroes and villains in different scenes. The mechanics incentivized playing a compelling antagonist; players whose characters were defeated in a conflict would earn “story tokens,” a meta-currency that could be used to influence the narrative later.81
With Great Power… (2005): Created by Michael S. Miller, this game used a standard deck of playing cards to emulate the melodrama and moral choices central to Silver Age comics, particularly Spider-Man.83 The game’s core mechanic rewarded players for putting their characters through personal “suffering,” granting them more cards (and thus more narrative control) when their hero’s personal life was jeopardized by their heroics.83

This era firmly established the two poles of superhero RPG design. On one end were the market-leading d20 systems, representing a refined form of simulationism. On the other were the indie games, which explicitly rejected simulation to build mechanics that directly engaged with the narrative tropes and themes of the genre, paving the way for the story-game revolution of the next decade.

Chapter 4: The Modern Era – Narrative, Niche, and Nostalgia (2010s – Present)

The contemporary era of superhero RPGs is characterized by fragmentation and specialization. The monolithic dominance of a single system like d20 has given way to a diverse marketplace where games are often designed to emulate specific sub-genres and tones. This “best tool for the job” approach reflects a mature hobby and a player base with a sophisticated understanding of how game mechanics shape the play experience.

4.1 The Rise of Story Games: PbtA and its Kin

The design principles pioneered by the indie games of the 2000s became mainstream in the 2010s, largely through the influence of games “Powered by the Apocalypse” (PbtA), based on the engine from Vincent and Meguey Baker’s Apocalypse World.

Masks: A New Generation: Published by Magpie Games, Masks is a PbtA game that focuses specifically on the lives of teenage superheroes.85 It is not a game about tactical combat, but about identity, drama, and the struggle of young heroes to define themselves against the expectations of their mentors and peers. Its core mechanics brilliantly reflect this theme; instead of traditional attributes, characters have “Labels” (like Savior, Freak, or Mundane) that shift up and down based on how they interact with adult authority figures and their teammates, directly tying character development to the narrative.86
City of Mist: This game blends the superhero genre with film noir and mythology. It uses a unique tag-based system, drawing inspiration from both PbtA and FATE, where players describe their characters with evocative “themes” and “power tags” that they invoke to perform actions.85 The system encourages descriptive, collaborative play to solve mysteries in a rain-slicked, modern-day city inhabited by avatars of myths and legends.

4.2 The Return of the Titans: New Licensed Games & Universal Systems

While narrative games gained prominence, the market for licensed properties and flexible universal systems remained strong, with new entries seeking to capture the massive audience created by the cinematic superhero boom.

Marvel Heroic Roleplaying (2012): Published by Margaret Weis Productions, this game used the Cortex Plus system. It was critically acclaimed for its narrative-focused mechanics, which used dice pools of varying sizes to create a “plot point” economy that perfectly captured the high-stakes, event-driven feel of modern Marvel comics.86 Despite its positive reception, the game had a short and troubled publication history and was discontinued after only a year.
Marvel Multiverse Role-Playing Game (2023): Marvel’s most recent foray into the RPG market features a new, bespoke engine called the “d616 System”.64 The system uses a roll of three six-sided dice, one of which is a special “Marvel Die” that can trigger spectacular successes or other narrative effects. Its design aims for accessibility, hoping to draw in the vast audience of the Marvel Cinematic Universe.64
Generic Systems: Universal toolkits continue to thrive by offering streamlined alternatives to the crunchier systems of the past. The Savage Worlds Adventure Edition with its Super Powers Companion provides a framework for “fast, furious, fun” tactical gameplay.64 Monte Cook Games’
Cypher System, with supplements like Claim the Sky, offers another robust, narrative-leaning option that is less complex than traditional point-buy systems.89

4.3 The Indie Digital Marketplace

The modern RPG landscape is heavily shaped by digital distribution platforms like DriveThruRPG. This has enabled a “long tail” market where hundreds of small-press and self-published superhero games can find a niche audience. This includes rules-light systems like BASH! (Basic Action Super Heroes), which uses a simple 2d6 multiplier mechanic 88; games that blend traditional and narrative elements like

Hearts & Souls 86; and games with unique premises like

My Superhero Life!, which frames the superhero experience as a reality TV show.86 This vibrant digital ecosystem ensures a constant flow of innovation and variety within the genre.

Appendix: A Definitive Catalog of Superhero Tabletop Role-Playing Games

The following table provides a comprehensive, though not exhaustive, catalog of superhero tabletop role-playing games identified during this report’s research. It is organized chronologically by the initial publication date of each game’s first edition to illustrate the historical evolution of the genre.

Game Title	Original Publisher	Initial Publication Year	Core Mechanic Category	Setting Type	Current Status & Publisher	Availability
Superhero: 2044	Donald Saxman / Gamescience	1977	Point-Buy / Simulationist	Original	Out of Print	OOP 91
Villains and Vigilantes	Fantasy Games Unlimited	1979	Level-Based	Original	In Print (v2.1); Monkey House Games 93	PDF, Print (Used) 94
Supergame	DAG Productions	1980	Point-Buy / Simulationist	Original	In Print (3E); Precis Intermedia 17	PDF, Print 98
Crimefighters	TSR, Inc. (in Dragon #47)	1981	Bespoke / Unique	Original	Out of Print	OOP (in magazine) 100
Golden Heroes	Self-Published / Games Workshop	1981	Random-Roll / Bespoke	Original	Out of Print	OOP 101
The Official Superhero Adventure Game	Brian Phillips	1981	Bespoke / Unique	Original	Out of Print	OOP 102
Champions	Hero Games	1981	Point-Buy / Simulationist	Original	In Print (6E); Hero Games 13	PDF, Print 40
Supervillains	Task Force Games	1982	Bespoke / Unique	Original	Out of Print	OOP 106
Super Squadron	Adventure Simulations	1983	Random-Roll / Hybrid	Original	Out of Print	OOP 39
Superworld	Chaosium	1983	BRP (Percentile)	Original	In Print (PDF); Chaosium 108	PDF 45
Heroes Unlimited	Palladium Books	1984	Class/Level-Based	Original	In Print (2E); Palladium Books 49	PDF, Print 109
Marvel Super Heroes	TSR, Inc.	1984	Bespoke / Unique (FASERIP)	Licensed (Marvel)	Out of Print	OOP 40
Justice, Inc.	Hero Games	1984	Point-Buy / Simulationist	Licensed (The Avenger)	Out of Print	OOP 16
Challengers	Ragnarok Enterprises	1985	Bespoke / Unique	Original	Out of Print	OOP 111
DC Heroes	Mayfair Games	1985	Bespoke / Unique (MEGS)	Licensed (DC)	Out of Print	OOP 112
Teenage Mutant Ninja Turtles & Other Strangeness	Palladium Books	1985	Class/Level-Based	Licensed (TMNT)	In Print (Redux); Palladium 44	PDF, Print 44
After The Bomb	Palladium Books	1986	Class/Level-Based	Licensed (TMNT Spin-off)	In Print; Palladium Books	PDF, Print 44
Enforcers	21st Century Games	1987	Point-Buy / Simulationist	Original	Out of Print	OOP 115
GURPS Supers	Steve Jackson Games	1989	Point-Buy / Simulationist	Original	In Print (4E); SJ Games 47	PDF, Print 117
ACE Agents!	Stellar Games	1992	Bespoke / Unique	Original	Out of Print	OOP 108
Underground	Mayfair Games	1993	Bespoke / Unique (MEGS variant)	Original	In Print (PDF); Mayfair Games 119	PDF 121
3DeT (Defensores de Tóquio)	Editora Trama	1994	Point-Buy / Rules-Light	Original	In Print (Victory); Jambô Editora 108	Print (Portuguese) 123
Marvel Super Heroes Adventure Game	TSR, Inc.	1998	Bespoke / Unique (SAGA System)	Licensed (Marvel)	Out of Print	OOP 40
Blood of Heroes	Pulsar Games	1998	Bespoke / Unique (MEGS)	Original	Out of Print	OOP 41
Aberrant	White Wolf Publishing	1999	Dice Pool / Storyteller	Original	In Print (Storypath); Onyx Path 70	PDF, Print 126
Brave New World	Pinnacle Entertainment Group	1999	Dice Pool / Bespoke	Original	In Print (PDF); Full Moon Ent. 58	PDF, Print 128
Dragon Ball Z: The Anime Adventure Game	R. Talsorian Games	1999	Bespoke / Unique (Fuzion)	Licensed (Dragon Ball Z)	Out of Print	OOP 92
Godlike	Hobgoblynn Press / Arc Dream	2001	Dice Pool / O.R.E.	Original	In Print; Arc Dream Publishing 74	PDF, Print 130
Mutants & Masterminds	Green Ronin Publishing	2002	d20-Based	Original	In Print (3E); Green Ronin 61	PDF, Print 65
Silver Age Sentinels	Guardians of Order	2002	Tri-Stat / d20-Based	Original	Out of Print	PDF 71
Cartoon Action Hour	Spectrum Games	2002	Bespoke / Unique	Original	In Print (S3); Spectrum Games 133	PDF, Print 135
Omlevex	Z-Man Games / Spectrum Games	2003	Multi-System Supplement	Original	Out of Print	OOP 137
Marvel Universe Roleplaying Game	Marvel	2003	Diceless / Narrative	Licensed (Marvel)	Out of Print	OOP 139
The Authority Role-Playing Game	Guardians of Order	2004	Bespoke / Unique (Tri-Stat dX)	Licensed (The Authority)	Out of Print	OOP 143
Dark Champions	Hero Games	2004	Point-Buy / Simulationist	Original	In Print (PDF); Hero Games 52	PDF 145
Necessary Evil	Pinnacle Entertainment Group	2004	Savage Worlds	Original	In Print	PDF, Print
Godsend Agenda	Khepera Publishing	2004	D6 System	Original	In Print	PDF, Print 146
BASH! (Basic Action Super Heroes)	Basic Action Games	2005	Bespoke / Unique	Original	In Print (UE); Basic Action Games 147	PDF, Print 90
Capes	Muse of Fire Games	2005	Narrative / GM-less	Original	Out of Print	OOP 81
Truth & Justice	Atomic Sock Monkey Press	2005	Narrative / PDQ	Original	In Print (PDF); Atomic Sock Monkey 78	PDF 149
With Great Power…	Incarnadine Press	2005	Narrative / Card-Based	Original	In Print (Master Ed.); Incarnadine 83	PDF, Print 152
Big Bang Comics RPG	Pisces All Media	2006	d20-Based	Licensed (Big Bang)	Out of Print	OOP 154
Wild Talents	Arc Dream Publishing	2006	Dice Pool / O.R.E.	Original	In Print (2E); Arc Dream 156	PDF, Print 157
Four-Color System	Seraphim Guard	2007	Bespoke / Unique (FASERIP)	Original	In Print (PDF)	PDF 159
Supercrew	Kaleidoskop	2007	Narrative / Dice Pool	Original	In Print (PDF); Kaleidoskop	PDF
Mutant City Blues	Pelgrane Press	2009	GUMSHOE / Narrative	Original	In Print (2E); Pelgrane Press 161	PDF, Print 162
Capes, Cowls & Villains Foul	Spectrum Games	2010	Narrative / Bespoke	Original	In Print; Spectrum Games 164	PDF, Print 165
Smallville Roleplaying Game	Margaret Weis Productions	2010	Narrative / Cortex Plus	Licensed (Smallville)	Out of Print	OOP 167
Icons Superpowered Roleplaying	Ad Infinitum / Green Ronin	2010	Narrative / FATE-like	Original	In Print; Ad Infinitum Adventures	PDF, Print
SUPERS!	HAZARD Studio	2010	Bespoke / Unique	Original	In Print (Revised Ed.)	PDF, Print 140
Cold Steel Wardens	Blackfall Press	2011	Bespoke / Unique	Original	In Print (PDF)	PDF 169
Marvel Heroic Roleplaying	Margaret Weis Productions	2012	Dice Pool / Cortex Plus	Licensed (Marvel)	Out of Print	OOP 139
Prowlers & Paragons	Mobius Worlds Publishing	2013	Narrative / Dice Pool	Original	In Print (Ultimate Ed.); Evil Beagle Games	PDF, Print
Rotten Capes	Paradigm Concepts, Inc.	2013	Bespoke / 2d10-based	Original	In Print (PDF); Paradigm Concepts, Inc.	PDF
Valiant Universe Roleplaying Game	Catalyst Game Labs	2014	Narrative / Cue System	Licensed (Valiant)	Out of Print	OOP
Base Raiders	RPGObjects	2014	Narrative / FATE	Original	In Print	PDF, Print 169
AMP: Year One	Third Eye Games	2014	Bespoke / DGS-Combo	Original	In Print; Third Eye Games	PDF, Print 170
Worlds in Peril	Samjoko Publishing	2015	Narrative / PbtA	Original	In Print (PDF); Samjoko Publishing	PDF 86
Atomic Robo: The Roleplaying Game	Evil Hat Productions	2015	Narrative / FATE	Licensed (Atomic Robo)	Out of Print	OOP
FASERIP	Gurbintroll Games	2016	Bespoke / Unique (FASERIP)	Original	In Print (PDF); Gurbintroll Games	PDF
The Super Hack	Simon Burley Productions	2016	Rules-Light / OSR	Original	In Print (POD); Lulu Press, Inc.	Print
Venture City	Evil Hat Productions	2016	Narrative / FATE	Original	In Print	PDF, Print
The Four Color Hack	Spes Magna Games	2016	Rules-Light / OSR	Original	In Print (PDF)	PDF
Era: The Empowered	Shades of Vengeance	2016	Bespoke / Era d10	Original	In Print (5th Anniv. Ed.)	PDF, Print
City of Mist	Son of Oak Game Studio	2017	Narrative / Hybrid	Original	In Print; Son of Oak Game Studio	PDF, Print 85
Masks: A New Generation	Magpie Games	2017	Narrative / PbtA	Original	In Print; Magpie Games	PDF, Print 85
Capers	NerdBurger Games	2018	Bespoke / Card-Based	Original	In Print; NerdBurger Games	PDF, Print
Tiny Supers	Gallant Knight Games	2020	Rules-Light / TinyD6	Original	In Print; Gallant Knight Games	PDF, Print
Vigilante City	Bloat Games	2020	Rules-Light / OSR	Original	In Print; Bloat Games	PDF, Print
Sentinel Comics: The Roleplaying Game	Greater Than Games	2021	Dice Pool / Narrative	Licensed (Sentinel)	In Print; Greater Than Games 173	PDF, Print 174
Power Rangers Roleplaying Game	Renegade Game Studios	2021	Bespoke / Essence20	Licensed (Power Rangers)	In Print; Renegade Game Studios 85	PDF, Print
Absolute Power	Dyskami Publishing	2022	Tri-Stat	Original	In Print	PDF, Print 86
Destined	Aeon Games	2022	Bespoke / d100	Original	In Print; Aeon Games	Print 177
Marvel Multiverse Role-Playing Game	Marvel	2023	Bespoke / Unique (d616)	Licensed (Marvel)	In Print; Marvel	PDF, Print 85
We Can Be Heroes	Budstuff Games	2024	d20-Based	Original	In Print	PDF, Print
Valiant Adventures Roleplaying Game	Green Ronin Publishing	2024	d20-Based (M&M 3E)	Licensed (Valiant)	In Print	PDF, Print
Invincible Roleplaying Game	Free League Publishing	2025	Bespoke / Year Zero Engine	Licensed (Invincible)	In Print; Free League Publishing 179	PDF, Print

Conclusion: The Enduring Legacy and Future of Superhero Gaming

The history of superhero tabletop role-playing games is a dynamic narrative of adaptation and innovation. From the abstract, wargame-derived simulations of the 1970s to the narrative-first story games of the modern era, the genre has consistently evolved to meet the unique challenges of its source material. The initial design tension between simulating a comic book’s physics and emulating its story structure has driven decades of creativity, producing everything from complex, effects-based toolkits like Champions to accessible, trope-driven systems like Marvel Super Heroes and emotionally focused games like Masks.

Throughout its history, the genre has served as a mirror to the broader trends in both comic books and the RPG hobby. The grim-and-gritty RPGs of the 1990s directly reflected the Dark Age of comics, while the d20 boom of the 2000s saw superhero games adopt the market’s dominant mechanical language. Today, the rise of specialized, narrative-focused games reflects both the fragmentation of the superhero genre into myriad sub-genres (from cinematic blockbusters to deconstructionist television) and the maturation of a player base that seeks specific, tailored experiences.

Looking forward, the genre’s trajectory will likely be shaped by the continued cultural dominance of superhero media and the growing influence of online actual play. The massive, shared cultural literacy provided by properties like the Marvel Cinematic Universe creates a fertile ground for games that are highly accessible, cinematic in scope, and capable of supporting long-form, multi-arc campaign play. Systems that are visually clear and produce dramatic, easily understood results with minimal off-screen calculation may find greater success in a streaming-focused environment. Far from being a monolithic category, the superhero RPG remains one of the most vibrant and inventive spaces in the tabletop hobby, a testament to the enduring appeal of its central question: what does it truly mean to be a hero?

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