Heroes 3 Paragon

[Courtland Boland]

Heroesare playable characters in Paragon. They are the essential element of Paragon, as the course of the game is dependent on their intervention. During a match, two opposing teams select five heroes that accumulate Experience and Gold. As a hero gains experience, they will level up, growing more powerful and gaining new abilities. All heroes have a distinct role that defines how they affect the battlefield. A hero's appearance can be modified with Skins, Emotes, Banners and Crowns.

Welcome to the Paragon Wiki Archive, a central repository of all things related to NCsoft's City of Heroes, the world's most popular superhero-themed MMORPG; covering from launch on April 28, 2004, to the final sunset on November 30, 2012, and even beyond. It is a community effort, created and maintained by more than two thousand volunteers since 2005.

City of Heroes was home to an entire multiverse of superpowered beings in a stunning, 3D graphical world. Hundreds of thousands of players took on the roles of heroes, villains, vigilantes, and rogues, while both saving and destroying worlds. City of Heroes was known for its groundbreaking level of customization, its highly community-focused features, and its abundant developer-player interaction and feedback.

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Heroes are the playable characters in Paragon. Before each match, choose a hero that suits your playstyle. During the match, your hero will gain experience and level up, allowing you to unlock abilities and grow stronger with the hero you've selected. You also have a "Card Level" that levels up during the match. The card level determines how many points you will have to spend on equipment cards. You will also gain hero experience on an account level, unlocking things like card packs, deck slots, and hero skins as you play each hero and master them over time.

All heroes have unique Abilities and are designed to have certain strengths that they contribute to the match in order to counterbalance one another's weaknesses. The hero list below contains a list of currently-implemented heroes, as well as potential heroes that may be implemented in the future.

Heroes can be categorized into roles based on their particular set of attributes, skills, and abilities. Different roles lend themselves better to certain styles of play, though some heroes blur the lines between roles and can be successful using multiple play styles.

The setting is, at least superficially, in a fantasy-fiction world, where a city-sized population resides an isolated, habitable zone amidst monster-infested wilderness (the specifics of these matters not; it suffices to imagine them sailing on shark-infested water in a city-sized ship)

I reject this plan, because the plot of seemingly good people seizing power only to reveal their selfish motive is simply too cliched and predictable, especially if the protagonist is at odds with said person.

Al seizes power and bring about certain political revolution. For instance, he suggests the complete and permanent closure of the community from the outside world as a perfect defence mechanism, but this is against the ideals of some of the community's members, who want to eventually reclaim the outside world instead of hiding in such a protective cage forever. Bob champions the latter ideology, and brings the down-fall of Al, for better or for worse.

Concerns for this idea: somehow this plot also make Al seem like a genuine villain, with an ideology that most modern readers will likely disagree with. This could be a result of the poor choice of example-ideology above, or because it is simply not possible to imagine an indisputably paragon ideology to be assigned to an de-facto villain, at least for me.

Al gathers influence and persuades, rather than coerce, the community at large to perform certain questionable plans, such as the one described above. Bob rises to challenge Al as the representative of a part of the community who disagree. They fight; Bob wins, and Al's plan is abandoned with public approval for the winner. Then, the community is immediately ravaged by a disaster that could have been prevented by Al's plan, showing that Al was right and Bob was wrong. Bob watches hopelessly as the people who gave him approval for oh-so-short a time contort in the clutches of death, and commits suicide in defeat.

So far, this is the most appealing of all ideas, the paragon was paragon from beginning to end, the ending is unpredictable and cathartic, and maybe a set-up for sequels if the suicide part is omitted.

An additional option is to shift the moral compass of the story during the telling. If your story begins from a world view that celebrates Al's friendly generosity and warm kindness, but then slowly reveals bigger world issues which repaint that generosity as foolishness or worse yet deceitfulness; and if simultaneously, the reveal also justifies Bob's attitude, lending nobility and valor to what originally seemed self-serving; then you will get your juxtaposition of roles without having to change the fundamental nature of either of your characters.

For example, the opening scene introduces the friendly Al and the troubled Bob as new arrivals in an isolated city deep within the wilderness. Al strolls into the neighborhood bar and buys everyone a drink. He laughs easily and tells wonderful tales while listening attentively to tales which others tell in return. Meanwhile Bob sits in the corner, expressing anxiety and discomfort through closed up body language and distrusting furtive glances around the room. Late in the scene, Bob gets up and quietly leaves the bar while Al continues the festivities. A bar maid follows him out to see if he is okay but he is rude to her and then slips into the night.

Now as the story unfolds, the reader learns that Bob and Al are both spies; the advanced guard of an approaching army which will soon lay siege to the city. They have been sent ahead to gather information about the city's defenses and about any super humans who might live there. Al is pursuing his duties diligently but Bob has been having second thoughts about being a part of any evil army. He was trained to be just as outgoing and friendly as Al, but he is currently not sure whether that is the right thing to do. After much alone time and self contemplation, he decides to warn the city about the approaching army and join in on its defense. He goes on to be the savior of the city and the hero of the tale.

Now during this story neither character has changed their behavior at all. They are both behaving exactly as they did when we first met them. But as we, the readers have learned more about what is going on, our interpretation, of who each of these people is, has radically changed. Our perspective has changed even though the characters have not.

All of that having been said, and to actually answer your question, Yes there are many examples of initial heroes serving as the antagonist over the course of the story and each of your story designs have been used to this end.

Differentiating your lead characters based on their conflicting theories about how to handle a bigger problem (as described in your second design) will work, but it leaves the determination of who is ultimately right to the outcome of that problem. This makes your characters secondary to the problem they are fighting over. A good example of this kind of tale is the recent Captain America Civil War movie and associated comic stories.

Your third design explores a variation on the second design in which your chosen hero's choice is actually the wrong one and leads to disaster. Plots in which decision makers make disastrous mistakes is so common that it has its on genre, Tragedies. There are library isles full of stories which follow this design.

Keep in mind through out all of this that unlike in fairy tales, virtue is often a matter of opinion. Almost every villain thinks that they are the good guy and many a selfish act leads to an noble end. Be careful when working with themes of good and evil. They are slippery.

The point is: you don't have to be right to be a paragorn. As Henry pointed out, real life moral choices are seldom completely good or completely evil. To be a true paragorn, Al must be really convinced that his plan his ultimately the best for the entire community.

If Bob disagrees, Al will probably make everything in his power to show him his perceived truth. Eventually, your story will make the conflict escalate; but if Al will have to take drastic measures against Bob and his followers, he will do so with an heavy heart and a copious amount of guilt, still trying to be true to the greater good.

Anyway, only you, as the author, know how things will turn out. Al and Bob don't know the future - they can just argue on moral standards, personal opinions, and predictions. This will add a considerable amount of doubt and make the matter seem more "true"; if you play this well, the reader could ever be tempted to agree with Al, rather than with your chosen hero; and this would be totally fine - unless, of course, you don't make Bob an idiot in comparison.

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