TranquiloUno

The problem with multiple possible outcomes is that is a lot more work for the GM, and I’m not generally in favour of that ?
 
You can structure things though so that most of the scenario bits you write will have to be completed and the important thing is doing them in the right order (otherwise it may make no sense to the PCs) and doing it quickly because this is a time sensitive mission.  It feels more freeform than it actually is, but it is like an escape room - you have to do all the bits, to get to the end, except for a few red herrings.
 
So…
 
Luigi Linguini, mob boss, has been trying to increase his revenue stream, which is usually fed by drugs and prostitution, to the lucrative area of child pornography, the bastard.
 
Fiona Fettuccini is a working girl and sometime squeeze on the side of Linguini.  No angel, but heart of gold.
 
Robbie Ravioli is a small time dealer who works indirectly for Linguini and was with Fettuccini when they both saw four frightened kids being delivered to one of Linguini’s warehouses three days ago.  Fettuccini took a picture on her phone which shows the kids and Linguini in the frame.  Ravioli and Fettuccini are low lives, but that is far beyond what either of them are happy to turn a blind eye to.  They have been making not so discrete enquiries about what Linguini is up to and meeting up to discuss their options, and they have decided that they have no choice but to go to the police.  Tonight word got back to Linguini and he had a couple of his boys drive the streets looking for them.  They shot Ravioli and bundled Fettuccini into a car to take her back to Linguini who plans to interrogate her to find out what she knows and who she told before killing her.
 
Hungry Henry is a former history professor who suffered a serious mental breakdown and is now homeless and on the streets.  Hungry Henry loves hamburgers.  He was the sole witness to the shooting of Ravioli and the kidnapping of Fettuccini.  He can give some details of the car and the two men in it and is the only one who knows that Fettuccini has been taken.  He can describe her but he does not know who she is.
 
Rachel Ravioli is Robbie’s wife and she’s pretty mad at him because he has been hanging round with Fettuccini and acting all secretive for several days, and she suspects they are having an affair.  She will be an emotional wreck when she finds out he is dead but recognises Fettuccini from Hungry Henry’s description, but only if she is specifically asked.
 
Peter Penne and Steve Sagnarelli are the two heavies who offed Ravioli and took Fettuccini back to Linguini, and all four are at the warehouse where Linguini is threatening to move into snuff movies.  Fettuccini is threatening him with the photograph and trying to exchange her life for the phone’s location.
 
The PCs respond to a call – gunshots heard, possible shooting and find a crowd around Ravioli’s body.  Initial enquiries (appropriate social skills) reveal that none of the bystanders were present when the shooting occurred.  There are no street cameras in this part of town.  If the PCs can work out who was first on the scene and get them to talk they find out that Hungry Henry was there when they arrived, but he’s gone now, the mad old bugger.
 
PCs can:
1.       Speak to Ravioli’s wife (Conversation, Persuasion).  She can tell them about Fettuccini, but unless they have spoken to Henry they won’t know she is missing and might waste some time looking for her.
2.       Try to find Henry (Streetwise) and talk to him (Bribery – he will only talk in exchange for hamburgers). He can tell them that Ravioli was shot by two men in a grey sedan with the bumper hanging off and that they took a girl who he can describe.
3.       Try to find more witnesses – there are none, so that just wastes time, but make them make several rolls and, possibly have some gloryhound called Andy Anelli come forward with a story they will have to discount, just to waste their time.  He describes a guy in a white Impala shooting Ravioli.  The white Impala is real and belongs to the Anelli's neighbour who Anelli hates because he had an affair with Angela Anelli, Andy's wife.
4.       Check cameras at local intersections.  They won’t find anything unless they know about the bumper hanging off the sedan as there are just too many vehicles and they won't see Fettuccini – there was a collision at a red light less than a block away and a grey sedan drove away with the bumper hanging off.  Cameras can ID the plate and it can be traced to Peter Penne, but he’s not at home and his car is not there.  Further enquiries will eventually trace it, but by then Fettuccini has met her end.  Steve Sagnarelli is a known associate and they are both known to work for Linguini.  Linguini has a lot of properties across the city.  He is not at home and it going to take far too long to check them all.
5.       Check at Fettuccini’s place. Another girl who lives there, Therese Taglierini, can tell the PCs that Fettuccini has been acting jumpy for some days and left her phone with Taglierini, but she pawned it, she'll get it back Friday.  Fettuccini’s been her hanging round with someone who fits Ravioli’s description but only for the last few days.  She assumed Fettuccini was jumpy because of Ravioli.  She was talking about going to the police but was clearly scared.
6.       It is the middle of the night and the pawn shop is closed.  The PCs can break in, try and find the owner or get a warrant.  Breaking in is quickest, but might cause problems later down the line with chains of evidence and such.
7.       The picture on the phone is clearly of a warehouse near the docks and shows someone who could be Linguini and four frightened kids.  There are missing person reports for two of them, one of them is diabetic.  If you want to you can have some fun with them trying to guess the unlock code.
8.       This leads them to the warehouse.  Depending on how long they took, Fettuccini might be mildly distressed, badly beaten or dead.  There are four traumatised kids in cages.  One is in a diabetic coma and may not make it if the PCs have dawdled too much.  Linguini will try to escape and get Penne and Sagnarelli to cover his get away along with however many other goons you need to make it an interesting fight.
9.       Aftermath: best case scenario, everyone (apart from Ravioli) lives and Linguni  is arrested at the warehouse and is taken into custody and Fettuccini agrees to testify against him.  There might be some shenanigans providing protective custody.  Worst case scenario, the warehouse is empty by the time they arrive, except for Fettuccini's body.  Linguini gets away and the phone evidence gets thrown out either because they obtained it illegally or because the picture identifying Linguini is not clear enough.  The kids are never found.  Linguini will arrange to have the PCs watched and may cause them further problems down the line.
 
I obviously don't have enough to do...

But let's look at this from a different perspective.  Let's take away extreme rolls and think about how this might have happened otherwise.  I haven't seen the reenactment, but let's set it aside.  The video would have been made decades after the fact, based on old war stories and shown in a cinematic way.  All we really need to have is one soldier taking out six Germans.
 
So you've got Bertolo, and he's hunkered down somewhere.  And along come Hans, Fritz, Karl, Otto, Klaus, and Gunter.  They think everybody in the squad is dead, and so they let their guard down.  Bertolo has total cover, there is no line of sight between him and the Germans.  But he obviously knows what is going on, and he's working up the courage to attack the enemy and avenge his buddies (Ego roll).  He creeps forward and peeks over whatever object he's hiding behind.  This is what he sees:
 
Hans is the nearest to him, about 20 feet away, right in front of him.  He is looking down at the ground, kicking a body to make sure the guy is dead.
Fritz is 5 feet away from Hans, holding his weapon at the ready but his body is turned to the side and he is looking off into the distance.
Karl is off to Bertolo's right, maybe 40 feet away.  He is crouched down, his weapon on the ground, while he pokes at one of the bodies, looking for cigarettes or something.
Otto is next, with his back completely to Bertolo.  He is yelling something and waving his arm.
Klaus and Gunter are out of sight, having walked behind a small building.
 
Bertolo makes his Ego roll and combat begins. 
--Phase 12, the Germans are completely surprised.  They don't get to act.  Bertolo stands up and fires twice, once at Hans and once at Fritz.  Dex 11, his OCV is 4.  We'll say the Garand gives him a +1 OCV.  Both targets are within the first 4 hexes and so receive no range penalty.  Rapid firing, so he takes a -2 OCV penalty.  Both targets are at 1/2 DCV.  Betrolo needs a 12- on each one.
Bam!  11.  Hit
Bam!  9.  Hit.
 
The Germans hear gunshots and start to look around.  The GM lets them make Perception rolls to figure out where the shots came from and what is happening.  Because this is the "realistic war" genre, the fog of war is a real thing, and they don't get Perception bonuses (they hear the gunshots, but they don't know where they're coming from).
Klaus and Gunter make their rolls.  They know gunshots are coming from the area where their squad is.
Otto rolls a 12.  He hears shots, and he knows they're close by, but he has no idea where they came from.
Karl rolls a 13.  He is startled by the shots.  He swings his head around looking for something, but he's too surprised to process anything.
 
--Phase 4.  Bertolo is surprised to see the Germans haven't really reacted.  The two guys he can see are looking around, but haven't spotted him.
Bertolo aims at the guy holding the gun.  Otto is at 1/2 DCV, so a 2.  Bertolo has a 4 OCV + 1 for the weapon.  He needs a 14-.  Rolls a 12.  Hit.
Klaus and Gunter (on the other side of the building) take a half-phase to look at each other and make a decision, then they start moving towards the sound of the gunfire.  Half-move.
Karl tries to make another Perception check, this time with a bonus.  Rolls a 15.  This would fail, leaving him still clueless, but the GM rules that Karl can spend this entire phase figuring out what is happening.  Karl suddenly realizes he's in a lot of trouble.
 
-Phase 8.  Karl and Bertolo see each other and make Dex roll-offs to see who goes first.  The GM assigns Carl a -2 penalty because he's not actually holding his weapon right now.  Bertolo says he wants to make a Presense attack, and the GM rules that he can do that first since it is a zero phase action.  2D6 base Presence, -1D6 for being in combat, +1D6 for being at a combat advantage, +1D6 for displaying a power (pointing a gun), +3D6 for the incredibly violent action of killing 3 guys already.  Bertolo rolls 6D6 and gets 21 points, 11 points past Karl's 10 Presence.
Karl is already at 1/2 DCV because he was kneeling on the ground.  The GM rules he's basically at zero DCV right now due to the Presence attack, and Bertolo can act first.
Bertolo needs a 16- to shoot Karl.  He makes an easy shot and Karl goes down.
Klaus and Gunter come running around the corner of the building (half move).  Klaus fails his Perception roll to assess the situation.  He sees his dead friends but he doesn't see the American soldier.
Gunter makes his Perception check.  The first thing he sees is the Amerikaner standing there having just blown away Karl.  He raises his rifle and fires.  Bertolo makes his Perception roll and has his full DCV (of 4).  Klaus has a base 4 OCV, no bonus for the German gun.  He's in the -2 range penalty bracket, needing a 9 or less.  Gunter rolls a 10, and a bullet goes whizzing by Bertolo's ear.
 
-Phase 12.  Bertolo makes a Dex roll off with the Germans and wins.  He aims at Gunter and fires.  5 OCV vs 4 DCV, -2 range penalty.  The American needs a 10 and he makes it.  Bam!  Gunter goes down.
Klaus is now the last one left.  Klaus makes his Perception roll and finally sees the American just as the back of his buddy's head explodes.  Klaus has to make an Ego roll.  He rolls a 13, and decides that discretion is the better part of valor.  If the movie Rambo had been made yet, that's who Klaus would think he was facing.  He panics, turns and tries to make a full noncombat move away.
 
Phase 4.  Bertolo takes a full phase to aim and fire, getting a +1 OCV bonus.  OCV 6 vs fleeing German's 1/2 DCV of 2.  -4 range penalty at this point means it's an 11 or less.  Bertolo's good luck continues and he blasts Klaus in the back.  Fight over.
 
 
And there you go.  In real life, ambushes are extremely lethal, in part because the people being attacked don't know what's happening immediately.  Our hero here gets several surprise shots, and a scattered enemy enters the combat at different points.  Guys are having to run in and assess the situation immediately, and some of them just happen to be facing the wrong direction.  Bertolo meanwhile knows exactly where they are, and when new people enter they happen to be directly in his line of sight.  No amazing rolls required.

I guess I'd be wondering "Mechanically" "Best" for....what?
 
Resolved: Any version of (almost) any RPG has rules that you can run a game with. (the actual important thing, playing the game)
Resolved: Any version of (almost) any RPGs rules will not survive contact with the enemy\players. (the less important thing, because rules will always be adjusted)
Resolved: The actual in-game stuff, specific to the group\characters\genre\setting\play-style, will be much more impactful than the actual rules.
Resolved: Running games is the actual thing that really matters.
 
 
So then, for 6e, what is it best at? And "best" compared to...?
 
What can I do with 6e that I can't do with 4e (or 5e\5er) that will improve or effect most\some\the "average" game? What's "best" about it?
 
I'd say 6e makes character creation slightly more complex for us Hero System veterans and somewhat more complex for new folks.
 
Resolved: Old-heads don't really matter to be honest. We'll modify things as we see fit. We're comfortable with the rules already.
 
So in this sense then 6e introduces complexity that...was anybody asking for this? Did old-timers find Figured Char and un-decoupled Dex\Ego CV so constrictive we couldn't run the games we needed to run?
 
Introducing complexity to a rules system and providing no real benefit to either new folks, or old folks, doesn't seem "best".
 
The 6e stuff in general makes sense as a logical end point of the 4e beginnings. IMHO at least.
 
But I don't think it really does much of anything to enhance average\general game play. IMHO again.
 
I also think, I mean, you know, essentially only us weird folks that give a funk about the rules actually read, post, care about the rules. So it's mostly going to be idiosyncrasy in terms of "best" rules version.
 
To me the advantages (+2?) of Hero are:
 
I can build stuff I want instead of picking stuff from lists that other people thought up.
A fairly clean and universal game engine (not char gen) that you only learn once.
 
6e added more fiddly bits to the "building stuff you want" but didn't really allow me to build stuff I couldn't already build.
The game engine doesn't seem to have changed significantly.
 
So...I can put time in to learning the differences in rules versions so I can...run the games I'm already running? Is that the best use of my time?
 
 
But...change your mind?
Well, sure, how about: What kind of games are you running now in 6e that you couldn't ever do before? How has 6e changed the actual games you are actually running for the better?
 
I will speculate baselessly that: A) You run fun games that your players enjoy and B ) You ran fun games in 4e and 5e as well.
 
So...for any additional work that would go in to learning the updated system, re-stating anything that needs re-stated, what's the IRL fun or ease of use that you're getting with 6e that you don't with 4e?
 
Like...just cost\benefit if I spend X hours learning rules and stuff which doesn't make actual game play better then couldn't I have spent those same hours running games, prepping for games, writing up stats and NPCs (I realize you, Killer Shrike, have stated up a bazillion NPCs and PCs and every other gawddamn thing under the sun, but you know what I mean) then...is it best?
 
Or maybe you meant specifically 6e is the best *Mechanically* of all Hero versions. IN which case...can you MAKE *your* case for that? What are the mechanics in 6e that improve over 5e in terms of game play?
 
 
 
 
 

I feel like abandoning traditional killing damage attacks is a bad idea.
 
The variability on smaller dice pools is a big part of what makes killing attacks scary.  The odds of larger dice pools substantially drifting up or down in BODY count is very low.  6d6 very consistently does between 4-8 body.  12d6 even more consistently is in the 10-14 range.  A 2d6K or 4d6K can with much greater probability generate dangerously high or harmlessly low numbers.
 
I know that the difference between normal and killing damage is a point of confusion for new players, but it's not a big one.  If that one thing is what chases them off of HERO system and not the umpteen combat maneuvers and dozens of situational OCV/DCV modifiers or sectional armor or....  It goes on.  The system offers incredible flexibility at the cost of crunch.

If I understand you, this all boils down to a simple question:  how do I build a power that either of two (or more) forms of defense can protect the target against?
 
The answer to that is:  I swear I have addressed this issue before, but I'll be damned if I can find it right now. So I reserve the right to change this answer if and when I do find it (or someone reading this remembers where it is and tells me  ). You can represent this by taking a Limitation, Multiple Defenses Apply, for the offensive power being used. Typically this is worth -1/4, but the GM can alter that value based on how common the second defense is in the campaign.

You are incorrect because your opinions are opinions and my opinions are facts.  As proof, I am of the opinion that my opinions are facts, therefore it is fact that my opinions are facts. 
Furthermore I am of the opinion that 6e's removal of the Lack of Weakness power was terrible since no longer can the GM respond to "I use Find Weakness on him" with "FOOL, DOCTOR DEFENESTRATION HAS NO WEAKNESS!".  Therefore 5e is objectively and unarguably superior to 6e in all ways. 

False.  It suffers from a distinct lack of George Perez cover art.

I think the communications issue is that you have your dividing lines and your classifications, and they're fine...but we don't necessarily share them.  We probably don't even agree on what defines a martial artist per se.  Pretty clearly we don't, in that many you call "scrapper" would be "martial artist" to most of us.  
 
I also agree, it's not "common sense" at all.  It feels like it to you because your assessment process is very nicely tuned...but it's your process, not a shared one.

I would say maybe an Entangle? If fact doesn't one of the examples in the rules (can't remember is it is in 5th or 6th) have something similar, causing seizurers using the Mental Paralysis options. 

I don't think that Martial Arts is really unbalancing at all.  It is available to everyone so that right there means it is pretty balanced.  Consider the Multipower below which could be used instead of Martial Arts to pretty awesome effect.
 
16   Martial Arts:  Multipower, 20-point reserve,  (20 Active Points); all slots Only To Augment HTH Standard Maneuvers (-1/4)
     3V   Accurate:  +4 OCV (20 Active Points); Only To Augment HTH Standard Maneuvers (-1/4)
     3V   Evasive:  +4 DCV (20 Active Points); Only To Augment HTH Standard Maneuvers (-1/4)
     3V   Strong:  +20 STR (20 Active Points); Only To Augment HTH Standard Maneuvers (-1/4)
     3V   Powerful:  Hand-To-Hand Attack +4d6 (20 Active Points); Hand-To-Hand Attack (-1/4), Only To Augment HTH Standard Maneuvers (-1/4)
     3V   Lethal:  Killing Attack - Hand-To-Hand 1d6+1 (2d6 w/STR) (20 Active Points); Only To Augment HTH Standard Maneuvers (-1/4)
 
In this example the character could use any one of the slots to bolster his HTH prowess or mix and match them (because they are Variable slots) to great effect.
 
Martial Strike - +2d6, +2 DCV when performing Strike
Fast Strike - +2 OCV, +2d6 when performing Strike
Martial Block - +2 OCV, +2 DCV when performing Block
Martial Dodge - +4 DCV (Total of +7!) when performing Dodge
Martial Grab - +1 OCV, +1 DCV, +10 STR when performing Grab
Offensive Strike - +4d6 when performing Strike
Killing Strike - 2d6KA when performing Strike
 
If you want to make it even more powerful you could drop the limitation and voila!  You have the ability to do a Flying Dodge.  Sure, it costs more than your average Martial Arts package but it doesn't have the Negatives on any of the maneuvers either.
 
Just my $.02,
 
Deadman

I just watched that video three times.
 
In it, the "scrapper" Bolo dodges and blocks more times than does the 'finesse' guy in the yellow suit, and now this whole thread is out of kilter.
 
 

I can’t help with the sheet or GM screen but I did run a HERO game with a bunch of D20 freaks without freaking them out and it was very much about presentation.
 
My first decision was to make everything about the 3D6 rolling more than 10 (after modifiers) for success.  Rolling high would always be good.
 
to attack someone roll 3D6, add Offence (I left off combat value), subtract Defence.  If the number left was higher than 10, you hit.
 
All skills were presented as a modifier.  A skill of 14- Stealth was presented on the character sheet as Stealth +3.  To be stealthy, roll 3D6, add skill modifier, subtract situational modifiers.  If the number left was higher than 10, you succeed.
 
You need to hide most of the infrastructure.  Describe a spell by saying how many dice need to rolled and use words for everything else.  Hide most of the stats.
 
i will see if I can find an example character sheet and post it here.
 
Doc
 
PS: I created these sheets using PowerPoint.  They are not quite right, I was not using a unified system, you can see I had defence as a difficulty number rather than as a modifier.  The idea of keeping it simple and evocative remains though...
 

In 6th, rarely, in every other edition, almost certainly....

I don’t normally answer “how to” questions, but for once I’ll make an exception. Here’s how I’d do it:
 
1. Buy an Entangle with Takes No Damage From Attacks (+1).
 
2. Apply addtional Power Modifiers that allow the Entangle to work against CON rather than STR.
 
That second step is a little tricky, though. One option is to adapt the Based On CON (-1) Limitation, which ordinarily only applies to Mental Powers, to this ability.
 
But here’s another option. I swear to 3d6 random gods of your choice that somewhere in one of the 6E books we published rules for using alternate Characteristics for things like this (and various other powers), but damned if I can find them right now, and I don’t have time to keep looking. So, what I’ve appended below are optional rules for escaping Entangles using alternate Characteristics that we published in Digital Hero #5. I’ll consider putting these in APG3 (unless, of course, someone points me to where the “using alternate Characteristics” rules are already in print).
Here ya go:

Entangles Affecting Characteristics Other Than STR
Under the standard rules, a character breaks out of an Entangle using STR. 6E1 217 provides rules for creating Entangles that require EGO to break out of instead of STR. It’s possible to extend the reasoning behind “Mental Paralysis” Entangles to create Entangles affecting other Characteristics.
 
Doing this requires a Power Modifier, Works Against [CHAR], Not STR. This Modifier may be an Advantage or a Limitation, depending on whether, in the campaign, the average character is likely to have the affected Primary Characteristic at a lower or higher level than STR. If it’s likely to be higher, Works Against [CHAR], Not STR is probably a Limitation; if it’s likely to be lower, it’s probably an Advantage. This takes into account not only Characteristic cost (expensive Characteristics are likely to be lower than STR), but the nature of the campaign and types of characters in it (in a psionics campaign, EGOs are usually higher than STRs). The value of the Modifier depends on the average relative level of the two Characteristics, as indicated by the accompanying table.
[[BOX TEXT]]
WORKS AGAINST [CHAR] SUGGESTED VALUES
Affected Characteristic Is,
On The Average...        Suggested Value
Much higher than STR        -½ or more
Slightly higher than STR        -¼
Equal to STR            -0
Slightly lower than STR        +¼
Much lower than STR        +½ or more
[[END BOX]]
 
Here are some guesstimates of these values for “average” HERO System campaigns, with descriptions of possible special effects. The number in front of the slash represents the value in Heroic campaigns, the number after the slash the value in Superheroic games. Many of the suggested special effects require the Takes No Damage From Attacks Advantage.
 
Works Against DEX, Not STR (-0 / +¼):  This might represent energy bonds that can’t be broken, only wiggled out of, coils that stretch so much they’re unbreakable but which the character can squeeze out of, and so forth.
 
Works Against CON, Not STR (-0 / +¼):  This might represent paralytic attacks such as some venoms and nerve strikes — it’s not the strength of the character’s muscles or will that governs how long he’s paralyzed, but his hardiness and fitness.
 
Works Against INT, Not STR (-0 / +½):  This might represent psychic attacks that put the victim in a “mental maze” he has to “escape” from before he can act, or a puzzle so absorbing a character can’t do anything but try to figure it out until he somehow forces himself to look away from it.
 
Works Against EGO, Not STR (+¼ / +¼):  This represents “Mental Paralysis,” as discussed on 6E1 217.
 
Works Against PRE, Not STR (+¼ / +½):  This might simulate the ability to inspire unwavering awe, or a terror attack leaving the victim so frightened he can’t move.
 
Works Against BODY, Not STR (+½ / +½):  This might represent attacks similar to Works Against CON.
 
A character attempting to break out of one of these “exotic Entangles” may use his “Casual” Characteristic, in exactly the same way that Casual STR works against normal Entangles. This costs END at the standard rate of 1 per 10 Active Points used (including the base points the character gets “for free” in the Characteristic). An exotic Entangle functions in all ways as a standard Entangle (it reduces the victim’s DCV to zero, and so forth). Depending on the special effect involved, another character who wants to “attack” the Entangle to free a trapped comrade may actually have to try actions other than attacking (such as slapping the victim’s face, splashing water on him, or shouting out clues and encouragement).
 
 

Let's start with the basics:  under 6E, Growth is not a level-based Power (i.e. it's not purchased as +X for every Y points) -- it has discrete increments defined.  Density Increase, on the other hand, remains a level-based Power.  That is the reason for the difference in how they act relative to automatically adding to Characteristics.
 
That said, what you're doing is incorrect and not in accordance with the rules of the system.  Density Increase is meant for characters that can change their density.  Characters that are always dense simply purchase the relevant bonuses (and take the relevant Complications).  Similarly, Growth is meant for characters that can change their size -- characters that are just big (always) purchase the relevant bonuses and take the relevant Complications to reflect their size.

Well you said 'immune to mental entangle' without any specifications on the build.  Thus, I reasonably took this to mean immunity to all mental entangles since a mental entangle build was not provided by you for us to use in constructing a defensive power to thwart it.  You then suggested something that would clearly NOT be immune to all mental entangles, which is why I pointed out the issue.
 
If you are now clarifying that you want a power built to provide immunity to one specific, well-defined mental entangle (which is what your quoted text, above, appears to suggest), please supply the mental entangle build so we can see how many dice it has in addition to its advantages and limitations.

Sounds like someone is talking mechanics instead of game effects.
 
 If a player tells me he wants to be immune to mental paralysis I ask what that looks like in game.  Why immune to just mental paralysis and not other mental powers?  What about mental paralysis with alternate defences?  Would he also be immune to that?
 
I would need more detail on the power intent before coming to an answer about a build.
 
Doc

I would love to see Netfix pick up the Wild Cards universe and run with it.

Here's an annoying way to do it.  I'm just thinking out of the box here, so take it with a grain of interdimensional salt.  
 
Dimensional Travel usable against other 1 dimension target triggered area of effect.  
 
Thus if they attempt to dimensional travel out of the area, they trigger the dimensional travel and are back to this dimension.
 

true enough

I agree with Tranq. Lion-O himself is a pretty straight forward build with high charteristics, some technical skills, some martial arts. Disadvantages/complications depend on the background.
 
He also has an Oaf that gives him super leap, clinging, a killing attack and a boost to his hand attack.
 
The sword of omens can be a multipower or an oaf which gives the character energy blast, hka, clairvoyance with appropriate limits, and summon. it may have advantages that help it against certain things like affects desolid, Armor piercing, so forth.
CES  

Hello all. I am making a character in a game where we used a background book for character ideas and such. I am a Feline (Lion) humanoid from a different world. Still need to roll some more of the background (had an issue come up where had to leave), but I was thinking Thundercat Lion-O, and was hopeing to get some ideas for how to build him. Also The Sword of Omens as well.
 
Thank you in advance for the ideas and help.

Don't try to build it into the gun.  Instead, have the character make a Concealment roll when placing the weapon on his/her body and use the result of that roll (in contested fashion, if desired) to determine how concealed the weapon is.
 
I suggest this approach because strapping a holdout piece to one's ankle, concealing a firearm in an IWB holster, and slinging an Uzi or shotgun under one's coat -- and moving about with such things equipped … all have one thing in common: a degree of skill when it comes to clothing choices, precise position on the body, and movement with the concealed weapon in place.
 
You might also consider a complementary PS: Concealed Carry.  I suggest this because practically every person who carries concealed … has a bin of holsters s/he has tried in various combinations with clothing until he/she has arrived at what works for his/her body type, clothing preferences, and movement tendencies.  I also suggest this because someone who is carrying a firearm for the very first time tends to move much less naturally than someone who has been doing it for years.  Movement characteristics in conjunction with clothing and body type  are important because certain motions can cause a concealed firearm to 'print' (i.e. have the outline of it shown on a cover garment).
Example -- an ankle holster with a small firearm may print if someone is wearing loose slacks and the wind blows hard directly against the side of the leg where the firearm is located; someone who is accustomed to carrying concealed will almost instinctively move to positionthe ankle holster and firearm in the lee of the leg relative to the wind, thereby avoiding such printing. Example: an IWB (inside waistband) holster with a firearm located at the 4 o'clock position beneath a tucked-in shirt is prone to printing on that shirt when someone stretches to reach something high, specifically due to the tension applied to the otherwise loose shirt being applied directly over the firearm; someone who is accustomed to carrying concealed will naturally tend to use the left arm/hand to perform that reach, thereby tightening/tensioning the material on the 8 o'clock position of the body rather than the 4 o'clock side  
A Concealment roll each time a weapon is strapped on also makes sense … because something as slight as the difference between the 3:30 and 4 o'clock positions can make a substantial difference in print levels or noticeability.  Colour choices also matter, and as another example, consider that open carry of a black firearm in a black/grey custom leather holster … while wearing grey shorts and a black shirt … with black socks and black/grey shoes … can yield an openly-carried (i.e. in plain sight) firearm that next to no one notices simply because it blends into the colour palette of the clothing being worn with a rudimentary camouflage effect.  This is basically what belt buckle firearms rely on -- a very limited form of camouflage that causes people to overlook them.  In reality that form of camouflage isn't something built into the belt buckle gun. Instead, it's something specific to the relationship of the gun, the belt buckle holster on which it's carried, the clothing choices of the person wearing it to 'gel' with that belt and belt buckle, the body type of someone able to wear a belt buckle that large, and the human tendency to overlook certain things yet perk up and pay attention to others while people busily go about their lives.  Concealment is likely the skill that best suits someone's ability to identify and effectively leverage that relationship.

You might consider a triggered effect instead of Damage Shield. 

Hey, thanks!
 
I'm not the guy with the question, but thanks, because honestly, in all these years, I had never really stopped to think about it in quite that way before.
 
Well done!