DoctorImpossible

I don't think Secret ID and Public ID are complications. I think that they are things that *can* be complications. If I'm playing a hero with a secret ID and I don't take any social complications or anything to make my secret ID into a complication, then my identity stays absolutely secure. Even if I go about joking around as "Joey", claiming to be the famous, well-known superhero "Captain Power", even if neither of those wears glasses, or a mask, or has any kind of disguise, my friends and coworkers all just kind of laugh it off and lightly mock me for pretending to be a superhero. Villains just assume that I'm a full-time superhero and never try to uncover my secret, even if I let slip that I actually have a day job at a specific local business. It just all happens to work out. Or, if I have a public ID but not as a complication, the same thing happens but everyone already knows that Captain Power is Joey from downtown. 
 
In which case, I would probably still go with a job as a freelancer, preferably one that has some way of utilising your powers or skills as a super-hero on your day-job. 
 
Having said that, obviously a secret ID or a Public ID, or even some halfway point between the two, could be a good and interesting complication. Lots of reasons for those to come up, with villain looking into your personal life or tracking you, and plenty of role-playing opportunities.
 
In which case, maybe take a job that does make your personal life harder or more tied to the super-hero persona, like a position with the Justice League's museum, so you have to let people see you stood right next to photographs of your super-hero ID a lot.

Actually that's the way Reed figured out how to defeat Gladiator, because there's no way he could pick up the building like that.  So Reed concluded he's using some sort of telekinesis to protect himself and deal damage, so they distracted him and Susan knocked him out.  Some day I want to have that entire Byrne run, its so well done.
 
By the way, if you pick up a copy, it helps the sales (and hence, the wallet of both me and Hero Games, who gets a cut) if you drop a review on the site.

What the heck is a "mutate?" 
 
We all know just how stupid I find the comic book "oh no; it's a mutant!"  thing.  But when you start filling your backstory with legal cases to explain the standing of "non-humans such as mutants," you should keep in mind that all blue-eyed people are mutants. 
 
Which makes it that much harder for me to not see that whole shtick as stupid. 
 
Before I get that" but it's a stand-in for racism" thing:
 
A stand-in for racism is not one but less stupid.  If you want to preach from your pulpit, address the problem.  Talking around it just encourages more people to not talk _about_ it. 
 
Anyway, you subhuman blue-eyed types, keep up the good fight.  One day you'll be equal. 
 
🙄

There are stats for these things in various books.  How powerful or weak they are kind of depends on which book you're referencing.
 
As far as guns go, here's the rule of thumb I tend to follow:
 
Little concealable snub-nosed revolvers tend to do about 1D6 killing.
A normal sized pistol is probably 1 1/2 D6 killing.
A big-ass hand cannon like a .44 Magnum or a .50 Desert Eagle is probably 2D6 or 2D6+1 killing.
Shotguns or rifles are probably 2D6 to 2 1/2 D6 killing.
A military-grade sniper rifle (.50 cal Barrett) is clocking in around 3D6 killing.
The Cobra Assault Cannon from Robocop is about 4D6 killing.  You can blow up cars with it.
 
The average thug, goon, or henchman probably has a 4 or 5 OCV and a 3 Speed.  Unarmed they probably hit for 3 or 4D6 normal damage, and they frequenlty carry brass knuckles (2D6), lead pipes (3D6), or baseball bats (4D6) to boost their damage.  They're good enough to reliably beat the hell out of normal people.  They probably have 5 to 8 Defense and 25 Stun or so.

It is a limitation, NOT AN ADVANTAGE. Just because there are 'advantages' doesn't make it an advantage rules wise. I say the way you explain it, -1/4 limitation. But I personally would value it at -1 because it will only cut the extremely evil. As in physical embodiments of Demons and those who sell their souls to them.
 
I know what your saying, but there is the thing that it can't be used at will. Sure, you can swing the sword any time, but it only damages evil.
 
If you want to be disarmed but your opponent can't use the power, then it is an Obvious Assesable Focus which is Personal. If the only way to remove the sword is to knock the character out, then it is an Obvious Inasessable Focus which is Personal. 
 
But why can't it be an advantage, you ask. Because limiting the target of an attack power is Always A Limitation. Now I know "a limitation which doesn't limit is not a limitation". That doesn't mean it becomes an advantage. If you don't want the sword to be taken away or disarmed, you simply do not buy it with the Focus limitation. It doesn't become an advantage all the sudden. That is by the Rules As Written. 
 
Forgive me for rambling. 

A whispered warning is another power (Enhanced Senses: Detect Evil) and not an advantage on the sword.
 
As for the knowing what the OP wants, that is based upon the original post. Like I said, it doesn't affect the value because that has to be discussed between the player and game master. If it was just me, as the game master, I would value it as -1.
 
By the way, I like the sword whispering the fact on what is evil to the user. If it does so at command it is a power.
 
Have you ever thought of creating the sword as a computer, and buying that power on the computer's sheat with "Usable By Others"?
 
Welcome to the Hero System, where the list of building stuff outnumbers the fingers on your hand.

I see a few common threads emerging which I concur with, and steriaca touches on most of them here.
 
By default, the attack works on anyone the character targets and hits.  He can already choose not to attack some targets.  He is limiting viable targets, and that means there is a limitation.  Now we need to value it.
 
The question is how often he will target, or will wish he could target, someone or something that the KA will not work on,  That depends on exactly who it will, and will not, work on, which the player needs to detail.  Object, automatons, animals, entities that believe they are doing good/evil ("this is necessary for my people to survive"), entities that believe they are doing evil ("even if it meant I would starve, I should never have eaten an animal - truly I am irredeemably Evil").  It requires defining exactly what is, and is not, "evil" for this purpose.
 
Next, the GM has to assess how common that "evil" will be in his game.  That may be active ("I have ten years of games planned out, so based on that, your limitation is worth -1/2") or passive ("he took a -1 limitation, so I need to work in a lot of situations where there is a target he'd like to use the sword on, but it won't work").
 
In the course of this, we need to talk to the player - how do you envision this working?  How will your character use the sword?  Don't speculate - ASK the player.  "You don't plan on just randomly stabbing people to figure out who is evil, I hope."  If he does, maybe we need a discussion on campaign tone more than we need a discussion over differentiating a -1/4 and a -2 limitation.
 
Overall, the GM and the player need to get on the same page and understand the vision of this ability FIRST.  Then we can scope out how it interacts with the specific campaign SECOND.  Mechanical design is the THIRD step.
 
Many players, and even Hero posters, are used to games that will have "Weapon Property:  Only Works on Evil Things" already priced out on a list of other abilities.  In those games, the game designer has already set a campaign structure, so he knows how common "evil" will be.  The writeup of the property will (if done well) explain who it will, and will not, damage, and may even discuss the ramifications of random stabbings to determine alignment.  The game designer already has HIS vision for how this will work, so he will design the mechanics around that, and that is what you get. 
 
You wanted a different vision?
 
Welcome to Hero, my friend, where you get to design YOUR vision.  But that means you have to go through all of those steps above, because in Hero, YOU - the player and the GM - are the game designer.  Hero just gives you the tools to build your design, and realize your vision.

I'm certain of what the OP asked. It is not my fault that he didn't ask it correctly.
 
It is a limitation because it limits the targets which can be affected by the power. It doesn't matter if the player of that character only uses it when he is sure it will work or not. Bullshit like "it's an advantage cause it can't be used against the heros or the user" is not nessisary a given.
 
Now how much that limitation is worth depends on certain things. Does supernatural evil exist? Does it affect the insane? Does the character have the ability to tell who is good and who is evil? Note: stabbing people with the sword to tell who is what is not the way. In fact, the sword might just turn on the character, cause stabbing people, even if the good can't be harmed, is an evil act.
 
I would say in a normal campaign, without a way to tell who is good or evil, and that supernatural evil exists but your more likely to face VIPER agents than the Four Horsemen of the Apocalypse, then I'll have to give it a -1. But as a game master I make sure to work into the campaign DEMON, Black Palidan, Tailsman, etc, to the game world and campaign.

Let's go way, way out on a limb here and assume I'm talking about the same weapon we've been discussing for a page-and-a-half now.    

Of course it's a limitation.  Don't be ridiculous.
 
Bob the Paladin with his Holy Sword is walking through the dungeon.  Out of the darkness, a creature attacks him.  Is it evil?  If it's not, he's going to be wasting his attacks.  Do you want to be involved in a life or death combat, and you don't even know if your weapon will affect your opponent?  You aren't going to know until you spend actions swinging on him.  And depending on the special effect of your sword, you might not even get immediate feedback that your sword isn't affecting it.  If it just bounces off the creature's armored hide, did it do so because it's not evil, or because you just didn't do enough damage?  You could easily spend a full turn getting the crap beaten out of you before you figure out that your sword can't hurt the creature.
 
Again, you guys are imagining some scenario where the player runs around stabbing random people to determine if they're evil or not.  And you're using that (what would basically be a 1 point power, as I demonstrated) to justify calling it an advantage.  "Oh, but the player could swing his sword around inside an elevator without worrying about hurting his friends..."  Pfft.  Like that'll happen.
 
This is at least a -1 limitation.

I think this seems like the perfect time for a multipower. Two powers that are achieving pretty similar things, with strong thematic ties, that you don't want to use at the same time as each other? Two fixed slots in a multipower

.

Well, would a mutant/inhuman/etc typically have some level of Power Defence, from being a mutant? Or would an individual PC need to have taken that specifically, either separately or as part of their own specific mutant power?
 
Because, if the nature of the mutant "gene" includes some kind of biological defence against being made dormant again, then multiple dice would definitely be advisable. But without such an issue, just the one dice, with cumulative, will eventually work.
 
Would a willing subject with Power Defence potentially be able to voluntarily "lower" their Power Defence? Like a person with armour plating in their skin staying still and allowing a medic to inject them in a less heavily armoured part of their body, but for Power Defence, rather than Physical Defence? (I assume that would work for Physical Defence if those were the special effects? Would it also depend on the special effects of the Power Defence, then?)

Watching the Agents Of Shield and the X-Men films again, I was wondering if anyone had any ideas how to stat a serum that could be carried around in an device to cure mutants or inhumans if one was encountered in the middle of a field mission? Not against their will, even.
 
For instance, Rogue could be treated so she could actually touch people again. Or if Magneto's initial plan had worked completely the way he'd intended, making world leaders into mutants, they could be treated, if they so desired.

The version my GM ultimately okayed was:
 
Mutant Dormancy Inducer
Makes unwelcome mutant genetics turn dormant.
 
Transform XD6 (Severe)
Inaccurate (0DCV) (-1/2)
No Range (-1/2)
OAF: MDI (-1)
Real Cost = 5Xrp
 
Transforms anything with an active X-Gene into the same exact thing but with their X-Gene rendered dormant, and any changes made by their X-Gene revoked.
 
Healed by either medical treatment (such as an inverse use of this device, or similar) or by a fresh activation of the X-Gene.
 
(Obviously, if most mutants in your games have lots of Power Defence, then you might need a lot of dice. If a lot of your mutant patients have a high Body score, then they will need a lot of uses of the device before their large/dense body is thoroughly scrubbed of active X-Gene, but that just makes sense.)
 
For my PC, it was 30rp, doing 6d6 Body of effect each time, to be fairly sure of overcoming the Power Defence of our local Rogue-like npc. She is now a non-powered trainee under our PC team.

Whilst a part of the family were at the Salem trials, Gomez and Mama (Grandma Addams) moved directly to the US from their home in Spain when Gomez was a child, presumably sometime after the death of Gomez' father. Actually, it caused problems for Gomez a little later, when it turned out that his father had signed an arranged marriage contract with a friend to wed Gomez to his friend's daughter. Gomez isn't Spanish by ancestry (or rather, not just by ancestry,) he's literally Spanish by birth.
 
Mama is Gomez' mother, and Fester is Morticia's Uncle. The films changed these facts, along with making the family even more explicitly supernatural and a lot more evil. Then the subsequent cartoons, tv reboot, musical, and animated film, all changed a variety of things a lot.
 
I mightn't know the Clampetts too well, but the 60s Addams family, I know pretty well.

Justin Hammer-time
Now out of prison after his short stay for minor charges related to breaking Whiplash out of jail (which he successfully argued was essentially just intended to be minor corporate espionage at worst, since he expressly condemned any actual assault against Tony Stark), Justin takes some time out to find himself. Still being a billionaire, he obviously has plenty of spare cash to travel the world, seeking out 'spiritual' sites and- well, okay, he's not really getting it at all, but it sure seems cool, and all the locals seem to get it, which is good enough for him. Eventually, he finds Kamar-Taj...

The Presence attack is flavoured with whatever style you want to give it (scary mobster, impressive robot, seductive snake-person). That means that the Striking Appearance rarely affects it (only when the style of flavour includes "being attractive" and the target can percieve the style of flavour that your Striking Appearance takes) but when it does affect the roll, then your Striking Appearance adds +X/XD6 to the roll. +X to the difficulty you must roll under to affect the target, and XD6 added to the 'Damage' effect dice if the attack 'hits home'. The number for X is the number of levels of the Striking Appearance that you have that are applicable.

On the basis of a new thread about the Clampetts:
 
Beverly Hillbillies' Cop - Axel Foley returns to Beverly Hills, only this time, it is for the family reunion of his new fiance, who turns out to be from a surprisingly wealthy family, and not a small town deep south family, like he'd thought... Or maybe he was right the first time after all!
 
(Naturally, Axel soon finds out that he's actually a long lost, but not so distant, cousin of the family. But then again, he also realises that the rest of them don't think that's problematic, so... neither does he!)

Maybe they were distant, poor-until-recently, long lost relatives of the Addams family?
 

There's Something About Mary Poppins
 
Terminator 3: Rise of the Lycans (Or...) Underworld 3: Rise of the Machines
 
Dude, Where's My Delorean?
 
Jane Austen's Mafia! (Basically just the film as is but, you know, with some actual Jane Austen mixed in this time.)

The Chicago Supernatural Government Response team are trying to capture to capture a demonic lizard without killing. Cue loading up with tranq dart pistols and those long poles with the loop at the end. They fill the van with a metal wire cage. They all head out together to the pick up site. Cue six-story tall horned lizard bursting out of aircraft hangar. 
 
Doctor Vance, team leader: Reports of our target *should* have been exaggerated!

Super-hero team based on exaggerating the qualities of TV police detectives into minor super-powers and it needs five more? Well, let's see what I can rustle up...
 
Famed pro-mutant-rights philanthropist Richard Citadel is secretly a mutant himself. Although he tries to keep his telekinetic and telepathic powers hidden from the world, he found himself using them more and more to subtly aid police investigations, making small accidents befall the suspects or sensing when a witness is hiding something. Eventually, he worried that his work with the police would expose him, and therefore his mother, wife, and daughter, to anti-mutant extremists. So, he took to fighting crime more openly, but using a secret identity and wearing fake 'gadgets' that claims as the source of his powers.

Apolla is the great-great-grand-daughter of an Ancient Greek sun god and the star known to humans as 'Alpha Centauri' (not an avatar but the star itself). She was raised in a loving household with her normal mother and her equally normal step-father (who she has just thought of as dad ever since he married her mother when Apolla was eight). As she hit puberty, she began to realise that she felt exceptionally good in the sunlight. Soon, she started to realise that her body was recieving the power of her great-great-grandfather during the day, literally swelling with excess energy. It appears to manifest as though she were growing, like a very slow She-Hulk transformation making her incredibly grateful for the flexible molecular structure of her team's costumes. As the day goes on, especially if she spends more time in the sun (but not in other UV lights or under any other star except Alpha Centauri), she grows more and more, getting more and more powerful. At the dawn, she is a tough regenerator of about average size, by sunset, she is a much tougher, stronger brick with quicker regeneration that can fly, shoot lasers, and heal people's wounds. As soon as the sun is no longer overhead, whether visible or not, she begins to feel sleepy and quickly nods off, slowly losing the energy she had absorbed, leaking out like a mystical beacon, undetected except by magic-users, till sunrise wakes her, whether visible or not.

The Roadies are a gang of duplicates. Originally a woman named Vera Dean, she was kidnapped by a mad genius musician after scoring backstage tickets to a gig he performed in Germany (she's from Wales, in the UK), she was brainwashed into servitude and given two abilities:
 
1) She can split into several different people, so as to serve him as either his sixteen minion gang or as his famous masked roadie crew.
AND
2) She can recombine into one person with sixteen times the strength and toughness of the original fangirl.
 
After the death of her original, and of "Mad Barry Lancaster" (also known as NoiseMachine) the hive-mind duplicator managed to escape, but had become hooked on the anarchic lifestyle of the Supervillain's henchwoman, selling herself as a combination of a loyal lieutenant and a crowd of hired thugs. She is unskilled in anything but basic street-crime and simple violence, but she is easier to pay off than any actual gang, let alone an additional super-strong servant.