A friend of mine recently contributed a section to the Gonzoplanet podcast on Green Lantern, you can listen to it here
I honestly get a little bit of Deadpool vibe with Setback.
He gets his powers from the experiment of a bad guy's organization.
Has laughably terrible luck.
Seems like it's pretty hard to kill him. (his appearence in ExPatriette's deck/ his bio pics of him standing in a room full of explosives about to go off and tackling Plague Rat off of a roof top.)
Super wacky personality.
Easily the hero i'm looking forward to most which is really saying something with how good these five look.
Being a musician myself I did know most of the "jargon" but I don't find that it really helps. Subdominant and Supertonic are just names of particular notes in the scale for example, and I have trouble linking them to what the card actually does. The adjectives Alacritous and Inspiring are far more helpful there, so I don't think you actually need to know the terminology.
Can I recommend Spiff's search sheets? There's a helpful little table there that shows which instrument does what. Easier than memorising.
For anyone who doesn’t have them but is insterested, Spiff’s search sheets are on his Print-and-play page, under “Deck Search Sheets”. 
Yeah, that's exactly what I was thinking. I said in my rambling thoughts about the bios that if he doesn't break the fourth wall in at least one bit of flavour text, I'll be very disappointed.
I won't. Characters like Deadpool are more of an annoyance to good storytelling than anything else.
Characters like Deadpool are more of an annoyance to good storytelling than anything else.
/agree.
Subdominant is the 4th degree of your Tonic scale. In laymans terms, if you had a song in the key of C (C being the Tonic, or root), then the Subdominant chord would be F (as F is the 4th note in a C scale). It is a very important chord within music as the relationship between the Tonic, Subdominant and the Dominant (the 5th scale degree) is the backbone of all contemporary harmonic theory. Between the Tonic and Subdominant, there is very little disonance, making modulations from the I to IV relaxing on the ear and there is little tension to play off of.
A Supertonic is the 2nd scale degree of your Tonic chord (so if C is your Tonic, D- is your Supertonic). Notice that the D is minor here as opposed to the major C and the major F of the subdominant. The Supertonic creates a lot of tension with the Tonic chord but has a tonal tendancy to need to move to the Dominant 5th and strengthen that progression.
EDIT: To continue this thought, Alacritous means a "cheerful willingness or eagerness". An Alacritous Subdominant makes sense from a harmonic viewpoint. It is cheerful, since there is very little tension present in relation to the Tonic. I forget what the actual card does without it in front of me, but maybe there is a good connection to be made to the game mechanics.
The Inspiring Supertonic also fits very well. The purpose of the Supertonic in harmonic theory is to strengthen the harmonic progression and move it toward the Dominant chord. One could say that the Subdominant "inspires" the Dominant chord in this way, which has easy litteral translations into the game mechanics and inspiring other heros to become the dominant hero with out of turn power uses. It also chains and extends into other chord progressions easily, just as it allows AA to chain additional effects.
Alacritous Subdominant, if I remember rightly, has the Perform text of letting someone (including the Adept) play a card, while its Accompany is that the Adept can use a power now but Alacritous Subdominant is destroyed once that power is resolved.
I had no idea a tonic was something music-related. I was just thinking of a medicinal kind of tonic, lol.
Depending upon who is writing him. I found Joe Kelly's run to be incredibly lackluster, but Daniel Way portrayed him more as a character who wanted to do good but was constitutionally incapable of it. In my experience, bad storytelling is an annoyance to good storytelling more than any disappoiting character.
I approve very much of using a character's insanity as an excuse to have them break the fourth wall. I can't swear to how effective it is in Deadpool, but I used it to great effect on some lunatic NPCs in my D&D game.
Breaking the 4th Wall only effectively pulls the reader out of the escapism of the submersion into that world.
so it better be funny ;-)
It can also be used to show the absurdity of a world you're in. In the case of Deadpool it's used to just show how isolated he is from everyone around him. He is unable to make lasting meaningful relationships with people and is forced to see the world in a skewed way to cope. I try to avoid universal statements when related to storytelling because any device can have meaning and move the story in an interesting direction. The question isn't whether or not the device itself is good, but whether or not it's appropriate for the story being told.
It doesn't seem to me like Setback is a good type of character to break the fourth wall with because he's very oblivious to what's going on around him. You can do it with Deadpool because it is established in the world that Deadpool is insane and just sees things differently from everybody else. Setback doesn't seem to have a skewed or impaired sense of reality. He's just very optimistic and isn't fully aware of what's going on around him at the time.
Added emphasis as that sentence is the truth and the light.
...and then you take into account that Loki is the one that made Deadpool aware that he's a comic book character...
Some canon is more canon than others…
Edit: For clarification, Deadpool was breaking that 4th wall well before the Loki and DP interaction you are refering to.
http://www.slushfactory.com/content/EpupypyZAZTDOLwdfz.php
We're all nothing more than products from the mind of a young man staring into a snow globe.
It is canon, after all.
Re: the discussion of the names of The Argent Adept's cards:
Besides being a game designer and a story-teller, I am also a musician with a good amount of theory background. Foote's explanation was excellent and spot-on. So, in short, I apologize for making things occasionally difficult to grasp by using more niche jargon, but I didn't just assign random music words to effects. Those names were considered carefully and shaped by the mechanical function of the cards.
As for Vengeance heroes, I'm thrilled to hear that people are resonating differently with each of the heroes. Some of you love all of them - some of you are more drawn to specific ones. They're all getting a lot of love, and I'm glad to see people as excited about what we're up to next as we are!