In reference to your recent post about ttrpg adaptations that don't let you play characters like the protagonists in the source material, what in your opinion are the best examples of ttrpg adaptations of media where one character is dramatically more capable and important to the narrative than the others which (1) let you play that character (2) make the game fun for all players (3) without just making everyone a Timelord/Avatar/whatever?
I think it's actually kind of bizarre that this keeps getting brought up as a show-stopping issue with these types of adaptations in order to justify not letting people play as character who resemble the source material, because it's been a solved problem for decades. Not just in obscure indie games, either; Ars Magica had it mostly figured out way back in 1987, while possibly the best known mainstream example is the 2002 Cinematic Unisystem adaptation of Buffy the Vampire Slayer.
In the case of Ars Magica, its solution involves troupe-style play, where each player creates both an extremely powerful wizard character and a non-magic-using "companion" character who acts as the personal assistant or bodyguard to a different player's wizard; play is then arranged so that only one player's wizard is "on camera" at any given time, with that player's companion character being occupied elsewhere. The Buffy the Vampire Slayer adaptation, meanwhile, implements a metagame currency for dramatic editing, with the players of non-Slayer characters receiving a much better "exchange rate" on that currency than the Slayer's player.
In other games, the matter doesn't need to be addressed in the first place, because the axis by which game-mechanical "power" is measured doesn't overlap with the axes on which some characters are "better" than others. The 2010 Cortex adaptation of Smallville, for example, is perfectly willing to let one player be Clark Kent and another be Lois Lane, because you're not rolling Strength + Athletics to get shit done – you're rolling your sense of justice plus your relationship with your father (if those are the values and bonds that happen to be relevant). Indeed, depending on the circumstance, Lois Lane might well be slinging around bigger numbers than Clark Kent!
I fully understand that these examples have to make some fairly substantial accommodations, but this is only a problem if we're unwilling to depart from a model of play that's essentially reducible to a party of first-level D&D characters smashing rats in a basement. Are we really saying that we're less willing to think outside the box than fucking Buffy the Vampire Slayer?
(And that's excluding examples which are simply willing to let a game-mechanical power difference stand without accommodation. It's not like this doesn't happen in conventional tabletop RPGs anyway.)