TEXT: A WORLD OF 
  ADVENTURE FOR
  Nick Pilon
  Frontier Spirit
  
  This adventure was made awesome thanks to our Patreon patrons at patreon.com/evilhat—thanks folks!
   
  INSIDERS
  Alan Bartholet
  Alexander Keane
  Alexander R. 
  Corbett
  Anne-Sylvie Betsch
  Antero Garcia
  Arlo B Evans
  Brett Abbott
  brian allred
  C. J. Hunter
  C.K. Lee
  Cerity 
  Charlton Wilbur
  Christopher 
  Gunning
  Christopher Vollick
  D.C. Upton
  Daniel 
  Daniel Gallant
  David Dorward
  David E Ferrell
  David L Kinney
  Demian Buckle
  Dustin Evermore
  Edgardo A Montes 
  Rosa
  Edward MacGregor
  eneko zarauz
  Eric Bontz
  Eric Willisson
  Frank 
  Frédéri POCHARD
  Garrett Rooney
  Gavran 
  Glenn Mochon
  Graham 
  Graham Wills
  Griffin Mitchell
  Haakon 
  Thunestvedt
  Igor 
  Isabelle Parsley
  J Quincy Sperber
  James F Thunberg
  James Rouse
  Jamie Smith
  Jason Blalock
  Jason Cotton
  Jeff Chaffee
  Jeff Craig
  Jeremy DeVore
  Jeremy Tidwell
  Jim Hart
  Jim Nicholson
  Joakim 
  Joe Littrell
  Joe Trzos
  John Beattie
  John Donahue
  John Rogers
  John Rudd
  John Wyatt
  Jon-Pierre Gentil
  Jordan Dennis
  Joshua Lutz
  Katie Berger 
  Tremaine
  Katie Ramsey
  Keith Stanley
  Ken Ditto
  Kenji Ikiryo
  Kieren Martin
  Laura 
  LilFluff 
  Lore Graham
  Lowell Francis
  Luke Green
  MAINGUET Francois
  Marc Mundet
  Maria Rivera
  Mark 
  Martin Felczerek
  Marty Chodorek
  Matt and Nykki 
  Boersma
  Matt Anderson
  Matthew  Orwig
  Matthew Broome
  Matthew Whiteacre
  Michael Bowman
  Michael Cambata
  Michael Dean 
  Hannah
  Michael Pedersen
  Mitchell Evans
  Morgan Ellis
  Nick Reale
  Nicola Urbinati
  Nicolas Marjanovic
  Obscure Tides
  Osye Pritchett
  Pablo Martínez 
  Merino
  Patrick Mueller-Best
  Paulo Rafael 
  Guariglia 
  Escanhoela
  Pavel Zhukov
  peter burczyk
  Peter Gates
  Peter Woodworth
  Philip Nicholls
  Randy Oest
  Rhel 
  Richard Bellingham
  Richard Scott Slater
  Rick 
  Rick Jakins
  Robert Hanz
  Robert Kemp
  Rod Meek
  Roger Edge
  Ryan Singer
  Sanchit 
  Sarah Vakos
  Scott 
  Scott Hamilton
  Sean 
  Sean M. Dunstan
  Sean O’Dell
  Sean Smith
  Selene O’Rourke
  Stephen Rider
  Tetrominon 
  Thom Terrific
  Tim L Nutting
  Timothy Carroll
  Troy Ray
  Tyler Hunt
  vargr1 
  Volker Mantel
  Will Goring
  William J. White
  William Lee
  William McDuff
  Woodrow Jarvis Hill
  Zach 
  ADVENTURERS
  Aaron W Scott
  Adam Buehler
  Adam C.
  Adam Gutschenritter
  Aharon sharim
  Aidan Grey
  Al Billings
  Alan Phillips
  Alan Timothy Rogers
  Alan Twigg
  Alex Norris
  Alexander 
  Alexander Gräfe
  Alexander Permann
  Alexis Lee
  Alistair 
  Allan Bray
  Alloyed 
  Amanda Valentine
  Andrew Betts
  Andrew Dacey
  Andrew Grant
  Andrew Loch
  Angus 
  Angus MacDonald
  Anthony Popowski
  Antoine Pempie
  Ariel Pereira
  Arlene Medder
  Arthur Lace
  ArthurDent 
  athalbert 
  Aviv 
  B. Bredthauer
  Barac Wiley
  Bastien Daugas
  Becca 
  Ben 
  Ben Scarbeau
  Benjamin Cush
  Benjamin Wandio
  Benjamin Welke
  Bill 
  Björn Steffen
  Blake Hutchins
  Bo Bertelsen
  Bo Madsen
  Bob Hiestand
  Brad Davies
  Bradley Eng-Kohn
  Brandon Metcalf
  Brandon Wiley
  Brandt Bjornsen
  Brendan Clougherty
  Brendan Conway
  Brent Ritch
  Brett Ritter
  Brian 
  Brian Bentley
  Brian Creswick
  Brian Ericson
  Brian Koehler
  Brian Kurtz
  Brian S. Holt
  Brian Shourd
  Bruce 
  Bryan 
  Bryan Gillispie
  Bryan Hilburn
  Bryce Perry
  C 
  Carl McLaughlin
  Carl-William 
  Charles  Evans
  Charles Kirk
  Chip Dunning
  Chris Caporaso
  Chris Kurts
  Chris Mitchell
  Chris Nolen
  Christian 
  Christian Lajoie
  Christian Nord
  Christoph Thill
  Christopher Allen
  Christopher Smith Adair
  Christopher Stilson
  Christopher Stone-Bush
  Christopher W. Dolunt
  Chuck 
  Cody Marbach
  Colin 
  Colin Matter
  Craig Andera
  Craig Maloney
  Craig Mason
  Curt Kremer
  Curt Meyer
  Cyrano Jones
  Dain 
  Daniel Byrne
  Daniel Chapman
  Daniel Hägglund
  Daniel Kraemer
  Daniel Ley
  Daniel M Perez
  Daniel Markwig
  Daniel Taylor
  Daniele Galli
  Darren Lute
  Dave 
  Dave Joria
  David 
  David 
  David Bellinger
  David Bowers
  David Buswell-Wible
  David Fergman
  David Goodwin
  David Griffith
  David Maple
  David Millians
  David Morrison
  David Olson
  David S
  David Silberstein
  David Starner
  David Stern
  Davide Orlandi
  Declan Feeney
  Denis Ryan
  Derek Hiemforth
  Devon Apple
  Dianne 
  Didier Bretin
  Dillard 
  Dirk Methner
  Don Arnold
  Don Bisdorf
  donald murray
  Donald Wheeler
  Doug Blakeslee
  Doyce Testerman
  Drew Shiel
  Drew Smith
  Duane Cathey
  Duncan 
  Earl Butler
  Ebenezer Arvigenius
  Edward Sturges
  Elsa S. Henry
  Elsidar Amhransidhe
  Emmanuel 
  Emmanuel Genot
  Enrique Esturillo Cano
  Eric I
  Eric Proton
  Eric Steen
  Erich Lichnock
  Erik 
  Erik Belsaas
  Erik Ingersen
  Ernie Sawyer
  Esteban Jauregui Lorda
  Ezekiel Norton
  Fábio Emilio Costa
  Fabrice Breau
  FelTK 
  Florent Poulpy Cadio
  Florian Greß
  Francisco Castillo
  Frank 
  Frank Beaver 
  Frank Jarome
  Frankie Mundens
  Frédérick Périgord
  Gabriel Fua
  Gabriel Whitehead
  Galen Pejeau
  Garrett 
  Garrett Jones
  Garth Rose
  Gary Anastasio
  Gavin Oliver
  Genevieve 
  Georg 
  George Harnish
  Gian Domenico Facchini
  Glynn Stewart
  Gozuja 
  Graham Meinert
  Greg Matyola
  Gregg Workman
  Gregory Fisher
  Gregory Hirsch
  Gustavo Campanelli
  Hakushaku 
  Hans Messersmith
  Heather 
  Herman Duyker
  HFB 
  Hillary Brannon
  Howard M Thompson
  Ian Charlton
  Ian Noble
  Indi Latrani
  Irene Strauss
  Istrian Gray
  Jack Gulick
  Jackson Hsieh
  Jacob 
  Jake Linford
  Jake Rides Again
  Jakob Hallberg
  James 
  James Beal
  James Boldock
  James Endicott
  James Husum
  James Marston
  James Pacheco
  James Schultz
  James Stuart
  James Winfield
  Jamie Lynne 
  Powell-Herbold
  Jamie Wheeler
  Jan Stals
  Janet 
  Jared Hunt
  Jason 
  Jason Bean
  Jason Best
  Jason Heredia
  Jason Lee Waltman
  Jason Mill
  Jason Pasch
  Jason Penney
  Jason Tocci
  Javier Gaspoz
  Jayna Pavlin
  Jean-François Robillard
  Jeff Boucher-Zamzo
  Jeff Pitrman
  Jeff Vincent
  Jeffrey Boman
  Jeffrey Collyer
  Jens 
  Jens Alfke
  Jere Krischel
  Jeremiah McCoy
  Jeremy 
  Jeremy 
  Jeremy Glick
  Jeremy Hamaker
  Jeremy Kear
  Jeremy Kostiew
  JF Paradis
  Joanna 
  Joe 
  Joe Patterson
  Joe.D 
  Joel Beally
  Joel Beebe
  Johannes K. Rasmussen
  Johannes Oppermann
  John 
  John 
  John 
  John 
  John Bogart
  John Buczek
  John Clayton
  John Fiala
  John Halsey
  John Helmuth
  John Hildebrand
  John Lambert
  John Portley
  John Taber
  John Tobin
  John William McDonald
  Johnathan Wright
  Jon Smejkal
  Jona Littler
  Jonas Matser
  Jonas Richter
  Jonathan 
  Jonathan 
  Jonathan Finke
  Jonathan Hobbs
  Jonathan Korman
  Jonathan Perrine
  Jonathan Young
  Jordan Deal
  Jose A. 
  Joseph Formoso
  Josh Salyers
  Joshua 
  Joshua Ramsey
  Joshua Reubens
  JP 
  Juan Francisco Gutierrez
  Julianna Backer
  Julien Delabre
  Justin 
  Justin Beeh
  Justin Thomason
  Kaarchin 
  Karl Thiebolt
  Katherine Malloy
  Kenneth Benjamin 
  Holbert
  Kent Snyen
  Kevin 
  Kevin Lindgren
  Kevin McDermott
  KevIn oreilly
  Kevin Veale
  Kris Vanhoyland
  Krista 
  Krzysztof Chyla
  Kurt Zdanio
  Kyle 
  Larry Hollis
  Leif Erik Furmyr
  Leonardo Paixao
  LeSquide 
  Lester Ward
  Lisa Hartjes
  Lobo 
  Loren Norman
  Luca Agosto
  Lucas Bell
  Lukar 
  M. Alan Thomas II
  m.h. 
  Manfred 
  Marc 
  Marc Kevin Hall
  Marc Margelli
  Marcel Lotz
  Marcel Wittram
  Marcus 
  Mario Dongu
  Marius 
  Mark 
  Mark A. Schmidt
  Mark Diaz Truman
  Mark Harris
  Mark Mealman
  Mark Richman
  Mark Widner
  Markus Haberstock
  Markus Schoenlau
  Markus Wagner
  Marley Griffin
  Martin 
  Martin Cumming
  Martin Deppe
  Martin Terrier
  Mathias Exner
  Matt Clay
  Matt Landis
  Matt Overstreet
  Matt Timm
  Matthew Caron
  Matthew J. Hanson
  Matthew Miller
  Matthew Price
  Matthew Whalley 
  Matti Rintala
  Max 
  Max Kaehn
  Micah Davis
  Michael 
  Michael 
  Michael Barrett
  Michael Bradford
  Michael Brewer
  Michael D. Blanchard
  Michael D. Ranalli Jr.
  Michael Hill
  Michael Hopcroft
  Michael Sawi
  Michael Shumate
  Michael Thompson
  Miguel 
  Mike Vermont
  Mikey McC
  Misdirected Mark 
  Productions
  Mishy Stellar
  Mitch Christov
  Mitchell Smallman
  Mook 
  Nate Parrish
  Nathan Barnes
  Nathan Reed
  Nessalantha 
  Nichlas Dyhr 
  Hummelsberger
  Nicholas Pilon
  Nicholas Sokeland
  Nick 
  Nick Bate
  Nick Daly
  Nick pater
  Nikke 
  Noel Warford
  Olav Müller
  Oliver Scholes
  Olivier Nisole
  Owen Duffy
  Owen Thompson
  paolo castelli
  Paolo Cecchetto
  Patrice Hédé
  Patrice Mermoud
  Patrick Ewing
  Patrick Fittkau
  Paul 
  Paul Arezina
  Paul Bendall
  Paul Olson
  Paul Rivers
  Paul Stefko
  Paul Yurgin
  Pete Curry
  Peter Griffith
  Peter Hatch
  Peter Kahle
  Phil Groff
  Philippe Marichal
  Philippe Saner
  Phillip Webb
  PK 
  Porter Williams
  Purple Duck Games
  R R Clark
  R Roy
  Rachael Hixon
  Ralf Wagner
  Ralph Miller
  Randall Orndorff
  Randy Eckenrode
  Raun Sedlock
  Raymond Toghill
  Red Dice Diaries
  Remy Sanchez
  Renzo Crispieri
  Richard 
  Richard Greene
  Richard Lock
  Riggah 
  Rishi 
  Rob Meyers
  Rob Voss
  Robb Neumann
  Robert 
  Robert Biskin
  Robert Daines
  Robert Huss
  Robert Rees
  Robert Rydlo
  Robert Zasso
  Rodrigo 
  Roger Carbol
  Ron 
  Ron Müller
  Roy 
  Ruben Smith-Zempel
  Ryan C. Christiansen
  Ryan Gigliotti
  Ryan Lee
  Sam Hawken
  Samuel Hart
  Samuel Steinbock-Pratt
  Samwise Crider
  Sarah Williams
  Schubacca 
  Scot Ryder
  Scott 
  Scott Dexter
  Scott Greenleaf
  Scott Martin
  Scott Puckett
  Scott Thede
  Scott Underwood
  Sean Smith
  Sean Walsh
  Seth Clayton
  Seth Hartley
  Shadowmyre Kalyn
  Shai Laric
  Sharif Abed
  Shawn Fike
  Simon Browne
  Simon Brunning
  Simon White
  Simon Withers
  Sion Rodriguez y 
  Gibson
  Sirsmeg 
  Sławomir Wrzesień
  Sophie Lagace
  Spencer Williams
  Stefan Feltmann
  Stefan Schloesser
  Stephan 
  Stephan A. Terre
  Stephanie Bryant 
  (Mortaine)
  Stephen Figgins
  Stephen Holder
  Stephen Hood
  Stephen Waugh
  Steve Discont
  Steve Gilman
  Steve Kunec
  Steve Radabaugh
  Steven Code
  Steven D Warble
  Steven desJardins
  Steven K. Watkins
  Steven Markley
  Steven sims
  Stuart Dollar
  Svend Andersen
  Tabletop Audio
  Tara Zuber
  Tatu Sara-aho
  Teresa O
  Terry Willitts
  Tevel Drinkwater
  The Roach
  Thomas 
  Thomas Balls-Thies
  Thomas Elmeblom
  Thomas Maund
  Thorin Tabor
  Tim 
  Tim 
  Tim Davis
  Tim Popelier
  Tim Scott
  Timothy Seiger
  Todd Estabrook
  Todd Grotenhuis
  Tony Ewing
  Torolf de Merriba
  Travis 
  Travis B.
  Trevor Crosse
  Tristan Smith
  Tyson Monagle
  Urs Blumentritt
  Victor Allen
  Ville Lavonius
  Vincent Arebalo
  Vladimir Filipović
  Vrakul 
  Wayne Peacock
  Wes Fournier
  Will Foy
  William Chambers
  William Johnson
  WinterKnight 
  Wolfgang Reich
  wtfbananas 
  Wulf 
  Xavier 
  Aubuchon-Mendoza
  Yonatan Munk
  Z Esgate
  Zeb Walker
  
  FRONTIER 
  SPIRIT
  A WORLD OF 
  ADVENTURE FOR
  WRITING & ADVENTURE DESIGN
  NICK PILON
  DEVELOPMENT
  MIKE OLSON
  EDITING
  JOSHUA YEARSLEY
  PROJECT MANAGEMENT
  SEAN NITTNER
  ART DIRECTION
  MARISSA KELLY
  LAYOUT
  FRED HICKS
  INTERIOR & COVER  
  ARTWORK
  STEEN
  MARKETING
  CARRIE HARRIS
  BUSINESS DEVELOPMENT
  CHRIS HANRAHAN
  
  An Evil Hat Productions Publication
  www.evilhat.com • feedback@evilhat.com
  @EvilHatOfficial on Twitter
  facebook.com/EvilHatProductions
  Frontier Spirit
  Copyright © 2015 Evil Hat Productions, LLC and Nick Pilon.
  All rights reserved.
  First published in 2015 by Evil Hat Productions, LLC.
  10125 Colesville Rd #318, Silver Spring, MD 20901.
  Evil Hat Productions and the Evil Hat and Fate logos are trademarks 
  owned by Evil Hat Productions, LLC. All rights reserved.
  No part of this publication may be reproduced, stored in a 
  retrieval system, or transmitted in any form or by any means, 
  electronic, mechanical, photocopying, recording, or otherwise, 
  without the prior express permission of the publisher. 
  That said, if you’re doing it for personal use, knock yourself 
  out. That’s not only allowed, we encourage you to do it.
  For those working at a copy shop and not at all sure if this means 
  the person standing at your counter can make copies of this thing, they can. 
  This is “express permission.” Carry on.
  This is a game where people make up stories about wonderful, 
  terrible, impossible, glorious things. All the characters and events 
  portrayed in this work are fictional. Any resemblance to real people, 
  alien spirits, psychic mediums, tricksters, amusingly named planets, 
  or space cowboys is purely coincidental, but kinda hilarious.
  
  CONTENTS
  Introduction ...................................................................................... 2
  Genre ................................................................................................................3
  Welcome to Your New Home ..........................................................4
  Technology on the Turn .............................................................................7
  Camps and Cliques .....................................................................................7
  The Otherworld ............................................................................... 10
  Mediums ......................................................................................................... 11
  Spirits.............................................................................................................. 12
  Mechanics .........................................................................................14
  Aspect Phases .............................................................................................14
  Skills ................................................................................................................18
  Stunts ............................................................................................................20
  Immanence .................................................................................................. 25
  Spirits.............................................................................................................26
  Disasters ....................................................................................................... 32
  Digging a Deeper Hole .................................................................. 33
  Aribeth Plateau ..........................................................................................33
  Issues and Locations ...............................................................................34
  Adventure ....................................................................................................39
  
  INTRODUCTION
  Colonizing a new planet is a risky business. The Commonwealth explorer corps 
  does their best to make sure a planet is suitable for habitation, but they can’t 
  even begin to cover a fraction of the surprises a whole world has in store.
  Thompson’s Turn is a fresh colony world. Settled for only a handful of years, 
  the colonists are still building infrastructure and coming to terms with their new 
  home. There are still many things they don’t know about the planet’s weather and 
  climate, geography, and native life-forms. Even when settlers do make a useful 
  discovery, the Turn’s lack of telecommunications makes sharing that knowledge 
  with their neighbors hard enough, and sharing it with other communities near 
  impossible. Dedicated communities and teams of specialists help other settlers 
  deal with especially technical trouble—things that can’t be dealt with by anyone 
  with a reasonable amount of know-how. The services provided by these special-
  ists range from firefighting to meteorology to pest control.
  That would be bad enough, were it not for the presence of the otherworld, 
  the realm of spirits that exists invisibly alongside any planet. The otherworld is 
  typically hidden from people, but the spirits that inhabit it perceive the mate-
  rial world keenly indeed. These spirits care about, or even depend on, material 
  representations of specific concepts or symbols that represent the status quo 
  in their territory. A spirit whose realm stretches along a riverbank might be 
  attached to the water’s “fast flow that bears things past” or to the way the water 
  “uproots that which is not deeply anchored.” Another spirit in the deep forest 
  might depend on “an endless sea of dappled shade” or on “the richness found 
  beneath the surface.” These concepts form a spirit’s portfolio, and having mate-
  rial representations of them in their domain sustains them, or comforts them, or 
  pleases them, or all three. When these representations are threatened, the spirits 
  lash out, making their displeasure known and doing their best to restore some 
  representation of the concepts or symbols they value.
  2
  FATE: WORLDS OF ADVENTURE
  
  But spirits can’t normally affect the material world directly any more than 
  people can directly affect the otherworld. Their displeasure—their attempts 
  to set things right—take on subtle or indirect forms. The spirits typically take 
  advantage of things that are already problems for the people who have roused 
  their ire, seeking to hurt them, impede them, or drive them away in hopes that 
  the prior status quo will reassert itself. A spirit might turn a recurring argu-
  ment into a violent obsession, morph unpleasant weather into a dangerous and 
  long-lasting storm, or drive a pest infestation across a settlement and into the 
  foundations. An upset spirit’s interference might make trouble recur even after 
  its ordinary causes has been addressed, add a bizarre or unnatural dimension, 
  or simply cause such precisely tuned turns of luck and happenstance that even 
  the most stubborn would admit there was an intellect at work. To make mat-
  ters worse, this interference is usually ineffectual at achieving the spirit’s aims, 
  resulting in misery, suffering, and disaster for both the people and the spirits 
  themselves.
  You play a team of the most elite specialists, essential to any colony world: 
  mediums, connected to the otherworld and trained to deal with the problems 
  that arise from it. Ultimately calming an otherworldly disturbance requires find-
  ing a middle ground between humans and spirits: mediation, meeting the wants 
  and needs of both the spirits and the people that live alongside them.
  Genre
  By default, a Frontier Spirit game is a supernatural adventure. This genre is pri-
  marily characterized by problem-solving and action over mystery or horror. The 
  supernatural causes of the issues at hand should quickly make themselves obvi-
  ous, and the process of resolution should be laden with danger and complications.
  Naturally, Frontier Spirit also draws heavily on frontier fiction. On the frontier, 
  nothing is easy, and local problems matter. In an isolated settlement, a broken 
  bone is a big deal. With government so far away, people can get away with all 
  kinds of things, benign or harmful, and the community’s got to band together 
  to draw a line and protect itself from those that would cross it. Finally, the fron-
  tier is open and close to the unknown, which lends a mythic tone. Characters 
  can pit themselves against larger-than-life problems without a safety net, failing 
  spectacularly or making a massive difference in the lives of their fellows.
  3
  FRONTIER SPIRIT
  
  WELCOME TO YOUR NEW HOME
  Thompson’s Turn is pretty exceptional as new 
  colony worlds go. Its atmosphere is breathable, 
  its climate tolerable, its flora and fauna generally 
  at least partially edible. Its soil is not laced with 
  toxins, nor is its surface lashed by radiation. A 
  mere decade into its colonization, it already sports 
  a population of over ten thousand settlers. Most 
  of these settlers live on the Turn’s large southern 
  continent, with only scattered outposts on the 
  islands and smaller continents of the northern 
  hemisphere. About five thousand settlers live in 
  the town of Arborshire, built along a river valley 
  adjoining the north coast. Arborshire features 
  the colony’s base of light industry, government, 
  law enforcement, and warehouses for off-world 
  shipment.
  The remaining population is spread among 
  small communities, ranging in size from a family 
  or two to a village of a couple hundred people. 
  Some focus on subsistence and agriculture, grow-
  ing crops to feed themselves and exporting food 
  or plant products to other settlements. Others 
  emphasize a particular industry, extracting and 
  processing resources for on-world or off-world 
  trade. As long as they pay their taxes on time, 
  the small settlements are mostly left to their own 
  supervision, as the colonial government has its hands full keeping order in 
  Arborshire.
  The Turn is a very young world. Its terrain is rough; the crags and mountains 
  driven up by its active plate tectonics are not yet worn down by erosion. Its 
  weather is dynamic, capable of swinging from comfortable and moderate to 
  extreme and dangerous. Even general patterns are challenging to predict, espe-
  cially with only a decade or so of data; the first warning a settlement might have 
  of some rare and novel weather is often when it’s bearing down on them. The 
  Turn’s terrain makes this worse by creating a proliferation of microclimates and 
  attendant localized weather. Some colonists have the kind of mindset needed 
  to prepare for and ride out this meteorological instability on their own, but it’s 
  rare. Most depend on their neighbors and the colony’s specialists to help them 
  handle the unexpected and unknown until they get a better idea of what they 
  need to prepare for.
  BRIDGE LOG: 
  COMMONWEALTH 
  EXPLORER CORPS
  CAPTAIN: 
  …And 
  that 
  con-
  cludes the report from the 
  atmospheric spectography 
  division. Thank you, Maddy. 
  We’ll add this one to the rolls 
  as “Priority A.” It’s definitely 
  better than the rest of the 
  borderline hunks of rock that 
  we’ve found this trip. We just 
  need a name. Anyone?
  MADDY: Thompson’s up next.
  CAPTAIN: Thompson? Your turn. 
  The name?
  THOMPSON: *looking up from 
  his tablet* My…turn? Uh…
  CAPTAIN: *after a few sec-
  onds of awkward silence* 
  Thompson’s Turn. Logged. 
  Now, next on the agenda, 
  the jump checklist…
  4
  FATE: WORLDS OF ADVENTURE
  
  The Turn’s flora and fauna are similarly uncataloged and varied. The planet’s 
  terrain and weather create a diversity of microclimates, and many organisms 
  have evolved to take advantage of them. While large predators, grand tree-like 
  plants, and persistent herbivores draw attention, smaller organisms tend to be 
  more relevant, day-to-day, to the typical settler. Pests infiltrate structures, under-
  mining their construction or attacking food or tools stored there. Weeds can 
  damage buildings, choke out crops, or damage equipment. Microorganisms can 
  infiltrate the body, producing symptoms ranging from obnoxious to deadly.
  Specialists are necessary for dealing with the most complicated problems, those 
  that demand unusual knowledge, aptitude, or training to resolve. Firefighters are 
  trained to contain conflagrations, medics can analyze and treat novel infections, 
  and bounty hunters can track and kill or apprehend dangerous outlaws or wild 
  animals. As a young colony, the Turn can’t afford to maintain standing teams of 
  experts with no job save their specialty. In their place are loose associations of 
  otherwise-ordinary colonists who have the know-how to help out when things 
  go bad. When someone has a problem they can’t handle on their own, they 
  contact the appropriate organization and a team is mobilized. The largest of the 
  associations, the Firefighters, is big enough to need to be organized into local 
  chapters, teams of a half dozen that live and work closely together. Most have 
  yet to reach that size, and solitary medics, botanists, bounty hunters, mechanics, 
  engineers, and other specialists are scattered throughout the colony’s settlements. 
  Each will travel as needed to deal with problems nearby, and they might team up 
  to handle larger, more complicated, or farther-reaching issues.
  5
  FRONTIER SPIRIT
  
  Everyone knows that the specialists have a tough time of things. Not only do 
  they have to solve problems that others can’t, they’ve got to do so in parts of the 
  colony they don’t necessarily know. On the upside, their work gives them the 
  opportunity to travel, to meet other settlers and get away from their day-to-day 
  concerns. Even if they never wind up getting called back to that particular settle-
  ment again, most consider getting to know the locals to be part of their job. The 
  Turn’s small now, but it won’t stay that way forever, and a specialist’s work isn’t 
  just about solving today’s problems—it’s about laying the groundwork for what-
  ever the planet’s future might be. If they’re especially lucky, the friendships they 
  make and the contacts they meet could make their job easier on some future call.
  While most of the settlers on the Turn are welcoming of aid when they’re in 
  a bind, not everyone wants to be helped—it’s rare but it happens—and some-
  times the locals get downright resentful or hostile. Some just don’t like having 
  to call for help, and can’t quite admit the limits of their own ability. Others are 
  ashamed of the trouble they’ve wound up in, and don’t want outsiders, or people 
  in their own community, to find out about some mistake they’ve made, real or 
  imagined. Even more, fresh colonies draw a lot of strange ideological groups, so 
  specialists can face hostility for simply being a strange visitor or not following 
  local customs.
  Thompson’s Turn has only a handful of mediums, making them the smallest 
  specialist association in the colony. Among the minority of colonists capable 
  of direct contact with the otherworld, few have the other aptitudes needed to 
  become a medium—or even the desire. The job is demanding and dangerous. 
  A medium must be prepared to handle whatever trouble the spirits have caused, 
  confront the more direct dangers from the otherworld, and, on top of that, be 
  able to get both people and spirits to back down and find a way to coexist. 
  Thankfully, problems with the otherworld are similarly few and far between. 
  Even a colony developing as rapidly as the Turn might only demand mediation 
  once or twice a season, but when it does it does so urgently. Once the other-
  world is disturbed, its spirits must be calmed, or else no other treatment will 
  have any real effect.
  All the mediums on the Turn know of each other, even if they don’t work 
  together regularly. These professional contacts are vital for a medium, as jobs 
  often depend on mundane aptitudes as well as spiritual sensitivity. A team of 
  mediums doesn’t just have to calm the otherworld, but must also frequently deal 
  with the symptoms of its upset. So when a medium finds a problem they’re not 
  prepared for, having help they can call in who won’t panic at the first sign of the 
  paranormal makes a big difference.
  6
  FATE: WORLDS OF ADVENTURE
  
  Technology on the Turn
  The Commonwealth’s interstellar travel is slow and limited. Huge trade clippers 
  fly long circuits from the core worlds out through the colonies, taking a year or 
  two and visiting dozens of colonies. The clippers ferry smaller in-system craft 
  and carry cargo in their own titanic holds. Generally, a colony can expect a visit 
  from a trade clipper once in a standard year, making such a visit a significant 
  occasion. Different colonies handle the visit in different ways. For the Turn, it’s 
  a time of celebration. Families from outlying settlements journey to Arborshire, 
  and most work that isn’t loading and unloading shipments stops for a massive 
  festival, welcoming new arrivals and new shipments.
  High technology is rare on the Turn. Fantastic devices that are commonplace 
  on the core worlds cannot be manufactured by a young colony. And the Turn’s 
  hospitability works against it here—with little in the way of high technology 
  required for survival, traders earmark only a portion of their shipments for it.
  Still, most households and communities have a handful of carefully chosen 
  marvels. It’s rare to find a community without at least one aircar, for example, 
  usually a heavy-duty model that can help with hauling, lifting, construction, 
  and transportation. Most communities also have at least a solar power station, a 
  limited autodoc, a computer terminal capable of satellite uplink, and a handful 
  of advanced sensors and tools. Having more is extremely unusual, the sign of a 
  wealthy sponsor or underhanded dealings. Even in Arborshire, an entire neigh-
  borhood typically shares a small amount of high technology, with more only in 
  the very richest parts of the city.
  This limit means that most of the Turn depends on more basic technology. In 
  addition to rudimentary, muscle-powered tools, Arborshire is able to produce 
  a wide range of early industrial devices. Most colonists who want to can get 
  ahold of refrigerators, washing machines, simple digital computers and com-
  municators, electric ground vehicles, and other outdated but helpful technology 
  without breaking the bank. These products are commonly available, although 
  the Turn lacks the developed logistics or fuel resources to make for a consumer 
  economy.
  Camps and Cliques
  The wide-open frontier of a new planet draws people from all corners of the 
  Commonwealth’s diverse society. Despite the frontier’s promising initial survey, 
  the first waves of colonists were mostly loners, family units, or small groups. 
  With much of the Turn still unknown, these early colonists faced a great deal 
  of risk. To face these dangers, some kept to themselves, while others did their 
  best to find common ground where they could and forge new communities 
  with their fellow settlers. The early Turn was an anarchic place, without law 
  enforcement or peacekeepers, and sometimes these attempts at finding common 
  ground went very poorly indeed, leading to violence or murder.
  7
  FRONTIER SPIRIT
  
  At first, many worried that the Turn might harbor 
  some undiscovered fatal flaw. But as those worries 
  faded, larger, organized groups joined the colony, seek-
  ing either to establish new settlements of their own or 
  to cooperate with the colony and control some aspect 
  of it. Many of these groups were brought together by an 
  ideology—whether political, religious, or economic—
  or some distinctive social practice that set them apart 
  on whatever world they hailed from. The swell in popu-
  lation saw a corresponding decline in violence. Not 
  only were there more peace officers to be had, but the 
  increase in population made it easier to spread out.
  While getting some distance might have taken the 
  edge off, Thompson’s Turn is still home to many dif-
  ferent camps and cliques. These factions have very 
  different ideas about the colony’s ideal direction, social 
  organization, lifestyle, and culture. Here are a few of the 
  faces widely known across the colony:
  Colusa Beo is the chairwoman of the Upper Bend Sports Club. The Club 
  occupies a small complex by the river near the south end of Arborshire. The 
  most visible parts of its facility are the playing fields and spectator stands, which 
  non-member sports groups are frequently allowed to employ. The heart of the 
  Upper Bend is the small but luxurious clubhouse. Open only to the Upper 
  Bend’s very exclusive membership, the clubhouse hosts the meetings of a collec-
  tion of ambitious industrialists. These budding tycoons work together to plan a 
  bright future for Thompson’s Turn, collaborating on projects, comparing notes, 
  and sharing resources.
  Colusa is a middle-aged woman who moved to the Turn with her wife, 
  Imogen, after retiring from the cutthroat mercantile trading market of the 
  Commonwealth inner core worlds. She’s doing her best to leave behind the 
  high-stress habits of her former job, and mostly serves as a financier and spokes-
  woman for the Upper Bend and its members. Within the clubhouse she does her 
  best to serve as a voice of moderation, brokering peace between flinty-eyed prag-
  matists and hotheaded visionaries. Outside it, her advocacy work has brought 
  her a reputation as a hard case, though one respected for her honesty. Despite 
  her reputation she’s still had one attempt on her life, so she now takes care to be 
  discreetly but definitely armed.
  Aspects: Old Fox of Finance; I’d Like a Quiet Retirement, Really; This Colony 
  Could Be Great; Don’t You Dare Bring Imogen Into This
  MAKE OF THEM 
  WHAT YOU WILL
  GMs, the NPCs in this 
  section are intended as 
  concepts and immediate 
  faces for some of the in-
  terests found on the Turn: 
  developers, idealists, and 
  subcultures. Aspects are 
  provided, but their other 
  stats will depend on how 
  you use them. Use either 
  the supporting or main 
  NPC guidelines in Fate 
  Core starting on page 218.
  8
  FATE: WORLDS OF ADVENTURE
  
  Gordon Rocheford is the owner of Aribeth Plateau Mercantile, a gen-
  eral store at the heart of a small settlement down the coast to the east of 
  Arborshire. The store—and plateau—are named after his oldest daughter. Its 
  elevation and level ground make it an ideal rural hub; it is an easy stop for supply 
  flights, and Rocheford has paid to have sheltered roads dug through the plateau’s 
  rock down to its base. While he’s careful not to compromise his store’s future, 
  Rocheford does his best not to overcharge customers, and can be downright 
  charitable to someone who’s suffered a run of bad luck.
  Rocheford and his family were among the first colonists on the Turn, and he 
  has been an outspoken pastoral idealist from the start. He fell in love with the 
  Turn’s wilderness, and is desperate to see that beauty preserved as the colony 
  grows. He argues that industrial development should be limited—ideally con-
  fined to Arborshire—and the colonization of the rest of the Turn strictly planned 
  to minimize ecological impact. He and his wife, Ysina, are vocal activists and 
  aggressively pursue possible recruits to their cause.
  Aspects: Generous General Store Owner; I’d Rather Be Hiking; The 
  Pamphlets Are Free; You’re With Me or You’re Wrong
  Mortise Ooloo is, by all appearances, an extremely pragmatic and unassum-
  ing woman, spending her days caring for a mob of extremely active young 
  children and helping her husbands with their plot. Having once worked as 
  a freelance engineer and designer, she makes a natural public face for her com-
  munity, Points East. The settlement was founded by a group of polygamists 
  who wanted to build a community that reflected their lifestyle. Through recent 
  arrivals, their settlement has prospered, a fact that’s broadly credited to the hard 
  work Mortise has put in networking with other settlements and backers from 
  Arborshire. Through careful outreach to other communities, Points East has 
  become the iconic settlement for colonists whose main concern is individual 
  liberty or cultural diversity.
  To help fund her work and provide a bit of extra support for her family, Mortise 
  secretly manages a cache of contraband in the caves under the Ooloo stead. The 
  cave network is an extensive, natural feature of the hills Points East occupies, 
  and is accessible from the Ooloo farmhouse’s cellars. Mortise deliberately avoids 
  learning what she’s storing, charging everyone a standard rate by volume and 
  mass. Items must be kept in airtight containers and are sealed within force-field 
  pallets. Prospective customers from Thompson’s Turn’s burgeoning underworld 
  make contact with one of Mortise’s husbands during their regular supply runs, 
  and are passed on for direct negotiation. For an additional charge, Mortise will 
  arrange for items to be sent off-world, concealing their force-field pallets inside 
  Points East’s agricultural exports aboard the next trade clipper. Smuggling used 
  to be most of her business, but recent increase in trade within the Turn has 
  displaced it.
  Aspects: Earnest Community Promoter; Many, Many Claims On My Time; 
  Covert Contraband Warehousing Broker; My Reputation Can Weather Any 
  Storm
  9
  FRONTIER SPIRIT
  
  THE OTHERWORLD
  The spirits dwell in another world alongside our own, intangible and inaccessible 
  to us but, for that, no less real.
  Trainee mediums are taught to think of the otherworld as a deep lake, and the 
  metaphor is not without value: The true extent and depth of the spirit world are 
  hidden, and it is easiest to access the surface layers, but deeper dives are difficult, 
  taxing, and short. It can be calm and placid, or currents from below can reach 
  up and stir the surface or even reach beyond to influence the shores of the mate-
  rial. Literally, the comparison is also true: the otherworld draws closer near water, 
  especially pure, still water.
  Its hidden depths make the spirit world dangerous and unpredictable. Visitors 
  must be prepared for practically anything. A journey through a psychedelic land-
  scape might give way to shooting white-water rapids or a meticulously tended 
  estate. The attitudes and reactions of otherworldly spirits are equally varied; 
  some spirits might seem uniquely suited to their surroundings, while others 
  can be upset, discomforted, or inconvenienced by their environments. This 
  unpredictability motivates mediums to travel with friends and develop as wide 
  a skillset as possible. 
  The otherworld is isolated and local where it is closest to the real world, with 
  the divisions roughly paralleling mundane geography. Each region can be radi-
  cally different from its neighbors, inspiring different behaviors and attitudes 
  from the spirits that dwell there. Traveling longer and longer distances through 
  the otherworld requires delving progressively deeper, exposing the traveler to 
  greater strangeness and danger. Spirits are well equipped to deal with these 
  risks, but even experienced mediums prefer to avoid them if there is some other 
  option. Most mediums will work in and seek to understand the territory of the 
  spirits they are attempting to calm.
  During times of extreme stress or crisis, the 
  spirit world draws nearer to the mundane, 
  material world—it becomes immanent. The 
  manifestations of this are typically minor—small, 
  weak spirits might be able to materialize, or the 
  world might take on a surreal character, or people 
  could see things that aren’t there. When the spirit 
  world is out of balance, when the local spirits 
  are upset, all that changes. Immanence becomes 
  more dramatic—and more dangerous, allowing 
  more powerful spirits to manifest, projecting fea-
  tures of the otherworld into the mundane, or even 
  submerging people in the otherworld for a time. 
  Among mediums, incidents of immanence have a 
  reputation as profoundly cathartic, often prompt-
  ing personal discoveries, resolving long-standing 
  difficulties, or compounding catastrophe.
  IMMANENCE?
  It’s not imminence (ready to 
  happen soon) or eminence (rec-
  ognized superiority). Immanence, 
  or something immanent, is a 
  theological term referring to the 
  notion of the divine being within, 
  throughout, or interwoven with 
  the material world. It’s commonly 
  used to describe concepts from 
  animistic religions. Its antonym 
  is “transcendent”—a theology 
  where the divine is separate from, 
  or above, the material world.
  10
  FATE: WORLDS OF ADVENTURE
  
  Mediums
  Most people have no conscious or easy experience of the other-
  world or the spiritual. They’ll typically participate in festivals or 
  ceremonies devised or led by spirit-workers, but their personal 
  experience is typically no different from a modern-day human 
  on Earth. Rigorous meditation or fasting might give an ordi-
  nary person a fleeting glimpse of the otherworld or a moment of 
  contact with a spirit. Even most of the priests that manage local 
  temples, shrines, or community prayer-houses have no experience 
  of their own with the otherworld. They help worshippers through 
  rites and keep to a schedule of devotional acts, but rarely have per-
  sonal experiences with the spirits. Their role is to advocate for the 
  spiritual to the community and provide support and assistance as 
  best they can.
  Mediums are another matter entirely. At some point in their 
  lives they were marked by the spirit world, and that marking stays 
  with them. Through ritual and preparation they can purposefully 
  draw themselves into the spirit world or temporarily call up spirits 
  into the material world to communicate with them. Even outside 
  of purposeful engagement, the otherworld frequently makes itself 
  known to them in the forms of omens, synchronicity, coincidence, 
  premonition, dreams, or waking visions.
  Being marked by the spirit world is rare, and its circumstances 
  are unusual and have little to do with one’s life or actions. People 
  from all walks of life, of all moral creeds (or lack thereof), can be 
  marked by the spirit world. Not all mediums go into the trou-
  bleshooting business either. Some learn to cope with or shield 
  themselves from their contact with the otherworld and go back to 
  their regular lives. Others try to find some way to use their sensi-
  tivity to help them in other endeavors, some legitimate, some not.
  Anyone who wants to work as a medium generally begins by 
  finding a mentor. It’s possible to muddle through on one’s own, 
  but an experienced teacher offers invaluable perspectives and a 
  check against dangerous misconceptions. Being able to assist the 
  mentor in mediation also allows the student medium time to gain 
  experience in developing their own techniques for bridging the 
  gap between people and spirits.
  Mediums must each find their own techniques for contacting 
  the otherworld. Each has different abilities and limitations, and 
  certain techniques—specific rituals, meditation, tools, or other 
  practices—work for some, or are even required, but do nothing at 
  all for others. It’s important for mediums to find these limits and 
  requisites early, before they wind up getting in the way of a job…
  or tripping them up when someone’s life is on the line.
  11
  FRONTIER SPIRIT
  
  Spirits
  The nature of the otherworld’s inhabitants—of spirits—is complicated com-
  pared to our mundane existence. Each spirit has many facets that seem, at first 
  glance, to be separate. Only upon closer acquaintance does it become obvious 
  that these facets are part of a greater whole, as they share memories, priorities, 
  opinions, and personality traits. The facets of a spirit vary greatly in power and 
  distance from the material world: Those nearest the mundane are small and 
  weak, seeming like fairies, goblins, or unnatural animals. As one drifts into the 
  depths of the otherworld, the spirit-facets become grander and more powerful. 
  Experienced mediums claim that each spirit has an ultimate, singular self deep 
  in the otherworld, but reaching such depths is nearly impossible.
  Each spirit is localized in the real world, concerned primarily with a specific 
  patch of territory. A spirit’s territory can be small or large, with no real cor-
  relation to the power of the spirit or its facets. Even a very small territory can 
  correspond to much, much more space in the layered reality of the otherworld. 
  A small forest glen, river bend, or sacred cave could, in a moment of imma-
  nence, expand into a fabulous palace, a floating island, or a rolling prairie. Or 
  a medium could project into the otherworld only to find themself in a close, 
  claustrophobic cave that slowly opens up into a vast underground cavern as they 
  descend deeper, then transitioning into a great ocean.
  A feature or landmark within a spirit’s territory—their idol—generally serves 
  as a central marker of their attention and protectorate, and over time takes on 
  prominent special features, signifying this sacred connection. Spirits don’t claim 
  every square foot of land on most planets, though, and Thompson’s Turn is no 
  different. If anything, their coverage is patchy, focusing on areas of interest or 
  significance, borders, transitions, and the like. Precisely the places people tend to 
  like to live: shorelines, hillsides, foothills, or the edges of forests.
  A spirit’s existence revolves around a set of specific meanings, concepts, or 
  taboos, commonly referred to as a portfolio. One whose territory centered on 
  a forest might have a portfolio incorporating dappled shade, illumination from 
  above, and a prohibition against chopping instruments. Another on the shores 
  of a lake could have a portfolio including “cooling immersion,” erosion, sweep-
  ing curves, and shimmering reflections.
  The portfolio seems to sustain or nurture its spirit somehow. Each depends 
  on things that represent or embody elements of its portfolio within its terri-
  tory. If these things are removed, altered, or harmed—or, in the case of taboos, 
  introduced—the spirit is harmed and becomes angry. It will lash out and use its 
  powers to try to restore the status of its portfolio and harm those that wronged it. 
  These efforts are almost always ineffectual, and will gradually ruin the mundane 
  territory the spirit claims. Without its portfolio, the spirit will diminish, die off, 
  or retreat into the otherworld.
  12
  FATE: WORLDS OF ADVENTURE
  
  While spirits are very sensitive to missing elements of their portfolio, each 
  element can be expressed in many ways, and symbolic representations are often 
  as good as more concrete ones. Finding a way to exploit this multiplicity of 
  expression, and convincing the spirit to accept the substitution, is an essential 
  mediation technique. Festivals, rituals, decorations, and offerings can all supple-
  ment or take the place of the original expressions of a spirit’s portfolio. Even 
  then, the process of mediation is prolonged and difficult. Each of a spirit’s facets 
  only partakes of a slice of its portfolio, and they’re rarely able to be brought con-
  veniently together. Placating a spirit requires tracking down facets and reaching 
  an agreement with each in turn, all the while handling the trouble the spirit’s 
  causing in the material world.
  Compared to the drama of their displeasure, the benefits of a calm and agree-
  able local spirit are subtle: Their lands feel vital and bright; plants, people, and 
  animals are healthier; and fortune is favorable. Disasters and problems still occur, 
  but when the spirits are kept content, they usually help avoid the worst. Long-
  kept traditions and established priesthoods placate the spirits of the core worlds, 
  but frontier colonies don’t have these yet. Many settlements aren’t even aware of 
  the significant spirits in their vicinity.
  13
  FRONTIER SPIRIT
  
  MECHANICS
  Frontier Spirit makes a number of changes to Fate Core, many being most rele-
  vant during character creation. Use the following process instead of the standard 
  steps:
  • Aspects: High concept, trouble, Dipping a Toe, A Long Trip, Your New 
  Niche
  • Skills: As per Fate Core with some changes (page 18).
  • Stunts: Two free stunts and a ritual stunt (for mediums); can use one 
  free stunt for a high technology stunt; can exchange refresh for stunts as 
  per Fate Core.
  Aspect Phases
  Each player character in Frontier Spirit has a high concept and trouble, as in 
  Fate Core, and three new aspects: Dipping a Toe, A Long Trip, and Your New 
  Niche.
  High Concept and Trouble
  Define these as usual. They should reflect your character’s current life here on 
  Thompson’s Turn. Given Frontier Spirit’s focus on mediums and mediation, 
  there are two obvious directions you can take your high concept:
  For one, you could make your high concept about being a medium, focus-
  ing on what kind of medium you are, such as Reluctantly Guided By Waking 
  Visions; Attentive Spirit Whisperer; Studied Expert in Ritual; or Willful 
  Navigator of Raging Waters.
  Alternatively, you could make your high concept about what else you bring 
  to your team of mediums, such as Pragmatic Engineer; I Was Once a Physics 
  Professor, You Know; Legal Eagle with a Mean Streak; or Five-Time Martial 
  Arts Champion.
  Dipping a Toe
  Some event in your past opened your eyes to the reality of the otherworld. It left 
  you with a persistent connection to it, and now you’re unable to ignore its exis-
  tence. What happened? Make sure it’s something that sticks with you. You might 
  encounter ripples from it whenever you’re interacting with the otherworld, for 
  good or for ill. These experiences can be traumatic or sublime, but they’re never 
  everyday or ordinary. Here are some examples.
  Almost Died In That Crash: A near-death experience of some kind 
  is often enough to jar people out of their normal, everyday percep-
  tions. This aspect could be compelled or invoked when you enter the 
  otherworld or when it becomes immanent, complicating the situation 
  with some kind of crash, impact, breakage, or fall. You might invoke it 
  to keep going in the face of apparently mortal danger, pull off some 
  insane stunt with a vehicle, or convince someone of the need for care 
  and safety.
  14
  FATE: WORLDS OF ADVENTURE
  
  An Induced Coma Went Too Deep: Different kinds of near-death 
  experiences imply different things. An aspect like this could be com-
  pelled to trigger a spiritual encounter while you sleep, or when you’re 
  sick or injured. In the otherworld, a compel might bring on a relapse 
  that needs to be dealt with, or cause time and sensation to become 
  distorted and hazy. You might invoke it to keep a positive attitude 
  despite monumental hardship, or to assist with knowledge of disease, 
  medicine, or hospital procedure.
  Saw the Other Side During a Flashback: Some trauma in your past—
  violence? drugs?—has left you prone to flashbacks. During one, you 
  saw the otherworld and were left with a tie to it. A compel could 
  lead to events like your flashbacks creeping in while exploring the 
  otherworld, while an invoke could let you use past experience to your 
  advantage in a similar situation.
  Slipped Across in the Forest Depths: Not every encounter with the 
  otherworld is traumatic. Sometimes, in the depths of some wild place 
  where people don’t often go, a curious spirit can draw a wanderer 
  into the otherworld. Like immanent episodes, the experience tends 
  to leave a mark, and having done it once, a compel could easily cause 
  it to happen gain in similar circumstances. Or you could invoke it 
  to attract attention from spirits, find similar weak points where the 
  otherworld is near—like a spirit’s idol, or a place where an immanent 
  episode occurred recently—or assist in other actions that require pre-
  ternatural sensitivity.
  NOT A MEDIUM?
  If you want to play a character who isn’t a medium, or isn’t a medium yet, 
  you can do it, but it’s not recommended. Getting an unfamiliar character 
  up to speed will slow down play, and this kind of story tends to follow a 
  predictable course. Think about the addition of Winston Zeddemore to 
  the cast in Ghostbusters. We don’t spend a ton of time covering him learn-
  ing about the supernatural. While he tends to react with more shock and 
  dismay to new developments than his companions, reflecting his inexpe-
  rience, he’s got the basics down. If you want to write your Dipping a Toe 
  aspect to reflect this inexperience, it could be a fertile source of compels.
  If you really want to play a character who’s not a medium, discuss it 
  with your group. If you’re all okay, then instead of writing a Dipping a Toe 
  aspect about your first encounter with the supernatural, write an aspect 
  about why you haven’t touched the otherworld yet. Not every character 
  who isn’t conscious of the otherworld has an aspect like this, but for you 
  it’s an important and ongoing part of your story. Make it juicy—something 
  like In Love with Rationality or Totally Self-Centered! In addition, pick a 
  high technology stunt (page 23) instead of a ritual stunt (page 20).
  15
  FRONTIER SPIRIT
  
  A Long Trip
  Most people don’t just up and move across the galaxy on a whim. What was the 
  impetus for your move to a fresh colony world? Why did you wind up on the 
  Turn? Did you move here on your own, or did you arrive with a group? Write an 
  aspect based on why you’re here. If you arrived as part of a group, your connec-
  tion to that group—or split from it—forms a good basis. If you arrived on your 
  own, base the aspect on some personality trait or event that not only motivated 
  the decision, but also ties you to the rest of the player characters. For example:
  Trying to Make a Mark in History: You’re here because the frontier 
  is a great place to be known for something. Maybe you’re looking to 
  make a discovery, or to found a city, or even to just achieve a notable 
  first.
  I’ve got a Job to Do Here: There’s something you’re really, really 
  good at, and a frontier world’s the best place to do it. Maybe it’s vio-
  lence, and getting away from the long arm of the law lets you cut 
  loose now and then. Maybe it’s manual labor, and you relish a world 
  without ubiquitous automation.
  Overwhelmingly Independent: You’re determined to make your own 
  way! You don’t want anything to do with the comforts and conve-
  niences of the Commonwealth. You’re going to survive on your own 
  wits and can-do attitude, no matter how much hardship that’s going 
  to mean for you!
  16
  FATE: WORLDS OF ADVENTURE
  
  Your New Niche
  You don’t spend all your time mediating between the otherworld and the mun-
  dane—that would drive anyone mad! You’ve got a place in a community or 
  settlement just like anyone else. Or maybe you live off on some isolated home-
  stead, struggling with the problems of making your own way? Think about 
  what you do when you aren’t off chasing spirit problems. How does it keep you 
  grounded? Once you’ve answered this question, write an aspect based on that 
  answer. Are you an expert in using some awesome piece of high technology? Are 
  you on the town council of a settlement? Do you run a store, or a restaurant? Or 
  maybe you’re doing some under-the-table work, smuggling or manufacturing 
  restricted substances.
  GMs, this aspect is especially fertile for tying characters to problems during 
  your session planning. It’s something the character cares about and is doing all 
  the time, so it should be easy to find problems that intersect with it and cause 
  real trouble.
  Heavy Machinery Wizard: Everyone knows that you’re the one to ask 
  if they need something tricky done with earthmoving equipment. Or 
  construction equipment. Or portable antigravity projectors. On the 
  other hand, sometimes you get a little bit overenthusiastic about the 
  problem-solving potential of heavy machinery...
  Traveling Salesman with a Box of Tricks: You’re part of a long tradi-
  tion of peddlers stretching back into the depths of prehistory. You’ve 
  got a line on all kinds of useful tools and parts, and usually have a 
  decent number on you. On the other hand, you’re pretty widely con-
  sidered to be untrustworthy. How were you to know those bolts were 
  defective?
  Botanist...and Matchmaker!: You’re here for the science, of course. 
  There’s all kinds of fascinating new forms of plant life to study; you 
  practically can’t step outside without tripping over some! But while 
  you’re doing your studies, you might as well make sure that the settle-
  ment’s eligible bachelors find charming young ladies or men to settle 
  down with. You’re not picky; you just love seeing happy couples.
  17
  FRONTIER SPIRIT
  
  Skills
  Frontier Spirit uses the standard list of skills from Fate Core with some changes. 
  The Burglary, Lore, and Stealth skills are not used. In their place, Frontier Spirit 
  adds Infiltrate, Mythology, and Science.
  Infiltrate
  Infiltrate combines Burglary and Stealth from Fate Core. While being sneaky 
  is useful on Thompson’s Turn, it’s not enough of a focus that characters should 
  need to invest in two skills to be good at different kinds of being sneaky.
  O
  Overcome: Use Infiltrate to overcome obstacles related to avoiding the 
  notice of observers, getting into secured areas, and sneaking around or 
  generally being where you aren’t supposed to be.
  C
  Create an Advantage: Infiltrate can be used to create advantages related 
  to being or remaining unseen, the element of surprise, knowledge of a 
  secured area or security measures, or other things.
  A
  Attack: Infiltrate isn’t normally used to attack. 
  D
  Defend: Infiltrate is rolled to oppose attempts to Notice you while you’re 
  being sneaky, or to investigate your infiltration. You can also roll it to 
  defend against attempts to create advantages related to highlighting you, draw-
  ing attention to you, or otherwise making you conspicuous.
  Mythology
  Mythology covers abstract, general knowledge of spirits and the otherworld. It’s 
  perfectly possible to get by without this skill, so not all mediums will have a high 
  Mythology, or even any at all. It’s of little use in direct interaction with spirits, 
  which is governed by the common skill set. It’s most useful for noticing or taking 
  advantage of hidden characteristics of the otherworld—common properties that 
  happen to be present, clues to its nature, or weaknesses an upset spirit might be 
  trying to hide.
  O
  Overcome: Discover or recall hidden or obscure facts about the other-
  world and spirits, along with their applicability to present circumstance.
  C
  Create an Advantage: Capitalize on hidden or obscure facts about or 
  properties of the otherworld or spirits that are relevant to the current 
  circumstance.
  A
  Attack: Mythology isn’t normally used to attack. 
  D
  Defend: Mythology isn’t normally used to defend.
  18
  FATE: WORLDS OF ADVENTURE
  
  Science
  Science covers…science. The observational study and description of the material 
  world, and the application of that knowledge. The Commonwealth’s science is 
  far in advance of our own, but applying its most fantastic discoveries requires 
  infrastructure beyond that found on most of the colonies. On worlds like 
  Thompson’s Turn, knowledge of things like basic machines, chemistry, biology, 
  meteorology, and other fundamentals is more useful.
  Science is of no help when dealing with the otherworld, or with the actions or 
  effects of spirits or spiritual interference. Science can rule out natural explana-
  tions or help with fixing the consequences of a spirit’s meddling, but that’s as 
  far as it goes.
  O
  Overcome: Apply scientific knowledge to remove an obstacle. While flex-
  ible, Science always requires tools specialized for the task at hand, unlike 
  more personal skills such as Athletics and Physique, and using Science to solve 
  problems often takes a lot of time.
  C
  Create an Advantage: Science is much more suited to creating advan-
  tages. This usually means making an observation about the material world 
  and drawing some conclusion about it, which can then be leveraged by using 
  another skill.
  A
  Attack: Science isn’t normally used to attack. 
  D
  Defend: Science isn’t normally used to defend. 
  19
  FRONTIER SPIRIT
  
  Stunts
  In Frontier Spirit, your character can get two special stunts: ritual stunts and 
  high technology stunts. Mediums always have at least one ritual, and may take 
  a second as one of their two free stunts. If you have any non-mediums, they 
  must have at least one high technology stunt.
  Ritual
  Every medium has at least one means of accessing the otherworld. You never 
  need to roll to access the otherworld; whether or not you can is almost never an 
  interesting question. Instead, you will use a ritual stunt.
  A ritual stunt is either a channeling ritual or projection ritual. Each type 
  grants a different means of accessing the otherworld, with different applications, 
  so your group will want a mix. Each of your ritual stunts can be used once per 
  session. 
  • Channeling lets you reach out to a spirit on the other side and allow it 
  to contact the material world. It’s less risky than projection, but it’s also 
  much more specific. You can only reach one spirit-facet with it per ritual, 
  and you must be within the territory of the spirit whose facet you are 
  attempting to reach. It’s most useful for making initial contact with a 
  spirit or following up.
  • Projection lets you and others who engage in the ritual with you journey 
  through the otherworld with your minds. It’s potentially dangerous, and 
  can result in permanent harm, but allows for longer and deeper engage-
  ment than channeling. You can spend hours immersed in the otherworld, 
  seeking and speaking to facets of a spirit, and you can even travel short 
  distances to the territories of neighboring spirits by descending into 
  deeper layers of the otherworld and then traveling back up.
  20
  FATE: WORLDS OF ADVENTURE
  
  To use a ritual stunt, you need two things: the ritual itself and the right 
  circumstance.
  • The ritual is some specific act or ceremony you undertake to invoke the 
  otherworld. A ritual provides a standard set of steps, a succinct descrip-
  tion, that bridges the gap between the normal everyday and the world 
  of the spirits. The purpose of the ritual is not to be difficult, risky, or 
  challenging, but to clearly demarcate the borderline, to call attention to 
  the crossover into the mystical world. It’s not something you can do by 
  accident or while doing something else. It’s something you have to do 
  deliberately, with purpose, on its own.
  • The circumstance is some precondition to contacting the other other-
  world. It provides a foundation for your ritual, setting the stage for the 
  steps that follow. It should have thematic ties to the ritual it enables, and 
  should be outside of normal experience. It should be the kind of thing 
  you need to seek out, or to specifically set up or prepare for, rather than 
  something that can just happen.
  Once you choose your ritual and circumstance, write down your ritual stunt 
  like this:
  Once per session, you can [channel spirits from or project into] 
  the otherworld by [description of ritual] when [description of 
  circumstance].
  21
  FRONTIER SPIRIT
  
  EXAMPLE RITUALS
  Deep meditation. Possibly the simplest ritual, and commonly used for both 
  projection and channeling. It involves a long period of stillness and concentra-
  tion, focusing on a single point. Incense, the recitation of mantras, or other 
  olfactory or auditory aids may be incorporated.
  Dance. Practically the opposite of meditation in every way, involving strenu-
  ous physical activity. It’s almost always accompanied by music, and might also 
  require ceremonial costumes. Dance is more commonly used for projection than 
  channeling, with the dancers journeying into the spirit world as they collapse at 
  the conclusion of the dance.
  Divination. A form of channeling, unique in that it communicates with a spirit 
  indirectly. Rather than allowing the spirit to speak, the divination channels the 
  spirit’s responses into material objects or creatures: cards, bones or straw, the 
  behavior of a holy animal or familiar. There’s a multitude of divination methods, 
  and all can work for the right person in the right circumstances.
  Offering. Burning, dissolving, or leaving out some significant plant or animal 
  remnant. For some mediums, the offerings they provide are always the same 
  and substitutions don’t work for them at all, which can lead to trouble when a 
  spirit finds that offering abhorrent. Other mediums must offer something that 
  holds significance to the spirit they seek to contact or whose territory they’re in. 
  Offering rituals provide the clearest indication of the power of the spirits, as the 
  offering vanishes at the culmination of the ritual.
  EXAMPLE CONDITIONS
  Near deep water. Given the conceptual ties between bodies of water and the 
  otherworld, this is a common circumstance for rituals, especially projection ritu-
  als. This is often coupled with rituals that involve bathing in, wading into, or 
  immersion in the water.
  At noon. Or dusk, or dawn, or midnight. Significant moments during the daily 
  cycle represent moments of balance (for noon or midnight) or transition (for 
  dusk or dawn), forming a firm foundation for ritual.
  Up high. Or down low. Peaks, cliffs, caves, and pits all represent isolation from 
  the everyday world—whether by lifting above all else or by surrounding with 
  walls of stone—which cuts the practitioner off from the norm and opens the 
  way to further ritual.
  In a holy place. This might seem self-explanatory, but isn’t always suitable for 
  all mediums. Not only can such a place be tricky to find, but many mediums 
  also report feeling like they generate “interference.” Those who can use them 
  effectively generally prefer the area around a spirit’s idol or a long-established 
  temple, though the latter is extremely rare on a colony.
  22
  FATE: WORLDS OF ADVENTURE
  
  High Technology
  Each character can have at most one stunt representing a piece 
  of “space opera” technology, above and beyond the capabilities of 
  21st-century science. Characters can cobble together jerry-rigged 
  high-tech devices using create advantage with Craft or Science, or 
  borrow or lease them with Contacts or Resources. A stunt gives 
  permanent access and ownership, and guarantees reliability.
  In the interest of maintaining tone and a sense of place, there 
  are some limits on what high technology can do:
  • 
  No self-reproducing or self-repairing machines. On 
  Thompson’s Turn, high technology is limited because it’s 
  beyond the colonists’ ability to construct and difficult to 
  maintain. Devices that can copy or maintain themselves 
  would be essentially unlimited in their availability.
  • 
  No matter-energy converters or replicators. The settle-
  ment effort on Thompson’s Turn is driven by the need to 
  grow food, exploit resources, and establish an industrial 
  base. Being able to create material or food out of thin air 
  sabotages these drives.
  • 
  No modern communication. Thompson’s Turn’s tele-
  communications infrastructure is slow, unreliable, and 
  inconvenient. Most communities are dependent on a 
  handful of overburdened satellites. Characters cannot have 
  portable devices that permit real-time video or voice com-
  munication or remote information access from anywhere 
  on the planet. Telecommunications devices must be local, 
  stationary, or asynchronous—something that lets you 
  leave a message rather than chatting, in essence.
  • 
  No teleportation. Beaming people or objects around 
  trivializes any kind of travel or logistical obstacle. It’s a 
  little bit too clean, and undercuts the local concerns and 
  scale of Frontier Spirit. Teleporters might be a thing in the 
  Commonwealth’s core worlds, or they might not. Either 
  way, they’re not viable on a new colony world like the Turn.
  Write a stunt describing how your high technology helps you 
  exercise your skills. Often this gives you a rules exception or a new 
  action for a skill, but it could be a bonus. Your technology isn’t a 
  panacea, though—it can only be used in certain situations. 
  Your gear has an aspect as well, which can be invoked or com-
  pelled based on its normal function and limitations. You can give 
  this aspect the same name as the stunt or embellish it a bit.
  23
  FRONTIER SPIRIT
  
  EXAMPLES OF HIGH TECHNOLOGY STUNTS 
  Ray Gun: Using your ray gun, you get +2 to Shoot attacks against targets at least 
  one zone away.
  Sonic Excavator: Using your sonic excavator, you can carve a path through 
  inanimate material with Science.
  Aircar: Using your aircar, you can fly very quickly at tree-top height. You can 
  transport up to four other people and a small amount of cargo, but can’t fly with 
  anything really heavy.
  Autodoc: When using your autodoc to treat wounds or disease with Science, 
  once per session you can improve the outcome by one step: failure to tie, tie to 
  success, or success to success with style. If you initially succeeded with style, you 
  can create an aspect with one free invocation instead of gaining a boost.
  Handheld Expert System: Once per session, you can use your handheld expert 
  system to automatically succeed on creating an advantage with Science against 
  passive opposition equal to or less than your Science rank.
  24
  FATE: WORLDS OF ADVENTURE
  
  Immanence
  Immanence is when the otherworld draws close to the mundane world. It’s 
  triggered in times of crisis. GMs, you can trigger an episode of immanence 
  whenever an aspect related to the spirit world or a spirit is compelled; often, an 
  inconvenient episode of immanence is a suitable event compel in and of itself.
  The flavor of the triggered immanent episode should be relevant to the com-
  pelled aspect, whether a spirit’s portfolio aspect or an issue aspect. Immanent 
  episodes can also be triggered by compelling a character’s Dipping a Toe aspect. 
  In this case, the episode—or, at least, its initial circumstances—should reflect 
  the character’s initial encounter with the otherworld.
  A character’s experience during an immanent episode depends on their level of 
  connection to the otherworld. Characters with a strong connection—including 
  all mediums and any other character, PC or NPC, with an aspect representing 
  their relationship to the otherworld or to a spirit—have a clear experience and 
  memory. As the otherworld draws near, they can easily pick out its details, tell 
  them apart from mundane reality, and have full memory of events.
  Important characters without a connection—generally, main NPCs and non-
  medium PCs—have a clear experience during the episode. They can perceive 
  details of the otherworld, and react to and interact with them. However, it is dif-
  ficult for them to tell what is real and what is otherworldly. Doing so requires a 
  Will roll, with failure resulting in some catastrophic misinterpretation. After the 
  otherworld recedes, these characters’ memories become vague and fuzzy. They 
  might question their own experiences or pass them off as a daydream or fanciful 
  delusion.
  Supporting NPCs have a muddled, confusing experience from the start. They 
  might see features of the otherworld out of the corner of their eye, or see things 
  blur back and forth between one state and another. Their experience feels like a 
  waking dream. Characters who are easily upset or don’t handle the unexpected 
  well might freak out, but even people who keep their head cannot interact effec-
  tively with the otherworld. Their impaired perceptions mean these characters are 
  extremely vulnerable during an immanent episode, and can be injured, mentally 
  scarred, or even killed or driven mad by spirits. Without a medium around 
  to help resolve matters, immanence rarely ends well for these characters. The 
  memory of the experience typically fades quickly, as dreams do, but some details 
  might remain.
  Nameless NPCs are even worse off. They’re unable to perceive the other-
  world at all, and if an otherworldly element that manifests during an immanent 
  episode winds up interacting with them, they’re likely to react with surprise 
  and confusion. Like supporting NPCs, they’re extremely vulnerable when the 
  otherworld becomes immanent, and they never remember any details of the 
  experience.
  25
  FRONTIER SPIRIT
  
  Spirits
  A spirit is a distant entity, dwelling in the depths of the otherworld never appear-
  ing directly. It acts through its facets: inhabitants of the upper levels of the 
  otherworld that at first seem to exist and act independently, but which are joined 
  to a greater whole. Each facet is invested in a part of the spirit’s portfolio, link-
  ing it to the spirit. Facets know they are part of a larger, deeper being, and the 
  whole of the spirit shares the experiences, memories, and knowledge of each 
  facet, though not always quickly or clearly. One facet might speak clearly of 
  another’s existence, while another might have a distorted or partial understand-
  ing of its other-selves.
  GMs, to build a spirit, first design the spirit itself, then build the facets of it 
  your PCs will be interacting with.
  Each spirit has a portfolio which sustains it or comforts it when reflected by 
  the material world in the land it claims. The elements of a spirit’s portfolio are 
  abstract and conceptual, and can be reflected or embodied by a wide variety 
  of situations or things. A spirit’s portfolio is represented by a list of aspects, its 
  portfolio aspects.
  Each facet of the spirit will possess some of these portfolio aspects, which 
  influence and direct its behavior and provide a link to its greater whole. Facets 
  strive to encourage things that exemplify the portion of their spirit’s portfolio 
  that they partake in. These portfolio aspects can be compelled when that ele-
  ment is harmed or transgressed against, provoking retaliation from the facet. A 
  facet’s portfolio aspects can be invoked for or against the facet as well.
  A facet has the portfolio aspect Though Turned Aside Your Path 
  Cannot Be Denied—representing its area’s tendency toward gust-
  ing winds—shared with its spirit. The facet could invoke this aspect 
  to help it get around some mediums who are trying to corral the 
  facet for further discussion. However, if the facet ever tries to stand its 
  ground, that aspect could be invoked or compelled against it.
  Creating the Portfolio
  Start with your game’s issues—the problems that dog your world and characters, 
  and the particular location or locations where the spirit is found. These are also 
  the problems that are agitating this spirit, motivating it to cause more trouble. 
  The portfolio answers the question of “Why?”
  Imagine the location central to the adventure and those nearby. What were 
  they like before people came here, and what are they like now? Pick out symbols, 
  concepts, and trends that seem significant, and consider how your game’s issues 
  might challenge them. Is the action of a current issue changing the concrete 
  form of a symbol, or challenging it by bringing in contrary concepts? What 
  about the activity that aims to bring about an impending issue, or that presages 
  or foreshadows it? If you can see how an issue and a concept are opposed, add 
  that as an aspect to the spirit’s portfolio. Otherwise, set it aside and move on.
  26
  FATE: WORLDS OF ADVENTURE
  
  You don’t need to tie a portfolio aspect to every issue, but try to wind up 
  with about one portfolio aspect per issue. Some issues might even challenge 
  two or even three portfolio aspects. More than three is risky—at any given time, 
  you’ll likely have two active campaign issues, between two and four location 
  issues, and possibly one or two other issues floating around. Having multiple 
  portfolio aspects that interact with different issues will create a situation that’s 
  more challenging to mediate than a single portfolio aspect that’s impinged upon 
  by a variety of issues.
  Don’t throw away the portfolio aspects you set aside. Pick a few of them—
  about as many as those you’ve already picked—and make them part of the 
  spirit’s portfolio too. Those with some superficial similarity to aspects linked to 
  an issue give you opportunities to complicate your mediums’ failures with con-
  fusion and misunderstanding. Others provide additional detail, or offer hooks 
  that your mediums can use to persuade or reign in a spirit.
  Facets
  A spirit’s facets are, for the most part, built as any other NPC. Choose whether 
  they are a nameless, supporting, or main NPC, allocate their skills, and create 
  any appropriate stunts.
  • Nameless facets are the least parts of a spirit’s being, those closest to 
  the mundane world. They’re extremely likely to appear during any kind 
  of immanent episode. As each facet is so weak, it represents a focused, 
  specific slice of the spirit’s being. These facets are typically servants and 
  workers for more potent facets, stamped-out copies with very little to dis-
  tinguish them. They can only make small changes to the material world 
  but can do so very easily, so they spend most of their time making tweaks 
  throughout a spirit’s domain.
  • Supporting facets are comparable to ordinary people, with complex, 
  individual personalities, quirks, and breadth of ability. It takes a more sig-
  nificant episode of immanence to admit them to the material world, but 
  their impact is commensurately greater. Being more complicated, a sup-
  porting facet partakes of more of its parent’s nature, potentially creating a 
  strong drive or internal conflict. Some appear as otherworldly versions of 
  ordinary people or animals, while others have entirely unfamiliar forms. 
  Fairies, imps, and other mythical mischief-makers are common forms, 
  with personalities to match.
  • Main facets are the deepest form of spirit that mediums are capable of 
  interacting with. They rarely appear during episodes of immanence—they 
  must be deliberately sought out. They inherit a wide swath of a spirit’s 
  being, and consequently wield a great deal of power. Their forms are 
  fantastic—giant animals, animate landscapes, and mythological beings.
  27
  FRONTIER SPIRIT
  
  FACET ASPECTS
  A nameless facet gets one aspect, while supporting and main facets get more, as 
  needed. Start writing aspects for your facet by picking from its parent spirit’s 
  portfolio. No one facet should cover the spirit’s full portfolio. If you need more 
  aspects for a facet, expand the spirit’s portfolio. Some facets have rewritten ver-
  sions of their spirit’s portfolio aspects. These facets are usually injured, drifting 
  away from their parent somehow, or play the role of devil’s advocate or antago-
  nist, testing the spirit’s other facets. These aspects of the facet, like the spirit’s, are 
  called portfolio aspects. 
  Once you’ve got a facet’s portfolio aspects sorted out, write an additional 
  aspect for it that distinguishes its role and nature.
  Facets that share aspects of a spirit’s portfolio also share experiences with each 
  other. This takes some time, and is unpredictable but inevitable. A facet’s power 
  confers authority upon its experiences: Greater facets view isolated experiences 
  of lesser ones as an ordinary person might view behavior during a night of drink-
  ing, celebration, or holiday—atypical and perhaps slightly embarrassing. Lesser 
  facets treat the experiences and opinions of greater facets as definitive. Facets 
  that don’t share aspects often seek each other out in the otherworld to gossip 
  and share news, providing a “side channel” to the spirit’s main distribution of 
  experiences.
  To convince a spirit to stop causing trouble and to get the mediation to stick, 
  mediums must often reach an accord with a few powerful facets or many, many 
  weaker ones. The former is inevitably easier.
  28
  FATE: WORLDS OF ADVENTURE
  
  FACET SKILLS
  Facets can have any skill that an ordinary person can, though they are most likely 
  to have Deceit, Empathy, Provoke, Rapport, or Will. Physical skills can be used 
  to affect anything in the facet’s presence. Usually these are things in the other-
  world—either other spirits or a medium’s projection—but during immanent 
  episodes a facet can use these skills to affect the mundane world. Contacts or 
  Resources are rare, but could represent allies in the otherworld or a large reach 
  of useful otherworldly territory under the facet’s control, or they could represent 
  some material influence—worshippers or an established shrine.
  FACET STRESS AND CONSEQUENCES
  Facets have stress tracks and sometimes consequences. However, they can’t be 
  killed or otherwise permanently destroyed by getting taken out in a physical 
  conflict. Instead, they become detached, distant from the material world and 
  from their parent spirit. A facet that has been taken out in a physical conflict is 
  bound and banished until the next major milestone. When it returns, its view of 
  the world is shaped by other facets that share its portfolio aspects, often leading 
  the facet to abandon prior views and plans entirely in the wake of a successful 
  mediation.
  Taking out a recalcitrant facet might seem like a potent mediation technique, 
  and it is…but not one without risk. A supporting or main facet can take an 
  extreme consequence just like a PC, including rewriting one of its portfolio 
  aspects to reflect the consequence. Unlike a PC, taking this consequence doesn’t 
  keep the facet in the fight. It’s still taken out, but it’s only detached until the 
  end of the scene. The aspect change involved in taking an extreme consequence 
  separates the facet from its parent spirit. These separated facets become erratic 
  and unpredictable. Each such renegade must be met with mediation on its own 
  terms, or it will cause no end of trouble.
  29
  FRONTIER SPIRIT
  
  MANIFESTATION STUNTS
  Just as people can’t normally access the otherworld, spirits and their facets can’t 
  normally access the material world. Some facets can only take advantage of 
  moments of immanence to affect the material world, and must wait for these 
  moments—or encourage other, more capable spirit-facets to create them. Other 
  facets are able to use a manifestation stunt to work around their normal limits 
  and affect the real world and people in it. Think of manifestation stunts like 
  ritual stunts in reverse: given some circumstance, a spirit-facet can affect some-
  thing in the material world. Here are some examples.
  • Dream Invasion: The facet can intrude on the dreams of anyone who’s 
  been in the vicinity of things that represent all its portfolio aspects during 
  the past day. While there, it can interact socially with the target, creating 
  advantages or even engaging in social conflict. The target is not auto-
  matically aware of the invasion, though they might be able to discover it 
  through an overcome action with Notice or Empathy, or even through a 
  careless comment by the invader. If the subject becomes aware, they can 
  end the invasion by winning a contest of Will opposed by Will.
  • Poltergeist: The facet can interact with material objects using Physique 
  during a scene where each of the facet’s portfolio aspects is embodied by 
  an aspect on anything in the scene. It can attack or create advantages, 
  but cannot be attacked. This costs one fate point per exchange, and the 
  manifestation ends if any of the requisite aspects are removed.
  • Chain of Coincidence: The facet can affect the material world by caus-
  ing twists of fate or chance. If its portfolio aspects are well represented, 
  the coincidences are generally positive or helpful. If representations of 
  its portfolio aspects are missing or have been turned against its aspects, 
  the coincidences are negative or harmful. Over the course of a few hours, 
  these coincidences can build up to a significant effect, allowing the facet 
  to create an advantage or effect change by overcoming an obstacle. Roll 
  Rapport for positive changes and Provoke for negative. Actively opposing 
  Chain of Coincidence requires several hours of work to combat a seem-
  ingly endless tide of happenstance.
  A domestic spirit-facet is upset that the burrows and nests of local 
  wildlife have been disturbed for a commercial development. The spirit 
  goes to work, and the building’s plumbing just happens to spring 
  leaks near areas opportune for mold colonization, the spores just 
  happen to get picked up by the HVAC, and soon the building gains 
  the Sick Building aspect, sending a handful of workers home, having 
  come down with respiratory diseases. Now the facet turns its atten-
  tion to the perplexed maintenance workers. Hopefully the mediums 
  they’ve called in are able to help them sort things out…
  30
  FATE: WORLDS OF ADVENTURE
  
  Facets can also have normal stunts, with the added provision that they can do 
  things that are fantastical or impossible in the otherworld. Each stunt should 
  still convey something specific and align with one of the facet’s portfolio aspects. 
  A facet could have stunts allowing it to fly, shape rock, fling blasts of fire, twist 
  emotions, or perform any number of other tricks. These stunts only function 
  while wholly in the otherworld; they are not available during immanent inci-
  dents in the mundane world.
  TRAVELING FACETS
  As they’re able to move about the oth-
  erworld, a spirit’s facets will sometimes 
  travel outside of its territory. The spirit 
  might be seeking to add unclaimed territo-
  ry to its domain, or the facets might simply 
  be visiting another spirit—they act enough 
  like people that conversation and even 
  friendship are possible. These traveling 
  facets can be exceptionally problematic 
  for mediums, as they can cause extremely 
  irregular trouble. They retain all of their 
  manifestation stunts, and use them to 
  support their portfolio as usual, but 
  do so in places their parent spirit 
  isn’t normally connected to. Worse, a 
  facet visiting a friend might exercise its 
  manifestation stunts in outrage over a 
  transgression of that friend’s portfolio, 
  a confusing situation for any mediums 
  trying to determine why a spirit is upset.
  Powerful spirit-facets can even travel 
  between planets through the otherworld. 
  When questioned, they describe the pro-
  cess as taxing or unpleasant, so most 
  don’t bother. Those that do might be 
  following someone interesting, seek-
  ing novelty, or following up on a story 
  they heard from a priest or worshipper. 
  These facets bring extremely strange 
  and out-of-place portfolio aspects 
  with them, provoking conflict with 
  native spirits and disrupting estab-
  lished arrangements between people 
  and the otherworld.
  31
  FRONTIER SPIRIT
  
  Disasters
  Floods, hurricanes, tornadoes, mudslides, landslides, blizzards, fires—they’re 
  staples of both supernatural fantasy and frontier fiction. On Thompson’s Turn, 
  natural disasters are one of the most significant ways the spirits express their dis-
  pleasure. Although denied other avenues to affect the physical world on a large 
  scale, it’s quite easy for a spirit’s facets to make tweaks across its territory that 
  combine to create a larger, out-of-control calamity.
  While disasters can be caused by spirits, spirits are rarely actively involved in 
  their progress. This absence of active opposition makes a disaster a perfect excuse 
  to break out the challenge rules. There’s a variety of things clearly at risk: damage 
  to homes and buildings, personal injury, and endangerment of other property. 
  Since the challenges will all be happening during the same scene, inflicting shifts 
  of physical or mental stress equal to the margin of failure on one roll to the char-
  acters is a suitable success at a cost, one that renders the impact of the disaster 
  in a personal context.
  At the other extreme, clearing fields or destroying buildings, tools, or other 
  infrastructure can cause great harm to a frontier settlement, as does personal 
  injury. Replacing lost or damaged property is an arduous and lengthy endeavor, 
  suitable for a subplot in and of itself, as is medical treatment.
  When running a disaster response, remember to call for all the rolls for the 
  challenge before narrating the outcome (Fate Core, page 148). The narration 
  and interpretation phase is when you should consider whether an immanent 
  episode has occurred, or if some other complication has emerged that requires 
  more detailed resolution. Immanent episodes are likely to be common during a 
  disaster response challenge, and this procedure means that you can resolve one 
  question—What is the outcome of our disaster relief?—before moving on to the 
  next: What happens when the otherworld intrudes during our work?
  32
  FATE: WORLDS OF ADVENTURE
  
  DIGGING A DEEPER HOLE
  Sometimes spirit trouble can even be stirred up in areas 
  that have been settled for some time. If the inhabitants 
  haven’t had to deal with the local spirits before, even the 
  most seemingly innocuous activity can set off a torrent of 
  trouble. This chapter presents some information about the 
  community of Aribeth Plateau, a small-town commercial 
  hub for the surrounding rural settlements, and an adven-
  ture set in one of those nearby settlements, Points East.
  Aribeth Plateau
  The characters are a team of mediums based out of the 
  community of Aribeth Plateau. With its high altitude 
  (convenient for air transport), long sight-lines (convenient 
  for planning expeditions and settlements), and diverse eco-
  systems and microclimates, the plateau has developed from 
  a loose network of homesteads into the hub of colonization 
  for the region southeast of Arborshire. The same diversity, 
  though, means that the area’s a magnet for trouble with 
  the otherworld. It’s covered by a confusing mishmash of 
  territories big and small, and when the spirits are upset, 
  the consequences for the still-tenuous settlements can be 
  disastrous. This makes it a great home base for a group of 
  mediums.
  The central township on the plateau—named, naturally 
  enough, Aribeth Plateau—is led by its mayor, Gordon 
  Rocheford (page 9). The town supports a large vari-
  ety of outlying settlements, both on the plateau itself and 
  throughout the surrounding lowlands. Rocheford’s general 
  store is the main draw, but many service and emergency 
  professionals congregate in the area as well. The com-
  munity is hardly idyllic. In particular, there’s still a lot of 
  contention and disagreement between those who want to 
  remain an isolated, quiet plateau (mostly the “old guard”) 
  and those who want to expand the plateau’s service and 
  commercial offerings.
  The plateau’s small airfield is its main link to Arborshire, 
  but local transportation is primarily by way of ground 
  vehicles or the occasional aircar. Several small lakes dot the 
  plateau, providing sources of fresh water, and the rolling 
  fields are broken up by small clusters of trees. The highland 
  weather—with its high winds and vicious storms—is more 
  intense than the varied microclimates of the surrounding 
  lowlands.
  33
  FRONTIER SPIRIT
  
  Points East
  In the foothills northeast of Aribeth Plateau, tucked among a series of ridges is 
  Points East, a close community of farms and homesteads. The ridges themselves 
  are lightly forested, while the valleys in-between are mostly open, allowing for a 
  variety of activities. Most of the settlement focuses on agriculture, but some light 
  logging, sap harvesting, and hunting takes place there as well. The settlement 
  was founded by a group of polygamists, including Mortise Ooloo (page 9), 
  who wanted to establish a community whose norms reflected their preferred life-
  style. As one of the early unified community settlements, they endured conflicts 
  with their antecedents—solitary colonists or small settlements of independent 
  colonists—as well as their own share of internal trouble. The colonists of Points 
  East have handled these problems smoothly and established a stable, functional, 
  growing community.
  Points East is far enough south to have a temperate continental climate, with 
  warm, dry summers and snowfall during the winter. During the rest of the year, 
  the weather is unpredictable. Points East is still close enough to the coast that 
  weather can blow in from the ocean, and its proximity to Aribeth Plateau some-
  times brings weather down from the highlands. Worse is when the two mix, 
  producing unexpected, intense, but thankfully brief storms.
  Lately, however, the uncharacteristic has become the norm, with torrential 
  rains that have persisted for weeks. They began during the spring planting 
  season, which was strange enough, but have lasted well into the summer months. 
  The Turn Meteorological Association is perplexed; the weather has steadfastly 
  refused to break, despite showing every sign that it should. Even more, it has a 
  frustrating tendency to focus its heaviest downfall on exactly the worst places. 
  Faced with the inexplicable, Mayor Tobur Kline has called for help from the 
  Turn’s mediums.
  Issues and Locations
  If running this adventure as a stand-alone, take the one presented campaign 
  issue and locations and use them as-is. For such a short game, no further devel-
  opment should be necessary.
  If running this adventure as part of a campaign, use the provided campaign 
  issue and locations as a starting point for creating your campaign as described in 
  Fate Core (page 22). Pick a second campaign issue, and build out other locations, 
  faces, and location issues to suit your group’s tastes.
  Current Campaign Issue: Disagreement Over Direction. Like on most colony 
  worlds, Thompson’s Turn’s colonists are divided in their visions for the future 
  of their new home. In the short term, these disagreements focus on industri-
  alization and the location and direction or nature of development, but other 
  disagreements—ranging from social policy to governance to environmental con-
  cerns—are likely to rear their heads before long.
  34
  FATE: WORLDS OF ADVENTURE
  
  Upper Foothills Salt Mine
  Face: Danielle Carvalho
  Victor Papadakis, an investor from the Upper Bend Sports Club, has estab-
  lished a salt-mining operation in the upper foothills of Aribeth Plateau, around 
  fifty miles north of both Points East and the plateau itself. The mine itself isn’t 
  a problem, but the variety of dangerous and speculative side-enterprises being 
  run in the facility are. The nearby settlements would certainly object to these 
  dealings, and since the mine depends on the settlements for supplies and to ship 
  its product back to Arborshire, such disagreements would force the mine to shut 
  down.
  Danielle Carvalho, the site supervisor, has a contract for a cut of the profits 
  from any “speculative ventures” that succeed. She’s quite willing to push the 
  boundaries of legality and ethics in pursuit of reward. Her current darling proj-
  ect involves mixing an insecticide—classified throughout Commonwealth space 
  as “dangerous” and banned entirely on many worlds—from leavings and impu-
  rities extracted during the mining process.
  Current Issue: Mixing Toxic Insecticide On the Sly
  Danielle Carvalho
  Aspects: No-Nonsense Mine Manager; Eyes on the 
  Prize
  SKILLS
  Great (+4): Provoke
  Good (+3): Notice, Shoot
  Fair (+2): Athletics, Infiltrate, Will
  STUNTS
  I Don’t Need to Prove Myself to You: Use Provoke 
  instead of Rapport when creating advantages or over-
  coming obstacles by issuing orders to subordinates.
  STRESS
  Physical 2
  Mental 3
  CONSEQUENCES
  Mild (2):
  Moderate (4):
  NOTES
   While a decent combatant on her own, Danielle is 
  an expert at belligerence, and well-suited to order-
  ing around her minions. They’re probably Average 
  nameless NPCs (Fate Core, page 215).
  35
  FRONTIER SPIRIT
  
  Points East Contraband Cache
  Face: Mortise Ooloo (page 9)
  At this time of year, the contraband cache operated secretly by Mortise Ooloo 
  below her family homestead is quite full. As the harvest season begins, sup-
  plies of questionable legality from the southern hemisphere’s summer have been 
  brought in and carefully tucked away. Unfortunately, the cache isn’t as well built 
  as it needs to be, and the extreme weather battering down Points East is sure to 
  flood, collapse, or expose the goods.
  Some of the insecticide from the salt mine is stored in the contraband cache, 
  but most of the items there are regulated narcotics, unscreened biological sam-
  ples, and the like. The issue here isn’t so much the contents as it is the risk of 
  broken trust between Mortise and the rest of Points East.
  Impending Issue: Shattered Bonds of Trust
  Mortise Ooloo
  ASPECTS
   Earnest Community Promoter; Many, Many Claims 
  On My Time; Covert Contraband Warehousing 
  Broker; My Reputation Can Weather Any Storm
  SKILLS
  Great (+4): Science
  Good (+3): Empathy, Rapport
  Fair (+2): Contacts, Fight, Physique
  STUNTS
  I Take My Family’s Privacy Seriously: Use Rapport in 
  place of Deceive when protecting the Ooloo family’s 
  privacy.
  You Know Me: Use Contacts in place of Will to defend 
  when Mortise’s reputation is on the line.
  STRESS
  Physical 3
  Mental 2
  CONSEQUENCES
  Mild (2):
  NOTES
   Mortise is confident of her place in the community, 
  and has thoroughly rationalized her contraband side-
  line. She can be convinced otherwise, but her natural 
  response to being discovered is to dig in her heels, 
  justify her work by the benefit it brings, and deny any 
  connection to the disastrous weather.
  36
  FATE: WORLDS OF ADVENTURE
  
  The Otherworld: Ekla
  The spirit Ekla occupies the territory around Points East. Ekla is a fairly typical 
  wilderness-spirit, with a portfolio related mainly to the environment and the 
  typical habits of the plateau’s foothills. Its territory extends north to the salt 
  mine and almost up to the side of the plateau itself—a relatively wide range. Its 
  idol is a small underground lake in a cave at the base of one of the ridges near 
  Points East. Explorers from the settlement have found it, but apart from noting 
  how tranquil and balanced the cave felt, they didn’t attach any special meaning 
  to it.
  37
  FRONTIER SPIRIT
  
  Ekla’s portfolio has three aspects:
  • The Path Leads Downhill. Naturally, most things that enter Ekla’s 
  domain come from the plateau and move along and down the ridges. 
  Any contact with Ekla’s facets should reveal this aspect as the obvious 
  source of antagonization. Slightly longer contact, or any immanent epi-
  sode, should reveal this aspect as a red herring. The traffic between Points 
  East and the Aribeth Plateau uses the roads carved into the rock of the 
  plateau, which does not concern Ekla. Still, people transgress against this 
  portfolio aspect all the time, and it’s only a matter of time until Ekla takes 
  offense, so devising some manner of propitiation early will pay off.
  • That Carved by Ice Shall Carry Fire Unburned. The Aribeth Plateau 
  was carved by glacial action. Ekla still carries the legacy of this ancient 
  history in the form of this prohibition: that the eroded rock of its terri-
  tory must not be further altered by heat or fire. Even the worst wildfires 
  in the area do not generate even close to the heat needed to affect the 
  stone. Unfortunately, the purification process used in Papadakis’s salt 
  mine transgresses against this portfolio aspect, as it involves using great 
  heat to separate the salt from any impurities.
  • That Which Has Separated, Do Not Recombine. Ekla exists in a place 
  of transition, with things in its domain generally moving downhill from 
  the plateau, getting divided by the ridges, and moving out to the rest 
  of the continent or the shore. The Papadakis mine’s insecticide produc-
  tion recombines separated impurities, which is offensive to this aspect as 
  well. The real risk with this portfolio aspect is that Points East might be 
  divided by the discovery of Mortise Ooloo’s contraband cache. Should 
  that happen, Ekla would surely object to any attempt to reconcile, unless 
  handled very carefully and given appropriate redress.
  The otherworld in Ekla’s territory is primal and vigorous. Huge, sweeping 
  glaciers wind their way through rocky hills, and massive cave networks stretch 
  beneath, full of magma flows, giant crevasses, steam geysers, and other natural 
  hazards. Ekla’s most powerful facets carve out homes in vast underground cav-
  erns, which tend to hold more contemporary—and hospitable—environments, 
  complete with vegetation. Lesser facets either live in these caverns or roam about 
  the caves and hills, and tend to take forms derived from the Turn’s native animal 
  life. Some are primitive, majestic species long-since vanished, while others are 
  ordinary and commonplace, though with an intelligence that makes them dan-
  gerous to underestimate.
  38
  FATE: WORLDS OF ADVENTURE
  
  Adventure
  Start off in media res—the mediums arrive at Points East just as the rains trigger 
  a series of mudslides. The characters can jump in to help out right away. This 
  could be run as a single challenge or separated out into two segments: dealing 
  with the disaster and post-disaster cleanup. Give each character an opportunity 
  to make at least one roll to contribute to the solution. Some may prefer to create 
  advantages instead, but remember that failing to create an advantage should 
  have consequences in the outcome.
  Make the initial disaster-relief efforts complicated and dangerous. Many fac-
  tors are working against any kind of aid: weather, panic, and existing injuries 
  or damage. Creating a sense of peril is important to communicating the danger 
  of spiritual discontent and to setting the stakes. If the characters fail or only 
  succeed at a serious cost, the consequences serve to highlight the importance of 
  their mediation. Further play can also stem from characters seeking to correct 
  their failure or make up for the costs they paid for success.
  Here are some suggestions for the stages of the disaster-relief challenge:
  Rescuing Stranded Colonists: Refugees coming in from outlying homesteads 
  or response teams have gotten in over their heads—or they’re just unlucky. This 
  is a good opportunity for social characters to contribute by calming people 
  down or coordinating movement.
  • Suggested skills: Physique, Rapport, Empathy, Drive
  Bulwarks and Diversions: Mudflows threatening fields, buildings, and other 
  relief efforts must be diverted to less harmful areas. Engineering know-how 
  is most useful here, but planning can be a big advantage, as can money and 
  supplies. 
  • Suggested skills: Craft, Science, Resources
  Medical Triage: Not everyone injured in a disaster like this can afford to wait. 
  Someone with expertise needs to take charge and make sure that those who need 
  care get it. 
  • Suggested skills: Science, Will, Empathy, Notice
  At some point during this challenge, you’ll likely get an opportunity to trig-
  ger immanence. Do so. Let the mediums know their services are required, and 
  give them a lead on Ekla and the problems at hand. Creel’s a good facet to use 
  during this initial episode. As a troublemaker, this facet can complicate whatever 
  else is going on, but it isn’t especially demanding and is easy to placate or brow-
  beat. It might not even need prompting to start spilling the beans, especially if it 
  can cause mischief by dishing out part-truths.
  39
  FRONTIER SPIRIT
  
  Creel Ekla
  PORTFOLIO ASPECTS
   That Which Has Separated, Do 
  Not Recombine
  OTHER ASPECTS
   Impish Troublemaker
  SKILLS
  Fair (+2): Provoke
  Average (+1): Athletics, Infiltrate
  STUNTS
  Gremlin: Creel can cause a machine 
  to malfunction harmfully, but only 
  one being used by someone who 
  has transgressed against its port-
  folio aspect since the past sunset. 
  In this way, it can use Provoke to 
  create advantages and attack.
  STRESS 1
  CONSEQUENCES
  Mild (2):
  NOTES
   Creel is a basic trickster-spirit, rea-
  sonably adept at sneaking around, 
  getting away, and causing trouble. 
  It uses Gremlin to make mischief 
  for those that violate its portfo-
  lio aspect. It can be dangerous 
  if angered or upset—or if Ekla 
  has been agitated—but it prefers 
  pranks to violence.
  Dronol Ekla
  PORTFOLIO ASPECTS
   That Which Has Separated, Do 
  Not Recombine; That Carved by Ice 
  Shall Carry Fire Unburned
  OTHER ASPECTS
   Defensive Microclimate Manager
  SKILLS
  Great (+4): Contacts
  Good (+3): Investigate
  Fair (+2): Provoke, Science
  Average (+1): Notice
  STUNTS
  Microclimate Manifestation: Dronol 
  can manipulate the microclimates in 
  the hills and valleys of Ekla’s terrain if 
  both its portfolio aspects are healthy 
  throughout the area it seeks to affect. 
  Using this stunt, Dronol can create 
  advantages representing beneficial or 
  detrimental weather using Contacts.
  STRESS 2
  CONSEQUENCES
  Mild (2):
  Moderate (4):
  NOTES
   Dronol is a classic officious bureaucrat. 
  It rules over a small estate-like corner 
  of the otherworld, with a small flock of 
  weak minion-facets that it dispatches 
  to and fro on errands and missions. 
  Its Microclimate Manifestation stunt 
  operates by ordering these minions 
  around. Giant piles of paperwork, 
  consisting of studies and work orders, 
  occupy every corner of its offices, and 
  Dronol will use them at every oppor-
  tunity to browbeat and intimidate 
  visitors. Secretly, it likes the company 
  and the chance to show off.
  40
  FATE: WORLDS OF ADVENTURE
  
  Source of the Storms
  Dronol is the facet of Ekla responsible for 
  the terrible weather coming down on Points 
  East. It’s the most directly and egregiously upset 
  of Ekla’s facets, in part because its Investigate 
  and Contacts skills—representing a small army 
  of lesser bureaucrat-facets and a talent for dig-
  ging into fine details—give it more awareness 
  of Carvalho’s operation. It knows exactly what’s 
  happening at the salt mine that’s upsetting Ekla.
  Unfortunately, Dronol’s manifestation stunt 
  prevents it from affecting the weather near the salt 
  mine, since the operations there are transgressing 
  against both of the aspects from Ekla’s portfolio 
  that Dronol partakes in. Instead, it has targeted 
  Points East, where the products of the mine are 
  being stored for shipping. Dronol’s behavior is a 
  classic reaction by a spirit-facet to a transgression 
  of its portfolio. It’s lashing out with its powers 
  where it can, even though doing so is unlikely to 
  make the situation better.
  The mudslides and disaster-relief effort will 
  force Dronol to let up a bit. That Which Has 
  Separated, Do Not Recombine, in particular, is 
  likely to be egregiously violated during the relief 
  effort, as shattered buildings are reassembled (or 
  moved out of the way), families are reunited, and 
  displaced landscape is cleared away (and, pre-
  sumably, stacked up). This development gives the 
  mediums an opportunity to reach out and start 
  their work, making some deals and getting more 
  information about what’s got Ekla so upset.
  Toward this end, GMs, plant plenty of hints 
  pointing at Dronol. If there’s an immanent inci-
  dent during disaster relief or soon after, Creel 
  Ekla should mention the angry weather manager. 
  As soon as things start to settle down, hint that 
  another storm is gathering on the horizon. Using 
  a channeling ritual, a PC could connect with one 
  of Dronol’s innumerable subordinate-facets, who 
  would be more than eager to push this problem 
  upstairs. A projection ritual could put the PCs 
  nearby a swarm of Dronol’s subordinate-facets, 
  who might need to be fought off, or who could be 
  interrogated or pursued back to Dronol’s estate.
  41
  FRONTIER SPIRIT
  
  Turning Up the Heat
  The mudslides and rains will reveal 
  Mortise Ooloo’s contraband stash to 
  the rest of the Points East community. 
  Its existence is pretty upsetting to a lot 
  of the other settlers, including mayor 
  Tobur Kline. This will in short order 
  build to bitter words, hurt feelings, 
  and accusations, and will escalate from 
  there. Worse, not everyone agrees with 
  those who are upset. Some think that 
  even if it led to some trouble with spir-
  its, Mortise’s side business was just fine. 
  There’s a real risk of splitting the com-
  munity in two, and Ekla’s That Which 
  Has Separated, Do Not Recombine 
  aspect makes such a split a serious 
  problem for mediation. It’s hard to 
  convince anyone you mean well when 
  you’re offending them all over again!
  Any inspection of the contraband 
  cache 
  or 
  dramatic 
  confrontation 
  around it is a good opportunity for 
  immanence, drawing attention to 
  the connection to the salt mine. This 
  immanent episode could involve Creel 
  again, or other small facets of Ekla, or 
  even a larger facet. Investigating the 
  salt mine is a good opportunity for 
  some more confrontations—infiltra-
  tion, a chase, or even a shoot-out or 
  brawl. Carvalho isn’t especially likely to 
  give up on either her job security or the 
  potential for a lucrative pay-off down 
  the line. The miners, technicians, and 
  supervisors that staff the Upper Bend 
  operation reflect these priorities. 
  Quol Ekla
  PORTFOLIO ASPECTS
  That Carved by Ice Shall Carry 
  Fire Unburned; The Path Leads 
  Downhill
  OTHER ASPECTS
  Woodland Hermit
  SKILLS
  Great (+4): Will
  Good (+3): Fight
  Fair (+2): Deceit, Notice
  STUNTS
  Animal Agitation: Quol can agitate 
  animals near things that represent 
  both of its portfolio aspects. It can stir 
  them up to attack or harass those that 
  have upset it. While Quol is agitating 
  them, it can use Will to create advan-
  tages related to emboldening them.
  Lost in the Forest Mists: Near things 
  that embody both of its portfolio 
  aspects, Quol can pit its Will against 
  others to create advantages related 
  to getting them lost, obscuring their 
  vision, or playing similar tricks.
  STRESS 3
  CONSEQUENCES
  Mild (2):
  Moderate (4):
  NOTES
   Quol is a more powerful facet of Ekla, 
  and a more dangerous one. It dwells in 
  the forests of Ekla’s territory, and uses 
  its powers to trap, hound, and punish 
  those that harm Ekla’s portfolio. It’s 
  not always particularly discriminat-
  ing, though, and if Ekla is upset or 
  suffering, anyone that wanders into 
  its forests could suffer Quol’s wrath.
  42
  FATE: WORLDS OF ADVENTURE
  
  Wrapping Up
  The biggest obstacle to any kind of mediation between the settlers at Points 
  East and Ekla is the salt-mining operation in the upper foothills. Something 
  needs to be done about it. The mediums might shut down the mine or force its 
  operations to reform through direct action, but there are other options. Victor 
  Papadakis knows what’s going on at the mine, and he’s confident he can use his 
  wealth, social status, and political influence to escape punishment. A savvy team 
  of mediums could find some way to turn things around on him, pressuring him 
  to shut down the mine, or convincing him and Carvalho that their long-run 
  payoff is better served by keeping Ekla happy.
  Points East itself is a more subtle problem, but one that nonetheless must be 
  handled to craft a mediation that Ekla’s facets will accept. Depending on how it 
  was managed, the discovery of Mortise Ooloo’s illicit side business likely caused 
  or threatened a rift in the community. An attempt to reconcile this rift could 
  offend the spirit as it transgresses against That Which Has Separated, Do Not 
  Recombine. Clever mediums might convince its facets to overlook the affront 
  just this once, but the incident highlights a larger issue. Any facet of Ekla that 
  partakes of this element of its portfolio would also be aware of the potential 
  for future transgression here. To agree to a mediation and consider the trans-
  gressions against its portfolio settled, these facets could demand some future 
  acknowledgment from the Points East settlers. A ceremony, either regular or 
  on specific occasions, or other symbolic strengthening of Ekla’s portfolio would 
  satisfy it, but the settlers would need convincing.
  Any successful mediation of these problems should involve some kind of 
  middle ground between spirit and people. The settlers of Points East don’t want 
  to give up their anger toward Mortise, Mortise and her family don’t want to give 
  up their home, Carvalho and her miners don’t want to give up their prospects, 
  and Ekla can’t give up its portfolio. Everyone can, though, make changes to and 
  choices about the way they pursue their aims, and symbolic ceremonies and 
  gestures can make the unpalatable surprisingly acceptable.
  43
  FRONTIER SPIRIT
  
SOURCE: textdata/thevault/FATE (fudge) [multi]/World of Adventure/Frontier_Spirit.pdf