TEXT: FATERIP:​ ​Classic​ ​MSH​ ​FASERIP​ ​Rules 
   
  Draft​ ​53.07​ ​ ​October​ ​20,​ ​2013​ ​-​ ​Blue​ ​Tyson 
   
  Table​ ​of​ ​Contents 
   
  IMPORTANT​ ​RESOURCES 
  WHAT​ ​YOU​ ​NEED​ ​TO​ ​PLAY 
  FASERIP​ ​-​ ​Basic​ ​Human​ ​Skills 
  THE​ ​LADDER 
  ORIGIN 
  SECONDARY​ ​ABILITIES 
  Health​ ​Tracks 
  Consequence​ ​Slots 
  ASPECTS 
  Trouble 
  The​ ​Bright​ ​Side​ ​of​ ​Troubles 
  Intro​ ​to​ ​Choosing​ ​Aspects 
  SPECIAL​ ​ABILITIES​ ​TABLE 
  Measurement​ ​Benchmark​ ​Ranks​ ​Table 
  TAKING​ ​ACTION 
  Karma 
  Contents 
  Invoking​ ​an​ ​Aspect 
  Declaring​ ​a​ ​Story​ ​Detail 
  Compels 
  FASERIP​ ​MSH​ ​FLAVOUR 
  COMBAT​ ​FLAVOUR 
  POWER​ ​STUNTS 
  SKILLS 
  CHARACTER​ ​CREATION​ ​EXAMPLE 
  POWERS​ ​DESCRIPTION​ ​LIST 
  SKILLS​ ​DESCRIPTION​ ​LIST 
  GAMEMASTER​ ​GUIDANCE 
  Types​ ​of​ ​Aspects 
  Contents 
  Game​ ​Aspects 
  Character​ ​Aspects 
  Situation​ ​Aspects 
  1 
  
  Consequences 
  Boosts 
  Deciding​ ​When​ ​to​ ​Use​ ​Mechanics 
  Making​ ​A​ ​Good​ ​Aspect 
  Contents 
  Double-Edged 
  Say​ ​More​ ​Than​ ​One​ ​Thing 
  Clear​ ​Phrasing 
  If​ ​You​ ​Get​ ​Stuck 
  Sometimes,​ ​It’s​ ​Better​ ​Not​ ​to​ ​Choose 
  Vary​ ​It​ ​Up 
  Let​ ​Your​ ​Friends​ ​Decide 
  Invoking​ ​&​ ​Compelling​ ​Aspects 
  Contents 
  Invoking​ ​Aspects 
  The​ ​Reroll​ ​Vs.​ ​The​ ​+2 
  The​ ​Ellipsis​ ​Trick 
  Free​ ​Invocations 
  Compelling​ ​Aspects 
  Types​ ​of​ ​Compels 
  Events 
  Decisions 
  Retroactive​ ​Compels 
  Compelling​ ​with​ ​Situation​ ​Aspects 
  Using​ ​Aspects​ ​For​ ​Roleplaying 
  Contents 
  Removing​ ​Or​ ​Changing​ ​An​ ​Aspect 
  Creating​ ​and​ ​Discovering​ ​New​ ​Aspects​ ​In​ ​Play 
  For​ ​the​ ​GM:​ ​Extremely​ ​Powerful​ ​Ninja​ ​GM​ ​Trick 
  Secret​ ​or​ ​Hidden​ ​Aspects 
  Karma​ ​Economy 
  Contents 
  Refresh 
  Spending​ ​Karma 
  Earning​ ​Karma 
  The​ ​GM​ ​and​ ​Karma 
  The​ ​Basic​ ​Game​ ​Actions 
  Actions​ ​&​ ​Outcomes 
  Contents 
  It's​ ​Time​ ​For​ ​Action! 
  Opposition 
  For​ ​the​ ​GM:​ ​Active​ ​or​ ​Passive? 
  Four​ ​Outcomes 
  2 
  
  Contents 
  Fail 
  Tie 
  Succeed 
  Succeed​ ​with​ ​Style 
  For​ ​the​ ​GM:​ ​Serious​ ​Cost​ ​Vs.​ ​Minor​ ​Cost 
  For​ ​the​ ​GM:​ ​How​ ​Hard​ ​Should​ ​Skill​ ​Rolls​ ​Be? 
  Four​ ​Actions 
  Contents 
  Overcome 
  Create​ ​an​ ​Advantage 
  Attack 
  Defend 
  Can​ ​I​ ​Defend​ ​Against​ ​Overcome​ ​Actions? 
  No​ ​Stacked​ ​Effects! 
  Challenges,​ ​Contests,​ ​&​ ​Conflicts 
  Contents 
  Zooming​ ​In​ ​On​ ​The​ ​Action 
  Challenges 
  Contents 
  When​ ​To​ ​Call​ ​For​ ​A​ ​Challenge 
  Setting​ ​Up​ ​A​ ​Challenge 
  Conducting​ ​A​ ​Challenge 
  Advantages​ ​in​ ​a​ ​Challenge 
  Attacks​ ​in​ ​a​ ​Challenge 
  Contests 
  Contents 
  Setting​ ​Up​ ​A​ ​Contest 
  A​ ​Series​ ​of​ ​Exchanges 
  Creating​ ​Advantages​ ​in​ ​a​ ​Contest 
  Attacks​ ​in​ ​a​ ​Contest 
  Conflicts 
  Contents 
  Setting​ ​the​ ​Scene 
  Situation​ ​Aspects 
  Situation​ ​Aspects​ ​&​ ​Zones​ ​In​ ​Mental​ ​Conflicts 
  Zones 
  Establishing​ ​Sides 
  Turn​ ​Order 
  The​ ​Exchange 
  Full​ ​Defense 
  Resolving​ ​Attacks 
  Health 
  3 
  
  Consequences 
  Naming​ ​a​ ​Consequence 
  Recovering​ ​from​ ​a​ ​Consequence 
  Potions​ ​and​ ​Other​ ​Insta-Healing 
  Extreme​ ​Consequences 
  Conceding​ ​the​ ​Conflict 
  Getting​ ​Taken​ ​Out 
  Character​ ​Death 
  Movement 
  Advantages​ ​in​ ​a​ ​Conflict 
  Cover​ ​Fire​ ​and​ ​Other​ ​Impositions 
  Other​ ​Actions​ ​in​ ​a​ ​Conflict 
  Free​ ​Actions 
  Ending​ ​a​ ​Conflict 
  Transitioning​ ​to​ ​a​ ​Contest​ ​or​ ​Challenge 
  Teamwork 
  Running​ ​the​ ​Game 
  Contents 
  What​ ​the​ ​Gamemaster​ ​Does 
  Start​ ​and​ ​End​ ​Scenes 
  Drama​ ​Is​ ​Better​ ​Than​ ​Realism 
  Play​ ​the​ ​World​ ​and​ ​the​ ​NPCs 
  Let​ ​the​ ​Players​ ​Help​ ​You 
  Judge​ ​the​ ​Use​ ​of​ ​the​ ​Rules 
  You're​ ​the​ ​Chairman,​ ​Not​ ​God 
  Create​ ​Scenarios​ ​(and​ ​Nearly​ ​Everything​ ​Else) 
  What​ ​To​ ​Do​ ​During​ ​Game​ ​Creation 
  Contents 
  Out​ ​There​ ​vs.​ ​Down​ ​Here 
  Top​ ​Down​ ​vs.​ ​Bottom​ ​Up 
  Small​ ​Scale​ ​vs.​ ​Large​ ​Scale 
  Extras:​ ​Do​ ​You​ ​Need​ ​Them? 
  What​ ​To​ ​Do​ ​During​ ​Play 
  Contents 
  The​ ​Golden​ ​Rule 
  The​ ​Silver​ ​Rule 
  When​ ​to​ ​Roll​ ​Dice 
  Situation​ ​Aspects​ ​Are​ ​Your​ ​Friend 
  Making​ ​Failure​ ​Awesome 
  Blame​ ​the​ ​Circumstances 
  Succeed​ ​at​ ​a​ ​Cost 
  Let​ ​the​ ​Player​ ​Do​ ​the​ ​Work 
  Setting​ ​Difficulties 
  4 
  
  Important:​ ​Justify​ ​Your​ ​Choice 
  Dealing​ ​with​ ​Extraordinary​ ​Success 
  Dealing​ ​with​ ​Time 
  Game​ ​Time 
  Story​ ​Time 
  Deadline​ ​Pressure 
  Using​ ​Story​ ​Time​ ​in​ ​Success​ ​and​ ​Failure 
  How​ ​Much​ ​Time​ ​Is​ ​A​ ​Shift​ ​Worth? 
  Story​ ​Time​ ​and​ ​the​ ​Scope​ ​of​ ​an​ ​Action 
  Zoom​ ​In,​ ​Zoom​ ​Out 
  Aspects​ ​and​ ​Details:​ ​Discovery​ ​vs.​ ​Creation 
  Dealing​ ​with​ ​Conflicts​ ​and​ ​Other​ ​Weird​ ​Stuff 
  Affecting​ ​Multiple​ ​Targets 
  Compels​ ​and​ ​Multiple​ ​Targets 
  Environmental​ ​Hazards 
  Dealing​ ​with​ ​Aspects 
  Invocations 
  Compels 
  Weaksauce​ ​Compels 
  Encouraging​ ​the​ ​Players​ ​to​ ​Compel 
  Creating​ ​and​ ​Playing​ ​the​ ​Opposition 
  Contents 
  Take​ ​Only​ ​What​ ​You​ ​Need​ ​to​ ​Survive 
  The​ ​NPC​ ​Types 
  Nameless​ ​NPCs 
  Good 
  Excellent 
  Remarkable 
  Mobs 
  Hits​ ​and​ ​Overflow 
  Nameless​ ​NPCs​ ​as​ ​Obstacles: 
  NPC​ ​First,​ ​Name​ ​Later 
  Supporting​ ​NPCs 
  Main​ ​NPCs 
  Playing​ ​The​ ​Opposition 
  Right-sizing 
  Creating​ ​Advantages​ ​for​ ​NPCs 
  Change​ ​Venues​ ​of​ ​Conflict 
  Defining​ ​Scenarios 
  Contents 
  Creating​ ​A​ ​Scenario:​ ​Step​ ​By​ ​Step 
  Find​ ​Problems 
  Contents 
  5 
  
  You​ ​Don't​ ​Always​ ​Have​ ​To​ ​Destroy​ ​The​ ​World 
  Problems​ ​and​ ​Character​ ​Aspects 
  Problems​ ​and​ ​Game​ ​Aspects 
  Put​ ​A​ ​Face​ ​On​ ​It 
  Problems​ ​and​ ​Aspect​ ​Pairs 
  Two​ ​Character​ ​Aspects 
  Character​ ​Aspect​ ​and​ ​Issue 
  How​ ​Many​ ​Problems​ ​Do​ ​I​ ​Need 
  Ask​ ​Story​ ​Questions 
  Establish​ ​the​ ​Opposition 
  Advantages​ ​Can​ ​Save​ ​You​ ​Work 
  Set​ ​Up​ ​The​ ​First​ ​Scene 
  Contents 
  Powerful​ ​Session-Starting​ ​Ninja​ ​GM​ ​Trick 
  Defining​ ​Scenes 
  Contents 
  Starting​ ​Scenes 
  Ending​ ​Scenes 
  Using​ ​the​ ​Pillars​ ​(Competence,​ ​Proactivity,​ ​Drama) 
  Hit​ ​Their​ ​Aspects 
  The​ ​Scenario​ ​In​ ​Play 
  Contents 
  Resolving​ ​the​ ​Scenario 
  The​ ​Long​ ​Game 
  Contents 
  Defining​ ​Arcs 
  Defining​ ​Campaigns 
  Building​ ​An​ ​Arc 
  Building​ ​A​ ​Campaign 
  Advancement​ ​&​ ​Change 
  Contents 
  Defining​ ​Milestones 
  Minor​ ​Milestones 
  Significant​ ​Milestones 
  Major​ ​Milestones 
  Back​ ​to​ ​Character​ ​Creation 
  World​ ​Advancement 
  For​ ​Minor​ ​Milestones 
  For​ ​Significant​ ​Milestones 
  For​ ​Major​ ​Milestones 
  Dealing​ ​with​ ​NPCs 
  Recurring​ ​NPCs 
  Extras 
  6 
  
  Contents 
  Defining​ ​Extras 
  The​ ​Bronze​ ​Rule,​ ​aka​ ​The​ ​Fate​ ​Fractal 
  Creating​ ​An​ ​Extra 
  Contents 
  Setting​ ​Elements 
  What​ ​Extras​ ​Do 
  Assigning​ ​Character​ ​Elements 
  Permissions​ ​and​ ​Costs 
  The​ ​Writeup 
  Extra:​ ​Collegia​ ​Arcana​ ​Magic 
  Extras​ ​and​ ​Advancement 
  Difficulty​ ​Guidelines 
  Difficulty​ ​Modifier​ ​Suggestions 
  PEOPLE​ ​AND​ ​CREATURES 
  FATE​ ​ACCELERATED​ ​VERSION 
  CHARACTER​ ​ROSTER 
  OPTIONAL​ ​RULES 
  Scale​ ​and​ ​Super​ ​Abilities/Skills 
  CONVERSIONS​ ​TO​ ​OTHER​ ​SYSTEMS 
  FURTHER​ ​USEFUL​ ​GAME​ ​INFORMATION 
   
   
   
  A​ ​hack​ ​for​ ​the​ ​good​ ​old​ ​TSR​ ​Marvel​ ​Super​ ​Heroes​ ​Advanced​ ​Game.​ ​ ​Often​ ​called​ ​FASERIP 
  Marvel​ ​thanks​ ​to​ ​the​ ​famous​ ​Universal​ ​Table. 
   
  A​ ​game​ ​I​ ​truly​ ​love​ ​and​ ​like​ ​most,​ ​has​ ​it​ ​flaws.​ ​ ​Opposed​ ​resolution​ ​via​ ​FUDGE/FATE​ ​certainly 
  removes​ ​a​ ​major​ ​mechanical​ ​one,​ ​so​ ​I​ ​thought​ ​I’d​ ​write​ ​some​ ​more​ ​on​ ​this​ ​game.​ ​ ​Lots​ ​of 
  people​ ​call​ ​it​ ​FASERIP.​ ​ ​In​ ​this​ ​game,​ ​everybody​ ​has​ ​FASERIP​ ​explicitly​ ​stated,​ ​even​ ​if​ ​at 
  Typical​ ​0. 
   
  IMPORTANT​ ​RESOURCES 
   
  Classic​ ​Marvel​ ​Forever​ ​-​ ​everything​ ​TSR​ ​Marvel​ ​you​ ​could​ ​want​ ​-​ ​downloads​ ​of​ ​all​ ​books​ ​and 
  rules​ ​:​ ​http://www.classicmarvelforever.com/ 
   
  The​ ​4CS​ ​(4​ ​Colour)​ ​-​ ​public​ ​domain​ ​retroclone​ ​of​ ​MSH​ ​thanks​ ​to​ ​Phil​ ​Reed​ ​and​ ​us​ ​awesome 
  backers.​ ​ ​You​ ​can​ ​also​ ​buy​ ​a​ ​print​ ​copy​ ​from​ ​Lulu. 
  http://archive.org/details/4cSystemSuperheroRoleplayinglibreEdition 
  http://rpg.drivethrustuff.com/product/50837/Four-Color-System-(Core-Rules) 
  7 
  
  http://www.lulu.com/shop/public-domain/4c-system/ebook/product-17558944.html 
  http://www.lulu.com/shop/public-domain/4c-system/ebook/product-17558944.html 
  http://www.lulu.com/shop/public-domain/4c-system-weapons-gear/ebook/product-17557485.htm 
   
  Fate​ ​Core​ ​rules,​ ​free​ ​downloads​ ​of​ ​rulebooks,​ ​hacks​ ​and​ ​more. 
  http://evilhat.wikidot.com/community-fate-core-extensions 
  http://fate-srd.com/ 
   
  WHAT​ ​YOU​ ​NEED​ ​TO​ ​PLAY 
   
  ●
  A​ ​character​ ​sheet,​ ​one​ ​per​ ​player,​ ​and​ ​some​ ​extra​ ​paper​ ​for​ ​note-taking.​​ ​(GMs,​ ​any 
  important​ ​characters​ ​you​ ​play​ ​might​ ​have​ ​a​ ​character​ ​sheet​ ​also.) 
  ●
  Fate​ ​dice,​ ​at​ ​least​ ​four,​ ​preferably​ ​four​ ​per​ ​person.​​ ​Fate​ ​dice​ ​are​ ​a​ ​special​ ​kind​ ​of 
  six-sided​ ​dice​ ​that​ ​are​ ​marked​ ​on​ ​two​ ​sides​ ​with​ ​a​ ​plus​ ​symbol​ ​(+),​ ​two​ ​with​ ​a​ ​minus 
  symbol​ ​(-),​ ​and​ ​two​ ​sides​ ​are​ ​blank​ ​(0).​ ​You​ ​can​ ​get​ ​these​ ​dice​ ​from​ ​many​ ​hobby​ ​and 
  game​ ​stores,​ ​often​ ​under​ ​their​ ​original​ ​name,​ ​Fudge​ ​dice.​ ​(For​ ​Fate’s​ ​purposes​ ​we’ll 
  continue​ ​to​ ​call​ ​them​ ​Fate​ ​dice,​ ​but​ ​call​ ​them​ ​whatever​ ​you​ ​like!)​ ​Fate​ ​dice​ ​can​ ​be 
  purchased​ ​at​ ​your​ ​friendly​ ​local​ ​game​ ​shop​ ​or​ ​Buy​ ​dice​ ​from​ ​Evil​ ​Hatonline 
  ●
  Alternatives​ ​to​ ​Fate​ ​Dice 
  ●
  The​ ​Deck​ ​of​ ​Fate​ ​is​ ​an​ ​alternative​ ​to​ ​Fate​ ​dice​ ​that​ ​will​ ​be​ ​available​ ​from​ ​Evil​ ​Hat.​ ​It’s​ ​a 
  deck​ ​of​ ​cards​ ​that​ ​mimics​ ​the​ ​probability​ ​of​ ​Fate​ ​dice,​ ​and​ ​is​ ​designed​ ​to​ ​be​ ​used​ ​in​ ​the 
  same​ ​way​ ​Fate​ ​dice​ ​are. 
  ●
  If​ ​you​ ​don’t​ ​want​ ​to​ ​use​ ​Fate​ ​dice,​ ​you​ ​don’t​ ​have​ ​to—any​ ​set​ ​of​ ​regular​ ​six-sided​ ​dice 
  will​ ​work.​ ​If​ ​you’re​ ​using​ ​regular​ ​dice,​ ​you​ ​read​ ​5​ ​or​ ​6​ ​as​ ​+,​ ​1​ ​or​ ​2​ ​as​ ​-,​ ​and​ ​3​ ​or​ ​4​ ​as​ ​0. 
  The​ ​Fate​ ​dice​ ​distribution​ ​is​ ​actually​ ​4d3​ ​-​ ​8. 
  ●
  Another​ ​method​ ​people​ ​use​ ​is​ ​d6​ ​-​ ​d6​ ​where​ ​you​ ​roll​ ​1d6​ ​then​ ​subtract​ ​the​ ​roll​ ​of​ ​a 
  second​ ​1d6. 
  ●
  Tokens​ ​to​ ​represent​ ​Karma​.​ ​Poker​ ​chips,​ ​glass​ ​beads,​ ​business​ ​cards,​ ​or​ ​anything 
  similar​ ​will​ ​work.​ ​You’ll​ ​want​ ​to​ ​have​ ​at​ ​least​ ​thirty​ ​or​ ​more​ ​of​ ​these​ ​on​ ​hand,​ ​just​ ​to​ ​make 
  sure​ ​you​ ​have​ ​enough​ ​for​ ​any​ ​given​ ​game.​ ​You​ ​can​ ​use​ ​pencil​ ​marks​ ​on​ ​your​ ​character 
  sheet​ ​in​ ​lieu​ ​of​ ​tokens,​ ​but​ ​physical​ ​tokens​ ​add​ ​a​ ​little​ ​more​ ​fun.​ ​ ​Or​ ​do​ ​it​ ​digitally 
  ●
  Index​ ​cards.​ ​These​ ​are​ ​optional,​ ​but​ ​they’re​ ​very​ ​handy​ ​for​ ​recording​​ ​Aspects​ ​during 
  play.​ ​ ​Or​ ​the​ ​digital​ ​equivalent. 
   
   
  FASERIP​ ​-​ ​Basic​ ​Human​ ​Skills 
   
  Skill​ ​Differences​ ​From​ ​Fate​ ​Core 
   
  Physique​ ​is​ ​split​ ​compared​ ​to​ ​Core,​ ​into​ ​a​ ​Strength​ ​component​ ​and​ ​an​ ​Endurance​ ​component, 
  the​ ​latter​ ​of​ ​which​ ​should​ ​be​ ​used​ ​for​ ​the​ ​Health​ ​track​ ​when​ ​necessary.​ ​ ​Everybody​ ​has 
  FASERIP​ ​at​ ​some​ ​level.​ ​The​ ​Core​ ​analogues​ ​are​ ​listed​ ​to​ ​the​ ​right. 
   
  8 
  
   
  Fighting​ ​(Fight) 
  Agility​ ​(Athletics) 
  Strength​ ​(Physique​ ​split) 
  Endurance​ ​(Physique​ ​split) 
  Reason​ ​(Lore) 
  Intuition​ ​(Notice) 
  Psyche​ ​(Will) 
   
  Secondary​ ​Abilities 
   
  Popularity​ ​ ​(Rapport​ ​and​ ​Provoke​ ​combination) 
  Resources 
   
  Popularity​ ​is​ ​a​ ​measure​ ​of​ ​charisma,​ ​reputation​ ​and​ ​public​ ​influence.​ ​If​ ​you​ ​like,​ ​bad​ ​people​ ​can 
  have​ ​a​ ​negative​ ​popularity​ ​ladder​ ​equivalent.​ ​ ​Supervillains,​ ​mass​ ​murderers,​ ​ruthless​ ​thugs​ ​in 
  The​ ​Ball,​ ​etc.​ ​ ​Rapport​ ​but​ ​more​ ​variable,​ ​or​ ​Provoke​ ​in​ ​the​ ​latter​ ​case.​ ​ ​So​ ​basically​ ​a 
  combination​ ​of​ ​the​ ​two. 
   
   
   
  THE​ ​LADDER 
   
  Here​ ​are​ ​the​ ​FATERIP​ ​skills​ ​and​ ​the​ ​Fate​ ​Core​ ​equivalents,​ ​if​ ​you​ ​prefer​ ​those: 
   
   
  Value 
  Adjective​ ​-​ ​FATERIP/FATE 
  +13 
  Class​ ​5000​ ​(Cosmic​ ​5) 
  +12 
  Class​ ​3000​ ​(Cosmic​ ​3) 
  +11 
  Class​ ​1000​ ​(Cosmic​ ​1) 
  +10 
  Shift​ ​Z​ ​(Legendary​ ​Z) 
  +9 
  Shift​ ​Y​ ​(Legendary​ ​Y) 
  +8 
  Shift​ ​X​ ​(​ ​Legendary​ ​X) 
  +7 
  Unearthly​ ​(Epic) 
  +6 
  Monstrous​ ​(Fantastic) 
  +5 
  Amazing​ ​(Superb) 
  9 
  
  +4 
  Incredible​ ​(Great) 
  +3 
  Remarkable​ ​(Good) 
  +2 
  Excellent​ ​(Fair) 
  +1 
  Good​ ​(Average) 
  0 
  Typical​ ​(Mediocre) 
  -1 
  Poor 
  -2 
  Feeble​ ​(Terrible) 
  -3 
  Awful​ ​(Shift​ ​0) 
  -4 
  Abysmal 
   
   
  Modelling​ ​a​ ​character​ ​is​ ​one​ ​way​ ​to​ ​do​ ​it,​ ​assign​ ​the​ ​skills​ ​you​ ​think​ ​fit​ ​and​ ​away​ ​you​ ​go.​ ​ ​I​ ​did 
  this​ ​a​ ​lot​ ​when​ ​there​ ​were​ ​characters​ ​in​ ​new​ ​comics​ ​that​ ​I​ ​didn’t​ ​have​ ​stats​ ​for​ ​and​ ​it​ ​usually 
  worked​ ​well.​ ​ ​However,​ ​random​ ​character​ ​creation​ ​is​ ​fun,​ ​too. 
   
  ORIGIN  
   
  Dice​ ​Roll 
  Origin 
  -4 
  High​ ​Technology 
  -3 
  Alien 
  -2 
  Altered​ ​Human 
  -1 
  Altered​ ​Human 
  0 
  High​ ​Technology 
  +1 
  Mutant 
  +2 
  Mutant 
  +3 
  Robot 
  +4 
  High​ ​Technology 
   
   
   
  10 
  
  ALTERED​ ​HUMANS​ ​-​ ​ ​Use​ ​Column​ ​1​ ​for​ ​rolling​ ​FASERIP 
   
  Normal​ ​people​ ​transformed​ ​in​ ​some​ ​way. 
   
  Bonuses​ ​-​ ​After​ ​rolling,​ ​raise​ ​any​ ​FASERIP​ ​one​ ​rank. 
   
   
  MUTANTS​ ​-​ ​ ​Use​ ​Column​ ​1​ ​for​ ​rolling​ ​FASERIP. 
   
  Members​ ​of​ ​the​ ​Homo​ ​Superior​ ​race,​ ​born​ ​with​ ​powers.  
   
  Bonuses​ ​-​ ​Gain​ ​one​ ​extra​ ​power.​ ​Raise​ ​Endurance​ ​one​ ​rank. 
  Penalties​ ​-​ ​Popularity​ ​starts​ ​at​ ​0.​ ​Lower​ ​Resources​ ​one​ ​rank. 
   
   
  HIGH​ ​TECHNOLOGY​ ​-​ ​ ​Use​ ​Column​ ​3​ ​for​ ​rolling​ ​FASERIP. 
   
  People​ ​who​ ​gain​ ​powers​ ​only​ ​through​ ​equipment. 
   
  Bonuses​ ​-​ ​Raise​ ​Reason​ ​two​ ​ranks.​ ​ ​If​ ​Resources​ ​roll​ ​is​ ​less​ ​than​ ​Good​ ​(+1)​ ​make​ ​it​ ​Good​ ​(+1). 
  Gain​ ​Contacts​ ​(+1)​ ​when​ ​you​ ​choose​ ​a​ ​mandatory​ ​Scientific​ ​or​ ​Professional​ ​Skill.​ ​ ​If​ ​you​ ​gain 
  the​ ​Body​ ​Armour​ ​power​ ​you​ ​may​ ​combine​ ​all​ ​powers​ ​in​ ​a​ ​battlesuit.​ ​ ​Check​ ​on​ ​Column​ ​6​ ​of​ ​the 
  ability​ ​modifier​ ​table​ ​to​ ​do​ ​this. 
  . 
  Optional​ ​-​ ​Intensive​ ​Physical​ ​Training​ ​-​ ​Use​ ​Column​ ​3​ ​for​ ​rolling​ ​FASERIP 
   
  Instead​ ​of​ ​being​ ​High​ ​Tech​ ​the​ ​hero​ ​goes​ ​the​ ​extreme​ ​physical​ ​workout​ ​route. 
  Bonuses​ ​-​ ​Raise​ ​Fighting​ ​and​ ​Agility​ ​one​ ​rank​ ​each​ ​limited​ ​to​ ​Human​ ​Maximums.​ ​ ​If​ ​a​ ​rank 
  would​ ​be​ ​wasted,​ ​raise​ ​Endurance​ ​or​ ​Strength​ ​in​ ​that​ ​order​ ​if​ ​below​ ​Human​ ​Maximum.​ ​ ​If 
  Endurance​ ​is​ ​less​ ​than​ ​Good​ ​(+1)​ ​make​ ​it​ ​Good​ ​(+1).​ ​If​ ​you​ ​take​ ​a​ ​Martial​ ​Arts​ ​Skill 
  Specialisation​ ​you​ ​get​ ​two​ ​for​ ​the​ ​price​ ​of​ ​one.​ ​ ​Any​ ​powers​ ​taken​ ​should​ ​make​ ​sense​ ​with​ ​this 
  concept,​ ​otherwise​ ​be​ ​equipment​ ​based. 
   
   
   
  ROBOTS​ ​-​ ​ ​Use​ ​Column​ ​4​ ​for​ ​rolling​ ​FASERIP. 
   
  An​ ​artificially​ ​created​ ​being. 
   
  Bonuses​ ​-​ ​A​ ​robot​ ​cannot​ ​die​ ​if​ ​it​ ​can​ ​be​ ​rebuilt.​ ​Come​ ​back​ ​to​ ​life​ ​if​ ​Taken​ ​Out​ ​by​ ​killing​ ​in​ ​this 
  situation​ ​with​ ​one​ ​less​ ​refresh. 
  Penalties​ ​-​ ​Robots​ ​begin​ ​with​ ​popularity​ ​0. 
   
  11 
  
   
  ALIENS​ ​-​ ​ ​Use​ ​Column​ ​5​ ​for​ ​rolling​ ​FASERIP. 
   
  People​ ​from​ ​other​ ​places​ ​or​ ​non-human​ ​races. 
  Bonuses​ ​-​ ​Powers​ ​may​ ​be​ ​natural​ ​or​ ​equipment​ ​based. 
  Penalties​ ​-​ ​Aliens​ ​start​ ​with​ ​one​ ​less​ ​Power​ ​(two​ ​minimum).​ ​ ​Resources​ ​begin​ ​at​ ​-1.​ ​ ​Contacts 
  are​ ​at​ ​+1​ ​for​ ​their​ ​place​ ​of​ ​origin. 
   
  NORMAL​ ​HUMANS​ ​-​ ​ ​Use​ ​Column​ ​2​ ​for​ ​rolling​ ​FASERIP. 
   
   
  FASERIP​ ​ABILITY​ ​RANKS​ ​TABLE 
   
   
   
  Name 
  Number 
  1​ ​Mut/AH 
  2​ ​Normals 
  3​ ​HiTech 
  4​ ​Robots/P 
  5​ ​Aliens 
  Feeble 
  -2 
  -3 
  -3 
  -3 
  -4 
  -4 
  Poor 
  -1 
  +3 
  -1 
  +3 
  -3 
  -3 
  Typical 
  0 
  -2 
  -4,-2,0,+2,+4 
  -2,-1 
  +3 
  +3 
  Good 
  1 
  0 
  +1 
  0,+1 
  0 
  -2 
  Excellent 
  2 
  +1 
  +3 
  +2 
  -2 
  +0 
  Remarkable 
  3 
  -1 
  NA 
  +4,-4 
  -1 
  -1 
  Incredible 
  4 
  +2 
  NA 
  NA 
  +1 
  +2 
  Amazing 
  5 
  +4,-4 
  NA 
  NA 
  +2 
  +1 
  Monstrous 
  6 
  NA 
  NA 
  NA 
  +4 
  +4 
   
   
  ABILITY​ ​MODIFIER​ ​TABLE 
   
  Dice​ ​Roll 
  Modification 
  -1 
  Reduce​ ​by​ ​one​ ​rank 
  0,-3 
  Remain​ ​Unchanged 
  +1 
  Increase​ ​by​ ​one​ ​rank 
  -4,-2,+4 
  Increase​ ​by​ ​two​ ​ranks 
  12 
  
  +2 
  Increase​ ​by​ ​three​ ​ranks 
  +3 
  Increase​ ​by​ ​four​ ​ranks 
   
   
  SECONDARY​ ​ABILITIES 
   
  Resources​ ​-​ ​start​ ​at​ ​Typical​ ​and​ ​modify​ ​by​ ​a​ ​roll​ ​on​ ​the​ ​Ability​ ​Modifier​ ​table,​ ​unless​ ​the​ ​origin 
  type​ ​dictates​ ​otherwise. 
   
  Popularity​ ​-​ ​beings​ ​at​ ​Good​ ​+1​ ​unless​ ​possessing​ ​a​ ​secret​ ​identity,​ ​then​ ​you​ ​have​ ​Typical​ ​0.​ ​ ​If 
  you​ ​identity​ ​is​ ​known​ ​publicly​ ​you​ ​begin​ ​at​ ​Excellent​ ​+2. 
   
  HEALTH 
   
  Health​ ​is​ ​one​ ​of​ ​the​ ​two​ ​options​ ​you​ ​have​ ​to​ ​avoid​ ​losing​ ​a​ ​conflict—it​ ​represents​ ​temporary 
  fatigue,​ ​getting​ ​winded,​ ​superficial​ ​injuries,​ ​and​ ​so​ ​on.​ ​You​ ​have​ ​a​ ​number​ ​of​ ​Health​ ​levels​ ​you 
  can​ ​burn​ ​off​ ​to​ ​help​ ​keep​ ​you​ ​in​ ​a​ ​fight,​ ​and​ ​they​ ​reset​ ​at​ ​the​ ​end​ ​of​ ​a​ ​conflict,​ ​once​ ​you’ve​ ​had 
  a​ ​moment​ ​to​ ​rest​ ​and​ ​catch​ ​your​ ​breath. 
   
  Health​ ​Tracks 
  Every​ ​PC​ ​has​ ​two​ ​different​ ​Health​ ​tracks​.​ ​The​ ​physical​ ​health​ ​track​ ​deals​ ​with​ ​physical​ ​harm, 
  and​ ​the​ ​mental​ ​health​ ​track​ ​mitigates​ ​mental​ ​harm.​ ​The​ ​more​ ​boxes​ ​in​ ​a​ ​health​ ​track,​ ​the​ ​more 
  resilient​ ​the​ ​character​ ​is​ ​in​ ​that​ ​regard.​ ​By​ ​default,​ ​a​ ​character​ ​has​ ​two​ ​boxes​ ​in​ ​each 
  healthtrack. 
   
   
  Physical​ ​Health 
   
  Physical​ ​Health​ ​ ​boxes​ ​start​ ​at​ ​2.​ ​Add​ ​up​ ​the​ ​ability​ ​ranks​ ​for​ ​the​ ​four​ ​physical​ ​abilities,​ ​FASE. 
  For​ ​every​ ​8​ ​points,​ ​add​ ​one​ ​Physical​ ​Health​ ​box,​ ​adding​ ​one​ ​as​ ​long​ ​as​ ​the​ ​total​ ​is​ ​6​ ​or​ ​higher 
  for​ ​any​ ​remainder​ ​after​ ​each​ ​eight.​ ​ ​e.g.​ ​FASE​ ​adding​ ​to​ ​17​ ​would​ ​give​ ​ ​you​ ​two​ ​additional 
  Physical​ ​Health​ ​boxes. 
   
  Mental​ ​Health 
   
  Add​ ​up​ ​the​ ​ability​ ​ranks​ ​for​ ​the​ ​three​ ​mental​ ​abilities​ ​RIP.​ ​ ​For​ ​every​ ​6​ ​points,​ ​add​ ​one​ ​Mental 
  Health​ ​box,​ ​adding​ ​one​ ​as​ ​long​ ​as​ ​the​ ​total​ ​is​ ​4​ ​or​ ​higher​ ​for​ ​any​ ​remainder.​ ​ ​e.g.​ ​RIP​ ​adding​ ​to 
  10​ ​would​ ​give​ ​you​ ​two​ ​additional​ ​Mental​ ​Health​ ​boxes. 
   
  13 
  
  CONSEQUENCES 
   
  Consequences​ ​are​ ​the​ ​other​ ​option​ ​you​ ​have​ ​to​ ​stay​ ​in​ ​a​ ​conflict,​ ​but​ ​they​ ​have​ ​a​ ​more​ ​lasting 
  impact.​ ​Every​ ​time​ ​you​ ​take​ ​a​ ​consequence,​ ​it​ ​puts​ ​a​ ​new​ ​aspect​ ​on​ ​your​ ​sheet​ ​describing​ ​your 
  injuries.​ ​Unlike​ ​Health,​ ​you​ ​have​ ​to​ ​take​ ​time​ ​to​ ​recover​ ​from​ ​a​ ​consequence,​ ​and​ ​it’s​ ​stuck​ ​on 
  your​ ​character​ ​sheet​ ​in​ ​the​ ​meantime,​ ​which​ ​leaves​ ​your​ ​character​ ​vulnerable​ ​to​ ​complications 
  or​ ​others​ ​wishing​ ​to​ ​take​ ​advantage​ ​of​ ​your​ ​new​ ​weakness. 
   
  Consequence​ ​Slots 
  Every​ ​PC​ ​also​ ​has​ ​three​ ​consequence​ ​slots​.​ ​One​ ​is​ ​mild,​ ​one​ ​is​ ​moderate,​ ​and​ ​the​ ​last​ ​one​ ​is 
  severe.​ ​Unlike​ ​stress,​ ​these​ ​aren’t​ ​classified​ ​as​ ​either​ ​physical​ ​or​ ​mental—any​ ​of​ ​them​ ​can 
  apply​ ​to​ ​any​ ​type​ ​of​ ​harm.​ ​As​ ​mentioned​ ​above,​ ​consequences​ ​are​ ​the​ ​injuries​ ​and​ ​traumas​ ​you 
  can’t​ ​just​ ​shake​ ​off​ ​after​ ​the​ ​dust​ ​settles. 
   
  If​ ​FASE​ ​adds​ ​up​ ​to​ ​16​ ​or​ ​higher​ ​or​ ​Endurance​ ​is​ ​Amazing​ ​+5​ ​or​ ​better,​ ​add​ ​one​ ​Mild 
  Consequence​ ​box.​ ​ ​If​ ​RIP​ ​adds​ ​up​ ​to​ ​12​ ​or​ ​higher​ ​or​ ​Psyche​ ​is​ ​Amazing​ ​+5​ ​or​ ​better,​ ​add​ ​one 
  Mild​ ​Consequence. 
   
  KARMA 
   
  Refresh​ ​is​ ​the​ ​number​ ​of​ ​Karma​ ​you​ ​get​ ​at​ ​the​ ​start​ ​of​ ​every​ ​game​ ​session​ ​to​ ​spend​ ​for​ ​your 
  character.​ ​Your​ ​total​ ​resets​ ​to​ ​this​ ​number​ ​unless​ ​you​ ​had​ ​more​ ​Karma​ ​at​ ​the​ ​end​ ​of​ ​the​ ​last 
  session. 
   
  Initial​ ​Refresh​ ​for​ ​starting​ ​characters​ ​is​ ​3. 
   
  Optional​ ​rules  
   
  Raise​ ​Refresh​ ​by​ ​one​ ​for​ ​a​ ​character​ ​with​ ​2​ ​powers.​ ​ ​Reduce​ ​it​ ​by​ ​one​ ​by​ ​characters​ ​with​ ​5 
  powers.​ ​ ​You​ ​can​ ​also​ ​consider​ ​abilities​ ​of​ ​Incredible​ ​or​ ​higher​ ​in​ ​this​ ​calculation​ ​as​ ​another 
  possibility. 
   
  ASPECTS 
   
  Use​ ​the​ ​usual​ ​Fate​ ​Core​ ​five​ ​aspects​ ​but​ ​make​ ​the​ ​High​ ​Concept​ ​encapsulate​ ​the​ ​hero’s​ ​origin, 
  style​ ​and​ ​power.  
   
  High​ ​Concept 
  Trouble 
  Aspect​ ​1 
  Aspect​ ​2 
  14 
  
  Aspect​ ​3 
   
  Aspects​ ​are​ ​phrases​ ​that​ ​describe​ ​some​ ​significant​ ​detail​ ​about​ ​a​ ​character.​ ​They​ ​are​ ​the 
  reasons​ ​why​ ​your​ ​character​ ​matters,​ ​why​ ​someone​ ​is​ ​interested​ ​in​ ​seeing​ ​your​ ​character​ ​in​ ​the 
  game.​ ​Aspects​ ​can​ ​cover​ ​a​ ​wide​ ​range​ ​of​ ​elements,​ ​such​ ​as​ ​personality​ ​or​ ​descriptive​ ​traits, 
  beliefs,​ ​relationships,​ ​issues​ ​and​ ​problems,​ ​or​ ​anything​ ​else​ ​that​ ​helps​ ​us​ ​invest​ ​in​ ​the​ ​character 
  as​ ​a​ ​person,​ ​rather​ ​than​ ​just​ ​a​ ​collection​ ​of​ ​stats. 
   
  Aspects​ ​come​ ​into​ ​play​ ​in​ ​conjunction​ ​with​ ​Karma.​ ​When​ ​an​ ​aspect​ ​benefits​ ​you,​ ​you​ ​can​ ​spend 
  Karma​ ​to​ ​invoke​ ​that​ ​aspect​ ​for​ ​a​ ​bonus.​ ​When​ ​your​ ​aspects​ ​complicate​ ​your​ ​character’s​ ​life, 
  you​ ​gain​ ​Karma​ ​back—this​ ​is​ ​called​ ​accepting​ ​a​ ​compel​. 
   
  Patsy’s​ ​character,​ ​Firetail,​ ​has​ ​the​ ​aspect​ ​Protector​ ​of​ ​Street​ ​Children​ ​on​ ​her​ ​sheet,​ ​which 
  describes​ ​her​ ​general​ ​tendency​ ​to​ ​sacrifice​ ​herself​ ​to​ ​help​ ​street​ ​kids.​ ​This​ ​adds​ ​an​ ​interesting, 
  fun​ ​element​ ​to​ ​the​ ​character​ ​that​ ​gets​ ​her​ ​into​ ​a​ ​great​ ​deal​ ​of​ ​trouble,​ ​bringing​ ​a​ ​lot​ ​of 
  personality​ ​to​ ​the​ ​game. 
   
  Aspects​ ​can​ ​describe​ ​things​ ​that​ ​are​ ​beneficial​ ​or​ ​detrimental—in​ ​fact,​ ​the​ ​best​ ​aspects​ ​are 
  both. 
   
  And​ ​aspects​ ​don’t​ ​just​ ​belong​ ​to​ ​characters;​ ​the​ ​environment​ ​your​ ​characters​ ​are​ ​in​ ​can​ ​have 
  aspects​ ​attached​ ​to​ ​it​ ​as​ ​well. 
   
  Your​ ​high​ ​concept​ ​is​ ​a​ ​phrase​ ​that​ ​sums​ ​up​ ​what​ ​your​ ​character​ ​is​ ​about—who​ ​he​ ​is​ ​and​ ​what 
  he​ ​does.​ ​It’s​ ​an​ ​aspect,​ ​one​ ​of​ ​the​ ​first​ ​and​ ​most​ ​important​ ​ones​ ​for​ ​your​ ​character. 
  Think​ ​of​ ​this​ ​as​ ​your​ ​role​ ​in​ ​life,​ ​or​ ​your​ ​calling—it’s​ ​what​ ​you’re​ ​good​ ​at,​ ​but​ ​it’s​ ​also​ ​a​ ​duty​ ​you 
  have​ ​to​ ​deal​ ​with,​ ​and​ ​it’s​ ​constantly​ ​filled​ ​with​ ​problems​ ​of​ ​its​ ​own.​ ​That​ ​is​ ​to​ ​say,​ ​it​ ​comes​ ​with 
  some​ ​good​ ​and​ ​some​ ​bad.​ ​There​ ​are​ ​a​ ​few​ ​different​ ​directions​ ​you​ ​can​ ​take​ ​this: 
  ●
  You​ ​could​ ​take​ ​the​ ​idea​ ​of​ ​“like​ ​your​ ​job”​ ​literally:​ ​Fighting​ ​Crime,​ ​All​ ​the​ ​Time 
  ●
  You​ ​could​ ​throw​ ​on​ ​an​ ​adjective​ ​or​ ​other​ ​descriptor​ ​to​ ​further​ ​define​ ​the​ ​idea:  
  ●
  You​ ​could​ ​mash​ ​two​ ​jobs​ ​or​ ​roles​ ​together​ ​that​ ​most​ ​people​ ​would​ ​find​ ​odd:​ ​Two-tailed 
  two-fisted​ ​Crime​ ​Fighting​ ​Electronics​ ​Expert 
  ●
  You​ ​could​ ​play​ ​off​ ​of​ ​an​ ​important​ ​relationship​ ​to​ ​your​ ​family​ ​or​ ​an​ ​organization​ ​you’re 
  deeply​ ​involved​ ​with​ ​(especially​ ​if​ ​the​ ​family​ ​or​ ​organization​ ​are​ ​well-connected​ ​or 
  well-known):​ ​The​ ​Hero​ ​in​ ​a​ ​Family​ ​of​ ​Villains 
  These​ ​aren’t​ ​the​ ​only​ ​ways​ ​to​ ​play​ ​with​ ​your​ ​high​ ​concept,​ ​but​ ​they’ll​ ​get​ ​you​ ​started.​ ​But​ ​don’t 
  stress​ ​out​ ​over​ ​it—the​ ​worst​ ​thing​ ​you​ ​can​ ​do​ ​is​ ​make​ ​it​ ​into​ ​too​ ​big​ ​of​ ​a​ ​deal.​ ​You’ll​ ​come​ ​up 
  with​ ​four​ ​other​ ​aspects​ ​after​ ​this​ ​one—you​ ​don’t​ ​have​ ​to​ ​get​ ​it​ ​all​ ​nailed​ ​right​ ​now. 
   
  Trouble 
  In​ ​addition​ ​to​ ​a​ ​high​ ​concept,​ ​every​ ​character​ ​has​ ​some​ ​sort​ ​of​ ​trouble​ ​aspect​ ​that’s​ ​a​ ​part​ ​of​ ​his 
  15 
  
  life​ ​and​ ​story.​ ​If​ ​your​ ​high​ ​concept​ ​is​ ​what​ ​or​ ​who​ ​your​ ​character​ ​is,​ ​your​ ​trouble​ ​is​ ​the​ ​answer​ ​to 
  a​ ​simple​ ​question:​ ​what​ ​complicates​ ​your​ ​character’s​ ​existence? 
  Trouble​ ​brings​ ​chaos​ ​into​ ​a​ ​character’s​ ​life​ ​and​ ​drives​ ​him​ ​into​ ​interesting​ ​situations.​ ​Trouble 
  aspects​ ​are​ ​broken​ ​up​ ​into​ ​two​ ​types:​ ​personal​ ​struggles​ ​and​ ​problematic​ ​relationships​. 
  ●
  Personal​ ​struggles​ ​are​ ​about​ ​your​ ​darker​ ​side​ ​or​ ​impulses​ ​that​ ​are​ ​hard​ ​to​ ​control. 
  If​ ​it’s​ ​something​ ​that​ ​your​ ​character​ ​might​ ​be​ ​tempted​ ​to​ ​do​ ​or​ ​unconsciously​ ​do​ ​at​ ​the 
  worst​ ​possible​ ​moment,​ ​it’s​ ​this​ ​sort​ ​of​ ​trouble.​ ​Examples:​​ ​Anger​ ​Management​ ​Issues, 
  Sucker​ ​for​ ​a​ ​Pretty​ ​Face,The​ ​Bottle​ ​Calls​ ​to​ ​Me​. 
  ●
  Problematic​ ​relationships​ ​are​ ​about​ ​people​ ​or​ ​organizations​ ​that​ ​make​ ​your​ ​life 
  hard.​ ​It​ ​could​ ​be​ ​a​ ​group​ ​of​ ​people​ ​who​ ​hate​ ​your​ ​guts​ ​and​ ​want​ ​you​ ​to​ ​suffer,​ ​folks​ ​you 
  work​ ​for​ ​that​ ​don’t​ ​make​ ​your​ ​job​ ​easy,​ ​or​ ​even​ ​your​ ​family​ ​or​ ​friends​ ​that​ ​too​ ​often​ ​get 
  caught​ ​in​ ​the​ ​crossfire.​ ​Examples:​ ​Family​ ​Woman,​ ​Debt​ ​to​ ​the​ ​Mob,​ ​The​ ​Blue​ ​Space 
  Aliens​ ​Wants​ ​Me​ ​Dead​. 
  Your​ ​trouble​ ​shouldn’t​ ​be​ ​easy​ ​to​ ​solve.​ ​If​ ​it​ ​was,​ ​your​ ​character​ ​would​ ​have​ ​done​ ​that​ ​already, 
  and​ ​that’s​ ​not​ ​interesting.​ ​But​ ​nor​ ​should​ ​it​ ​paralyze​ ​the​ ​character​ ​completely.​ ​If​ ​the​ ​trouble​ ​is 
  constantly​ ​interfering​ ​with​ ​the​ ​character’s​ ​day-to-day​ ​life,​ ​he’s​ ​going​ ​to​ ​spend​ ​all​ ​his​ ​time​ ​dealing 
  with​ ​it​ ​rather​ ​than​ ​other​ ​matters​ ​at​ ​hand.​ ​You​ ​shouldn’t​ ​have​ ​to​ ​deal​ ​with​ ​your​ ​trouble​ ​at​ ​every 
  turn—unless​ ​that’s​ ​the​ ​core​ ​of​ ​one​ ​particular​ ​adventure​ ​in​ ​the​ ​story​ ​(and​ ​even​ ​then,​ ​that’s​ ​just 
  one​ ​adventure). 
   
  Troubles​ ​also​ ​shouldn’t​ ​be​ ​directly​ ​related​ ​to​ ​your​ ​high​ ​concept—if​ ​you​ ​are​ ​a​ ​Superhero​ ​o​ ​fsome 
  sort​ ​saying​ ​your​ ​trouble​ ​is​ ​The​ ​Criminal​ ​Underworld​ ​Hates​ ​Me​ ​is​ ​a​ ​really​ ​dull​ ​because​ ​it​ ​is 
  generally​ ​already​ ​assumed​ ​with​ ​your​ ​high​ ​concept.​ ​(Of​ ​course,​ ​you​ ​can​ ​turn​ ​that​ ​up​ ​a​ ​notch​ ​to 
  make​ ​it​ ​personal,​ ​like​ ​Medical​ ​Miseryguts​ ​Wants​ ​To​ ​Put​ ​Me​ ​In​ ​Three​ ​Death​ ​Traps​,​ ​to​ ​make​ ​it 
  work.) 
   
  Before​ ​you​ ​go​ ​any​ ​further,​ ​talk​ ​with​ ​the​ ​GM​ ​about​ ​your​ ​character’s​ ​trouble.​ ​Make​ ​sure​ ​you’re 
  both​ ​on​ ​the​ ​same​ ​page​ ​in​ ​terms​ ​of​ ​what​ ​it​ ​means.​ ​Both​ ​of​ ​you​ ​may​ ​want​ ​to​ ​find​ ​one​ ​way​ ​this 
  aspect​ ​might​ ​be​ ​invoked​ ​or​ ​compelled​ ​to​ ​make​ ​sure​ ​you’re​ ​both​ ​seeing​ ​the​ ​same​ ​things—or​ ​to 
  give​ ​each​ ​other​ ​ideas.​ ​The​ ​GM​ ​should​ ​come​ ​away​ ​from​ ​this​ ​conversation​ ​knowing​ ​what​ ​you 
  want​ ​out​ ​of​ ​your​ ​trouble. 
   
  The​ ​Bright​ ​Side​ ​of​ ​Troubles 
  Since​ ​your​ ​trouble​ ​is​ ​an​ ​aspect,​ ​it’s​ ​something​ ​you​ ​should​ ​also​ ​be​ ​able​ ​to​​ ​invoke​,​ ​right? 
  Because​ ​you've​ ​been​ ​so​ ​focused​ ​on​ ​how​ ​this​ ​complicates​ ​your​ ​character’s​ ​life,​ ​it’s​ ​easy​ ​to​ ​miss 
  how​ ​a​ ​trouble​ ​also​ ​helps​ ​your​ ​character. 
   
  In​ ​short,​ ​your​ ​experience​ ​with​ ​your​ ​trouble​ ​makes​ ​you​ ​a​ ​stronger​ ​person​ ​in​ ​that​ ​regard.​ ​Dealing 
  with​ ​personal​ ​struggles​ ​leaves​ ​you​ ​vulnerable​ ​to​ ​being​ ​tempted​ ​or​ ​cajoled,​ ​but​ ​it​ ​can​ ​also​ ​give 
  you​ ​a​ ​sense​ ​of​ ​inner​ ​strength,​ ​because​ ​you​ ​know​ ​the​ ​sort​ ​of​ ​person​ ​you​ ​want​ ​to​ ​be.​ ​Problematic 
  relationships​ ​often​ ​cause​ ​trouble,​ ​but​ ​people​ ​do​ ​learn​ ​hard​ ​lessons​ ​from​ ​the​ ​troubles​ ​they​ ​deal 
  16 
  
  with.​ ​They​ ​especially​ ​learn​ ​how​ ​to​ ​manoeuvre​ ​around​ ​many​ ​of​ ​the​ ​smaller​ ​issues​ ​their​ ​troubles 
  present. 
   
  Intro​ ​to​ ​Choosing​ ​Aspects 
  A​ ​lot​ ​of​ ​character​ ​creation​ ​focuses​ ​on​ ​coming​ ​up​ ​with​ ​aspects—some​ ​are​ ​called​ ​high​ ​concepts, 
  some​ ​are​ ​called​ ​troubles,​ ​but​ ​they​ ​basically​ ​all​ ​work​ ​the​ ​same​ ​way.​ ​Aspects​ ​are​ ​one​ ​of​ ​the​ ​most 
  important​ ​parts​ ​of​ ​your​ ​character,​ ​since​ ​they​ ​define​ ​who​ ​she​ ​is,​ ​and​ ​they​ ​provide​ ​ways​ ​for​ ​you​ ​to 
  generate​ ​Karma​ ​and​ ​to​ ​spend​ ​those​ ​Karma​ ​on​ ​bonuses.​ ​If​ ​you​ ​have​ ​time,​ ​you​ ​really​ ​might​ ​want 
  to​ ​read​ ​the​ ​whole​ ​section​ ​dedicated​ ​to​ ​aspects​ ​before​ ​you​ ​go​ ​through​ ​the​ ​process​ ​of​ ​character 
  creation. 
   
  In​ ​case​ ​you’re​ ​pressed​ ​for​ ​time,​ ​here​ ​are​ ​some​ ​guidelines​ ​for​ ​choosing​ ​aspects. 
   
  Aspects​ ​which​ ​don’t​ ​help​ ​you​ ​tell​ ​a​ ​good​ ​story​ ​(by​ ​giving​ ​you​ ​success​ ​when​ ​you​ ​need​ ​it​ ​and​ ​by 
  drawing​ ​you​ ​into​ ​danger​ ​and​ ​action​ ​when​ ​the​ ​story​ ​needs​ ​it)​ ​aren’t​ ​doing​ ​their​ ​job.​ ​The​ ​aspects 
  which​ ​push​ ​you​ ​into​ ​conflict—and​ ​help​ ​you​ ​excel​ ​once​ ​you’re​ ​there—will​ ​be​ ​among​ ​your​ ​best 
  and​ ​most-used. 
   
  Aspects​ ​need​ ​to​ ​be​ ​both​ ​useful​ ​and​ ​dangerous—allowing​ ​you​ ​to​ ​help​ ​shape​ ​the​ ​story​ ​and 
  generating​ ​lots​ ​of​ ​Karma—and​ ​they​ ​should​ ​never​ ​be​ ​boring.​ ​The​ ​best​ ​aspect​ ​suggests​ ​both 
  ways​ ​to​ ​use​ ​it​ ​and​ ​ways​ ​it​ ​can​ ​complicate​ ​your​ ​situation.​ ​Aspects​ ​that​ ​cannot​ ​be​ ​used​ ​for​ ​either 
  of​ ​those​ ​are​ ​likely​ ​to​ ​be​ ​dull​ ​indeed. 
   
  Bottom​ ​line:​ ​if​ ​you​ ​want​ ​to​ ​maximize​ ​the​ ​power​ ​of​ ​your​ ​aspects,​ ​maximize​ ​their​ ​interest. 
  When​ ​you’re​ ​told​ ​you​ ​need​ ​to​ ​come​ ​up​ ​with​ ​an​ ​aspect,​ ​you​ ​might​ ​experience​ ​brain​ ​freeze.​ ​If​ ​you 
  feel​ ​stumped​ ​for​ ​decent​ ​ideas​ ​for​ ​aspects,​ ​there’s​ ​a​ ​big​ ​section​ ​focusing​ ​on​ ​several​ ​methods​ ​for 
  coming​ ​up​ ​with​ ​good​ ​aspect​ ​ideas​ ​in​ ​Aspects​ ​and​ ​Karma. 
   
  Ultimately,​ ​it’s​ ​much​ ​better​ ​to​ ​leave​ ​an​ ​aspect​ ​slot​ ​blank​ ​than​ ​to​ ​pick​ ​one​ ​that​ ​isn’t​ ​inspiring​ ​and 
  evocative​ ​to​ ​play.​ ​If​ ​you’re​ ​picking​ ​aspects​ ​you’re​ ​not​ ​invested​ ​in,​ ​they’ll​ ​end​ ​up​ ​being​ ​noticeable 
  drags​ ​on​ ​your​ ​fun. 
   
   
   
  SPECIAL​ ​ABILITIES​ ​TABLE 
   
  Roll​ ​once​ ​each​ ​for​ ​Powers,​ ​Skills​ ​and​ ​Contacts.​ ​See​ ​the​ ​Ultimate​ ​Powers​ ​Book​ ​for​ ​more 
  advanced​ ​options​ ​beyond​ ​the​ ​scope​ ​and​ ​time​ ​of​ ​this​ ​game.​ ​ ​Power​ ​Ranks​ ​are​ ​rolled​ ​on​ ​Column 
  4​ ​of​ ​the​ ​Abilities​ ​table​ ​above​ ​as​ ​needed.  
   
  Dice​ ​Roll 
  Powers 
  Skills 
  Contacts 
  17 
  
  -​4,-3,+3,+4 
  2/4 
  1/6 
  0 
  0,+1,+2 
  3/4 
  2/5 
  +1 
  -2,-1 
  4/4 
  3/4 
  +2 
  +2 
  5/5 
  4/4 
  +3 
   
  The​ ​number​ ​before​ ​the​ ​slash​ ​is​ ​the​ ​initial​ ​number​ ​of​ ​Powers/Skills/Contact​ ​ranks,​ ​while​ ​the 
  number​ ​after​ ​is​ ​the​ ​maximum​ ​that​ ​you​ ​may​ ​begin​ ​playing​ ​with. 
   
  POWER​ ​CATEGORIES​ ​TABLE 
   
   
  Dice​ ​Roll 
  Power​ ​Category 
   
  -4 
  Resistances 
   
  +4 
  Senses 
   
  +3 
  Movement 
   
  -2 
  Matter​ ​Control 
   
  -1 
  Energy​ ​Control 
   
  +1 
  Body​ ​Control 
   
  +2 
  Distance​ ​Attacks 
   
  -3 
  Mental​ ​Powers 
   
  0 
  Body​ ​Alterations​ ​(roll​ ​again) 
  Roll​ ​4dF​ ​>=0​ ​is​ ​Offensive 
   
   
  Roll​ ​4dF​ ​<=-1​ ​is​ ​Defensive 
   
   
  There​ ​are​ ​two​ ​ways​ ​to​ ​do​ ​the​ ​actual​ ​powers.​ ​ ​Choose​ ​the​ ​ones​ ​you​ ​want,​ ​or​ ​roll​ ​randomly.​ ​ ​Any 
  power​ ​with​ ​an​ ​*​ ​costs​ ​two​ ​power​ ​slots.​ ​ ​If​ ​powers​ ​in​ ​a​ ​cell​ ​are​ ​separated​ ​with​ ​a​ ​slash,​ ​choose 
  either​ ​counting​ ​as​ ​one​ ​slot.​ ​ ​Both​ ​would​ ​be​ ​two​ ​slots.​ ​ ​Or​ ​roll​ ​at​ ​random,​ ​which​ ​eliminates​ ​the 
  two​ ​slot​ ​powers.​ ​ ​Characters​ ​may​ ​take​ ​power​ ​limitations​ ​to​ ​increase​ ​Power​ ​Ranks​ ​as​ ​agreed​ ​by 
  the​ ​GM. 
   
  Resistances 
   
  18 
  
  First​ ​Roll 
  Resistance 
  Second​ ​Roll 
  0 
  Heat/Cold 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +1 
  Electricity/Radiation 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Toxins/Corrosives 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -2 
  Emotion​ ​Attacks 
   
  +2 
  Mental​ ​Attacks 
   
  -3,-4 
  Magical​ ​Attacks 
   
  +3,+4 
  Disease 
   
  NA 
  Invulnerability* 
   
   
  Senses 
   
   
  First​ ​Roll 
  Sense 
  Second​ ​Roll 
  0 
  Enhanced/Protected​ ​Senses 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +1 
  Energy/Magnetic​ ​Detection 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Infravision/Tracking​ ​Ability 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Computer​ ​Links 
   
  -2 
  Emotion​ ​Detection 
   
  -3,-4 
  Astral​ ​Detection 
   
  +3,+4 
  Psionic​ ​Detection 
   
  NA 
  Cosmic​ ​Awareness* 
   
  NA 
  Combat​ ​Sense* 
   
  NA 
  Magic​ ​Detection 
   
  NA 
  Mutant​ ​Detection 
   
   
   
  Movement 
   
  19 
  
   
  First​ ​Roll 
  Movement 
  Second​ ​Roll 
  0 
  Flight 
   
  +1 
  Wall-Crawling 
   
  -1 
  Leaping/Climbing 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Lightning​ ​Speed 
   
  -2 
  Gliding 
   
  -3,-4 
  Swimming 
   
  +3,+4 
  Levitation 
   
  NA 
  Teleportation* 
   
  NA 
  Dimensional​ ​Travel* 
   
  NA 
  Digging 
   
   
  Matter​ ​Control 
   
   
  First​ ​Roll 
  Matter​ ​Control 
  Second​ ​Roll 
  0 
  Fire​ ​Control 
   
  +1 
  Water​ ​Control 
   
  -1 
  Earth​ ​Control 
   
  +2,+3,+4 
  Air​ ​Control 
   
  -2,-3,-4 
  Weather​ ​Control 
   
  NA 
  Density​ ​Manipulation​ ​-​ ​Others 
   
  NA 
  Body​ ​Transformation​ ​-​ ​Others 
   
  NA 
  Animal​ ​Transformation​ ​-​ ​Others 
   
  NA 
  Animate​ ​Objects 
   
   
  Energy​ ​Control 
   
  20 
  
   
  First​ ​Roll 
  Energy​ ​Control 
  Second​ ​Roll 
  0 
  Electrical​ ​Manipulation 
   
  +1 
  Magnetic​ ​Manipulation 
   
  -1 
  Light​ ​Manipulation 
   
  +2,-2 
  Sound​ ​Manipulation 
   
  +3,+4 
  Darkforce​ ​Manipulation 
   
  -3,-4 
  Gravity​ ​Manipulation 
   
  NA 
  Probability​ ​Manipulation* 
   
  NA 
  Nullifying​ ​Power* 
   
  NA 
  Time​ ​Control* 
   
  NA 
  Energy​ ​Reflection 
   
   
  Body​ ​Controls 
   
   
  First​ ​Roll 
  Body​ ​Control 
  Second​ ​Roll 
  0 
  Growth/Shrinking 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +1 
  Invisibility/Shape-Shifting 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Body​ ​Transformation*/Blending 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Raise​ ​Lowest​ ​Ability 
   
  -2 
  Animal​ ​Transformation​ ​-​ ​Self 
   
  +3,​ ​+4 
  Plasticity 
   
  -3,​ ​-4 
  Alter​ ​Ego 
   
  NA 
  Density​ ​Manipulation​ ​-​ ​Self 
   
  NA 
  Phasing 
   
  NA 
  Elongation 
   
  NA 
  Imitation 
   
  21 
  
  NA 
  Power​ ​Absorption 
   
   
  Distance​ ​Attacks 
   
   
  First​ ​Roll 
  Distance​ ​Attack 
  Second​ ​Roll 
  0 
  Projectile/Slashing​ ​Missile 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +1 
  Fire/Ice​ ​Generation 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Energy/Sound​ ​Generation 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Ensnaring​ ​Missile 
   
  -2 
  Stunning​ ​Missile 
   
  +3,+4 
  Corrosive​ ​Missile 
   
  -3,-4 
  Darkness​ ​Generation 
   
  NA 
  Nullifier​ ​Missile 
   
   
  Mental​ ​Powers 
   
   
  First​ ​Roll 
  Mental​ ​Power 
  Second​ ​Roll 
  0 
  Telepathy/Telekinesis 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +1 
  Psi-Screen/Mental​ ​Probe 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Psionic​ ​Attack/Astral​ ​Project 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Force​ ​Field​ ​Generation 
   
  -2 
  Empathy 
   
  +3,+4 
  Animal​ ​Communication/Control 
   
  -3,-4 
  Image​ ​Generation* 
   
  NA 
  Mind​ ​Control* 
   
  NA 
  Emotion​ ​Control* 
   
  NA 
  Possession* 
   
  22 
  
  NA 
  Transferral* 
   
  NA 
  Precognition* 
   
  NA 
  Mechanical​ ​Intuition 
   
  NA 
  Animal​ ​Empathy 
   
  NA 
  Postcognition 
   
  NA 
  Plant​ ​Control 
   
  NA 
  Ultimate​ ​Skill 
   
   
  Body​ ​Alterations​ ​-​ ​Offensive 
   
   
  First​ ​Roll 
  Offensive​ ​Alteration 
  Second​ ​Roll 
  0,+3,+4 
  Extra​ ​Body​ ​Parts 
   
  +1 
  Claws 
   
  -1 
  Energy/Paralysing​ ​Touch 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Extra​ ​Attacks 
   
  -2 
  Corrosive​ ​Touch 
   
  -3,-4 
  Rotting​ ​Touch 
   
  NA 
  Health-Drain​ ​Touch* 
   
  NA 
  Blinding​ ​Touch 
   
   
  Body​ ​Alterations/Defensive 
   
   
  First​ ​Roll 
  Defensive​ ​Alteration 
  Second​ ​Roll 
  0,+3,+4 
  Body​ ​Armour 
   
  +1 
  Recovery 
   
  -1 
  Regeneration/Life​ ​Support 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Absorption 
   
  23 
  
  -2 
  Water​ ​Breathing 
   
  -3,-4 
  Solar​ ​Regeneration 
   
  NA 
  Immortality* 
   
  NA 
  Pheromones 
   
  NA 
  Damage​ ​Transfer 
   
  NA 
  Healing 
   
   
  You​ ​may​ ​take​ ​a​ ​limitation​ ​with​ ​a​ ​power​ ​to​ ​raise​ ​the​ ​rank,​ ​with​ ​GM​ ​agreement.​ ​ ​One​ ​limit​ ​per 
  character. 
   
  Powers​ ​may​ ​be​ ​natural​ ​or​ ​equipment,​ ​with​ ​origin​ ​limitations. 
   
  SKILL​ ​CATEGORIES​ ​TABLE 
   
  When​ ​a​ ​skilled​ ​is​ ​rolled​ ​the​ ​character​ ​gains​ ​the​ ​base​ ​Skill​ ​as​ ​per​ ​Fate​ ​Core​ ​at​ ​the​ ​character’s 
  Ability​ ​Rank.​ ​ ​The​ ​named​ ​specialisation​ ​operates​ ​at​ ​Ability​ ​Rank​ ​+​ ​1.​ ​ ​So​ ​a​ ​character​ ​with​ ​Good 
  Agility​ ​who​ ​gains​ ​Agility​ ​-​ ​Shoot​ ​[Guns]​ ​gains​ ​ ​Shoot​ ​at​ ​+1​ ​and​ ​can​ ​Shoot​ ​[Guns]​ ​at​ ​+2. 
   
   
  Dice​ ​Roll 
  Skills​ ​Category 
  +1 
  Weapon​ ​Skills 
  0 
  Fighting​ ​Skills 
  -1 
  Professional​ ​Skills 
  -3,-4,+2,+4 
  Scientific​ ​Skills 
  +3 
  Mystic​ ​and​ ​Mental​ ​Skills 
  -2 
  Other​ ​Skills 
   
  Weapon​ ​Skills 
   
   
  First​ ​Roll 
  Weapon 
  2ndl 
  0,​ ​+3,​ ​+4 
  Agility​ ​-​ ​Shoot​ ​[Guns] 
   
  24 
  
  +1 
  Agility​ ​-​ ​Shoot​ ​[Thrown​ ​Weapons] 
   
  -1 
  Fighting​ ​-​ ​Blunt​ ​Weapons 
   
  +2 
  Agility​ ​-​ ​Shoot​ ​[Bows] 
   
  -2 
  Fighting​ ​-​ ​Sharp​ ​Weapons 
   
  -3,-4 
  Fighting​ ​-​ ​Asian​ ​Weapons 
   
  NA 
  Agility​ ​-​ ​Shoot​ ​[Marksman]*​ ​[+1​ ​All​ ​Shooting] 
   
  NA 
  Fighting​ ​-​ ​Weapons​ ​Master*​ ​[+1​ ​All​ ​Fighting​ ​Weapons] 
   
  NA 
  Fighting​ ​-​ ​Weapons​ ​Specialist*​ ​[+2​ ​one​ ​weapon] 
   
  NA 
  Agility​ ​[Shoot]​ ​-​ ​Weapons​ ​Specialist​ ​[+2​ ​one​ ​weapon] 
   
   
  Fighting​ ​Skills 
   
  MA​ ​=​ ​Martial​ ​Arts 
   
  First​ ​Roll 
  Fighting 
  Second​ ​Roll 
  0 
  Agility​ ​-​ ​Acrobatics 
   
  +1 
  Fighting​ ​-​ ​MA​ ​A/Agility-Tumbling 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Fighting​ ​-​ ​ ​MA​ ​C/Thrown​ ​Objects 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Fighting​ ​-​ ​MA​ ​B 
   
  -2 
  Fighting​ ​-​ ​MA​ ​D 
   
  +3,​ ​+4 
  Agility​ ​-​ ​Shoot​ ​-​ ​Thrown​ ​Objects 
   
  -3,​ ​-4 
  Strength​ ​-​ ​Wrestling 
   
  NA 
  Martial​ ​Arts​ ​E 
   
   
   
  Professional​ ​Skills 
   
   
  First​ ​Roll 
  Profession 
  Second​ ​Roll 
  0 
  Reason​ ​-​ ​Medicine*/Psychiatry 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  25 
  
  +1 
  Investigate/Burglary 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  -1 
  Drive 
  -4​ ​to​ ​0,​ ​+1​ ​to​ ​+4 
  +2 
  Reason​ ​-​ ​Media 
   
  -2 
  Reason​ ​-​ ​Business/Finance 
   
  +3,+4 
  Crafts​ ​-​ ​Engineering 
   
  -3,-4 
  Reason​ ​-​ ​Law 
   
  NA 
  Reason​ ​-​ ​Law-Enforcement 
   
  NA 
  Reason​ ​-​ ​Military 
   
  NA 
  Reason​ ​-​ ​Other​ ​Profession 
   
  NA 
  Crafts​ ​-​ ​Other​ ​Profession 
   
   
  Scientific​ ​Skills 
   
  First​ ​Roll 
  Science 
  Second​ ​Roll 
  0 
  Reason​ ​-​ ​Biology 
   
  +1 
  Reason​ ​-​ ​Chemistry 
   
  -1 
  Reason​ ​-​ ​Geology 
   
  +2 
  Reason​ ​-​ ​Genetics 
   
  -2 
  Reason​ ​-​ ​Physics 
   
  +3,+4 
  Reason​ ​-​ ​Computers 
   
  -3,-4 
  Crafts​ ​-​ ​Electronics 
   
  NA 
  Reason​ ​-​ ​Archeology 
   
  NA 
  Reason​ ​-​ ​Any​ ​Other​ ​Science 
   
   
  Mystic​ ​and​ ​Mental​ ​Skills​ ​or​ ​Abilities 
   
   
  First​ ​Roll 
  Mystic​ ​and​ ​Mental 
  Second​ ​Roll 
  26 
  
  0,+3,+4 
  Psyche​ ​-​ ​Hypnosis 
   
  +1 
  Psyche​ ​-​ ​Trance 
   
  -1 
  Deceive 
  ** 
  -2,-3,-4 
  Psyche​ ​-​ ​Resist​ ​Domination 
   
  +2 
  Reason​ ​-​ ​Occult 
   
  NA 
  Mystic​ ​Origin 
  ** 
   
   
  Other​ ​Skills 
   
   
  Dice​ ​Roll 
  Other 
   
  0 
  Reason​ ​-​ ​Languages 
   
  +1 
  Crafts​ ​-​ ​Artist 
   
  -1 
  Reason​ ​-​ ​First​ ​Aid 
   
  +2,+3,+4 
  Crafts​ ​-​ ​Repair 
   
  -2,-3,-4 
  Reason​ ​-​ ​Trivia 
   
  NA 
  Empathy​ ​-​ ​Animal​ ​Training* 
   
  NA 
  Resources​ ​-​ ​Heir​ ​to​ ​Fortune* 
   
  NA 
  Reason​ ​-​ ​Student* 
   
  NA 
  Popularity​ ​-​ ​Leadership* 
   
  NA 
  Reason​ ​-​ ​Other​ ​Skill 
   
  NA 
  Crafts​ ​-​ ​Other​ ​Skill 
   
  NA 
  Empathy​ ​-​ ​Other​ ​Skill 
   
   
  HEROIC​ ​ACTION 
   
  Initiative 
   
  If​ ​you​ ​want​ ​a​ ​dice​ ​system,​ ​roll​ ​4dF​ ​for​ ​each​ ​side​ ​and​ ​add​ ​the​ ​highest​ ​Intuition​ ​from​ ​each​ ​side. 
  27 
  
  The​ ​winner​ ​decides​ ​who​ ​goes​ ​first.​ ​ ​On​ ​a​ ​tie,​ ​the​ ​player​ ​characters​ ​go​ ​first.​ ​ ​If​ ​you​ ​want​ ​one​ ​that 
  takes​ ​longer,​ ​let​ ​every​ ​character​ ​make​ ​this​ ​roll. 
   
  Many​ ​use​ ​the​ ​system​ ​from​ ​the​ ​Cortex​ ​Marvel​ ​Heroic​ ​Roleplaying​ ​Game.​ ​ ​Initially,​ ​the​ ​first​ ​to 
  attack​ ​is​ ​whoever​ ​is​ ​most​ ​narratively​ ​appropriate,​ ​e.g.​ ​a​ ​supervillain​ ​surprises​ ​the​ ​characters 
  and​ ​fires​ ​their​ ​energy​ ​blast.​ ​ ​The​ ​Gamemaster​ ​would​ ​then​ ​pick​ ​which​ ​character​ ​acted​ ​next,​ ​then 
  that​ ​character​ ​picks​ ​the​ ​next​ ​to​ ​act,​ ​etc.​ ​ ​Everybody​ ​must​ ​get​ ​an​ ​action​ ​each​ ​turn​ ​if​ ​capable 
  including​ ​NPC​ ​opponents. 
   
  Measurement​ ​Benchmark​ ​Ranks​ ​Table 
   
   
  Rank 
  Weight​ ​Range 
  Distance  
  Material​ ​Strength 
  Feeble 
  20kg 
  Touch 
  Fabric,​ ​paper 
  Poor 
  50kg 
  1​ ​zone 
  Plastic,​ ​wood 
  Typical 
  100kg 
  2​ ​zones 
  Rubber,​ ​soft​ ​metal 
  Good 
  200kg 
  4​ ​zones 
  Brick,​ ​light​ ​metal/machines,asphalt 
  Excellent 
  400kg 
  6​ ​zones 
  Concrete,​ ​iron 
  Remarkable 
  1​ ​tonne 
  8​ ​zones 
  Reinforced​ ​concrete,​ ​steel 
  Incredible 
  10​ ​tonnes 
  10​ ​zones 
  Solid​ ​stone,​ ​basic​ ​super​ ​alloy 
  Amazing 
  50​ ​tonnes 
  50​ ​zones 
  Expert​ ​super​ ​alloy,​ ​gems 
  Monstrous 
  100​ ​tonnes 
  100​ ​zones 
  Advanced​ ​super​ ​alloy,​ ​granite,gems 
  Unearthly 
  200​ ​tonnes 
  200​ ​zones 
  Best​ ​Super​ ​alloys,​ ​magic​ ​items 
  Shift​ ​X 
  1000​ ​tonnes 
  1000​ ​zones 
  Powerful​ ​supernatural 
  Shift​ ​Y 
  10000​ ​tonnes 
  10000​ ​zones 
   
  Shift​ ​Z 
  100000​ ​tonnes 
  100000​ ​zones 
   
  Class​ ​1000+ 
  A​ ​lot​ ​more 
  A​ ​lot​ ​more 
  Indestructible 
   
   
  TAKING​ ​ACTION 
   
  Players,​ ​some​ ​of​ ​the​ ​things​ ​you’ll​ ​do​ ​in​ ​a​ ​Fate​ ​game​ ​require​ ​you​ ​to​ ​roll​ ​dice​ ​to​ ​see​ ​if​ ​your 
  character​ ​succeeds​ ​or​ ​not.​ ​You​ ​will​ ​always​ ​roll​ ​the​ ​dice​ ​when​ ​you’re​ ​opposing​ ​another​ ​character 
  28 
  
  with​ ​your​ ​efforts,​ ​or​ ​when​ ​there’s​ ​a​ ​significant​ ​obstacle​ ​in​ ​the​ ​way​ ​of​ ​your​ ​effort.​ ​Otherwise,​ ​just 
  say​ ​what​ ​your​ ​character​ ​does​ ​and​ ​assume​ ​it​ ​happens. 
   
  Overcome​ ​-​ ​To​ ​overcome​ ​an​ ​obstacle 
  Create​ ​Advantage​ ​-​ ​To​ ​create​ ​or​ ​unlock​ ​an​ ​advantage​ ​for​ ​your​ ​character,​ ​in​ ​the​ ​form​ ​of​ ​an 
  aspect​ ​you​ ​can​ ​use 
  Attack​ ​-​ ​To​ ​attack​ ​someone​ ​in​ ​a​ ​conflict 
  Defend​ ​-​ ​To​ ​defend​ ​yourself​ ​in​ ​a​ ​conflict 
  Rolling​ ​the​ ​Dice 
  When​ ​you​ ​need​ ​to​ ​roll​ ​dice​ ​in​ ​Fate,​ ​pick​ ​up​ ​four​ ​Fate​ ​dice​ ​and​ ​roll​ ​them.​ ​When​ ​you​ ​read​ ​the 
  dice,​ ​read​ ​every​ ​+​ ​as​ ​+1,​ ​every​ ​0​ ​as​ ​0,​ ​and​ ​every​ ​-​ ​as​ ​–1.​ ​Add​ ​them​ ​all​ ​together.​ ​You’ll​ ​get​ ​a 
  result​ ​from​ ​–4​ ​to​ ​+4,​ ​most​ ​often​ ​between​ ​–2​ ​and​ ​+2. 
  Here​ ​are​ ​some​ ​sample​ ​dice​ ​totals: 
  -+0+​ ​=​ ​+1 
  +-00​ ​= 
  +++-​ ​=​ ​+2 
  -000​ ​=​ ​−1 
   
  The​ ​result​ ​on​ ​the​ ​dice​ ​isn’t​ ​your​ ​final​ ​total,​ ​however.​ ​If​ ​your​ ​character​ ​has​ ​a​ ​skill​ ​that’s 
  appropriate​ ​to​ ​the​ ​action,​ ​you​ ​get​ ​to​ ​add​ ​your​ ​character’s​ ​rating​ ​in​ ​that​ ​skill​ ​to​ ​whatever​ ​you 
  rolled. 
  So,​ ​once​ ​you’ve​ ​rolled​ ​the​ ​dice,​ ​how​ ​do​ ​you​ ​determine​ ​what​ ​a​ ​particular​ ​result​ ​means?​ ​Glad​ ​you 
  asked. 
   
  When​ ​you​ ​roll​ ​the​ ​dice,​ ​you’re​ ​trying​ ​to​ ​get​ ​a​ ​high​ ​enough​ ​roll​ ​to​ ​match​ ​or​ ​beat​ ​your​ ​opposition. 
  That​ ​opposition​ ​is​ ​going​ ​to​ ​come​ ​in​ ​one​ ​of​ ​two​ ​forms:​ ​active​ ​opposition​,​ ​from​ ​someone​ ​rolling 
  dice​ ​against​ ​you,​ ​or​ ​passive​ ​opposition​,​ ​from​ ​an​ ​obstacle​ ​that​ ​just​ ​has​ ​a​ ​set​ ​rating​ ​on​ ​the 
  ladder​ ​for​ ​you​ ​to​ ​overcome.​ ​(GMs,​ ​you​ ​can​ ​also​ ​just​ ​decide​ ​your​ ​NPCs​ ​give​ ​passive​ ​opposition 
  when​ ​you​ ​don’t​ ​want​ ​to​ ​roll​ ​dice​ ​for​ ​them.) 
   
  Generally​ ​speaking,​ ​if​ ​you​ ​beat​ ​your​ ​opposition​ ​on​ ​the​ ​ladder,​ ​you​ ​succeed​ ​at​ ​your​​ ​action​.​ ​A​ ​tie 
  creates​ ​some​ ​effect,​ ​but​ ​not​ ​to​ ​the​ ​extent​ ​your​ ​character​ ​was​ ​intending.​ ​If​ ​you​ ​win​ ​by​ ​a​ ​lot, 
  something​ ​extra​ ​happens​ ​(like​ ​doing​ ​more​ ​harm​ ​to​ ​your​ ​opponent​ ​in​ ​a​ ​fight). 
   
  If​ ​you​ ​don’t​ ​beat​ ​the​ ​opposition,​ ​either​ ​you​ ​don’t​ ​succeed​ ​at​ ​your​ ​action,​ ​you​ ​succeed​ ​at​ ​a​ ​cost, 
  or​ ​something​ ​else​ ​happens​ ​to​ ​complicate​ ​the​ ​outcome​.​ ​Some​ ​game​ ​actions​ ​have​ ​special​ ​results 
  when​ ​you​ ​fail​ ​at​ ​the​ ​roll. 
   
  When​ ​you​ ​beat​ ​a​ ​roll​ ​or​ ​a​ ​set​ ​obstacle,​ ​the​ ​difference​ ​between​ ​your​ ​opposition​ ​and​ ​your​ ​result​ ​is 
  what​ ​is​ ​called​ ​shifts.​ ​When​ ​you​ ​roll​ ​equal​ ​to​ ​the​ ​opposition,​ ​you​ ​have​ ​zero​ ​shifts.​ ​Roll​ ​one​ ​over 
  your​ ​opposition,​ ​and​ ​you​ ​have​ ​one​ ​shift.​ ​Two​ ​over​ ​means​ ​two​ ​shifts,​ ​and​ ​so​ ​on. 
  29 
  
   
  For​ ​example:​ ​Komet​ ​Koala​ ​is​ ​trying​ ​to​ ​shoot​ ​the​ ​Blue​ ​Space​ ​Warrior​ ​that​ ​her​ ​friend​ ​Gum​ ​has 
  just​ ​sent​ ​flying.​ ​ ​She​ ​wants​ ​to​ ​hit​ ​the​ ​Power​ ​Pack​ ​of​ ​the​ ​Alien​ ​Advanced​ ​Power​ ​Armour​ ​to​ ​try 
  and​ ​disable​ ​it.​ ​ ​The​ ​GM​ ​rules​ ​this​ ​is​ ​a​ ​+3​ ​difficulty​ ​as​ ​the​ ​guy​ ​has​ ​been​ ​sent​ ​flying​ ​in​ ​Komet’s 
  direction.​ ​ ​He​ ​makes​ ​it​ ​a​ ​passive​ ​roll​ ​because​ ​the​ ​guy​ ​is​ ​flailing​ ​in​ ​the​ ​air.​ ​ ​She​ ​rolls​ ​a​ ​+1,​ ​and 
  adds​ ​his​ ​+3​ ​Weapon​ ​Master​ ​skill,​ ​gaining​ ​a​ ​+4​ ​and​ ​one​ ​shift.​ ​ ​Looks​ ​like​ ​when​ ​our​ ​alien​ ​friend 
  lands​ ​he​ ​won’t​ ​be​ ​going​ ​anywhere.​ ​ ​The​ ​1​ ​shift​ ​is​ ​ruled​ ​enough​ ​to​ ​disable​ ​the​ ​Power​ ​Pack​ ​and 
  creating​ ​the​ ​Power​ ​Pack​ ​Fizzling:​ ​You​ ​Won’t​ ​Be​ ​Going​ ​Anywhere​ ​Aspect. 
   
  Karma 
  Contents 
  ●
  Invoking​ ​an​ ​Aspect 
  ●
  Declaring​ ​a​ ​Story​ ​Detail 
  ●
  Compels 
  You​ ​use​ ​tokens​ ​to​ ​represent​ ​how​ ​much​ ​Karma​ ​you​ ​have​ ​at​ ​any​ ​given​ ​time​ ​during​ ​play.​ ​Karma​ ​is 
  one​ ​of​ ​your​ ​most​ ​important​ ​resources​ ​in​ ​Fate—they’re​ ​a​ ​measure​ ​of​ ​how​ ​much​ ​influence​ ​you 
  have​ ​to​ ​make​ ​the​ ​story​ ​go​ ​in​ ​your​ ​character’s​ ​favor. 
   
  You​ ​can​ ​spend​ ​Karma​ ​to​ ​invoke​ ​an​ ​aspect,​ ​to​ ​declare​ ​a​ ​story​ ​detail,​ ​or​ ​to​ ​activate​ ​or​ ​create 
  Power​ ​Stunts. 
   
  You​ ​earn​ ​Karma​ ​by​ ​accepting​ ​a​ ​compel​ ​on​ ​one​ ​of​ ​your​ ​aspects. 
  A​ ​word​ ​of​ ​warning:​ ​don’t​ ​use​ ​edible​ ​things​ ​as​ ​tokens,​ ​especially​ ​if​ ​the​ ​food​ ​hasn’t​ ​arrived​ ​yet. 
  Invoking​ ​an​ ​Aspect 
  Whenever​ ​you’re​ ​making​ ​a​ ​skill​ ​roll,​ ​and​ ​you’re​ ​in​ ​a​ ​situation​ ​where​ ​​ ​Invoking​ ​An​ ​Aspect​ ​might 
  be​ ​able​ ​to​ ​help​ ​you​,​ ​you​ ​can​ ​spend​ ​Karma​ ​to​ ​invoke​ ​it​ ​in​ ​order​ ​to​ ​change​ ​the​ ​dice​ ​result.​ ​This 
  allows​ ​you​ ​to​ ​either​ ​reroll​ ​the​ ​dice​ ​or​ ​add​ ​+2​ ​to​ ​your​ ​roll,​ ​whichever​ ​is​ ​more​ ​helpful. 
  (Typically,​ ​+2​ ​is​ ​a​ ​good​ ​choice​ ​if​ ​you​ ​rolled​ ​–2​ ​or​ ​higher,​ ​but​ ​sometimes​ ​you​ ​want​ ​to​ ​risk​ ​a​ ​reroll 
  to​ ​get​ ​that​ ​+4.)​ ​You​ ​do​ ​this​ ​after​ ​you’ve​ ​rolled​ ​the​ ​dice—if​ ​you​ ​aren’t​ ​happy​ ​with​ ​your​ ​total. 
  You​ ​also​ ​have​ ​to​ ​explain​ ​or​ ​justify​ ​how​ ​the​ ​aspect​ ​is​ ​helpful​ ​in​ ​order​ ​to​ ​get​ ​the 
  bonus​—sometimes​ ​it’ll​ ​be​ ​self-evident,​ ​and​ ​sometimes​ ​it​ ​might​ ​require​ ​some​ ​creative​ ​narrating. 
  You​ ​can​ ​spend​ ​more​ ​than​ ​one​ ​Karma​ ​on​ ​a​ ​single​ ​roll,​ ​gaining​ ​another​ ​reroll​ ​or​ ​an​ ​additional​ ​+2, 
  as​ ​long​ ​as​ ​each​ ​point​ ​you​ ​spend​ ​invokes​ ​a​ ​different​ ​aspect. 
  Declaring​ ​a​ ​Story​ ​Detail 
  Sometimes,​ ​you​ ​want​ ​to​ ​add​ ​a​ ​detail​ ​that​ ​works​ ​to​ ​your​ ​character’s​ ​advantage​ ​in​ ​a​ ​scene.​ ​For 
  30 
  
  example,​ ​you​ ​might​ ​use​ ​this​ ​to​ ​narrate​ ​a​ ​convenient​ ​coincidence,​ ​like​ ​retroactively​ ​having​ ​the 
  right​ ​supplies​ ​for​ ​a​ ​certain​ ​job​ ​(“Of​ ​course​ ​I​ ​brought​ ​that​ ​along!”),​ ​showing​ ​up​ ​at​ ​a​ ​dramatically 
  appropriate​ ​moment,​ ​or​ ​suggesting​ ​that​ ​you​ ​and​ ​the​ ​NPC​ ​you​ ​just​ ​met​ ​have​ ​mutual​ ​clients​ ​in 
  common. 
   
  To​ ​do​ ​this,​ ​you’ll​ ​spend​ ​Karma.​ ​You​ ​should​ ​try​ ​to​ ​justify​ ​your​ ​story​ ​details​ ​by​ ​relating​ ​them​ ​to 
  your​ ​aspects.​ ​GMs,​ ​you​ ​have​ ​the​ ​right​ ​to​ ​veto​ ​any​ ​suggestions​ ​that​ ​seem​ ​out​ ​of​ ​scope​ ​or​ ​ask 
  the​ ​player​ ​to​ ​revise​ ​them,​ ​especially​ ​if​ ​the​ ​rest​ ​of​ ​the​ ​group​ ​isn’t​ ​buying​ ​into​ ​it. 
  Compels 
  Sometimes​ ​(in​ ​fact,​ ​probably​ ​often),​you’ll​ ​find​ ​yourself​ ​in​ ​a​ ​situation​ ​where​ ​an​ ​aspect 
  complicates​ ​your​ ​character’s​ ​life​ ​and​ ​creates​ ​unexpected​ ​drama.​ ​When​ ​that​ ​happens,​ ​the​ ​GM 
  will​ ​suggest​ ​a​ ​potential​ ​complication​ ​that​ ​might​ ​arise.​ ​This​ ​is​ ​called​ ​a​ ​compel. 
   
  Sometimes,​ ​a​ ​compel​ ​means​ ​your​ ​character​ ​automatically​ ​fails​ ​at​ ​some​ ​goal,​ ​or​ ​your​ ​character’s 
  choices​ ​are​ ​restricted,​ ​or​ ​simply​ ​that​ ​unintended​ ​consequences​ ​cloud​ ​whatever​ ​your​ ​character 
  does.​ ​You​ ​might​ ​negotiate​ ​back​ ​and​ ​forth​ ​on​ ​the​ ​details​ ​a​ ​little,​ ​to​ ​arrive​ ​at​ ​what​ ​would​ ​be​ ​most 
  appropriate​ ​and​ ​dramatic​ ​in​ ​the​ ​moment. 
   
  Once​ ​you’ve​ ​agreed​ ​to​ ​accept​ ​the​ ​complication,​ ​you​ ​get​ ​Karma​ ​for​ ​your​ ​troubles.​ ​If​ ​you​ ​want, 
  you​ ​can​ ​pay​ ​Karma​ ​to​ ​prevent​ ​the​ ​complication​ ​from​ ​happening,​ ​but​ ​it​ ​is​ ​not​ ​recommended​ ​that 
  you​ ​do​ ​that​ ​very​ ​often—you’ll​ ​probably​ ​need​ ​that​ ​Karma​ ​later,​ ​and​ ​getting​ ​compelled​ ​brings 
  drama​ ​(and​ ​hence,​ ​fun)​ ​into​ ​your​ ​game’s​ ​story. 
   
  Players,​ ​you’re​ ​going​ ​to​ ​call​ ​for​ ​a​ ​compel​ ​when​ ​you​ ​want​ ​there​ ​to​ ​be​ ​a​ ​complication​ ​in​ ​a​ ​decision 
  you’ve​ ​just​ ​made,​ ​if​ ​it’s​ ​related​ ​to​ ​one​ ​of​ ​your​ ​aspects.​ ​GMs,​ ​you’re​ ​going​ ​to​ ​call​ ​for​ ​a​ ​compel 
  when​ ​you​ ​make​ ​the​ ​world​ ​respond​ ​to​ ​the​ ​characters​ ​in​ ​a​ ​complicated​ ​or​ ​dramatic​ ​way. 
   
  Anyone​ ​at​ ​the​ ​table​ ​is​ ​free​ ​to​ ​suggest​ ​when​ ​a​ ​compel​ ​might​ ​be​ ​appropriate​ ​for​ ​any​ ​character 
  (including​ ​their​ ​own).​ ​GMs,​ ​you​ ​have​ ​the​ ​final​ ​word​ ​on​ ​whether​ ​or​ ​not​ ​a​ ​compel​ ​is​ ​valid.​ ​And 
  speak​ ​up​ ​if​ ​you​ ​see​ ​that​ ​a​ ​compel​ ​happened​ ​naturally​ ​as​ ​a​ ​result​ ​of​ ​play,​ ​but​ ​no​ ​Karma​ ​points 
  were​ ​awarded. 
   
   
   
  FASERIP​ ​MSH​ ​FLAVOUR 
   
  Karma​ ​Pools 
   
  Allow​ ​characters​ ​teaming​ ​up​ ​to​ ​put​ ​their​ ​own​ ​personal​ ​Karma​ ​in​ ​a​ ​pool​ ​for​ ​the​ ​use​ ​of​ ​anyone​ ​in 
  a​ ​team.​ ​The​ ​Leadership​ ​talent​ ​helps​ ​here,​ ​too. 
   
  31 
  
  No​ ​Killing 
   
  Characters​ ​that​ ​kill​ ​could​ ​be​ ​charged​ ​a​ ​Karma,​ ​all​ ​their​ ​Karma,​ ​forfeit​ ​their​ ​next​ ​refresh,​ ​etc. 
  Karma​ ​Pools​ ​may​ ​also​ ​be​ ​depleted​ ​to​ ​0.​ ​ ​This​ ​is​ ​why​ ​character​ ​in​ ​groups​ ​with​ ​mad​ ​killers​ ​get 
  upset​ ​at​ ​them. 
   
  Consequences​ ​Types 
   
  Consider​ ​the​ ​attack​ ​type.​ ​ ​Edged​ ​weapons​ ​and​ ​Energy​ ​weapons​ ​and​ ​Shooting​ ​attacks​ ​can 
  cause​ ​Taken​ ​Out​ ​results​ ​that​ ​Kill.​ ​ ​Fist​ ​and​ ​Blunt​ ​weapons​ ​and​ ​Force​ ​beam​ ​types​ ​weapons 
  should​ ​not​ ​be​ ​able​ ​to​ ​in​ ​standard​ ​four​ ​colour​ ​type​ ​superheroics. 
   
  COMBAT​ ​FLAVOUR 
   
  Slams​ ​and​ ​Stuns 
   
  Consider​ ​allowing​ ​results​ ​of​ ​greater​ ​than​ ​Success​ ​With​ ​Style​ ​as​ ​a​ ​‘Stun’​ ​type​ ​result​ ​or​ ​others​ ​as 
  per​ ​the​ ​table.​ ​ ​Either​ ​use​ ​the​ ​two​ ​point​ ​box​ ​or​ ​add​ ​a​ ​1​ ​point​ ​Stun​ ​Consequence​ ​to​ ​all​ ​characters, 
  so​ ​that​ ​characters​ ​can​ ​Stun​ ​their​ ​opponents​ ​for​ ​a​ ​turn,​ ​including​ ​those​ ​with​ ​the​ ​appropriate 
  Martial​ ​Arts​ ​skills​ ​against​ ​tougher​ ​or​ ​Body​ ​Armoured​ ​opponents. 
   
  Consider​ ​Success​ ​with​ ​Style​ ​a​ ​‘Slam’​ ​type​ ​result​ ​allowing​ ​a​ ​‘Slammed’​ ​type​ ​Aspect​ ​to​ ​be​ ​placed 
  on​ ​characters​ ​after​ ​appropriate​ ​Strength/Power​ ​and​ ​Endurance/Resistance​ ​rolls​ ​or 
  comparisons.​ ​ ​A​ ​character​ ​must​ ​have​ ​an​ ​equal​ ​to​ ​or​ ​greater​ ​Strength​ ​than​ ​the​ ​target’s 
  Endurance​ ​to​ ​Slam​ ​or​ ​Stun​ ​them,​ ​without​ ​appropriate​ ​Martial​ ​Arts.​ ​Possibly,​ ​of​ ​course,​ ​through 
  buildings.​ ​ ​The​ ​attack​ ​must​ ​also​ ​inflict​ ​damage.​ ​ ​Those​ ​with​ ​Body​ ​Armour​ ​or​ ​resistance​ ​or 
  absorption​ ​abilities​ ​that​ ​stop​ ​attacks​ ​will​ ​not​ ​be​ ​affected.​ ​ ​The​ ​exception​ ​is​ ​that​ ​if​ ​the​ ​particular 
  ability​ ​barely​ ​stops​ ​the​ ​attack​ ​a​ ​Slam​ ​or​ ​Stun​ ​may​ ​still​ ​happen.  
   
  The​ ​Slammed​ ​or​ ​Stunned​ ​character​ ​gets​ ​an​ ​Endurance​ ​roll​ ​versus​ ​the​ ​Strength/Power​ ​of​ ​the 
  opponent. 
   
   
  Attack​ ​Type 
  Success​ ​With​ ​Style 
  Success​ ​With​ ​Style+ 
  Blunt 
  Slam 
  Stun 
  Throwing​ ​Blunt 
  Bullseye 
  Stun 
  Force 
  Bullseye/Slam​ ​(intent) 
  Stun 
  Grappling 
  Hold 
  Pin 
  Charging 
  Slam 
  Stun 
  32 
  
  Edged 
  Stun 
  Kill 
  Throwing​ ​Edged 
  Stun 
  Kill 
  Shooting 
  Stun 
  Kill 
  Energy 
  Bullseye 
  Kill 
  Grabbing 
  Grab 
  Break 
  Catching 
  Break 
  Catch 
   
   
  Roll 
  Slam​ ​Result 
  Stun​ ​Result 
  +4 
  No​ ​Slam 
  No​ ​Stun 
  +3 
  No​ ​Slam 
  No​ ​Stun 
  +2 
  No​ ​Slam 
  No​ ​Stun 
  +1 
  Staggered​ ​Aspect​ ​ ​(Minor​ ​Free​ ​Invoke​ ​+1) 
  Shaken​ ​Aspect​ ​(Minor​ ​Free​ ​Invoke​ ​+1) 
  0 
  Knocked​ ​Down​ ​Aspect​ ​(Free​ ​Invoke​ ​+2) 
  Minor​ ​Stun​ ​(Free​ ​Invoke​ ​+2) 
  -1 
  Slammed​ ​One​ ​Zone 
  Stunned​ ​One​ ​Turn 
  -2 
  Slammed​ ​Two​ ​Zones 
  Stunned​ ​Two​ ​Turns 
  -3 
  Slammed​ ​Three​ ​Zones 
  Stunned​ ​Three​ ​Turns 
  -4 
  Slammed​ ​Four​ ​Zones 
  Stunned​ ​Four​ ​Turns 
   
   
  For​ ​example,​ ​Gum​ ​swings​ ​one​ ​mighty​ ​tree​ ​fist​ ​at​ ​a​ ​Blue​ ​Space​ ​Warrior​ ​who​ ​is​ ​inside​ ​an 
  Advanced​ ​Alien​ ​Battle​ ​Armour​ ​Incredible​ ​+4.​ ​ ​He​ ​gains​ ​a​ ​0​ ​on​ ​his​ ​attack​ ​versus​ ​the​ ​defense​ ​roll 
  of​ ​the​ ​Blue​ ​Space​ ​Warrior.​ ​His​ ​attack​ ​does​ ​+4​ ​damage.​ ​ ​The​ ​Blue​ ​Space​ ​Warrior​ ​takes​ ​no 
  Health​ ​or​ ​Consequences​ ​but​ ​given​ ​Gum​ ​is​ ​stronger​ ​than​ ​the​ ​Blue​ ​Space​ ​Warrior’s​ ​Endurance 
  the​ ​latter​ ​makes​ ​a​ ​roll​ ​and​ ​gets​ ​-2,​ ​sent​ ​flying​ ​into​ ​the​ ​air​ ​two​ ​zones​ ​away. 
   
  Optional​ ​Slam​ ​Limits 
   
  Make​ ​the​ ​maximum​ ​slam​ ​distance​ ​in​ ​zones​ ​be​ ​limited​ ​by​ ​the​ ​Strength/Power​ ​Rank.​ ​ ​So 
  someone​ ​with​ ​Good​ ​+1​ ​Strength​ ​could​ ​only​ ​slam​ ​someone​ ​one​ ​zone​ ​maximum. 
   
   
  33 
  
  Weapon​ ​Damage 
   
  A​ ​character​ ​that​ ​hits​ ​someone​ ​with​ ​a​ ​garden​ ​variety​ ​blunt​ ​weapon​ ​inflicts​ ​their​ ​Strength​ ​+1 
  damage​ ​but​ ​only​ ​up​ ​to​ ​that​ ​weapon’s​ ​Material​ ​Strength.​ ​ ​For​ ​example,​ ​Firetail​ ​with​ ​Good​ ​+1 
  Strength​ ​connects​ ​on​ ​a​ ​bad​ ​guy​ ​with​ ​a​ ​steel​ ​bar​ ​she​ ​grabbed​ ​from​ ​the​ ​floor.​ ​ ​This​ ​has​ ​a 
  Remarkable​ ​+3​ ​Material​ ​Strength.​ ​ ​On​ ​a​ ​normal​ ​roll​ ​she​ ​does​ ​Excellent​ ​+2​ ​damage​ ​because​ ​the 
  bar​ ​is​ ​stronger​ ​than​ ​her​ ​Strength​ ​skill.​ ​Australiawoman,​ ​who​ ​has​ ​Unearthly​ ​+7​ ​Strength​ ​hitting 
  someone​ ​with​ ​that​ ​same​ ​bar​ ​at​ ​full​ ​ability​ ​would​ ​only​ ​do​ ​Remarkable​ ​+3​ ​damage.​ ​ ​She​ ​may​ ​as 
  well​ ​punch​ ​them​ ​if​ ​wanting​ ​to​ ​go​ ​all​ ​out.​ ​Unless​ ​needing,​ ​say,​ ​the​ ​extra​ ​reach​ ​of​ ​an​ ​electricity 
  pole​ ​to​ ​be​ ​able​ ​to​ ​whack​ ​Giant​ ​Razorback​ ​in​ ​the​ ​snout.​ ​ ​Also,​ ​in​ ​that​ ​case​ ​the​ ​weapon​ ​will​ ​likely 
  break​ ​ ​Either​ ​by​ ​mechanic​ ​of​ ​as​ ​a​ ​flavoursome​ ​Compel.  
   
  Shooting​ ​Weapons 
   
  Rg​ ​=​ ​Range,​ ​Re​ ​=​ ​Resource​ ​Rank​ ​for​ ​Purchase,​ ​Dm​ ​=​ ​Additional​ ​Damage 
  Tp​ ​=​ ​Type​ ​of​ ​Damage:​ ​Shooting/Force/Energy,​ ​Rt​ ​=​ ​Rate​ ​of​ ​Fire,  
  Am​ ​=​ ​Out​ ​of​ ​Ammo​ ​Compel​ ​[Higher​ ​is​ ​Less​ ​Likely],​ ​Ma​ ​=​ ​Material​ ​Strength 
   
  Name 
  Rg 
  Re 
  Dm 
  T 
  Rt 
  Am 
  Ma 
  Cheap​ ​Handgun 
  Fe 
  Fe 
   
  S 
  1 
  Ty 
  Pr 
  Handgun 
  Ty 
  Pr 
   
  S 
  1 
  Ty 
  Ex 
  Target​ ​Pistol 
  Ty 
  Ty 
   
  S 
  1 
  Fe 
  Ex 
  Variable​ ​Pistol 
  Gd 
  Ty 
   
  S 
  1/2 
  Ty 
  Ex 
  GyroJet​ ​Pistol 
  Ex 
  Ty 
  Gd 
  S 
  1 
  Pr 
  Gd 
  Laser​ ​Pistol 
  Rm 
  Gd 
  Gd 
  E 
  1 
  Gd 
  Pr 
  Stun​ ​Pistol 
  Rm 
  Fe 
  Gd* 
  F 
  1 
  Gd 
  Pr 
  Concussion​ ​Pistol 
  In 
  Pr 
  Gd 
  F 
  1 
  Ty 
  Ty 
  Plasma​ ​Pistol 
  Am 
  Gd 
  Ex 
  E 
  1 
  Gd 
  Ex 
  Machine​ ​Pistol 
  Ex 
  Ty 
  Ex 
  S 
  1 
  Ty 
  Ex 
  Rifle 
  Ty 
  Gd 
  Gd 
  S 
  1 
  Pr 
  Gd 
  Hunting​ ​Rifle 
  Gd 
  Gd 
  Gd 
  S 
  1 
  Ty 
  Gd 
  Sniper​ ​Rifle 
  Gd 
  Gd 
  Ex 
  S 
  1 
  Pr 
  Gd 
  Military​ ​Assault​ ​Rifle 
  Ex 
  Ty 
  Gd 
  S 
  2 
  Ex 
  Gd 
  34 
  
  Laser​ ​Rifle 
  Rm 
  Ty 
  Ex 
  S 
  1 
  Ex 
  Ty 
  Stun​ ​Rifle 
  Rm 
  Ty 
  R* 
  F 
  1 
  Ex 
  Ty 
  Concussion​ ​Rifle 
  Rm 
  Ty 
  Gd 
  F 
  1 
  Gd 
  Gd 
  Automatic​ ​Rifle 
  Ex 
  Ty 
  Ex 
  S 
  1 
  Ex 
  Gd 
  Shotgun 
  Gd 
  Pr 
  Ex 
  S 
  1,2 
  Fe 
  Gd 
  Riot​ ​Gun​ ​(2H) 
  Gd 
  Fe 
  Ex 
  S 
  1 
  Ty 
  Ex 
  Grenade​ ​Launcher 
  Ex 
  Ty 
  Rm 
  S 
  1 
  Fe 
  Gd 
  Sub-Machine​ ​Gun​ ​(2H) 
  Rm 
  Ty 
  Ex 
  S 
  1 
  Ty 
  Gd 
  Military​ ​Machine​ ​Gun 
  In 
  Gd 
  Rm 
  S 
  1 
  Ex 
  Gd 
  Flamethrower 
  In 
  Pr 
  Rm 
  E 
  1 
  Ty 
  Ty 
  Bazooka 
  In 
  Pr 
  In 
  S 
  1 
  Fe 
  Gd 
  LAW 
  Am 
  Pr 
  In 
  S 
  1 
  Ty 
  Gd 
  Light​ ​Artillery​ ​(two​ ​person) 
  Am 
  Gd 
  In 
  S 
  1 
  Ex 
  Ex 
  Stun​ ​Cannon​ ​(two​ ​person) 
  Am 
  Gd 
  In* 
  F 
  1 
  Gd 
  Rm 
  Concussion​ ​Cannon 
  Am 
  Ex 
  In 
  F 
  1 
  Gd 
  Ex 
  Laser​ ​Cannon 
  Am 
  Ex 
  Rm 
  E 
  1 
  Gd 
  Rm 
  Heavy​ ​Artillery​ ​(two​ ​person) 
  Mn 
  In 
  Am 
  S 
  1 
  Rm 
  Rm 
  Super​ ​Hvy​ ​Artillery​ ​(two​ ​person) Un 
  Mn 
  Mn 
  S 
  1 
  Rm 
  In 
  Missile​ ​Launcher 
  In 
  Mn 
  In 
  S 
  1 
  Gd 
  Rm 
  Regular​ ​Bow 
  Pr 
  Ty 
  Ty 
  S 
  1 
  Fe 
  Pr 
  Long​ ​Bow 
  Ty 
  Ty 
  Gd 
  S 
  1 
  Fe 
  Ty 
  Compound​ ​Bow 
  Ex 
  Ty 
  Gd 
  S 
  1 
  Fe 
  Gd 
  Crossbow​ ​(2H) 
  Gd 
  Pr 
  Gd 
  S 
  1/2 
  Fe 
  Ty 
   
  AMMUNITION 
   
  Stun​ ​weapons​ ​attack​ ​with​ ​the​ ​given​ ​Power​ ​Rank​ ​and​ ​if​ ​successful​ ​the​ ​target​ ​gains​ ​a​ ​Stunned 
  Consequence. 
  35 
  
  Mercy​ ​shot​ ​operates​ ​similar​ ​to​ ​stun​ ​weapons. 
  Armour​ ​Piercing​ ​shot​ ​reduces​ ​Body​ ​Armour​ ​by​ ​two​ ​ranks,​ ​but​ ​has​ ​no​ ​effect​ ​on​ ​forcefields. 
  Rubber​ ​shot​ ​is​ ​a​ ​blunt​ ​weapon​ ​as​ ​far​ ​as​ ​consequences​ ​goes. 
  Canister​ ​shot​ ​may​ ​contain​ ​stun​ ​or​ ​knockout​ ​or​ ​tear​ ​gas​ ​or​ ​other​ ​such​ ​payloads. 
   
  Muscle​ ​Weapons 
  Re​ ​=​ ​Resource​ ​Rank​ ​for​ ​Purchase,​ ​Dm​ ​=​ ​Additional​ ​Damage 
  Tp​ ​=​ ​Type​ ​of​ ​Damage:Edged/Blunt,​ ​Ma​ ​=​ ​Material​ ​Strength 
   
   
  Name 
  Resources 
  Damage 
  Type 
  Material 
  Strength 
  Knife 
  Fe 
  Gd 
  Edged 
  Ex 
  Sword 
  Pr 
  Gd 
  Edged 
  Ex 
  Great​ ​Sword​ ​(2) 
  Gd 
  Ex 
  Edged 
  Ex 
  Axe 
  Gd 
  Gd 
  Edged 
  Gd 
  Great​ ​Axe​ ​(2) 
  Ex 
  Ex 
  Edged 
  Gd 
  Spear 
  Fe 
  Gd 
  Edged 
  Gd 
  Club 
  Fe 
  Gd 
  Blunt 
  Gd 
  Shuriken 
  Fe 
  Gd 
  Edged 
  Ex 
  Boomerang 
  Pr 
  Gd 
  Blunt 
  Gd 
  Whip,​ ​leather 
  Pr 
   
  Blunt 
  Ty 
  Whip,​ ​metal 
  Gd 
  Gd 
  Blunt 
  Gd 
   
  2​ ​means​ ​requires​ ​two​ ​hands​ ​or​ ​an​ ​attack​ ​penalty​ ​of​ ​-2. 
   
   
  Name 
  Resources 
  Special​ ​Damage 
  Grenade,​ ​Fragment 
  Excellent 
  Rm​ ​Edged 
  Grenade,​ ​Smoke 
  Good 
  Low​ ​Visibility​ ​Type​ ​Aspect 
  Grenade,​ ​Tear​ ​Gas 
  Excellent 
  Typical​ ​Rank 
  Grenade,​ ​Knock-out 
  Incredible 
  Good​ ​Rank 
  36 
  
  Grenade,​ ​Knock-out 
  Amazing 
  Excellent​ ​Rank 
  Grenade,​ ​Knock-out 
  Monstrous 
  Remarkable​ ​Rank 
  Grenade,​ ​Flash 
  Excellent 
  Amazing​ ​Rank 
  Grenade,​ ​Concussion 
  Remarkable 
  Incredible​ ​Force 
  Grenade,​ ​Sonic 
  Incredible 
  Excellent​ ​Energy 
  Missile,​ ​Standard 
  Amazing 
   
  Missile,​ ​High-tech 
  Monstrous 
   
  Missile,​ ​High-speed 
  Monstrous 
   
  Missile​ ​Control,​ ​Wire-guided 
  Remarkable 
   
  Missile​ ​Control,​ ​Tele-guided 
  Incredible 
   
  Missile​ ​Control,​ ​Computer 
  Amazing 
   
  Missile​ ​Control,​ ​Radio 
  Incredible 
   
  Missile​ ​Control,​ ​Heat​ ​Seeker 
  Remarkable 
   
  Missile​ ​Payload,​ ​Standard 
  Remarkable 
  Incredible​ ​Shooting 
  Missile​ ​Payload,​ ​Explosive 
  Remarkable 
  Incredible​ ​Shooting  
  Missile​ ​Payload,​ ​High​ ​Expl 
  Amazing 
  Monstrous​ ​Shooting 
  Missile​ ​Payload,​ ​Incendiary 
  Incredible 
  Incredible​ ​Energy 
  Missile​ ​Payload,​ ​Gas 
  Amazing 
  Amazing​ ​Rank 
  Missile​ ​Payload,​ ​Smoke 
  Good 
  Low​ ​Visibility​ ​Aspect 
  Missile​ ​Payload,​ ​Tear​ ​Gas 
  Excellent 
  Typical​ ​Rank 
  Missile​ ​Payload,​ ​Knock-Out 
  Excellent 
  Feeble​ ​Rank 
   
  Remarkable 
  Poor​ ​Rank 
   
  Remarkable 
  Typical​ ​Rank 
   
  Incredible 
  Good​ ​Rank 
   
  Incredible 
  Good​ ​Rank 
   
  Amazing 
  Remarkable​ ​Rank 
  37 
  
   
  Amazing 
  Incredible​ ​Rank 
   
  Monstrous 
  Amazing​ ​Rank 
   
  Monstrous 
  Monstrous​ ​Rank 
   
  Unearthly 
  Unearthly​ ​Rank,​ ​Good 
  Damage 
   
  THROWING​ ​THINGS 
   
  See​ ​Weapon​ ​Damage​ ​for​ ​the​ ​results​ ​if​ ​trying​ ​to​ ​hurt​ ​people.​ ​You​ ​can​ ​realistically​ ​only​ ​throw 
  something​ ​out​ ​of​ ​a​ ​zone​ ​if​ ​it​ ​is​ ​less​ ​than​ ​your​ ​maximum​ ​lifting​ ​ability​ ​as​ ​determined​ ​by​ ​your 
  strength,​ ​unless​ ​you​ ​use​ ​Karma​ ​Points. 
   
  VEHICLES 
  Re​ ​=​ ​Resources,​ ​Co​ ​=​ ​Control,​ ​Sp​ ​=​ ​Speed,​ ​Ma​ ​=​ ​Material​ ​Strength,​ ​BA​ ​=​ ​Protection 
   
  Name 
  Tp 
  Re 
  Co 
  Sp 
  Ma 
  BA 
  Sedan 
  Road 
  Rm 
  Ty 
  Gd 
  Gd 
  Pr 
  Mini-Car 
  Road 
  Ex 
  Gd 
  Gd 
  Pr 
  Fe 
  Sports​ ​Car 
  Road 
  In 
  Ex 
  Rm 
  Pr 
  Pr 
  Luxury​ ​Car 
  Road 
  In 
  Pr 
  Gd 
  Ex 
  Gd 
  Security​ ​Limousine 
  Road 
  Am 
  Ty 
  Ex 
  Rm 
  Rm 
  Van 
  Road 
  Rm 
  Pr 
  Gd 
  Gd 
  Gd 
  Convertible 
  Road 
  Rm 
  Ty 
  Gd 
  Gd 
  Fe 
  Taxi 
  Road 
  Rm 
  Ty 
  Gd 
  Ty 
  Pr 
  Bus 
  Road 
  In 
  Pr 
  Gd 
  Ty 
  Ty 
  Police​ ​Car 
  Road 
  Rm 
  Gd 
  Ex 
  Ty 
  Ty 
  Divvy​ ​Van 
  Road 
  Rm 
  Ty 
  Gd 
  Ty 
  Ty 
  TRG​ ​Van 
  Road 
  In 
  Ty 
  Gd 
  Rm 
  Ex 
  Semi​ ​Trailer 
  Road 
  In 
  Ty 
  Ex 
  Ex 
  Gd 
  Large​ ​Truck 
  Road 
  In 
  Ty 
  Ex 
  Ex 
  Ex 
  38 
  
  Armored​ ​Car 
  Road 
  In 
  Ty 
  Ty 
  Rm 
  Rm 
  Fire​ ​Truck 
  Road 
  In 
  Ty 
  Ex 
  Gd 
  Ty 
  Ambulance 
  Road 
  Rm 
  Gd 
  Ex 
  Gd 
  Gd 
  Rocket​ ​Car 
  Road 
  Am 
  Fe 
  ShZ 
  Pr 
  Pr 
  Bicycle 
  Off​ ​Road 
  Pr 
  Gd 
  Ty 
  Fe 
   
  Motorcycle 
  Off​ ​Road 
  Ex 
  Ty 
  Ex 
  Pr 
   
  Motortricycle 
  Off​ ​Road 
  Rm 
  Rm 
  Gd 
  Gd 
   
  Ute 
  Off​ ​Road 
  Rm 
  Ty 
  Gd 
  Gd 
  Ty 
  Jeep 
  Off​ ​Road 
  Rm 
  Gd 
  Ex 
  Gd 
  Pr 
  Landrover 
  Off​ ​Road 
  Rm 
  Rm 
  Gd 
  Gd 
  Ty 
  Snowmobile 
  Off​ ​Road 
  Ex 
  Gd 
  Gd 
  Ty 
  Pr 
  Heavy​ ​Truck 
  Off​ ​Road 
  In 
  Pr 
  Ty 
  Ex 
  Gd 
  Tractor 
  Off​ ​Road 
  Rm 
  Gd 
  Ty 
  Gd 
   
  Bulldozer 
  Off​ ​Road 
  In 
  Ty 
  Ty 
  Ex 
  Ty 
  Tank​ ​(Light​ ​Artillery​ ​and​ ​Machine​ ​Gun) 
  Off​ ​Road 
  Am 
  Ex 
  Ty 
  In 
  Rm 
  SPG​ ​(Heavy​ ​Artillery​ ​and​ ​Machine​ ​Gun) 
  Off​ ​Road 
  Mn 
  Ty 
  Pr 
  Rm 
  Ex 
  Armored​ ​Carrier​ ​(MachineGun) 
  Off​ ​Road 
  Am 
  Gd 
  Gd 
  In 
  Rm 
  Walker​ ​(Stun​ ​Cannon) 
  Off​ ​Road 
  In 
  Gd 
  Gd 
  Rm 
  Rm 
  Borer 
  Off​ ​Road 
  In 
  Pr 
  Ty 
  Rm 
  Rm 
  Train 
  Rail 
  In 
  Fe 
  Ex 
  Gd 
  Gd 
  Bullet​ ​Train 
  Rail 
  Am 
  Pr 
  In 
  Gd 
  Gd 
  Elevated​ ​Train 
  Rail 
  In 
  Pr 
  Ty 
  Gd 
  Gd 
  Monorail 
  Rail 
  In 
  Pr 
  Ex 
  Ex 
  Gd 
  Hovercraft 
  GEV 
  In 
  Ex 
  Rm 
  Gd 
  Gd 
  Private​ ​Plane 
  Air 
  In 
  Ty 
  Am 
  Fe 
  Ty 
  Corporate​ ​Jet 
  Air 
  Am 
  Ty 
  Am 
  Pr 
  Ty 
  39 
  
  Military​ ​Jet 
  Air 
  Mn 
  Ex 
  X 
  Ty 
  Ty 
  Commercial​ ​Jet 
  Air 
  Mn 
  Gd 
  Mn 
  Ty 
  Ty 
  Blimp 
  Air 
  Am 
  Fe 
  Pr 
  Fe 
   
  Civilian​ ​Helicopter 
  Air 
  In 
  Gd 
  Ex 
  Fe 
  Fe 
  Military​ ​Helicopter 
  Air 
  Am 
  Ex 
  Ex 
  Ty 
  Gd 
  WWII​ ​Plane​ ​(includes​ ​Machine​ ​guns,​ ​Bombs) 
  Air 
  Am 
  Gd 
  Rm 
  Ty 
  Ty 
  WWII​ ​Bomber​ ​(Machine​ ​guns,​ ​Many​ ​Bombs) 
  Air 
  In 
  Ty 
  Ex 
  Gd 
  Gd 
  WWI​ ​Plane​ ​(includes​ ​Machine​ ​Guns) 
  Air 
  In 
  Rm 
  Gd 
  Pr 
   
  VTOL​ ​Jet 
  Air 
  Mn 
  Rm 
  Un 
  Ty 
  Ty 
  Ultra-Light 
  Air 
  Ex 
  Ex 
  Ty 
  Fe 
   
  Glider 
  Air 
  Ex 
  Ty 
  Ty 
  Fe 
   
  Autogyro 
  Air 
  Rm 
  Ex 
  Ex 
  Pr 
  Pr 
  Air​ ​Car 
  Air 
  In 
  Ex 
  Pr 
  Gd 
  Gd 
  Skymobile 
  Air 
  Rm 
  Ex 
  In 
  Ex 
   
  Flying​ ​Car 
  Air 
  Am 
  Rm 
  Am 
  Ex 
  Gd 
  Quinjet 
  Air 
  Am 
  Rm 
  SY 
  Ex 
  Gd 
  Concorde 
  Air 
  Mn 
  Ty 
  SX 
  Gd 
  Gd 
  Omnijet 
  Air 
  Am 
  Ex 
  SY 
  Ex 
  Gd 
  Pogo​ ​Plane 
  Air 
  Am 
  Ex 
  SY 
  Ex 
  Gd 
  Fantasticar 
  Air 
  In 
  Ex 
  In 
  Gd 
  Ty 
  SRC 
  Air 
  In 
  Gd 
  Rm 
  Ex 
  Ty 
  Blackbird 
  Air 
  Am 
  Rm 
  Y 
  Ex 
  Gd 
  Space​ ​Shuttle 
  Space 
  Mn 
  Ty 
  SZ 
  Rm 
  Rm 
  Lunar​ ​Shuttle 
  Space 
  Am 
  Gd 
  C1 
  Rm 
  Rm 
  Space​ ​Ship 
  Space 
  Un 
  Ex 
  C3 
  Ex 
  Ex 
  Raft 
  Marine 
  Fe 
  Ty 
  Fe 
  Pr 
   
  40 
  
  Rowboat 
  Marine 
  Ty 
  Gd 
  Fe 
  Ty 
  Fe 
  Sailboat 
  Marine 
  Gd 
  Pr 
  Pr 
  Fe 
   
  Racing​ ​Sloop 
  Marine 
  Rm 
  Gd 
  Gd 
  Pr 
  Pr 
  Motorboat 
  Marine 
  Gd 
  Ex 
  Ex 
  Ty 
  Pr 
  Yacht 
  Marine 
  In 
  Ty 
  Gd 
  Ty 
  Ty 
  Speedboat 
  Marine 
  Rm 
  Gd 
  In 
  Ty 
  Pr 
  Patrol​ ​Boat​ ​(Light​ ​Artillery,​ ​Machine​ ​Guns) 
  Marine 
  Rm 
  Gd 
  Rm 
  Gd 
  Ty 
  Hydrofoil 
  Marine 
  In 
  Ty 
  In 
  Ty 
  Ty 
  Jetski 
  Marine 
  Rm 
  Ex 
  Ex 
  Gd 
   
  Ocean​ ​Liner 
  Marine 
  Am 
  Gd 
  Ty 
  Rm 
  Gd 
  Destroyer​ ​(Light​ ​Artillery,​ ​Heavy​ ​Artillery) 
  Marine 
  Mn 
  Ty 
  Ty 
  Ex 
  Ex 
  Battleship​ ​(Super​ ​Heavy​ ​Artillery) 
  Marine 
  Un 
  Ty 
  Pr 
  Rm 
  Ex 
  Carrier​ ​(Missiles,​ ​No​ ​Aircraft) 
  Marine 
  SX 
  Ty 
  Pr 
  Ex 
  Ex 
  Submarine​ ​(Missiles) 
  Submarine 
  Am 
  Gd 
  Pr 
  Rm 
  Ex 
  Mini-Sub​ ​(Missiles​ ​or​ ​lasers) 
  Submarine 
  In 
  Ex 
  Gd 
  Gd 
  Gd 
   
  HEADQUARTERS 
   
   
  Type 
  Rent/Buy 
  Size 
  Material 
  1​ ​Bedrm​ ​Apartment 
  Fe/Ex 
  Small 
  Gd 
  2​ ​Bedrm​ ​Apartment 
  Pr/Ex 
  Small 
  Gd 
  3​ ​Bedrm​ ​Apartment 
  Gd/Rm 
  Small 
  Gd 
  Cottage 
  Pr/Gd 
  Small 
  Pr 
  Small​ ​House 
  Ty/Ex 
  Small 
  Ty 
  Medium​ ​House 
  Ty/Rm 
  Medium 
  Ty 
  Large​ ​House 
  Ex/In 
  Medium 
  Gd 
  41 
  
  Small​ ​Manor 
  Rm/Am 
  Large 
  Ex 
  Large​ ​Manor 
  In/Mn 
  Deluxe 
  Ex 
  Mansion 
  Am/Mn 
  Deluxe 
  Ex 
  Office 
  Gd/Rm 
  Medium 
  Ex 
  Storefront 
  Ty/Rm 
  Small 
  Gd 
  Office​ ​Suite 
  Ex/In 
  Medium 
  Ex 
  Office​ ​Floor 
  Rm/Am 
  Medium 
  Ex 
  2​ ​Office​ ​Floors 
  In/Mn 
  Large 
  Ex 
  Brownstone 
  Ex/Rm 
  Medium 
  Gd 
  Office​ ​Building,​ ​4​ ​Fl 
  Rm/Am 
  Large 
  Ex 
  Office​ ​Building,​ ​8​ ​Fl 
  In/Mn 
  Deluxe 
  Rm 
  Office​ ​Building,​ ​12​ ​Fl 
  Am/Un 
  Deluxe 
  Rm 
  Office​ ​Building,​ ​20​ ​Fl 
  Mn/ShX 
  Deluxe 
  Rm 
  Office​ ​Building,​ ​30+Fl 
  Un/ShZ 
  Deluxe 
  Rm 
  Small​ ​Warehouse 
  Ty/Rm 
  Medium 
  Ty 
  Medium​ ​Warehouse 
  Gd/In 
  Large 
  Ty 
  Large​ ​Warehouse 
  Ex/Am 
  Deluxe 
  Gd 
  Small​ ​Factory 
  Gd/In 
  Medium 
  Rm 
  Medium​ ​Factory 
  Ex/Am 
  Large 
  Rm 
  Large​ ​Factory 
  Rm/Mn 
  Deluxe 
  In 
   
  Room​ ​Package​ ​Costs 
   
  Good​ ​-​ ​Dining​ ​Room,​ ​Living​ ​Room,​ ​Fire​ ​Protection​ ​Per​ ​10​ ​Rooms,​ ​Garage,​ ​Kitchen,​ ​Office, 
  Security​ ​Per​ ​Room 
  Excellent​ ​-​ ​Defense​ ​Per​ ​Room,​ ​Computer​ ​Room,​ ​Game​ ​Room,​ ​Gym,​ ​Hangar,​ ​Library,​ ​Prison, 
  Trophy​ ​Room 
  Remarkable​ ​-​ ​Communications​ ​Room,​ ​Dock,​ ​Medical,​ ​Power,​ ​Laboratory,​ ​Pool,​ ​Workshop 
   
  Other​ ​Gear 
  42 
  
   
  Fire​ ​Extinguishers,​ ​Fire​ ​Hoses 
  Silencers,​ ​Sniper​ ​Sights,​ ​Tripods 
  Infra-Red​ ​Goggles,​ ​Flashlights,​ ​Polarised​ ​Lenses 
  Mace​ ​Gas,​ ​Gas​ ​Mask 
  Handcuffs​ ​(Excellent),​ ​Inhibitor​ ​Bands​ ​(-5​ ​FASE​ ​and​ ​-7​ ​Powers,​ ​minimum​ ​-2),​ ​Nullifier​ ​Bands 
  (Inhibitor​ ​Bands​ ​for​ ​High-Tech​ ​Gear),​ ​Stasis​ ​Ray 
  Scuba​ ​Gear,​ ​Roller​ ​Skates,​ ​Rocket​ ​Pack 
  Asbestos​ ​Suit​ ​-​ ​Good​ ​Protection,​ ​Remarkable​ ​from​ ​Heat 
  Flak​ ​Jacket​ ​-​ ​Good​ ​Protection 
  Beta-Cloth​ ​-​ ​Typical​ ​Protection,​ ​Excellent​ ​from​ ​Heat​ ​and​ ​Radiation 
  Radiation​ ​Suit​ ​-​ ​Remarkable​ ​from​ ​Radiation 
  Flare​ ​Pistols,​ ​Camera,​ ​Personal​ ​Computers 
  Caltrops​ ​-​ ​Poor​ ​Damage​ ​if​ ​stepped​ ​on 
   
  MAGIC 
   
  If​ ​you​ ​possess​ ​the​ ​Mystic​ ​Origin​ ​Skill​ ​you​ ​may​ ​learn​ ​to​ ​be​ ​a​ ​sorcerer.​ ​ ​Or​ ​wizard​ ​if​ ​you​ ​prefer 
  that.​ ​ ​If​ ​you​ ​do​ ​not​ ​have​ ​a​ ​Psyche​ ​of​ ​Good​ ​+1​ ​or​ ​higher,​ ​no​ ​one​ ​will​ ​train​ ​you.​ ​ ​You​ ​would​ ​be 
  Average​ ​or​ ​worse,​ ​so​ ​why​ ​would​ ​they​ ​bother? 
   
  Magical​ ​Energies 
   
  Personal​ ​-​ ​produced​ ​by​ ​the​ ​sorcerer 
  Universal​ ​-​ ​produced​ ​by​ ​their​ ​own​ ​home​ ​dimension 
  Dimensional​ ​-​ ​produced​ ​by​ ​other​ ​realms 
   
   
  Other​ ​Expenses 
   
   
  Item 
  Resources 
  Notes 
  Bodyguard 
  Typical 
   
  Mechanic 
  Typical 
   
  Computer​ ​Specialist 
  Excellent 
   
  Scientist 
  Excellent 
   
  Cook 
  Typical 
   
  Groundskeeper 
  Typical 
   
  43 
  
  10​ ​Staff 
  Excellent 
   
  50​ ​Staff 
  Remarkable 
   
  100​ ​Staff 
  Incredible 
   
  150​ ​Staff 
  Amazing 
   
  Night​ ​on​ ​the​ ​Town 
  Good 
   
  Theatre​ ​Tickets 
  Excellent 
   
  Dinner​ ​and​ ​Movie 
  Typical 
   
  Good​ ​Clothing 
  Poor 
   
  Rented​ ​Dinner​ ​Suit 
  Typical 
   
  Dinner​ ​Suit 
  Good 
   
  Evening​ ​Gown 
  Remarkable 
   
  Fur​ ​Coat 
  Incredible 
   
  20​ ​comics 
  Typical 
   
  Original​ ​Art 
  Good 
   
  Unstable​ ​Molecules 
  Incredible 
   
  Super​ ​Alloy,​ ​200g 
  Amazing 
   
  Top​ ​Quality​ ​Super​ ​Alloy, 
  200g 
  Unearthly 
   
  Best​ ​Super​ ​Alloy,​ ​500g 
  Shift​ ​X 
   
  Good​ ​Super​ ​Alloy,​ ​500g 
  Unearthly 
   
  Translation​ ​Device 
  Incredible 
   
  Mystic​ ​Texts 
  Incredible 
   
  Underwater​ ​Breathing​ ​Pills 
  Incredible 
  Only​ ​good​ ​for​ ​four​ ​hours 
  Pym’s​ ​Reduction​ ​Formula 
  Incredible 
   
  Mutant​ ​analyser 
  Amazing 
   
  Mutant​ ​Neutraliser 
  Unearthly 
   
  44 
  
  Standard​ ​Robot 
  Incredible 
   
  Sentry​ ​Robot 
  Incredible 
   
  Skill​ ​Robot 
  Amazing 
   
   
   
   
   
  POWER​ ​STUNTS 
   
  Allow​ ​new​ ​and​ ​creative​ ​use​ ​of​ ​powers​ ​to​ ​be​ ​developed​ ​with​ ​the​ ​cost​ ​of​ ​a​ ​Karma​ ​Point​ ​the​ ​first 
  time​ ​and​ ​maybe​ ​second​ ​time​ ​such​ ​outlandish​ ​activities​ ​are​ ​attempted. 
   
  KARMA​ ​GENEROSITY 
   
  Consider​ ​awarding​ ​Karma​ ​Points​ ​for​ ​good​ ​play,​ ​good​ ​jokes,​ ​whether​ ​extra​ ​points​ ​or​ ​extra 
  refresh​ ​opportunities​ ​after​ ​being​ ​successfully​ ​heroic.​ ​ ​Extras​ ​can​ ​easily​ ​be​ ​spent​ ​developing​ ​new 
  power​ ​stunt​ ​possibilities. 
   
  SKILLS 
   
  From​ ​Fate​ ​Core​ ​: 
   
  Physique​ ​is​ ​split​ ​into​ ​Strength​ ​and​ ​Endurance 
  Rapport​ ​and​ ​Provoke​ ​are​ ​combined​ ​into​ ​Popularity 
   
  Already​ ​used​ ​-​ ​10​ ​Skills​ ​that​ ​everyone​ ​has​ ​listed​ ​at​ ​some​ ​level 
   
  Fighting,​ ​Agility,​ ​Strength,​ ​Endurance,​ ​Reason,​ ​Intution,​ ​Psyche,​ ​Resources,​ ​Popularity, 
  Contacts 
   
  Leaving  
   
  Burglary,​ ​Crafts,​ ​Deceive,​ ​Drive,​ ​Empathy,​ ​Investigation,​ ​Shoot,​ ​Stealth 
   
  These​ ​can​ ​be​ ​gained​ ​as​ ​Skills​ ​via​ ​the​ ​usual​ ​Skill​ ​Roll​ ​allocation​ ​with​ ​various​ ​specialities​ ​as​ ​a 
  bonus.​ ​ ​Shoot​ ​is​ ​a​ ​major​ ​Agility​ ​specialisation,​ ​basically.​ ​ ​Engineering​ ​and​ ​Repair​ ​are​ ​major 
  Crafts​ ​specialisations. 
   
  Skill​ ​Pyramid​ ​Option 
   
  You​ ​could​ ​of​ ​course​ ​substitute​ ​in​ ​the​ ​usual​ ​Fate​ ​Core​ ​Skill​ ​Pyramid​ ​and​ ​keep​ ​the​ ​MSH​ ​skills​ ​as 
  45 
  
  a​ ​separate​ ​‘Talents’​ ​category​ ​to​ ​go​ ​along​ ​with​ ​the​ ​FASERIP​ ​if​ ​you​ ​desired.​ ​ ​Take​ ​into​ ​account 
  the​ ​ones​ ​that​ ​are​ ​already​ ​used​ ​in​ ​FASERIP​ ​(Fighting,​ ​Athletics,​ ​Physique,​ ​Lore,​ ​Notice,​ ​Will) 
  when​ ​doing​ ​so. 
   
  Skill​ ​Boost​ ​Option 
   
  For​ ​the​ ​less​ ​lucky​ ​characters...if​ ​your​ ​ranks​ ​in​ ​all​ ​Skills​ ​and​ ​Powers​ ​add​ ​up​ ​to​ ​less​ ​than​ ​20,​ ​allow 
  a​ ​pick​ ​from​ ​the​ ​8​ ​Skills​ ​above​ ​as​ ​a​ ​generalist​ ​ability.​ ​ ​Do​ ​this​ ​until​ ​points​ ​add​ ​up​ ​to​ ​20.​ ​ ​Or​ ​take, 
  for​ ​example,​ ​Drive​ ​Excellent​ ​+2​ ​if​ ​points​ ​add​ ​to​ ​18​ ​to​ ​round​ ​it​ ​out.​ ​ ​The​ ​character​ ​below,​ ​Firetail, 
  would​ ​add​ ​to​ ​19,​ ​counting​ ​the​ ​manipulation​ ​tail​ ​as​ ​a​ ​+1,​ ​letting​ ​a​ ​player​ ​choose​ ​one​ ​extra​ ​Skill 
  rank​ ​if​ ​using​ ​that​ ​option. 
   
   
  CHARACTER​ ​CREATION​ ​EXAMPLE 
   
  Taking​ ​a​ ​turn​ ​at​ ​random​ ​character​ ​creation​ ​we​ ​roll​ ​a​ ​0,​ ​meaning​ ​we​ ​have​ ​a​ ​High​ ​Technology 
  hero​ ​and​ ​check​ ​on​ ​column​ ​3​ ​for​ ​ability​ ​ranks. 
   
  We​ ​roll​ ​FASERIP​ ​:​ ​ ​0,​ ​0,​ ​0,​ ​+2,​ ​+1,​ ​-1,​ ​-3,​ ​ ​giving​ ​us​ ​:- 
   
  F:​ ​+1​ ​ ​Good 
  A:​ ​+1​ ​ ​Good 
  S:​ ​+1​ ​ ​Good  
  E:​ ​+2​ ​ ​Excellent 
  R:​ ​+1​ ​ ​Good​ ​boosted​ ​to​ ​+3​ ​Remarkable 
  I:​ ​0​ ​ ​Typical 
  P​ ​-2​ ​Feeble 
   
  So​ ​we​ ​have​ ​a​ ​very​ ​physically​ ​capable​ ​and​ ​extremely​ ​smart​ ​woman​ ​with​ ​with​ ​likely​ ​mental 
  issues. 
   
  Secondary​ ​Abilities 
   
  For​ ​Resources,​ ​we​ ​start​ ​at​ ​Typical​ ​and​ ​roll​ ​on​ ​the​ ​Ability​ ​Modifier​ ​table,​ ​getting​ ​+1.​ ​ ​Increasing 
  by​ ​one​ ​rank​ ​to​ ​Good​ ​+1.​ ​ ​Her​ ​Popularity​ ​is​ ​initially​ ​+1​ ​as​ ​per​ ​a​ ​usual​ ​starting​ ​character,​ ​but​ ​she 
  decides​ ​to​ ​have​ ​a​ ​Secret​ ​Identity,​ ​making​ ​her​ ​initial​ ​popularity​ ​0. 
   
  Health​ ​and​ ​Consequences 
   
  Her​ ​Physical​ ​abilities​ ​add​ ​up​ ​to​ ​+5,​ ​giving​ ​her​ ​an​ ​extra​ ​Physical​ ​Health​ ​box. 
  Her​ ​Mental​ ​abilities​ ​add​ ​up​ ​to​ ​+1,​ ​leaving​ ​her​ ​unchanged. 
  As​ ​a​ ​High​ ​Technology​ ​wonder,​ ​her​ ​Consequences​ ​are​ ​unlikely​ ​to​ ​change. 
   
  46 
  
  Special​ ​Abilities 
   
  Rolling​ ​0,​ ​+2,​ ​-2​ ​gives​ ​ ​3​ ​to​ ​4​ ​Powers,​ ​3​ ​to​ ​4​ ​Skills​ ​and​ ​+2​ ​to​ ​+4​ ​Contacts. 
   
  Taking​ ​Powers,​ ​we​ ​roll​ ​0,​ ​0,​ ​2​ ​-​ ​Body​ ​Alterations,​ ​Body​ ​Alterations​ ​and​ ​Distance​ ​Attacks.​ ​We 
  check​ ​the​ ​Body​ ​Alterations​ ​and​ ​0​ ​and​ ​+1​ ​means​ ​they​ ​are​ ​both​ ​Body​ ​Alterations​ ​-​ ​Offensive. 
  We​ ​will​ ​stick​ ​with​ ​random​ ​rolling.​ ​For​ ​Body​ ​Alterations​ ​we​ ​roll​ ​0​ ​and​ ​0.​ ​ ​For​ ​Distance​ ​Attack​ ​a 
  +1. 
  Extra​ ​Body​ ​Parts​ ​twice​ ​and​ ​also​ ​Fire​ ​Generation. 
   
  Taking​ ​Skills,​ ​we​ ​roll​ ​0,​ ​+1​ ​and​ ​0,​ ​gaining​ ​Fighting​ ​Skills​ ​twice​ ​and​ ​Weapon​ ​Skills​ ​once. 
   
  For​ ​Contacts​ ​she​ ​rolls​ ​+1,​ ​leaving​ ​her​ ​Contacts​ ​+1​ ​as​ ​a​ ​Skill. 
   
  Generating​ ​her​ ​powers,​ ​a​ ​roll​ ​of​ ​-1​ ​on​ ​Column​ ​4​ ​on​ ​the​ ​Ability​ ​Rank​ ​table​ ​which​ ​is​ ​used​ ​for 
  Powers​ ​givers​ ​her​ ​Remarkable​ ​+3​ ​Fire​ ​Generation. 
   
  For​ ​Body​ ​Alterations​ ​-​ ​Offensive,​ ​she​ ​chooses​ ​to​ ​have​ ​two​ ​tails.​ ​ ​One​ ​that​ ​can​ ​be​ ​used​ ​as​ ​an 
  extra​ ​limb​ ​and​ ​one​ ​that​ ​can​ ​be​ ​used​ ​as​ ​a​ ​weapon.​ ​ ​These​ ​of​ ​course​ ​are​ ​both​ ​devices​ ​and​ ​she 
  can​ ​coil​ ​them​ ​and​ ​wrap​ ​them​ ​around​ ​her​ ​waist​ ​like​ ​belts​ ​or​ ​in​ ​another​ ​arrangements.​ ​ ​Her​ ​fire 
  generation​ ​she​ ​decides​ ​is​ ​a​ ​Flame​ ​Pistol,​ ​being​ ​a​ ​C.​ ​L.​ ​Moore​ ​fan. 
   
  Generating​ ​talents​ ​gives​ ​her​ ​Acrobatics,​ ​Martial​ ​Arts​ ​C​ ​[Grappling]​ ​and​ ​Blunt​ ​Weapons. 
  Definitely​ ​useful​ ​for​ ​her.​ ​ ​A​ ​High​ ​Tech​ ​hero​ ​must​ ​take​ ​a​ ​professional​ ​skill,​ ​however.​ ​ ​So​ ​she 
  sacrifices​ ​a​ ​Resource​ ​rank,​ ​suggesting​ ​even​ ​though​ ​she​ ​has​ ​a​ ​well​ ​paid​ ​job​ ​she​ ​spends​ ​most​ ​of 
  what​ ​she​ ​gets​ ​helping​ ​out​ ​street​ ​kid​ ​charities.​ ​ ​This​ ​gives​ ​her​ ​the​ ​Electronics​ ​Skill​ ​officially. 
   
   
  Firetail 
   
  Secret​ ​Identity:​ ​Patricia​ ​Tarni 
   
  High​ ​Concept:​ ​Two-tailed​ ​two​ ​fisted​ ​crime​ ​burner 
  Trouble:​ ​Parents​ ​threw​ ​her​ ​out​ ​as​ ​a​ ​child 
  Aspect​ ​1​ ​:​ ​Protector​ ​of​ ​street​ ​children 
  Aspect​ ​2​ ​:​ ​Self-discovered​ ​electronics​ ​talent 
  Aspect​ ​3​ ​:​ ​In​ ​serious​ ​therapy 
   
  F:​ ​+1​ ​ ​Good 
  A:​ ​+1​ ​ ​Good 
  S:​ ​+1​ ​ ​Good  
  E:​ ​+2​ ​ ​Excellent 
  R:​ ​+3​ ​ ​Remarkable 
  47 
  
  I:​ ​0​ ​ ​Typical 
  P​ ​-2​ ​Feeble 
   
  Res​ ​:​ ​Typical​ ​+0​ ​Pop​ ​:​ ​Typical​ ​0 
  PH:​ ​3​ ​ ​MH:​ ​2​ ​ ​ ​Consequences:​ ​2​ ​4​ ​6 
   
  Powers 
   
  Flame​ ​Pistol​ ​-​ ​Remarkable​ ​(+3)​ ​Fire​ ​Generation 
  Body​ ​Alterations​ ​Offensive​ ​x2​ ​-​ ​Retractable​ ​manipulation​ ​and​ ​clubbing​ ​tails​ ​(Excellent​ ​+2 
  Strength​ ​damage​ ​for​ ​the​ ​latter).
   
   
  Skills 
   
  Athletics​ ​-​ ​Acrobatics​ ​+2,​ ​Fighting​ ​-​ ​Martial​ ​Arts​ ​C​ ​Grappling​ ​+2,​ ​Fighting​ ​-​ ​Blunt​ ​Weapons 
  (Excellent​ ​+2​ ​Fighting​ ​with​ ​clubbing​ ​tail,​ ​for​ ​one),​ ​Reason​ ​-​ ​Electronics​ ​+4 
   
   
  POWERS​ ​DESCRIPTION​ ​LIST 
   
  A​ ​work​ ​in​ ​progress,​ ​this​ ​section 
   
  Unless​ ​otherwise​ ​stated,​ ​every​ ​power​ ​needs​ ​to​ ​roll​ ​a​ ​Power​ ​Rank​ ​on​ ​Column​ ​4​ ​of​ ​the​ ​Ability 
  Ranks​ ​Table​ ​[Robots/P]. 
   
  Resistances 
   
   
  Cold,​ ​Corrosives,​ ​Heat,​ ​Electricity,​ ​Radiation,​ ​Toxins 
   
  These​ ​powers​ ​make​ ​the​ ​character​ ​effectively​ ​completely​ ​immune​ ​to​ ​the​ ​effects​ ​of​ ​the​ ​type​ ​of 
  resistance​ ​if​ ​the​ ​rank​ ​of​ ​the​ ​effect​ ​is​ ​less​ ​than​ ​or​ ​equal​ ​to​ ​the​ ​Power​ ​Rank.​ ​ ​Otherwise,​ ​reduce 
  the​ ​effect​ ​by​ ​a​ ​number​ ​of​ ​shifts​ ​equal​ ​to​ ​the​ ​Power​ ​Rank. 
   
  Disease 
   
  The​ ​character​ ​is​ ​resistant​ ​to​ ​disease​ ​to​ ​the​ ​level​ ​of​ ​the​ ​power,​ ​this​ ​includes​ ​such​ ​things​ ​as 
  vampires​ ​and​ ​werewolves​ ​and​ ​zombies​ ​and​ ​their​ ​infections.​ ​ ​The​ ​minimum​ ​rank​ ​in​ ​this​ ​power​ ​is 
  Endurance​ ​+1. 
   
   
  Emotion​ ​Attacks 
   
  48 
  
  Any​ ​Emotion​ ​or​ ​Empathy​ ​type​ ​attack​ ​must​ ​Overcome​ ​the​ ​rank​ ​of​ ​this​ ​power​ ​to​ ​work.​ ​ ​The 
  minimum​ ​rank​ ​for​ ​this​ ​power​ ​if​ ​gained​ ​is​ ​Intuition​ ​+1. 
   
  Mental​ ​Attacks 
   
  Any​ ​Psionic​ ​or​ ​Mental​ ​type​ ​attack​ ​that​ ​is​ ​not​ ​magical​ ​must​ ​Overcome​ ​the​ ​rank​ ​of​ ​this​ ​power​ ​to 
  work.​ ​ ​The​ ​minimum​ ​rank​ ​for​ ​this​ ​power​ ​if​ ​gained​ ​is​ ​Psyche​ ​+1. 
   
  Magical​ ​Attacks 
   
  Any​ ​Magical​ ​attack​ ​that​ ​is​ ​must​ ​Overcome​ ​the​ ​rank​ ​of​ ​this​ ​power​ ​to​ ​work.​ ​ ​The​ ​minimum​ ​rank​ ​for 
  this​ ​power​ ​if​ ​gained​ ​is​ ​Psyche​ ​+1. 
   
  Invulnerability 
   
  Take​ ​any​ ​of​ ​these​ ​powers​ ​twice​ ​and​ ​the​ ​character​ ​is​ ​completely​ ​immune​ ​to​ ​effects​ ​of​ ​this​ ​type. 
  If​ ​you​ ​need​ ​a​ ​Rank,​ ​this​ ​counts​ ​as​ ​+11. 
   
   
  Senses 
   
   
  Enhanced​ ​Senses 
   
  Choose​ ​a​ ​sense​ ​that​ ​is​ ​enhanced​ ​to​ ​the​ ​level​ ​of​ ​this​ ​Power​ ​Rank.​ ​ ​A​ ​detriment​ ​with​ ​this​ ​power​ ​is 
  that​ ​fact​ ​that​ ​attacks​ ​target​ ​this​ ​sense​ ​get​ ​+1​ ​to​ ​the​ ​shift​ ​result. 
   
  Protected​ ​Senses 
   
  Choose​ ​a​ ​sense​ ​that​ ​has​ ​this​ ​level​ ​of​ ​Power​ ​Rank​ ​protection​ ​from​ ​all​ ​adverse​ ​effects. 
   
  Infravision 
   
  The​ ​character​ ​can​ ​see​ ​in​ ​all​ ​normal​ ​darkness​ ​normally.​ ​ ​The​ ​Power​ ​Rank​ ​allows​ ​viewing​ ​in 
  extraordinary​ ​sources​ ​of​ ​darkness.​ ​ ​For​ ​example,​ ​a​ ​darkness​ ​spell​ ​or​ ​power. 
   
  Combat​ ​Sense 
   
  This​ ​costs​ ​two​ ​powers.​ ​The​ ​character​ ​may​ ​use​ ​Combat​ ​Sense​ ​to​ ​substitute​ ​for​ ​another​ ​Skill​ ​in 
  any​ ​evasion​ ​type​ ​action.​ ​ ​The​ ​minimum​ ​rank​ ​in​ ​this​ ​power​ ​is​ ​Intuition​ ​+1. 
   
  Cosmic​ ​Awareness 
   
  49 
  
  This​ ​costs​ ​two​ ​powers.​ ​ ​The​ ​character​ ​is​ ​aware​ ​of​ ​all​ ​extremely​ ​powerful​ ​individuals​ ​in​ ​the 
  general​ ​area.​ ​ ​They​ ​also​ ​gain​ ​+1​ ​on​ ​Attack​ ​Rolls​ ​in​ ​conflict​ ​as​ ​a​ ​weakness​ ​detection​ ​ability. 
   
  Computer​ ​Links 
   
  The​ ​character​ ​may​ ​talk​ ​to​ ​and​ ​interrogate​ ​computer​ ​systems​ ​at​ ​this​ ​Power​ ​Rank.​ ​ ​The​ ​Reason 
  rank​ ​of​ ​such​ ​is​ ​the​ ​defense.​ ​ ​This​ ​includes​ ​general​ ​robots. 
   
  Astral​ ​Detection 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​may​ ​see​ ​astral​ ​beings​ ​and​ ​ectoplasmic​ ​entities​ ​at​ ​Power​ ​Rank 
  ability.​ ​ ​This​ ​does​ ​not​ ​require​ ​active​ ​searching​ ​to​ ​realise​ ​one​ ​is​ ​around.​ ​ ​A​ ​Power​ ​roll​ ​is​ ​required 
  for​ ​actual​ ​identification​ ​of​ ​who​ ​or​ ​what. 
   
  Energy​ ​Detection 
   
  The​ ​character​ ​may​ ​detect​ ​and​ ​track​ ​at​ ​specific​ ​type​ ​of​ ​Energy​ ​at​ ​Power​ ​Rank​ ​ability.​ ​ ​If​ ​really 
  faint​ ​or​ ​strange​ ​the​ ​difficulty​ ​may​ ​be​ ​+2​ ​or​ ​+4,​ ​for​ ​example. 
   
  Magnetic​ ​Detection 
   
  The​ ​character​ ​may​ ​detect​ ​the​ ​planetary​ ​magnetic​ ​field​ ​and​ ​variations​ ​caused​ ​by​ ​other​ ​sources 
  at​ ​Power​ ​Rank​ ​ability.​ ​ ​They​ ​may​ ​use​ ​this​ ​ability​ ​for​ ​navigation. 
   
  Mutant​ ​Detection 
   
  The​ ​character​ ​may​ ​deliberately​ ​find​ ​mutants​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​range.​ ​ ​See​ ​the​ ​movement 
  table​ ​in​ ​the​ ​Scale​ ​Optional​ ​Rules. 
   
  Psionic​ ​Detection 
   
  The​ ​character​ ​may​ ​detect​ ​the​ ​use​ ​of​ ​mental​ ​powers​ ​and​ ​abilities​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​range​ ​at 
  difficulty​ ​0.​ ​ ​If​ ​not​ ​actively​ ​searching,​ ​the​ ​difficulty​ ​is​ ​+2​ ​and​ ​the​ ​GM​ ​can​ ​check​ ​in​ ​secret. 
   
  Tracking​ ​Ability 
   
  The​ ​character​ ​may​ ​trail​ ​another​ ​individual.​ ​ ​The​ ​exact​ ​method​ ​of​ ​which​ ​should​ ​be​ ​chosen​ ​by​ ​the 
  player.​ ​ ​The​ ​ability​ ​is​ ​at​ ​the​ ​Power​ ​Rank​ ​and​ ​the​ ​exact​ ​type​ ​of​ ​tracking​ ​may​ ​be​ ​complicated​ ​by 
  circumstance.​ ​ ​If​ ​tracking​ ​with​ ​a​ ​sonar​ ​locator​ ​the​ ​person​ ​they​ ​are​ ​trailing​ ​disappearing​ ​into​ ​a 
  rock​ ​concert​ ​will​ ​be​ ​problematic,​ ​leading​ ​to​ ​increased​ ​difficulties​ ​such​ ​as​ ​+2​ ​or​ ​+4. 
   
  Movement 
   
  50 
  
   
  Flight 
   
  The​ ​character​ ​may​ ​fly​ ​at​ ​Power​ ​Rank​ ​ability.​ ​ ​Manoeuvring​ ​is​ ​based​ ​on​ ​Agility.​ ​Wind​ ​etc.​ ​may 
  cause​ ​difficulty. 
   
  Gliding 
   
  The​ ​character​ ​may​ ​glide​ ​at​ ​Power​ ​Rank​ ​ability.​ ​ ​To​ ​avoid​ ​losing​ ​one​ ​zone​ ​of​ ​altitude​ ​an​ ​Agility 
  roll​ ​is​ ​required​ ​per​ ​turn.​ ​Wind​ ​etc.​ ​may​ ​cause​ ​difficulty. 
   
  Leaping 
   
  The​ ​character​ ​may​ ​jump​ ​a​ ​long​ ​way.​ ​ ​The​ ​minimum​ ​Power​ ​Rank​ ​is​ ​Strength​ ​+1. 
   
  Wall-Crawling 
   
  The​ ​character​ ​may​ ​move​ ​vertically​ ​and​ ​upside-down​ ​at​ ​Power​ ​Rank​ ​ability.​ ​ ​ ​Use​ ​the​ ​Power 
  Rank​ ​if​ ​the​ ​surfaces​ ​are​ ​slippery​ ​at​ ​appropriate​ ​difficulty​ ​to​ ​check​ ​for​ ​success. 
   
  Lightning​ ​Speed 
   
  The​ ​character​ ​may​ ​run​ ​at​ ​Power​ ​Rank​ ​speed​ ​unless​ ​they​ ​have​ ​another​ ​movement​ ​power​ ​or 
  ability​ ​to​ ​boost.​ ​ ​In​ ​that​ ​case​ ​this​ ​Power​ ​benefits​ ​that​ ​type​ ​of​ ​movement​ ​as​ ​well.​ ​ ​Characters​ ​may 
  manoeuvre,​ ​start​ ​and​ ​stop​ ​at​ ​full​ ​speed.​ ​ ​The​ ​minimum​ ​Power​ ​Rank​ ​is​ ​Endurance​ ​+1. 
   
  Teleportation 
   
  The​ ​character​ ​may​ ​move​ ​from​ ​point​ ​to​ ​point​ ​without​ ​crossing​ ​the​ ​distance​ ​between​ ​at​ ​Power 
  Rank​ ​level​ ​by​ ​a​ ​method​ ​the​ ​character​ ​chooses.​ ​ ​A​ ​failed​ ​teleport​ ​roll​ ​means​ ​the​ ​character 
  arrives​ ​but​ ​has​ ​a​ ​one​ ​turn​ ​Dizzy​ ​Consequence​ ​and​ ​may​ ​not​ ​act.​ ​ ​A​ ​teleporter​ ​may​ ​take​ ​up​ ​to 
  their​ ​Strength​ ​ability​ ​with​ ​them.​ ​ ​If​ ​these​ ​are​ ​characters​ ​they​ ​must​ ​make​ ​an​ ​Endurance​ ​roll​ ​or 
  suffer​ ​a​ ​Dizzy​ ​Consequence​ ​for​ ​as​ ​many​ ​turns​ ​as​ ​their​ ​shifts​ ​of​ ​failure.​ ​ ​Teleporting​ ​into​ ​a​ ​solid 
  object​ ​requires​ ​an​ ​Endurance​ ​roll​ ​to​ ​not​ ​take​ ​damage​ ​and​ ​return​ ​to​ ​your​ ​origin. 
   
  Levitation 
   
  The​ ​character​ ​may​ ​move​ ​vertically​ ​at​ ​Power​ ​Rank​ ​ability. 
   
  Swimming 
   
  The​ ​hero​ ​may​ ​move​ ​in​ ​water​ ​as​ ​if​ ​they​ ​had​ ​Lightning​ ​Speed​ ​at​ ​their​ ​Swimming​ ​Power​ ​Rank. 
  They​ ​may​ ​take​ ​Water​ ​Breathing​ ​as​ ​one​ ​of​ ​their​ ​powers​ ​if​ ​they​ ​desire. 
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  Climbing 
   
  The​ ​hero​ ​may​ ​Wall-Crawl​ ​at​ ​the​ ​Power​ ​Rank​ ​as​ ​if​ ​they​ ​had​ ​Lightning​ ​Speed. 
   
  Digging 
   
  The​ ​hero​ ​may​ ​move​ ​under​ ​the​ ​ground​ ​at​ ​Power​ ​Rank​ ​speed,​ ​slower​ ​if​ ​allowing​ ​others​ ​to​ ​follow. 
  They​ ​may​ ​dig​ ​through​ ​materials​ ​at​ ​less​ ​than​ ​Power​ ​Rank​ ​strength.​ ​ ​Additionally,​ ​Claws​ ​may​ ​be 
  taken​ ​as​ ​one​ ​of​ ​their​ ​powers. 
   
  Dimensional​ ​Travel 
   
  The​ ​character​ ​may​ ​journey​ ​to​ ​another​ ​dimension,​ ​specifically​ ​chosen​ ​needs​ ​a​ ​successful​ ​Power 
  Rank​ ​roll.​ ​ ​To​ ​begin,​ ​a​ ​character​ ​has​ ​one​ ​dimension​ ​of​ ​choice.​ ​ ​They​ ​may​ ​pick​ ​a​ ​particular​ ​spot 
  to​ ​travel​ ​to​ ​with​ ​a​ ​difficulty​ ​of​ ​+4,​ ​or​ ​+2​ ​if​ ​they​ ​have​ ​been​ ​there​ ​before.​ ​ ​Extra​ ​dimensions​ ​are 
  additional​ ​power​ ​stunts. 
   
  Matter​ ​Control 
   
  Fire​ ​Control 
   
  A​ ​character​ ​may​ ​control​ ​existing​ ​sources​ ​of​ ​fire,​ ​either​ ​reducing​ ​their​ ​effect​ ​or​ ​increasing​ ​it​ ​up​ ​to 
  the​ ​Power​ ​Rank​ ​level,​ ​as​ ​well​ ​as​ ​manipulate​ ​the​ ​fire. 
   
  Water​ ​Control 
   
  This​ ​allows​ ​the​ ​character​ ​to​ ​manipulate​ ​existing​ ​water​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​level​ ​in​ ​strength, 
  including​ ​offensively​ ​and​ ​defensively. 
   
  Earth​ ​Control 
   
  This​ ​allows​ ​the​ ​character​ ​to​ ​manipulate​ ​existing​ ​earth​ ​and​ ​rock​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​level​ ​in 
  strength,​ ​including​ ​offensively​ ​and​ ​defensively. 
   
  Air​ ​Control 
   
  This​ ​allows​ ​the​ ​character​ ​to​ ​manipulate​ ​existing​ ​air​ ​and​ ​winds​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​level, 
  including​ ​offensive​ ​and​ ​defensively. 
   
  Weather​ ​Control 
   
  The​ ​character​ ​can​ ​control​ ​the​ ​weather​ ​at​ ​Power​ ​rank​ ​level.​ ​ ​Choose​ ​one​ ​thing​ ​they​ ​have​ ​learned 
  52 
  
  to​ ​do​ ​already,​ ​anything​ ​else​ ​must​ ​be​ ​developed​ ​as​ ​a​ ​stunt. 
   
  Animate​ ​Objects 
   
  The​ ​character​ ​may​ ​bring​ ​things​ ​to​ ​life.​ ​ ​The​ ​Fighting​ ​and​ ​Agility​ ​abilities​ ​are​ ​at​ ​the​ ​Power​ ​Rank, 
  with​ ​Strength​ ​and​ ​Endurance​ ​at​ ​the​ ​Material​ ​Strength​ ​rank.​ ​ ​The​ ​Power​ ​Rank​ ​limits​ ​the​ ​material 
  strength​ ​of​ ​what​ ​the​ ​character​ ​can​ ​animate.​ ​ ​The​ ​object​ ​has​ ​Health​ ​equal​ ​to​ ​the​ ​Power​ ​Rank​ ​of 
  the​ ​ability​ ​after​ ​being​ ​animated. 
   
  Density​ ​Manipulation​ ​-​ ​Others 
   
  The​ ​character​ ​may​ ​raise​ ​or​ ​lower​ ​the​ ​density​ ​of​ ​others​ ​by​ ​the​ ​Power​ ​Rank​ ​level.​ ​Very​ ​light 
  character​ ​can​ ​be​ ​blown​ ​away,​ ​or​ ​very​ ​heavy,​ ​collapse.​ ​ ​Possible​ ​compels​ ​there.​ ​ ​A​ ​character​ ​not 
  wishing​ ​to​ ​be​ ​changed​ ​may​ ​resist​ ​with​ ​the​ ​higher​ ​of​ ​Endurance​ ​or​ ​Psyche. 
   
  Body​ ​Transformation​ ​-​ ​Others 
   
  The​ ​character​ ​chooses​ ​one​ ​substance​ ​to​ ​turn​ ​people​ ​into.​ ​ ​They​ ​must​ ​touch​ ​the​ ​character’s 
  flesh​ ​to​ ​do​ ​so.​ ​A​ ​character​ ​not​ ​wishing​ ​to​ ​be​ ​changed​ ​may​ ​resist​ ​with​ ​the​ ​higher​ ​of​ ​Endurance​ ​or 
  Psyche. 
   
  Animal​ ​Transformation​ ​-​ ​Others 
   
  The​ ​character​ ​chooses​ ​one​ ​creature​ ​to​ ​turn​ ​people​ ​into​ ​(and​ ​back​ ​again).​ ​ ​They​ ​must​ ​touch​ ​the 
  character’s​ ​flesh​ ​to​ ​do​ ​so.​ ​A​ ​character​ ​not​ ​wishing​ ​to​ ​be​ ​changed​ ​may​ ​resist​ ​with​ ​the​ ​higher​ ​of 
  Endurance​ ​or​ ​Psyche.​ ​ ​The​ ​character​ ​gains​ ​the​ ​physical​ ​abilities​ ​of​ ​the​ ​animal,​ ​but​ ​keeps​ ​their 
  own​ ​mental​ ​abilities. 
   
   
  Energy​ ​Control 
   
  Magnetic​ ​Manipulation 
   
  The​ ​character​ ​can​ ​control​ ​magnetic​ ​forces,​ ​giving​ ​the​ ​initial​ ​ability​ ​to​ ​move​ ​and​ ​control​ ​metallic 
  things​ ​at​ ​the​ ​Power​ ​Rank. 
   
  Electrical​ ​Manipulation 
   
  Gives​ ​the​ ​character​ ​electrical​ ​resistance​ ​at​ ​Power​ ​Rank​ ​level​ ​and​ ​the​ ​ability​ ​to​ ​control​ ​and 
  manipulate​ ​electricity. 
   
  Light​ ​Manipulation 
   
  53 
  
  The​ ​character​ ​can​ ​generate​ ​light​ ​at​ ​Power​ ​Rank​ ​level​ ​and​ ​control​ ​existing​ ​light. 
   
  Sound​ ​Manipulation 
   
  The​ ​character​ ​may​ ​raise​ ​or​ ​lessen​ ​existing​ ​sonic​ ​energies​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​Choose​ ​Sonic 
  Generation​ ​as​ ​another​ ​power​ ​if​ ​desired,​ ​using​ ​one​ ​slot. 
   
  Darkness​ ​Manipulation 
   
  The​ ​character​ ​can​ ​remove​ ​light​ ​and​ ​manipulate​ ​areas​ ​of​ ​darkness​ ​at​ ​Power​ ​Rank​ ​level. 
   
  Gravity​ ​Manipulation 
   
  The​ ​character​ ​can​ ​alter​ ​the​ ​forces​ ​of​ ​gravity​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​Choose​ ​initially​ ​either 
  Increasing​ ​of​ ​Reducing​ ​the​ ​weight​ ​of​ ​other​ ​things. 
   
  Probability​ ​Manipulation 
   
  Make​ ​a​ ​4dF​ ​roll: 
   
  Good​ ​Luck​ ​:​ ​+1,+2 
  Bad​ ​Luck​ ​:​ ​-2,-1,0 
  Both​ ​Types​ ​:​ ​ ​-3,-4,+3,+4 
   
  Initially,​ ​Good​ ​Luck​ ​is​ ​only​ ​usable​ ​on​ ​the​ ​character.​ ​Bad​ ​Luck​ ​is​ ​only​ ​usable​ ​on​ ​opponents.​ ​ ​This 
  power​ ​should​ ​have​ ​a​ ​limitation​ ​like​ ​affecting​ ​a​ ​whole​ ​area,​ ​being​ ​a​ ​jinx​ ​on​ ​your​ ​friends,​ ​etc. 
  Mechanics: 
  Good​ ​Luck:​ ​replace​ ​any​ ​-​ ​die​ ​rolls​ ​with​ ​+ 
  Bad​ ​Luck​ ​:​ ​replace​ ​any​ ​+​ ​die​ ​rolls​ ​with​ ​- 
   
  A​ ​power​ ​that​ ​can​ ​be​ ​Compelled​ ​to​ ​go​ ​wrong. 
   
  Nullifying​ ​Power 
   
  The​ ​character​ ​with​ ​this​ ​ability​ ​may​ ​shut​ ​down​ ​the​ ​powers​ ​of​ ​others​ ​at​ ​Power​ ​Rank​ ​level. 
  Targets​ ​may​ ​resist​ ​with​ ​Endurance.​ ​ ​Works​ ​while​ ​the​ ​user​ ​is​ ​in​ ​range,​ ​or​ ​for​ ​one​ ​scene. 
   
  Energy​ ​Reflection 
   
  Choose​ ​one​ ​form​ ​of​ ​energy.​ ​ ​Up​ ​to​ ​Unearthly​ ​+7​ ​levels​ ​of​ ​attack​ ​of​ ​that​ ​form​ ​may​ ​be​ ​reflected 
  back​ ​on​ ​the​ ​attacker.​ ​ ​This​ ​requires​ ​a​ ​successful​ ​Agility​ ​roll.​ ​ ​Over​ ​+7​ ​levels​ ​act​ ​as​ ​attacks​ ​on 
  the​ ​character​ ​for​ ​the​ ​extra​ ​damage. 
   
  54 
  
  Time​ ​Control 
   
  A​ ​definite​ ​two​ ​power​ ​job.​ ​ ​The​ ​character​ ​starts​ ​with​ ​no​ ​actual​ ​actions​ ​and​ ​must​ ​develop​ ​Power 
  Stunts​ ​in​ ​play​ ​of​ ​all​ ​the​ ​classics,​ ​speeding​ ​up,​ ​slowing​ ​down,​ ​versions​ ​of​ ​themselves​ ​from​ ​other 
  times,​ ​time​ ​travel,​ ​etc. 
   
   
   
   
   
   
  Body​ ​Control 
   
  Growth 
   
  The​ ​hero​ ​gets​ ​up​ ​to​ ​Power​ ​Rank​ ​larger.​ ​ ​The​ ​hero​ ​may​ ​use​ ​the​ ​Growth​ ​rank​ ​instead​ ​of​ ​Strength 
  when​ ​bigger​ ​but​ ​are​ ​also​ ​easier​ ​to​ ​hit​ ​gaining​ ​a​ ​‘Large,​ ​easy​ ​target’​ ​Aspect. 
   
  Shrinking 
   
  The​ ​hero​ ​gets​ ​up​ ​to​ ​Power​ ​Rank​ ​smaller​ ​and​ ​also​ ​become​ ​harder​ ​to​ ​hit,​ ​gaining​ ​‘Small​ ​and​ ​hard 
  to​ ​hit’​ ​Aspect. 
   
  Density​ ​Manipulation​ ​-​ ​Self 
   
  The​ ​character​ ​may​ ​raise​ ​or​ ​lower​ ​their​ ​density​ ​ ​by​ ​the​ ​Power​ ​Rank​ ​level​ ​from​ ​Shift​ ​0 
  (Phasing-like)​ ​to​ ​the​ ​Power​ ​Rank​ ​level,​ ​making​ ​the​ ​character​ ​heavier​ ​and​ ​giving​ ​them​ ​Body 
  Armour​ ​at​ ​the​ ​Power​ ​Rank​ ​level.​ ​ ​Which​ ​means​ ​running​ ​into​ ​something​ ​may​ ​hurt​ ​or​ ​break​ ​it.​ ​ ​If 
  the​ ​density​ ​is​ ​higher​ ​than​ ​the​ ​Endurance​ ​of​ ​the​ ​character​ ​they​ ​get​ ​a​ ​‘Slow​ ​and​ ​Heavy’​ ​Aspect. 
   
  Phasing 
   
  A​ ​character​ ​may​ ​move​ ​through​ ​solid​ ​objects​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​level​ ​in​ ​material​ ​strength. 
  The​ ​hero​ ​is​ ​unaffected​ ​by​ ​physical​ ​attacks​ ​and​ ​likewise​ ​may​ ​not​ ​make​ ​them.​ ​ ​Moving​ ​through 
  electronics​ ​or​ ​computers​ ​may​ ​cause​ ​a​ ​malfunction​ ​ ​(could​ ​Compel)​ ​or​ ​have​ ​them​ ​resist​ ​with 
  Endurance​ ​(for​ ​characters)​ ​or​ ​Reason​ ​(for​ ​machines​ ​like​ ​computers). 
   
  Invisibility 
   
  The​ ​character​ ​becomes​ ​invisible​ ​to​ ​normal​ ​sight,​ ​not​ ​to​ ​other​ ​methods​ ​of​ ​location.​ ​ ​The​ ​Power 
  Rank​ ​level​ ​is​ ​used​ ​when​ ​developing​ ​other​ ​Power​ ​Stunts. 
   
  Plasticity 
  55 
  
   
  The​ ​character​ ​has​ ​a​ ​malleable​ ​body,​ ​giving​ ​the​ ​character​ ​effective​ ​Body​ ​Armour​ ​at​ ​the​ ​Power 
  Rank.​ ​ ​The​ ​character​ ​may​ ​choose​ ​Elongation​ ​as​ ​a​ ​second​ ​power​ ​with​ ​one​ ​of​ ​the​ ​slots. 
   
  Elongation 
   
  The​ ​character​ ​can​ ​extend​ ​body​ ​and​ ​limbs​ ​up​ ​to​ ​the​ ​Power​ ​Rank​ ​level. 
   
  Shape-Shifting 
   
  The​ ​character​ ​may​ ​change​ ​shape​ ​to​ ​completely​ ​resemble​ ​other​ ​things​ ​or​ ​people.​ ​ ​Use​ ​a 
  suspicious​ ​character’s​ ​highest​ ​RIP​ ​ability​ ​to​ ​detect​ ​something​ ​strange.​ ​ ​Characters​ ​may​ ​not 
  change​ ​mass​ ​to​ ​a​ ​significant​ ​amount​ ​or​ ​gain​ ​powers​ ​when​ ​doing​ ​so. 
  Imitation 
   
  The​ ​character​ ​may​ ​exactly​ ​duplicate​ ​the​ ​appearance,​ ​voice​ ​and​ ​manner​ ​of​ ​another​ ​as​ ​long​ ​as 
  familiarity​ ​is​ ​gained.​ ​ ​Detection​ ​of​ ​the​ ​duplication​ ​is​ ​determined​ ​by​ ​the​ ​Power​ ​Rank​ ​with​ ​the 
  LOWEST​ ​of​ ​the​ ​RIP​ ​abilities​ ​of​ ​the​ ​person​ ​they​ ​are​ ​trying​ ​to​ ​fool​ ​used​ ​as​ ​the​ ​resistance. 
   
  Body​ ​Transformation​ ​-​ ​Self 
   
  The​ ​character​ ​chooses​ ​a​ ​substance​ ​to​ ​turn​ ​into​ ​and​ ​may​ ​move​ ​and​ ​think​ ​while​ ​so​ ​transformed, 
  also​ ​gaining​ ​Body​ ​Armour​ ​at​ ​the​ ​Material​ ​Strength​ ​or​ ​Power​ ​Rank,​ ​whichever​ ​is​ ​lower.​ ​ ​If​ ​the 
  hero​ ​chooses​ ​one​ ​state​ ​of​ ​matter​ ​only​ ​raise​ ​the​ ​Power​ ​Rank​ ​+1.​ ​ ​If​ ​limiting​ ​to​ ​a​ ​particular​ ​type​ ​of 
  matter​ ​such​ ​as​ ​aluminium​ ​raise​ ​the​ ​Power​ ​Rank​ ​+2. 
   
  Animal​ ​Transformation​ ​-​ ​Self 
   
  The​ ​character​ ​may​ ​turn​ ​into​ ​an​ ​animal​ ​with​ ​all​ ​the​ ​abilities​ ​and​ ​powers​ ​of​ ​that​ ​animal. 
   
  Raise​ ​Lowest​ ​Ability 
   
  Raise​ ​the​ ​character’s​ ​lowest​ ​FASERIP​ ​two​ ​ranks​ ​and​ ​also​ ​allow​ ​the​ ​choosing​ ​of​ ​one​ ​power​ ​from 
  the​ ​whole​ ​power​ ​list. 
   
  Blending 
   
  The​ ​character​ ​may​ ​change​ ​their​ ​colour​ ​like​ ​a​ ​chameleon​ ​to​ ​camouflage​ ​at​ ​Power​ ​Rank​ ​ability.​ ​If 
  they​ ​take​ ​a​ ​limitation​ ​on​ ​the​ ​ability,​ ​raise​ ​the​ ​Power​ ​Rank​ ​two​ ​ranks.​ ​ ​Only​ ​Blend​ ​in​ ​buildings​ ​for 
  example. 
   
  Power​ ​Absorption 
   
  56 
  
  The​ ​hero​ ​may​ ​gain​ ​the​ ​abilities​ ​and​ ​powers​ ​of​ ​another​ ​as​ ​long​ ​as​ ​they​ ​are​ ​natural,​ ​not 
  technological.​ ​ ​The​ ​target​ ​must​ ​be​ ​touched​ ​and​ ​may​ ​use​ ​the​ ​higher​ ​of​ ​Psyche​ ​or​ ​Endurance​ ​to 
  resist​ ​the​ ​attempt.​ ​ ​The​ ​maximum​ ​of​ ​any​ ​ability​ ​gained​ ​is​ ​the​ ​Power​ ​Rank.​ ​ ​If​ ​there​ ​are​ ​abilities 
  or​ ​powers​ ​of​ ​higher​ ​rank​ ​the​ ​character​ ​must​ ​make​ ​a​ ​successful​ ​Psyche​ ​roll​ ​or​ ​gain​ ​a​ ​Knocked 
  Out​ ​Consequence​ ​for​ ​a​ ​scene.​ ​ ​Initially,​ ​the​ ​character​ ​may​ ​only​ ​absorb​ ​one​ ​ability​ ​or​ ​power​ ​at​ ​a 
  time.​ ​ ​Compel​ ​and​ ​Taken​ ​Out​ ​personality​ ​transfers​ ​are​ ​possible​ ​here​ ​at​ ​more​ ​experiened​ ​levels. 
   
  Alter​ ​Ego 
   
  The​ ​character​ ​has​ ​another​ ​persona​ ​with​ ​no​ ​powers​ ​or​ ​increased​ ​abilities...roll​ ​on​ ​Column​ ​two​ ​for 
  the​ ​Alter​ ​Ego’s​ ​FASERIP.​ ​ ​Normal​ ​Skills​ ​remain​ ​the​ ​same​ ​for​ ​both​ ​personas.​ ​ ​Transformation​ ​is 
  instantaneous. 
   
  Distance​ ​Attacks 
   
  These​ ​all​ ​use​ ​Agility​ ​to​ ​resolve​ ​attack​ ​success​ ​unless​ ​otherwise​ ​specified. 
   
  Projectile​ ​Missile 
   
  An​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage​ ​that​ ​is​ ​of​ ​Shooting​ ​type.​ ​ ​Usually​ ​a​ ​device. 
   
  Ensaring​ ​Missile 
   
  A​ ​ranged​ ​grappling​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​Material​ ​Strength. 
   
  Ice​ ​Generation 
   
  A​ ​ranged​ ​frozen​ ​water​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage.​ ​ ​Blunt​ ​or​ ​Edged.​ ​ ​Choose​ ​one 
  other​ ​use​ ​of​ ​the​ ​ability​ ​as​ ​a​ ​Power​ ​Stunt​ ​initially. 
   
  Fire​ ​Generation 
   
  A​ ​ranged​ ​flame​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage.​ ​ ​Energy​ ​type.​ ​ ​Choose​ ​one​ ​other​ ​use 
  of​ ​the​ ​ability​ ​as​ ​a​ ​Power​ ​Stunt​ ​initially. 
   
  Energy​ ​Generation 
   
  A​ ​ranged​ ​energy​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage.​ ​ ​Choose​ ​either​ ​Energy​ ​or​ ​Force​ ​as 
  the​ ​initial​ ​type. 
   
  Sonic​ ​Generation 
   
  A​ ​ranged​ ​sound​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage.​ ​Force​ ​type. 
  57 
  
   
  Slashing​ ​Missile 
   
  A​ ​ranged​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage.​ ​ ​Edged​ ​type. 
   
  Darkness​ ​Generation 
   
  Allow​ ​the​ ​character​ ​to​ ​choose​ ​solid​ ​shadow​ ​type​ ​attack​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​damage,​ ​or 
  for​ ​it​ ​to​ ​have​ ​an​ ​effect​ ​of​ ​a​ ​Stunned​ ​Consequence​ ​for​ ​a​ ​scene​ ​on​ ​a​ ​successful​ ​attack​ ​versus​ ​a 
  victim’s​ ​Endurance. 
   
   
   
   
   
  Mental​ ​Powers 
   
  Ultimate​ ​Skill 
   
  The​ ​character​ ​picks​ ​any​ ​Skill​ ​that​ ​is​ ​not​ ​a​ ​Primary​ ​or​ ​Secondary​ ​Ability​ ​and​ ​raises​ ​it​ ​to​ ​Unearthly 
  +7.​ ​ ​The​ ​chosen​ ​Skill​ ​must​ ​have​ ​GM​ ​approval. 
   
  Telepathy 
   
  The​ ​character​ ​may​ ​communicate​ ​mind​ ​to​ ​mind​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​They​ ​may​ ​only​ ​read 
  surface​ ​thoughts.​ ​ ​Unwilling​ ​targets​ ​may​ ​resist​ ​with​ ​Psyche. 
   
  Image​ ​Generation 
   
  The​ ​character​ ​may​ ​create​ ​illusions​ ​visible​ ​to​ ​sentient​ ​beings​ ​but​ ​not​ ​to​ ​machines.​ ​ ​Placing​ ​them 
  as​ ​Scene​ ​Aspects​ ​as​ ​appropriate.​ ​ ​Notice​ ​is​ ​the​ ​defense​ ​against​ ​this​ ​Power​ ​Rank​ ​ability. 
  Characters​ ​that​ ​believe​ ​them​ ​can​ ​be​ ​affected​ ​as​ ​if​ ​they​ ​are​ ​real.​ ​ ​In​ ​effect​ ​a​ ​Mild​ ​Mental 
  Consequence​ ​for​ ​the​ ​Scene. 
   
  Telekinesis 
   
  Moving​ ​objects​ ​with​ ​the​ ​mind​ ​as​ ​if​ ​the​ ​Power​ ​Rank​ ​was​ ​Strength​ ​and​ ​also​ ​the​ ​range​ ​of​ ​the 
  power. 
   
  Mind​ ​Control 
   
  The​ ​Power​ ​Rank​ ​of​ ​this​ ​ability​ ​is​ ​used​ ​to​ ​try​ ​and​ ​take​ ​over​ ​another​ ​character​ ​and​ ​is​ ​resisted​ ​by 
  Psyche.​ ​ ​The​ ​level​ ​of​ ​success​ ​determines​ ​the​ ​Aspect​ ​placed​ ​on​ ​the​ ​character.​ ​ ​If​ ​the​ ​character 
  58 
  
  is​ ​made​ ​to​ ​attack​ ​in​ ​a​ ​way​ ​opposite​ ​their​ ​nature​ ​of​ ​Aspects​ ​they​ ​may​ ​gain​ ​another​ ​roll​ ​to​ ​resist. 
  Agreeing​ ​to​ ​stay​ ​controlled​ ​may​ ​be​ ​worth​ ​Compel​ ​Karma. 
   
  Emotion​ ​Control 
   
  The​ ​character​ ​may​ ​affect​ ​the​ ​emotions​ ​of​ ​others​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​Notice​ ​is​ ​the​ ​defense. 
  The​ ​effects​ ​last​ ​for​ ​a​ ​scene.​ ​ ​Will​ ​not​ ​work​ ​on​ ​robots​ ​or​ ​non-humans.​ ​ ​Only​ ​one​ ​type​ ​of​ ​emotion 
  effect​ ​at​ ​a​ ​time.​ ​ ​If​ ​a​ ​character​ ​limits​ ​their​ ​power​ ​to​ ​one​ ​emotion,​ ​raise​ ​the​ ​Power​ ​Rank​ ​two 
  levels.​ ​ ​Effect​ ​Aspects​ ​should​ ​be​ ​determined​ ​by​ ​the​ ​type​ ​of​ ​emotion​ ​used. 
   
  Force​ ​Field​ ​Generation 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​can​ ​create​ ​defensive​ ​barriers​ ​at​ ​a​ ​Power​ ​Rank​ ​level​ ​and​ ​zones. 
  The​ ​character​ ​may​ ​choose​ ​a​ ​personal​ ​only​ ​force​ ​field​ ​and​ ​gain​ ​a​ ​+1​ ​Rank​ ​increase.​ ​ ​Force 
  Fields​ ​work​ ​as​ ​Body​ ​Armour​ ​against​ ​Energy​ ​and​ ​Body​ ​Armour​ ​at​ ​one​ ​rank​ ​lower​ ​versus​ ​physical 
  attacks​ ​up​ ​until​ ​the​ ​point​ ​they​ ​are​ ​hit​ ​with​ ​more​ ​damage​ ​than​ ​they​ ​can​ ​absorb,​ ​when​ ​they​ ​fail 
  and​ ​all​ ​damage​ ​gets​ ​through.​ ​ ​In​ ​this​ ​case,​ ​the​ ​character​ ​must​ ​make​ ​a​ ​Psyche​ ​Roll​ ​or​ ​gain​ ​a 
  Stunned​ ​Mild​ ​Consequence​ ​for​ ​the​ ​Scene. 
   
  Animal​ ​Communication​ ​and​ ​Control 
   
  A​ ​hero​ ​can​ ​talk​ ​to​ ​animals​ ​and​ ​attempt​ ​to​ ​get​ ​them​ ​to​ ​act.​ ​ ​Gain​ ​+1​ ​to​ ​Power​ ​Rank​ ​if​ ​one​ ​type​ ​of 
  animal​ ​like​ ​birds​ ​and​ ​+2​ ​if​ ​only​ ​one​ ​sub-type​ ​like​ ​magpies.​ ​ ​Choosing​ ​only​ ​one​ ​animal​ ​grants​ ​an 
  animal​ ​companion​ ​and​ ​+3​ ​to​ ​the​ ​Power​ ​Rank.​ ​ ​The​ ​Power​ ​Rank​ ​acts​ ​for​ ​Popularity​ ​when 
  making​ ​requests. 
   
  Mechanical​ ​Intuition 
   
  This​ ​gives​ ​the​ ​character​ ​Unearthly​ ​+7​ ​Reason​ ​when​ ​working​ ​with​ ​machinery. 
   
  Empathy 
   
  Is​ ​like​ ​telepathy​ ​but​ ​limited​ ​to​ ​reading​ ​surface​ ​emotions​ ​at​ ​Power​ ​Rank​ ​level. 
   
  Animal​ ​Empathy 
   
  The​ ​character​ ​may​ ​attempt​ ​to​ ​read​ ​and​ ​affect​ ​animal​ ​emotions​ ​at​ ​Powre​ ​Rank​ ​Level. 
   
  Psi-Screen 
   
  A​ ​character​ ​gains​ ​this​ ​power​ ​at​ ​a​ ​minimum​ ​of​ ​Psyche​ ​+1.​ ​ ​It​ ​may​ ​be​ ​used​ ​as​ ​per​ ​a​ ​force​ ​field​ ​to 
  protect​ ​multiple​ ​people​ ​on​ ​a​ ​Power​ ​Roll,​ ​failure​ ​indicating​ ​Psi-Screen​ ​complete​ ​failure.​ ​ ​The 
  power​ ​may​ ​always​ ​be​ ​substituted​ ​for​ ​Psyche​ ​when​ ​resisting​ ​Mental​ ​Powers. 
  59 
  
   
  Mental​ ​Probe 
   
  The​ ​character​ ​is​ ​using​ ​telepathy​ ​to​ ​search​ ​for​ ​a​ ​particular​ ​thought​ ​in​ ​someone’s​ ​mind​ ​and​ ​the 
  Power​ ​Rank​ ​effect​ ​may​ ​be​ ​resisted​ ​with​ ​Psyche.​ ​ ​A​ ​victim​ ​must​ ​make​ ​a​ ​Psyche​ ​roll​ ​or​ ​gain​ ​a 
  Moderate​ ​Mental​ ​Consequence​ ​of​ ​Damaged​ ​Psyche. 
   
  Animate​ ​Drawings 
   
  A​ ​character​ ​may​ ​brings​ ​drawings​ ​to​ ​life,​ ​limiting​ ​the​ ​type​ ​giving​ ​+1​ ​to​ ​the​ ​Power​ ​Rank.​ ​ ​They 
  have​ ​the​ ​powers​ ​and​ ​abilities​ ​of​ ​the​ ​picture​ ​brought​ ​to​ ​life.​ ​ ​They​ ​last​ ​for​ ​a​ ​Scene. 
   
  Possession 
   
  A​ ​character​ ​with​ ​this​ ​ability​ ​may​ ​inhabit​ ​the​ ​body​ ​of​ ​another.​ ​ ​Psyche​ ​is​ ​used​ ​to​ ​defend​ ​against 
  this​ ​Power​ ​Rank​ ​effect.​ ​ ​A​ ​character​ ​with​ ​greater​ ​Psyche​ ​than​ ​the​ ​Possessor​ ​may​ ​continue​ ​to​ ​try 
  and​ ​resist​ ​each​ ​turn. 
   
  Transferral 
   
  This​ ​is​ ​Possession​ ​with​ ​total​ ​body​ ​switch.​ ​ ​It​ ​requires​ ​Success​ ​With​ ​Style​ ​to​ ​work​ ​at​ ​Power​ ​Rank 
  level.​ ​ ​If​ ​the​ ​attempt​ ​fails​ ​the​ ​Transferrer​ ​gains​ ​an​ ​Unconscious​ ​Mild​ ​Mental​ ​Consequence​ ​for​ ​a 
  Scene. 
   
  Astral​ ​Projection 
   
  The​ ​character​ ​may​ ​cause​ ​their​ ​astral​ ​body​ ​to​ ​leave​ ​and​ ​travel​ ​elsewhere.​ ​ ​Out​ ​of​ ​Body​ ​Aspect 
  and​ ​a​ ​Mild​ ​In​ ​A​ ​Trance​ ​Consequence​ ​when​ ​travelling.​ ​ ​Astral​ ​travel​ ​range​ ​is​ ​at​ ​Power​ ​Rank. 
  Astral​ ​character​ ​may​ ​be​ ​affected​ ​by​ ​Mental​ ​Powers​ ​but​ ​are​ ​unaffected​ ​by​ ​physical​ ​abilities​ ​and 
  barriers.​ ​ ​Having​ ​the​ ​physical​ ​body​ ​Taken​ ​Out​ ​gives​ ​that​ ​attacker​ ​the​ ​option​ ​of​ ​leaving​ ​the​ ​Astral 
  Body​ ​trapped​ ​separately​ ​from​ ​the​ ​physical​ ​corpse. 
   
  Psionic​ ​Attack 
   
  The​ ​character​ ​may​ ​attack​ ​with​ ​blasts​ ​at​ ​Power​ ​Rank​ ​range​ ​and​ ​intensity.​ ​ ​The​ ​target​ ​may​ ​resist 
  with​ ​Psyche​ ​to​ ​prevent​ ​gaining​ ​a​ ​Stunned​ ​Mild​ ​Consequence​ ​for​ ​a​ ​Scene. 
   
  Precognition 
   
  A​ ​nebulous​ ​power​ ​that​ ​must​ ​be​ ​given​ ​a​ ​limitation​ ​on​ ​how​ ​it​ ​works. 
   
  Postcognition 
   
  60 
  
  The​ ​character​ ​may​ ​read​ ​the​ ​past​ ​of​ ​an​ ​object​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​The​ ​success​ ​achieved 
  determines​ ​how​ ​far​ ​back​ ​the​ ​object’s​ ​history​ ​may​ ​be​ ​determined. 
   
  Plant​ ​Control 
   
  The​ ​hero​ ​may​ ​command​ ​and​ ​cause​ ​vegetation​ ​to​ ​grow​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​Plant​ ​sapients​ ​and 
  sentients​ ​may​ ​resist​ ​with​ ​Reason. 
   
   
  Body​ ​Alterations​ ​-​ ​Offensive 
   
  Extra​ ​Body​ ​Parts 
   
  Arms​ ​-​ ​Extra​ ​attack 
  Legs​ ​-​ ​Lightning​ ​Speed​ ​as​ ​a​ ​bonus​ ​power 
  Prehensile​ ​Tail​ ​-​ ​Climbing​ ​as​ ​a​ ​bonus​ ​power 
  Wings​ ​-​ ​Flight​ ​as​ ​a​ ​Bonus​ ​Power​ ​at​ ​+1​ ​to​ ​Power​ ​Rank 
  Combat​ ​Tail​ ​-​ ​Used​ ​as​ ​a​ ​club​ ​at​ ​+1​ ​to​ ​Strength 
  Additional​ ​Eyes/Ears/Nose/Mouth​ ​-​ ​Enhanced​ ​Senses​ ​or​ ​Detection​ ​Powers​ ​as​ ​Bonus​ ​Powers 
  Claws​ ​-​ ​Claws​ ​as​ ​a​ ​Bonus​ ​Power​ ​at​ ​+1​ ​to​ ​Power​ ​Rank 
  Spines​ ​-​ ​Like​ ​an​ ​echidna​ ​but​ ​can​ ​be​ ​shot.​ ​ ​Bonus​ ​Power​ ​of​ ​Projectile​ ​Missile​ ​at​ ​+1​ ​to​ ​Power 
  Rank 
   
  Extra​ ​Attacks 
   
  Use​ ​this​ ​Power​ ​Rank,​ ​which​ ​is​ ​at​ ​a​ ​minimum​ ​of​ ​Fighting​ ​+1​ ​when​ ​fighting​ ​multiple​ ​opponents. 
   
  Energy​ ​Touch 
   
  The​ ​hero​ ​may​ ​use​ ​Energy​ ​Type​ ​results​ ​as​ ​damage​ ​when​ ​Fighting​ ​at​ ​this​ ​Power​ ​Rank.​ ​ ​Can​ ​gain 
  an​ ​Energy​ ​Resistance​ ​as​ ​a​ ​Bonus​ ​Power. 
   
  Paralyzing​ ​Touch 
   
  Those​ ​touched​ ​by​ ​this​ ​character​ ​may​ ​resist​ ​the​ ​Power​ ​Rank​ ​effect​ ​with​ ​an​ ​Endurance​ ​roll. 
  Failing​ ​means​ ​taking​ ​an​ ​unconscious​ ​consequence​ ​for​ ​a​ ​Scene. 
   
  Claws 
   
  Sharp​ ​things​ ​attached​ ​to​ ​the​ ​body​ ​that​ ​do​ ​Edged​ ​type​ ​damage. 
   
  Rotting​ ​Touch 
   
  61 
  
  Causes​ ​damage​ ​to​ ​organic​ ​material​ ​of​ ​all​ ​types​ ​at​ ​Power​ ​Rank​ ​level.​ ​ ​Resistance​ ​to​ ​Corrosion 
  works.​ ​ ​Can​ ​weaken​ ​Body​ ​Armour. 
   
  Corrosive​ ​Touch 
   
  Causes​ ​damage​ ​to​ ​inorganic​ ​material​ ​of​ ​all​ ​types​ ​at​ ​Power​ ​Rank​ ​level.​ ​Resistance​ ​to​ ​Corrosion 
  works.​ ​Can​ ​weaken​ ​Body​ ​Armour. 
   
  Health-Drain​ ​Touch 
   
  The​ ​Power​ ​Rank​ ​effect​ ​on​ ​touch​ ​may​ ​transfer​ ​Shifts​ ​of​ ​Health/Consequences​ ​from​ ​the​ ​target​ ​to 
  the​ ​character.​ ​ ​A​ ​Taken​ ​Out​ ​result​ ​can​ ​definitely​ ​be​ ​lethal. 
   
  Blinding​ ​Touch 
   
  The​ ​touching​ ​character​ ​must​ ​achieve​ ​a​ ​result​ ​of​ ​+2​ ​Shifts​ ​or​ ​more​ ​to​ ​cause​ ​a​ ​Mild​ ​Consequence 
  of​ ​Temporary​ ​Blindness​ ​which​ ​lasts​ ​for​ ​a​ ​scene.​ ​ ​No​ ​resistance​ ​other​ ​than​ ​Protected​ ​Senses​ ​or 
  technological​ ​eye​ ​covering. 
   
  Body​ ​Alterations​ ​-​ ​Defensive 
   
  Body​ ​Armour 
   
  A​ ​character​ ​with​ ​Body​ ​Armour​ ​has​ ​Power​ ​Rank​ ​protection​ ​to​ ​standard​ ​physical​ ​damage, 
  allowing​ ​that​ ​many​ ​Shifts​ ​of​ ​damage​ ​of​ ​that​ ​type​ ​to​ ​be​ ​ignored.​ ​ ​It​ ​may​ ​be​ ​organic​ ​or​ ​inorganic. 
  Physical​ ​includes​ ​Shooting,​ ​Throwing,​ ​Force,​ ​Grappling​ ​and​ ​Charging.​ ​ ​It​ ​will​ ​protect​ ​against 
  Energy​ ​at​ ​two​ ​ranks​ ​lower.​ ​ ​A​ ​character​ ​that​ ​lowers​ ​their​ ​Agility​ ​by​ ​one​ ​rank​ ​may​ ​raise​ ​the​ ​Body 
  Armour​ ​Power​ ​Rank​ ​+1.​ ​ ​High​ ​Tech​ ​heroes​ ​with​ ​Body​ ​Armour​ ​may​ ​have​ ​a​ ​battlesuit 
  encompassing​ ​all​ ​their​ ​abilities​ ​and​ ​powers. 
   
  Water​ ​Breathing 
   
  This​ ​allows​ ​normal​ ​use​ ​of​ ​senses​ ​and​ ​breathing​ ​underwater​ ​at​ ​any​ ​depth.​ ​ ​You​ ​may​ ​also 
  choose​ ​Swimming​ ​and​ ​Animal​ ​Control​ ​(Sea​ ​Life).​ ​ ​If​ ​you​ ​take​ ​them​ ​all​ ​you​ ​are​ ​a​ ​native​ ​water 
  breather,​ ​not​ ​being​ ​able​ ​to​ ​breathe​ ​on​ ​land. 
   
  Absorption​ ​Power 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​may​ ​absorb​ ​a​ ​chosen​ ​type​ ​of​ ​energy​ ​up​ ​to​ ​the​ ​Power​ ​Rank. 
  Ranks​ ​of​ ​damage​ ​absorbed​ ​given​ ​the​ ​character​ ​extra​ ​points​ ​of​ ​Health​ ​to​ ​use​ ​for​ ​the​ ​rest​ ​of​ ​the 
  Scene.​ ​ ​Damage​ ​of​ ​more​ ​Shifts​ ​than​ ​the​ ​Power​ ​Rank​ ​will​ ​hurt​ ​the​ ​character.​ ​ ​Any​ ​damage 
  comes​ ​from​ ​this​ ​extra​ ​Health​ ​first. 
   
  62 
  
  Recovery 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​may​ ​recover​ ​Consequences​ ​recovers​ ​faster.​ ​ ​Mild​ ​Consequences 
  are​ ​healed​ ​the​ ​next​ ​turn.​ ​ ​Moderate​ ​Consequences​ ​heal​ ​as​ ​per​ ​Mild​ ​Consequences​ ​and​ ​Severe 
  Consequences​ ​heal​ ​as​ ​Moderate.​ ​ ​Extreme​ ​Consequences​ ​heal​ ​as​ ​Severe​ ​Consequences. 
   
  Regeneration 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​may​ ​recover​ ​one​ ​Health​ ​per​ ​turn​ ​if​ ​not​ ​hurt​ ​and​ ​resting. 
  Solar​ ​Regeneration 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​may​ ​heal​ ​as​ ​per​ ​Regeneration,​ ​only​ ​in​ ​sunshine. 
   
  Life​ ​Support 
   
  A​ ​character​ ​with​ ​this​ ​rank​ ​may​ ​survive​ ​a​ ​Power​ ​Rank​ ​number​ ​of​ ​Scenes​ ​in​ ​a​ ​hostile 
  environment.​ ​ ​At​ ​higher​ ​than​ ​Unearthly​ ​+7​ ​they​ ​may​ ​survive​ ​indefinitely. 
   
  Pheromones 
   
  The​ ​character​ ​may​ ​make​ ​a​ ​Power​ ​Rank​ ​roll​ ​that​ ​is​ ​resisted​ ​by​ ​Psyche​ ​to​ ​place​ ​a​ ​‘Friendly​ ​To 
  Me’​ ​Aspect​ ​on​ ​the​ ​target.​ ​ ​Hostile​ ​character​ ​may​ ​still​ ​do​ ​bad​ ​things​ ​but​ ​be​ ​in​ ​lust​ ​with​ ​the 
  character. 
   
  Damage​ ​Transfer 
   
  The​ ​character​ ​may​ ​transfer​ ​Power​ ​Ranks​ ​of​ ​Health​ ​from​ ​one​ ​target​ ​to​ ​another. 
   
  Healing 
   
  The​ ​character​ ​may​ ​restore​ ​Power​ ​Rank​ ​Health​ ​to​ ​any​ ​target​ ​per​ ​day.​ ​ ​If​ ​the​ ​healer​ ​fails​ ​an 
  Endurance​ ​roll​ ​they​ ​may​ ​still​ ​heal​ ​at​ ​the​ ​cost​ ​of​ ​Karma.​ ​ ​The​ ​healer​ ​may​ ​also​ ​reduce​ ​a 
  Consequence​ ​by​ ​one​ ​level​ ​for​ ​a​ ​patient​ ​per​ ​day​ ​with​ ​a​ ​similar​ ​Endurance​ ​roll. 
   
  Immortality 
   
  The​ ​character​ ​with​ ​this​ ​power​ ​will​ ​not​ ​age​ ​or​ ​die.​ ​ ​It​ ​will​ ​still​ ​suck​ ​to​ ​be​ ​thrown​ ​in​ ​a​ ​freezing 
  ocean,​ ​however.​ ​ ​Immortality​ ​is​ ​only​ ​good​ ​for​ ​the​ ​home​ ​dimension. 
   
  SKILLS​ ​DESCRIPTION​ ​LIST 
   
  A​ ​work​ ​in​ ​progress 
   
  63 
  
  Weapon​ ​Skills 
   
  Guns 
   
  The​ ​character​ ​uses​ ​all​ ​guns​ ​at​ ​Agility​ ​+1. 
   
  Thrown​ ​Weapons 
   
  The​ ​character​ ​uses​ ​all​ ​thrown​ ​weapons​ ​at​ ​Agility​ ​+1. 
   
  Bows 
   
  The​ ​character​ ​uses​ ​all​ ​bows​ ​at​ ​Agility​ ​+1.​ ​ ​Any​ ​other​ ​untrained​ ​character​ ​uses​ ​them​ ​at​ ​Agility​ ​-1. 
   
  Marksman 
   
  The​ ​character​ ​uses​ ​any​ ​distance​ ​weapon​ ​at​ ​all​ ​at​ ​Agility​ ​+1. 
   
  Weapons​ ​Master 
   
  The​ ​character​ ​uses​ ​any​ ​close​ ​combat​ ​weapon​ ​at​ ​Fighting​ ​+1. 
   
  Weapons​ ​Specialist 
   
  The​ ​character​ ​uses​ ​a​ ​single​ ​weapon​ ​of​ ​their​ ​choice​ ​at​ ​+2,​ ​Agility,​ ​Fighting​ ​or​ ​other. 
   
  Fighting​ ​Skills 
   
  Martial​ ​Arts​ ​Advantage 
   
  The​ ​character​ ​may​ ​add​ ​Slam​ ​and​ ​Stun​ ​Aspects​ ​and​ ​Consequences​ ​to​ ​any​ ​character,​ ​regardless 
  of​ ​the​ ​respective​ ​Strength​ ​of​ ​the​ ​attacker​ ​and​ ​Endurance​ ​of​ ​the​ ​Defender. 
   
  Martial​ ​Arts​ ​Battle 
  The​ ​character​ ​gets​ ​+1​ ​to​ ​Fighting. 
   
  Martial​ ​Arts​ ​Close 
   
  The​ ​characters​ ​gets​ ​+1​ ​to​ ​Strength​ ​in​ ​all​ ​circumstances​ ​Grappling​ ​type​ ​combat​ ​and​ ​a​ ​+1​ ​to 
  Agility​ ​for​ ​dodging. 
   
  Martial​ ​Arts​ ​Define 
   
  64 
  
  The​ ​character​ ​may​ ​ignore​ ​Body​ ​Armour​ ​for​ ​placing​ ​Slam​ ​and​ ​Stun​ ​Aspects​ ​and​ ​Consequences 
  after​ ​a​ ​turn​ ​of​ ​observing​ ​them​ ​in​ ​combat. 
   
  Martial​ ​Arts​ ​Envision 
   
  The​ ​character​ ​gains​ ​+1​ ​to​ ​Intuition​ ​in​ ​Fighting​ ​combat. 
   
  Wrestling 
   
  The​ ​character​ ​gains​ ​+2​ ​to​ ​attack​ ​in​ ​Grappling​ ​type​ ​combat. 
   
  Thrown​ ​Objects 
   
  The​ ​character​ ​gains​ ​+1​ ​to​ ​attack​ ​with​ ​Edged​ ​and​ ​Blunt​ ​thrown​ ​weapons​ ​and​ ​also​ ​+1​ ​to​ ​Agility​ ​to 
  Catch​ ​things. 
   
  Acrobatics 
   
  The​ ​character​ ​gains​ ​+1​ ​to​ ​defend​ ​when​ ​Dodging,​ ​Escaping​ ​or​ ​Evading. 
   
   
   
   
   
  Professional​ ​Skills 
   
  Medicine 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Reason​ ​involving​ ​this​ ​field​ ​and​ ​may​ ​stabilise​ ​characters​ ​in​ ​mortal 
  danger​ ​in​ ​combat. 
   
  Law 
   
  A​ ​characters​ ​gains​ ​+1​ ​to​ ​Reason​ ​involving​ ​this​ ​field​ ​and​ ​can​ ​be​ ​a​ ​qualified​ ​lawyer​ ​if​ ​appropriate. 
   
  Law​ ​Enforcement 
   
  A​ ​characters​ ​gains​ ​+1​ ​to​ ​Reason​ ​involving​ ​this​ ​field,​ ​including​ ​Guns​ ​and​ ​Law​ ​and​ ​may​ ​be​ ​a 
  member​ ​of​ ​an​ ​agency. 
   
  Business 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Reason​ ​involving​ ​finance​ ​and​ ​money​ ​and​ ​gains​ ​+1​ ​to​ ​Contacts. 
  65 
  
   
  Journalism 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Contacts. 
   
  Engineering 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Reason​ ​when​ ​building​ ​things.​ ​ ​In​ ​effect​ ​this​ ​is​ ​Crafts. 
   
  Psychiatry 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Reason​ ​in​ ​situations​ ​concerning​ ​the​ ​mind. 
   
  Investigate 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Reason​ ​in​ ​situations​ ​concerning​ ​detective​ ​or​ ​espionage​ ​type​ ​fields​ ​as 
  appropriate. 
   
  Burglary 
   
  A​ ​character​ ​gains​ ​+1​ ​to​ ​Reason​ ​in​ ​situations​ ​concerning​ ​crime.​ ​ ​An​ ​Agility​ ​modifier​ ​may​ ​be 
  appropriate​ ​given​ ​an​ ​Aspect​ ​that​ ​was​ ​relevant​ ​like​ ​‘Third​ ​best​ ​Safecracker​ ​in​ ​Adelaide’. 
   
   
  Scientific​ ​Skills 
   
  Archaeology,​ ​Biology,​ ​Chemistry,​ ​Computing,​ ​Electronics,​ ​Geology,​ ​Genetics,​ ​Mathematics, 
  Physics​ ​or​ ​other​ ​Skills​ ​along​ ​these​ ​lines​ ​gain​ ​the​ ​character​ ​a​ ​+1​ ​to​ ​Reason​ ​in​ ​the​ ​chosen​ ​field.  
   
  Mystic​ ​and​ ​Mental​ ​Skills 
   
  Some​ ​of​ ​these​ ​are​ ​more​ ​low​ ​level​ ​powers​ ​and​ ​abilities. 
   
  Trance 
   
  A​ ​character​ ​may​ ​place​ ​themselves​ ​in​ ​a​ ​near​ ​death​ ​state,​ ​only​ ​detectable​ ​by​ ​an​ ​Intuition​ ​roll 
  versus​ ​Psyche.​ ​ ​They​ ​do​ ​not​ ​need​ ​to​ ​eat​ ​or​ ​drink​ ​for​ ​some​ ​time​ ​and​ ​heal​ ​as​ ​if​ ​possession 
  Recovery​ ​while​ ​in​ ​this​ ​state. 
   
  Mesmerism​ ​and​ ​Hypnosis 
   
  Minor​ ​mind​ ​control​ ​is​ ​possible​ ​as​ ​long​ ​as​ ​the​ ​target​ ​is​ ​not​ ​asked​ ​to​ ​act​ ​against​ ​their​ ​nature.​ ​ ​This 
  is​ ​based​ ​on​ ​the​ ​Reason​ ​rank​ ​of​ ​the​ ​character​ ​and​ ​works​ ​as​ ​per​ ​Mental​ ​Probe​ ​otherwise. 
  66 
  
   
  Sleight​ ​of​ ​Hand 
   
  The​ ​characters​ ​dextrous​ ​skill​ ​with​ ​manipulation​ ​gives​ ​them​ ​a​ ​+1​ ​to​ ​Agility​ ​on​ ​such​ ​endeavours. 
  Be​ ​an​ ​actual​ ​stage​ ​magician​ ​if​ ​you​ ​desire. 
   
  Resist​ ​Domination 
   
  Training​ ​against​ ​mental​ ​attacks,​ ​allowing​ ​the​ ​skill​ ​user​ ​to​ ​operate​ ​at​ ​Psyche​ ​+1​ ​when​ ​defending 
  against​ ​such. 
   
  Occult​ ​Lore 
   
  The​ ​character​ ​knows​ ​a​ ​lot​ ​about​ ​magic​ ​and​ ​other​ ​arcane​ ​oddities​ ​and​ ​weirdness. 
   
  Mystic​ ​Origin 
   
  The​ ​character​ ​has​ ​the​ ​potential​ ​to​ ​develop​ ​magical​ ​abilities.​ ​ ​They​ ​may​ ​be​ ​a​ ​sorcerer​ ​if​ ​their 
  Psyche​ ​is​ ​high​ ​enough​ ​(Good​ ​or​ ​better)​ ​for​ ​them​ ​to​ ​gain​ ​a​ ​teacher. 
   
   
  Other​ ​Skill​ ​Specialisations 
   
  Artist 
   
  The​ ​character​ ​may​ ​create​ ​works​ ​of​ ​art​ ​in​ ​a​ ​particular​ ​field​ ​that​ ​others​ ​actually​ ​want​ ​to​ ​buy. 
   
  Languages 
   
  A​ ​character​ ​with​ ​this​ ​talent​ ​knows​ ​an​ ​additional​ ​language​ ​to​ ​their​ ​native​ ​tongue​ ​and​ ​may​ ​learn 
  others​ ​in​ ​a​ ​similar​ ​fashion​ ​to​ ​characters​ ​developing​ ​Power​ ​Stunts. 
   
  First​ ​Aid 
   
  Limited​ ​medicine​ ​related​ ​to​ ​emergency​ ​situations,​ ​including​ ​combat. 
   
  Trivia 
   
  The​ ​character​ ​is​ ​an​ ​expert​ ​in​ ​a​ ​different​ ​geek​ ​type​ ​field​ ​of​ ​their​ ​choice. 
   
  Performer 
   
  The​ ​character​ ​is​ ​an​ ​actor,​ ​singer,​ ​dancer,​ ​mime,​ ​athlete​ ​or​ ​someone​ ​else​ ​who​ ​puts​ ​themselves 
  on​ ​display​ ​in​ ​public. 
  67 
  
   
  Animal​ ​Training 
   
  The​ ​character​ ​may​ ​teach​ ​animals​ ​tricks​ ​with​ ​a​ ​Reason​ ​roll.​ ​ ​If​ ​they​ ​have​ ​actual​ ​animal​ ​powers, 
  raise​ ​those​ ​powers​ ​+1​ ​rank. 
   
  Heir​ ​to​ ​Fortune 
   
  The​ ​character​ ​is​ ​born​ ​rich​ ​and​ ​must​ ​have​ ​a​ ​minimum​ ​Resources​ ​of​ ​Remarkable.​ ​ ​If​ ​lower,​ ​then 
  raise​ ​to​ ​this​ ​+3​ ​number. 
   
  Student 
   
  The​ ​character​ ​may​ ​gain​ ​Skills​ ​as​ ​Power​ ​Stunts​ ​but​ ​at​ ​half​ ​the​ ​cost​ ​of​ ​other​ ​characters. 
   
  Leadership 
   
  If​ ​the​ ​characters​ ​form​ ​a​ ​Karma​ ​Pool​ ​a​ ​character​ ​with​ ​this​ ​talent​ ​in​ ​the​ ​group​ ​gains​ ​the​ ​Pool​ ​+1 
  Karma​ ​if​ ​they​ ​are​ ​designated​ ​as​ ​in​ ​charge. 
   
   
   
   
   
  GAMEMASTER​ ​GUIDANCE 
   
  Types​ ​of​ ​Aspects 
  Contents 
  ●
  Game​ ​Aspects 
  ●
  Character​ ​Aspects 
  ●
  Situation​ ​Aspects 
  ●
  Consequences 
  ●
  Boosts 
  Every​ ​game​ ​of​ ​Fate​ ​has​ ​a​ ​few​ ​different​ ​kinds​ ​of​ ​aspects:​ ​game​ ​aspects,​ ​character​ ​aspects, 
  situation​ ​aspects,​ ​consequences,​ ​and​ ​boosts.​ ​They​ ​mainly​ ​differ​ ​from​ ​one​ ​another​ ​in​ ​terms​ ​of 
  what​ ​they’re​ ​attached​ ​to​ ​and​ ​how​ ​long​ ​they​ ​last. 
  Game​ ​Aspects 
  68 
  
  Game​ ​aspects​ ​are​ ​permanent​ ​fixtures​ ​of​ ​the​ ​game,​ ​hence​ ​the​ ​name.​ ​While​ ​they​ ​might​ ​change 
  over​ ​time,​ ​they’re​ ​never​ ​going​ ​to​ ​go​ ​away.​ ​If​ ​you’ve​ ​already​ ​gone​ ​through​ ​game​ ​creation,​ ​you’ve 
  already​ ​defined​ ​these—​the​ ​current​ ​or​ ​impending​ ​issues​ ​that​ ​you​ ​came​ ​up​ ​with.​ ​They​ ​describe 
  problems​ ​or​ ​threats​ ​that​ ​exist​ ​in​ ​the​ ​world,​ ​which​ ​are​ ​going​ ​to​ ​be​ ​the​ ​basis​ ​for​ ​your​ ​game’s​ ​story. 
  Everyone​ ​can​ ​invoke,​ ​compel,​ ​or​ ​create​ ​an​ ​advantage​ ​on​ ​a​ ​game​ ​aspect​ ​at​ ​any​ ​time;​ ​they’re 
  always​ ​there​ ​and​ ​available​ ​for​ ​anyone’s​ ​use. 
  Character​ ​Aspects 
  Character​ ​aspects​ ​are​ ​just​ ​as​ ​permanent,​ ​but​ ​smaller​ ​in​ ​scope,​ ​attached​ ​to​ ​an​ ​individual​ ​PC​ ​or 
  NPC.​ ​They​ ​describe​ ​a​ ​near-infinite​ ​number​ ​of​ ​things​ ​that​ ​set​ ​the​ ​character​ ​apart,​ ​such​ ​as: 
  ●
  Significant​ ​personality​ ​traits​ ​or​ ​beliefs​ ​(​Sucker​ ​for​ ​a​ ​Pretty​ ​Face,​ ​Never​ ​Leave​ ​a​ ​Man 
  Behind,​ ​The​ ​Only​ ​Good​ ​Tsyntavian​ ​Is​ ​a​ ​Dead​ ​Tsyntavian​). 
  ●
  The​ ​character’s​ ​background​ ​or​ ​profession​ ​(​Educated​ ​at​ ​the​ ​Academy​ ​of​ ​Blades,​ ​Born​ ​a 
  Spacer,​ ​Cybernetic​ ​Street​ ​Thief​). 
  ●
  An​ ​important​ ​possession​ ​or​ ​noticeable​ ​feature​ ​(​My​ ​Father’s​ ​Bloodstained​ ​Sword, 
  Dressed​ ​to​ ​the​ ​Nines,​ ​Sharp​ ​Eyed​ ​Veteran​). 
  ●
  Relationships​ ​to​ ​people​ ​and​ ​organizations​ ​(​In​ ​League​ ​with​ ​the​ ​Twisting​ ​Hand,​ ​The​ ​King’s 
  Favor,​ ​Proud​ ​Member​ ​of​ ​the​ ​Company​ ​of​ ​Lords​). 
  ●
  Problems,​ ​goals,​ ​or​ ​issues​ ​the​ ​character​ ​is​ ​dealing​ ​with​ ​(​A​ ​Price​ ​on​ ​My​ ​Head,​ ​The​ ​King 
  Must​ ​Die,​ ​Fear​ ​of​ ​Heights​). 
  ●
  Titles,​ ​reputations,​ ​or​ ​obligations​ ​the​ ​character​ ​may​ ​have​ ​(​Self-Important​ ​Merchant 
  Guildmaster,​ ​Silver-Tongued​ ​Scoundrel,​ ​Honor-Bound​ ​to​ ​Avenge​ ​My​ ​Brother​). 
  You​ ​can​ ​invoke​ ​or​ ​call​ ​for​ ​a​ ​compel​ ​on​ ​any​ ​of​ ​your​ ​character​ ​aspects​ ​whenever​ ​they’re​ ​relevant. 
  GMs,​ ​you​ ​can​ ​always​ ​propose​ ​compels​ ​to​ ​any​ ​PC.​ ​Players,​ ​you​ ​can​ ​suggest​ ​compels​ ​for​ ​other 
  people’s​ ​characters,​ ​but​ ​the​ ​GM​ ​is​ ​always​ ​going​ ​to​ ​get​ ​the​ ​final​ ​say​ ​on​ ​whether​ ​or​ ​not​ ​it’s​ ​a​ ​valid 
  suggestion. 
  Situation​ ​Aspects 
  A​ ​situation​ ​aspect​ ​is​ ​temporary,​ ​intended​ ​to​ ​last​ ​only​ ​for​ ​a​ ​single​ ​scene​ ​or​ ​until​ ​it​ ​no​ ​longer 
  makes​ ​sense​ ​(but​ ​no​ ​longer​ ​than​ ​a​ ​session,​ ​at​ ​most).​ ​Situation​ ​aspects​ ​can​ ​be​ ​attached​ ​to​ ​the 
  environment​ ​the​ ​scene​ ​takes​ ​place​ ​in—which​ ​affects​ ​everybody​ ​in​ ​the​ ​scene—but​ ​you​ ​can​ ​also 
  attach​ ​them​ ​to​ ​specific​ ​characters​ ​by​ ​targeting​ ​them​ ​when​ ​you​​ ​Create​ ​An​ ​Advantagecreate​ ​an 
  advantage​. 
  Situation​ ​aspects​ ​describe​ ​significant​ ​features​ ​of​ ​the​ ​circumstances​ ​the​ ​characters​ ​are​ ​dealing 
  with​ ​in​ ​a​ ​scene.​ ​That​ ​includes: 
  ●
  Physical​ ​features​ ​of​ ​the​ ​environment​ ​(​Dense​ ​Underbrush,​ ​Obscuring​ ​Snowdrifts,​ ​Low 
  Gravity​ ​Planet​). 
  ●
  Positioning​ ​or​ ​placement​ ​(​Sniper’s​ ​Perch,​ ​In​ ​the​ ​Trees,​ ​Backyard​). 
  ●
  Immediate​ ​obstacles​ ​(​Burning​ ​Barn,​ ​Tricky​ ​Lock,​ ​Yawning​ ​Chasm​). 
  ●
  Contextual​ ​details​ ​that​ ​are​ ​likely​ ​to​ ​come​ ​into​ ​play​ ​(​Disgruntled​ ​Townsfolk,​ ​Security 
  Cameras,​ ​Loud​ ​Machinery​). 
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  ●
  Sudden​ ​changes​ ​in​ ​a​ ​character’s​ ​status​ ​(​Sand​ ​in​ ​the​ ​Eyes,​ ​Disarmed,​ ​Cornered, 
  Covered​ ​in​ ​Slime​). 
  Who​ ​can​ ​use​ ​a​ ​situation​ ​aspect​ ​depends​ ​a​ ​lot​ ​on​ ​narrative​ ​context—sometimes​ ​it’ll​ ​be​ ​very 
  clear,​ ​and​ ​sometimes​ ​you’ll​ ​need​ ​to​ ​justify​ ​how​ ​you’re​ ​using​ ​the​ ​aspect​ ​to​ ​make​ ​sense​ ​based​ ​on 
  what’s​ ​happening​ ​in​ ​the​ ​scene.​ ​GMs,​ ​you’re​ ​the​ ​final​ ​arbiter​ ​on​ ​what​ ​claims​ ​on​ ​an​ ​aspect​ ​are 
  valid. 
  Sometimes​ ​situation​ ​aspects​ ​become​ ​obstacles​ ​that​ ​characters​ ​need​ ​to​​ ​Overcomeovercome​. 
  Other​ ​times​ ​they​ ​give​ ​you​ ​justification​ ​to​ ​provide​ ​active​ ​opposition​ ​against​ ​someone​ ​else’s 
  action. 
  Consequences 
  A​ ​consequence​ ​is​ ​more​ ​permanent​ ​than​ ​a​ ​situation​ ​aspect,​ ​but​ ​not​ ​quite​ ​as​ ​permanent​ ​as​ ​a 
  character​ ​aspect.​ ​They’re​ ​a​ ​special​ ​kind​ ​of​ ​aspect​ ​you​ ​take​ ​in​ ​order​ ​to​ ​avoid​ ​getting​ ​taken​ ​out​ ​in 
  a​ ​conflict,​ ​and​ ​they​ ​describe​ ​lasting​ ​injuries​ ​or​ ​problems​ ​that​ ​you​ ​take​ ​away​ ​from​ ​a 
  Conflictconflict​ ​(​Dislocated​ ​Shoulder,​ ​Bloody​ ​Nose,​ ​Social​ ​Pariah​). 
  Consequences​ ​stick​ ​around​ ​for​ ​a​ ​variable​ ​length​ ​of​ ​time,​ ​from​ ​a​ ​few​ ​scenes​ ​to​ ​a​ ​scenario​ ​or 
  two,​ ​depending​ ​on​ ​how​ ​severe​ ​they​ ​are.​ ​Because​ ​of​ ​their​ ​negative​ ​phrasing,​ ​you’re​ ​likely​ ​to​ ​get 
  compelled​ ​a​ ​lot​ ​when​ ​you​ ​have​ ​them,​ ​and​ ​anyone​ ​who​ ​can​ ​justifiably​ ​benefit​ ​from​ ​the 
  consequence​ ​can​ ​invoke​ ​it​ ​or​ ​create​ ​an​ ​advantage​ ​on​ ​it. 
  Boosts 
  Boosts​ ​are​ ​a​ ​super-transient​ ​kind​ ​of​ ​aspect.​ ​You​ ​get​ ​a​ ​boost​ ​when​ ​you’re​ ​trying​ ​to​ ​create​ ​an 
  advantage​ ​but​ ​don’t​ ​succeed​ ​well​ ​enough,​ ​or​ ​as​ ​an​ ​added​ ​benefit​ ​to​ ​succeeding​ ​especially​ ​well 
  at​ ​an​ ​action.​ ​You​ ​get​ ​to​ ​invoke​ ​them​ ​for​ ​free,​ ​but​ ​as​ ​soon​ ​as​ ​you​ ​do,​ ​the​ ​aspect​ ​goes​ ​away. 
  If​ ​you​ ​want,​ ​you​ ​can​ ​also​ ​allow​ ​another​ ​character​ ​to​ ​invoke​ ​your​ ​boost,​ ​if​ ​it’s​ ​relevant​ ​and​ ​could 
  help​ ​them​ ​out. 
   
  Deciding​ ​When​ ​to​ ​Use​ ​Mechanics 
  Because​ ​aspects​ ​tell​ ​us​ ​what’s​ ​important,​ ​they​ ​also​ ​tell​ ​us​ ​when​ ​it’s​ ​most​ ​appropriate​ ​to​ ​use​ ​the 
  mechanics​ ​to​ ​deal​ ​with​ ​a​ ​situation,​ ​rather​ ​than​ ​just​ ​letting​ ​people​ ​decide​ ​what​ ​happens​ ​just​ ​by 
  describing​ ​what​ ​they​ ​do. 
  GMs,​ ​this​ ​comes​ ​up​ ​for​ ​you​ ​most​ ​often​ ​when​ ​you’re​ ​trying​ ​to​ ​figure​ ​out​ ​whether​ ​to​ ​require​ ​a 
  player​ ​to​ ​roll​ ​dice.​ ​If​ ​a​ ​player​ ​says,​ ​“I​ ​climb​ ​this​ ​ladder​ ​and​ ​grab​ ​the​ ​idol,”​ ​and​ ​there’s​ ​nothing 
  special​ ​about​ ​the​ ​ladder​ ​or​ ​the​ ​idol,​ ​then​ ​there’s​ ​no​ ​real​ ​reason​ ​to​ ​require​ ​an​ ​overcome​ ​action​ ​to 
  grab​ ​it.​ ​But​ ​if​ ​the​ ​situation​ ​aspects​ ​tell​ ​you​ ​that​ ​the​ ​ladder​ ​is​ ​a​ ​Rotting​ ​Rope​ ​Ladder​ ​and​ ​the​ ​idol 
  is​ ​Protected​ ​by​ ​the​ ​Wrath​ ​of​ ​the​ ​Gods​,​ ​then​ ​you​ ​suddenly​ ​have​ ​an​ ​element​ ​of​ ​pressure​ ​and​ ​risk 
  that​ ​makes​ ​it​ ​worth​ ​going​ ​to​ ​the​ ​dice​ ​for. 
  Players,​ ​this​ ​comes​ ​up​ ​for​ ​you​ ​most​ ​often​ ​when​ ​invoking​ ​your​ ​aspects​ ​and​ ​considering​ ​compels. 
  Your​ ​aspects​ ​highlight​ ​what​ ​makes​ ​your​ ​character​ ​an​ ​individual,​ ​and​ ​you​ ​want​ ​to​ ​play​ ​that​ ​up, 
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  right?​ ​So​ ​when​ ​the​ ​opportunity​ ​comes​ ​up​ ​to​ ​make​ ​your​ ​character​ ​more​ ​awesome​ ​by​ ​invoking, 
  go​ ​for​ ​it!​ ​When​ ​you​ ​see​ ​an​ ​opportunity​ ​to​ ​influence​ ​the​ ​story​ ​by​ ​suggesting​ ​a​ ​compel​ ​for​ ​your 
  character,​ ​do​ ​it!​ ​The​ ​game​ ​will​ ​be​ ​much​ ​richer​ ​for​ ​it​ ​as​ ​a​ ​whole. 
   
  Making​ ​A​ ​Good​ ​Aspect 
  Contents 
  ●
  Double-Edged 
  ●
  Say​ ​More​ ​Than​ ​One​ ​Thing 
  ●
  Clear​ ​Phrasing 
  ●
  If​ ​You​ ​Get​ ​Stuck 
  ●
  Vary​ ​It​ ​Up 
  ●
  Let​ ​Your​ ​Friends​ ​Decide 
  Because​ ​aspects​ ​are​ ​so​ ​important​ ​to​ ​the​ ​game,​ ​it’s​ ​important​ ​to​ ​make​ ​the​ ​best​ ​aspects​ ​you​ ​can. 
  So,​ ​how​ ​do​ ​you​ ​know​ ​what​ ​a​ ​good​ ​aspect​ ​is? 
  The​ ​best​ ​aspects​ ​are​ ​double-edged,​ ​say​ ​more​ ​than​ ​one​ ​thing,​ ​and​ ​keep​ ​the​ ​phrasing 
  simple. 
  Double-Edged 
  Players,​ ​good​ ​aspects​ ​offer​ ​a​ ​clear​ ​benefit​ ​to​ ​your​ ​character​ ​while​ ​also​ ​providing​ ​opportunities 
  to​ ​complicate​ ​their​ ​lives​ ​or​ ​be​ ​used​ ​to​ ​their​ ​detriment. 
  An​ ​aspect​ ​with​ ​a​ ​double-edge​ ​is​ ​going​ ​to​ ​come​ ​up​ ​in​ ​play​ ​more​ ​often​ ​than​ ​a​ ​mostly​ ​positive​ ​or 
  negative​ ​one.​ ​You​ ​can​ ​use​ ​them​ ​frequently​ ​to​ ​be​ ​awesome,​ ​and​ ​you’ll​ ​be​ ​able​ ​to​ ​accept​ ​more 
  compels​ ​and​ ​gain​ ​more​ ​Karma. 
  Try​ ​this​ ​as​ ​a​ ​litmus​ ​test—list​ ​two​ ​ways​ ​you​ ​might​ ​invoke​ ​the​ ​aspect,​ ​and​ ​two​ ​ways​ ​someone 
  else​ ​could​ ​invoke​ ​it​ ​or​ ​you​ ​could​ ​get​ ​a​ ​compel​ ​from​ ​it.​ ​If​ ​the​ ​examples​ ​come​ ​easily​ ​to​ ​mind, 
  great!​ ​If​ ​not,​ ​add​ ​more​ ​context​ ​to​ ​make​ ​that​ ​aspect​ ​work​ ​or​ ​put​ ​that​ ​idea​ ​to​ ​the​ ​side​ ​and​ ​come 
  up​ ​with​ ​a​ ​new​ ​aspect. 
  Let’s​ ​look​ ​at​ ​an​ ​aspect​ ​like​ ​Computer​ ​Genius.​ ​The​ ​benefits​ ​of​ ​having​ ​this​ ​aspect​ ​are​ ​pretty 
  obvious—any​ ​time​ ​you’re​ ​hacking​ ​or​ ​working​ ​with​ ​technology,​ ​you​ ​could​ ​justify​ ​invoking​ ​it.​ ​But​ ​it 
  doesn’t​ ​seem​ ​like​ ​there’s​ ​a​ ​lot​ ​of​ ​room​ ​for​ ​that​ ​aspect​ ​to​ ​work​ ​against​ ​you.​ ​So,​ ​let’s​ ​think​ ​of​ ​a 
  way​ ​we​ ​can​ ​spice​ ​that​ ​up​ ​a​ ​bit. 
  What​ ​if​ ​we​ ​change​ ​that​ ​aspect​ ​to​ ​Nerdy​ ​McNerdson?​ ​That​ ​still​ ​carries​ ​the​ ​connotations​ ​that 
  would​ ​allow​ ​you​ ​to​ ​take​ ​advantage​ ​of​ ​it​ ​while​ ​working​ ​with​ ​computers,​ ​but​ ​it​ ​adds​ ​a 
  downside—you’re​ ​awkward​ ​around​ ​people.​ ​This​ ​might​ ​mean​ ​that​ ​you​ ​could​ ​accept​ ​compels​ ​to 
  mangle​ ​a​ ​social​ ​situation,​ ​or​ ​someone​ ​might​ ​invoke​ ​your​ ​aspect​ ​when​ ​a​ ​fascinating​ ​piece​ ​of 
  equipment​ ​distracts​ ​you. 
  GMs,​ ​this​ ​is​ ​just​ ​as​ ​true​ ​of​ ​your​ ​game​ ​and​ ​situation​ ​aspects.​ ​Any​ ​feature​ ​of​ ​a​ ​scene​ ​you​ ​call​ ​out 
  should​ ​be​ ​something​ ​that​ ​either​ ​the​ ​PCs​ ​or​ ​their​ ​foes​ ​could​ ​use​ ​in​ ​a​ ​dramatic​ ​fashion.​ ​Your 
  71 
  
  game​ ​aspects​ ​do​ ​present​ ​problems,​ ​but​ ​they​ ​also​ ​should​ ​present​ ​ways​ ​for​ ​the​ ​PCs​ ​to​ ​take 
  advantage​ ​of​ ​the​ ​status​ ​quo. 
  Say​ ​More​ ​Than​ ​One​ ​Thing 
  Earlier,​ ​it​ ​was​ ​noted​ ​several​ ​things​ ​that​ ​a​ ​Aspectscharacter​ ​aspect​ ​might​ ​describe:​ ​personality 
  traits,​ ​backgrounds,​ ​relationships,​ ​problems,​ ​possessions,​ ​and​ ​so​ ​forth.​ ​The​ ​best​ ​aspects 
  overlap​ ​across​ ​a​ ​few​ ​of​ ​those​ ​categories,​ ​because​ ​that​ ​means​ ​you​ ​have​ ​more​ ​ways​ ​to​ ​bring 
  them​ ​into​ ​play. 
  Let’s​ ​look​ ​at​ ​a​ ​simple​ ​aspect​ ​that​ ​a​ ​soldier​ ​might​ ​have:​ ​I​ ​Must​ ​Prove​ ​Myself.​ ​You​ ​can​ ​invoke​ ​this 
  whenever​ ​you’re​ ​trying​ ​to​ ​do​ ​something​ ​to​ ​gain​ ​the​ ​approval​ ​of​ ​others​ ​or​ ​demonstrate​ ​your 
  competence.​ ​Someone​ ​might​ ​compel​ ​it​ ​to​ ​bait​ ​you​ ​into​ ​getting​ ​into​ ​a​ ​fight​ ​you​ ​want​ ​to​ ​avoid,​ ​or 
  to​ ​accept​ ​a​ ​hardship​ ​for​ ​the​ ​sake​ ​of​ ​reputation.​ ​So​ ​we​ ​know​ ​it​ ​has​ ​a​ ​double​ ​edge,​ ​so​ ​far​ ​so 
  good. 
  That’ll​ ​work​ ​for​ ​a​ ​bit,​ ​but​ ​eventually​ ​this​ ​aspect​ ​will​ ​run​ ​out​ ​of​ ​steam.​ ​It​ ​says​ ​just​ ​one​ ​thing​ ​about 
  the​ ​character.​ ​Either​ ​you’re​ ​trying​ ​to​ ​prove​ ​yourself,​ ​or​ ​this​ ​aspect​ ​isn’t​ ​going​ ​to​ ​come​ ​up. 
  Now​ ​tie​ ​that​ ​aspect​ ​in​ ​with​ ​a​ ​relationship​ ​to​ ​an​ ​organization:​ ​The​ ​Legion​ ​Demands​ ​I​ ​Prove 
  Myself.​ ​Your​ ​options​ ​open​ ​up​ ​a​ ​great​ ​deal.​ ​Not​ ​only​ ​do​ ​you​ ​get​ ​all​ ​the​ ​content​ ​from​ ​before,​ ​but 
  you’ve​ ​introduced​ ​that​ ​the​ ​Legion​ ​can​ ​make​ ​demands​ ​of​ ​you,​ ​can​ ​get​ ​you​ ​into​ ​trouble​ ​by​ ​doing 
  things​ ​you​ ​get​ ​blamed​ ​for,​ ​or​ ​can​ ​send​ ​NPC​ ​superiors​ ​to​ ​make​ ​your​ ​life​ ​difficult.​ ​You​ ​can​ ​also 
  invoke​ ​the​ ​aspect​ ​when​ ​dealing​ ​with​ ​the​ ​Legion,​ ​or​ ​with​ ​anyone​ ​else​ ​who​ ​might​ ​be​ ​affected​ ​by 
  the​ ​Legion’s​ ​reputation.​ ​Suddenly,​ ​that​ ​aspect​ ​has​ ​a​ ​lot​ ​more​ ​going​ ​on​ ​around​ ​it. 
  GMs,​ ​for​ ​your​ ​situation​ ​aspects,​ ​you​ ​don’t​ ​have​ ​to​ ​worry​ ​about​ ​this​ ​as​ ​much,​ ​because​ ​they’re 
  only​ ​intended​ ​to​ ​stick​ ​around​ ​for​ ​a​ ​scene.​ ​It’s​ ​much​ ​more​ ​important​ ​for​ ​game​ ​and​ ​character 
  aspects​ ​to​ ​suggest​ ​multiple​ ​contexts​ ​for​ ​use. 
  *​ ​I​ ​Must​ ​Prove​ ​Myself 
  *​ ​The​ ​Legion​ ​Demands​ ​I​ ​Prove​ ​Myself 
  Clear​ ​Phrasing 
  Because​ ​aspects​ ​are​ ​phrases,​ ​they​ ​come​ ​with​ ​all​ ​the​ ​ambiguities​ ​of​ ​language.​ ​If​ ​no​ ​one​ ​knows 
  what​ ​your​ ​aspect​ ​means,​ ​it​ ​won’t​ ​get​ ​used​ ​enough. 
  That​ ​isn’t​ ​to​ ​say​ ​you​ ​have​ ​to​ ​avoid​ ​poetic​ ​or​ ​fanciful​ ​expression.​ ​Just​ ​a​ ​Simple​ ​Farmboy​ ​isn’t 
  quite​ ​as​ ​fetching​ ​as​ ​Child​ ​of​ ​Pastoral​ ​Bliss​.​ ​If​ ​that’s​ ​the​ ​tone​ ​your​ ​game​ ​is​ ​going​ ​for,​ ​feel​ ​free​ ​to 
  indulge​ ​your​ ​linguistic​ ​desires. 
  However,​ ​don’t​ ​do​ ​this​ ​at​ ​the​ ​expense​ ​of​ ​clarity.​ ​Avoid​ ​metaphors​ ​and​ ​implications,​ ​when​ ​you 
  can​ ​get​ ​away​ ​with​ ​just​ ​saying​ ​what​ ​you​ ​mean.​ ​That​ ​way,​ ​other​ ​people​ ​don’t​ ​have​ ​to​ ​stop​ ​and 
  ask​ ​you​ ​during​ ​play​ ​if​ ​a​ ​certain​ ​aspect​ ​would​ ​apply,​ ​or​ ​get​ ​bogged​ ​down​ ​in​ ​discussions​ ​about 
  what​ ​it​ ​means. 
  Let’s​ ​look​ ​at​ ​Memories,​ ​Wishes,​ ​and​ ​Regrets.​ ​There’s​ ​something​ ​evocative​ ​about​ ​the​ ​phrase.​ ​It 
  suggests​ ​a​ ​kind​ ​of​ ​melancholy​ ​about​ ​the​ ​past.​ ​But​ ​as​ ​an​ ​aspect,​ ​I​ ​don’t​ ​really​ ​know​ ​what​ ​it’s 
  supposed​ ​to​ ​do.​ ​How​ ​does​ ​it​ ​help​ ​you?​ ​What​ ​are​ ​the​ ​memories​ ​of?​ ​What​ ​did​ ​you​ ​wish​ ​for? 
  Without​ ​some​ ​concrete​ ​idea​ ​of​ ​what​ ​the​ ​aspect’s​ ​referring​ ​to,​ ​invoking​ ​and​ ​compelling​ ​it​ ​is​ ​pretty 
  72 
  
  much​ ​impossible. 
  Suppose​ ​we​ ​talk​ ​about​ ​this​ ​some,​ ​and​ ​you​ ​specify​ ​that​ ​you​ ​were​ ​going​ ​for​ ​this​ ​idea​ ​that​ ​your 
  character​ ​was​ ​scarred​ ​from​ ​years​ ​spent​ ​in​ ​the​ ​setting’s​ ​last​ ​great​ ​war.​ ​You​ ​killed​ ​people​ ​you 
  didn’t​ ​want​ ​to​ ​kill,​ ​saw​ ​things​ ​you​ ​didn’t​ ​want​ ​to​ ​see,​ ​and​ ​pretty​ ​much​ ​had​ ​all​ ​your​ ​hope​ ​of 
  returning​ ​to​ ​a​ ​normal​ ​life​ ​taken​ ​away. 
  I​ ​think​ ​this​ ​is​ ​all​ ​fantastic,​ ​and​ ​I​ ​suggest​ ​we​ ​call​ ​it​ ​Scars​ ​from​ ​the​ ​War.​ ​Less​ ​poetic,​ ​maybe,​ ​but​ ​it 
  directly​ ​references​ ​all​ ​the​ ​stuff​ ​you’re​ ​talking​ ​about,​ ​and​ ​gives​ ​me​ ​ideas​ ​about​ ​people​ ​from​ ​your 
  past​ ​I​ ​may​ ​be​ ​able​ ​to​ ​bring​ ​back​ ​into​ ​your​ ​life. 
  If​ ​you’re​ ​wondering​ ​if​ ​your​ ​aspect​ ​is​ ​unclear,​ ​ask​ ​the​ ​people​ ​at​ ​the​ ​table​ ​what​ ​they​ ​think​ ​it 
  means. 
  *​ ​Memories,​ ​Wishes,​ ​and​ ​Regrets 
  *​ ​Scars​ ​from​ ​the​ ​War 
  If​ ​You​ ​Get​ ​Stuck 
  Now​ ​you​ ​know​ ​what​ ​makes​ ​for​ ​a​ ​good​ ​aspect,​ ​but​ ​that​ ​doesn’t​ ​narrow​ ​down​ ​your​ ​potential 
  choices​ ​any—you​ ​still​ ​have​ ​a​ ​nearly​ ​infinite​ ​set​ ​of​ ​topics​ ​and​ ​ideas​ ​to​ ​choose​ ​from. 
  If​ ​you’re​ ​still​ ​stuck​ ​about​ ​what​ ​to​ ​choose,​ ​here​ ​are​ ​some​ ​tips​ ​to​ ​make​ ​things​ ​a​ ​little​ ​easier​ ​on 
  you. 
  Sometimes,​ ​It’s​ ​Better​ ​Not​ ​to​ ​Choose 
  If​ ​you​ ​can’t​ ​think​ ​of​ ​an​ ​aspect​ ​that​ ​really​ ​grabs​ ​you​ ​and​ ​the​ ​other​ ​people​ ​at​ ​the​ ​table,​ ​you’re 
  better​ ​off​ ​leaving​ ​that​ ​space​ ​blank,​ ​or​ ​just​ ​keeping​ ​whatever​ ​ideas​ ​you​ ​had​ ​scribbled​ ​in​ ​the 
  margins.​ ​Sometimes​ ​it’s​ ​much​ ​easier​ ​to​ ​wait​ ​for​ ​your​ ​character​ ​to​ ​get​ ​into​ ​play​ ​before​ ​you​ ​figure 
  out​ ​how​ ​you​ ​want​ ​to​ ​word​ ​a​ ​particular​ ​aspect. 
  So​ ​when​ ​in​ ​doubt,​ ​leave​ ​it​ ​blank.​ ​Maybe​ ​you​ ​have​ ​a​ ​general​ ​idea​ ​of​ ​the​ ​aspect​ ​but​ ​don’t​ ​know 
  how​ ​to​ ​phrase​ ​it,​ ​or​ ​maybe​ ​you​ ​just​ ​have​ ​no​ ​idea.​ ​Don’t​ ​worry​ ​about​ ​it.​ ​There’s​ ​always​ ​room 
  during​ ​the​ ​game​ ​to​ ​figure​ ​it​ ​out​ ​as​ ​you​ ​go. 
  The​ ​same​ ​thing​ ​is​ ​true​ ​if​ ​you​ ​have​ ​more​ ​than​ ​one​ ​idea​ ​that​ ​seems​ ​juicy,​ ​but​ ​they​ ​don’t​ ​work 
  together​ ​and​ ​you​ ​don’t​ ​know​ ​which​ ​one​ ​to​ ​pick.​ ​Write​ ​them​ ​all​ ​down​ ​in​ ​the​ ​margins​ ​and​ ​see 
  which​ ​one​ ​seems​ ​to​ ​really​ ​sing​ ​in​ ​play.​ ​Then​ ​fill​ ​the​ ​space​ ​in​ ​later,​ ​with​ ​the​ ​one​ ​that​ ​gets​ ​the 
  most​ ​mileage. 
   
  Vary​ ​It​ ​Up 
  You​ ​don’t​ ​want​ ​all​ ​your​ ​aspects​ ​to​ ​describe​ ​the​ ​same​ ​kind​ ​of​ ​thing.​ ​Five​ ​relationships​ ​means 
  that​ ​you​ ​can’t​ ​use​ ​your​ ​aspects​ ​unless​ ​one​ ​of​ ​them​ ​is​ ​in​ ​play,​ ​but​ ​five​ ​personality​ ​traits​ ​means 
  that​ ​you​ ​have​ ​no​ ​connection​ ​to​ ​the​ ​game​ ​world.​ ​If​ ​you’re​ ​stuck​ ​on​ ​what​ ​to​ ​pick​ ​for​ ​an​ ​aspect, 
  looking​ ​at​ ​what​ ​kinds​ ​of​ ​things​ ​your​ ​other​ ​aspects​ ​describe​ ​may​ ​help​ ​you​ ​figure​ ​out​ ​which​ ​way 
  to​ ​go​ ​for​ ​the​ ​current​ ​phase. 
  Lenny​ ​ends​ ​up​ ​with​ ​Disciple​ ​of​ ​the​ ​Ivory​ ​Shroud​ ​and​ ​The​ ​Manners​ ​of​ ​a​ ​Goat​ ​as​ ​Landon’s​ ​high 
  73 
  
  concept​ ​and​ ​trouble.​ ​So​ ​far,​ ​this​ ​is​ ​a​ ​pretty​ ​straightforward​ ​character—a​ ​violent​ ​type​ ​whose 
  mouth​ ​and​ ​demeanor​ ​are​ ​always​ ​getting​ ​him​ ​into​ ​trouble. 
  Lenny​ ​does​ ​his​ ​phase​ ​one​ ​and​ ​explains​ ​to​ ​us​ ​that​ ​Landon​ ​was​ ​a​ ​miscreant​ ​and​ ​street​ ​rat​ ​that 
  grew​ ​up​ ​practically​ ​as​ ​an​ ​orphan—his​ ​parents​ ​were​ ​around,​ ​but​ ​never​ ​really​ ​paid​ ​too​ ​much 
  attention​ ​to​ ​him​ ​or​ ​spent​ ​effort​ ​reining​ ​him​ ​in.​ ​He​ ​eventually​ ​decided​ ​to​ ​enlist​ ​in​ ​the​ ​town​ ​militia 
  after​ ​someone​ ​saved​ ​him​ ​from​ ​a​ ​clobbering​ ​in​ ​a​ ​bar​ ​fight​ ​and​ ​suggested​ ​he​ ​do​ ​something 
  worthwhile​ ​with​ ​his​ ​life. 
  Amanda​ ​asks​ ​him​ ​what​ ​really​ ​matters​ ​about​ ​this​ ​phase,​ ​and​ ​Lenny​ ​ponders​ ​a​ ​bit.​ ​Landon’s​ ​first 
  two​ ​aspects​ ​are​ ​heavy​ ​on​ ​personal​ ​description—he​ ​doesn’t​ ​have​ ​a​ ​lot​ ​of​ ​relationships​ ​yet.​ ​So 
  Lenny​ ​focuses​ ​on​ ​that​ ​and​ ​decides​ ​he​ ​wants​ ​a​ ​connection​ ​to​ ​the​ ​guy​ ​who​ ​pulled​ ​him​ ​into​ ​the 
  militia. 
  They​ ​end​ ​up​ ​naming​ ​that​ ​guy​ ​Old​ ​Finn,​ ​Landon​ ​ends​ ​up​ ​with​ ​the​ ​aspect​ ​I​ ​Owe​ ​Old​ ​Finn 
  Everything,​ ​and​ ​Amanda​ ​now​ ​has​ ​a​ ​new​ ​NPC​ ​to​ ​play​ ​with. 
  Let​ ​Your​ ​Friends​ ​Decide 
  The​ ​game​ ​works​ ​best​ ​if​ ​everyone​ ​is​ ​invested​ ​in​ ​what​ ​everyone​ ​else​ ​is​ ​doing—collaboration​ ​is​ ​at 
  the​ ​heart​ ​of​ ​the​ ​game,​ ​and​ ​it'll​ ​probably​ ​be​ ​said​ ​a​ ​lot​ ​more​ ​throughout​ ​this​ ​site. 
  You​ ​always​ ​have​ ​the​ ​option,​ ​especially​ ​with​ ​aspects,​ ​of​ ​simply​ ​asking​ ​the​ ​GM​ ​and​ ​other​ ​players 
  to​ ​come​ ​up​ ​with​ ​something​ ​on​ ​your​ ​behalf.​ ​Pitch​ ​them​ ​the​ ​events​ ​of​ ​the​ ​phase,​ ​and​ ​ask​ ​them 
  the​ ​same​ ​questions​ ​they’re​ ​going​ ​to​ ​be​ ​asking​ ​of​ ​you.​ ​What​ ​matters​ ​to​ ​them?​ ​What​ ​are​ ​they 
  excited​ ​about?​ ​Do​ ​they​ ​have​ ​suggestions​ ​about​ ​how​ ​to​ ​make​ ​the​ ​events​ ​of​ ​the​ ​phase​ ​more 
  dramatic​ ​or​ ​intense?​ ​What​ ​aspect​ ​do​ ​they​ ​think​ ​would​ ​be​ ​most​ ​interesting​ ​or​ ​appropriate? 
  You​ ​have​ ​the​ ​final​ ​decision​ ​as​ ​to​ ​what​ ​your​ ​character’s​ ​aspects​ ​are,​ ​so​ ​don’t​ ​look​ ​at​ ​it​ ​as​ ​giving 
  up​ ​control.​ ​Look​ ​at​ ​it​ ​as​ ​asking​ ​your​ ​ever-important​ ​fan​ ​club​ ​and​ ​audience​ ​what​ ​they​ ​want​ ​to 
  see,​ ​and​ ​using​ ​their​ ​suggestions​ ​to​ ​jumpstart​ ​your​ ​own​ ​train​ ​of​ ​thought.​ ​If​ ​everyone​ ​has​ ​a​ ​bit​ ​of 
  input​ ​on​ ​everyone​ ​else’s​ ​characters,​ ​the​ ​game​ ​will​ ​benefit​ ​from​ ​that​ ​sense​ ​of​ ​mutual​ ​investment. 
   
  Invoking​ ​&​ ​Compelling​ ​Aspects 
  Contents 
  ●
  Invoking​ ​Aspects 
  ●
  Compelling​ ​Aspects 
  Invoking​ ​Aspects 
  The​ ​primary​ ​way​ ​you’re​ ​going​ ​to​ ​use​ ​aspects​ ​in​ ​a​ ​game​ ​of​ ​Fate​ ​is​ ​to​ ​invoke​ ​them.​ ​If​ ​you’re​ ​in​ ​a 
  situation​ ​where​ ​an​ ​aspect​ ​is​ ​beneficial​ ​to​ ​your​ ​character​ ​somehow,​ ​you​ ​can​ ​invoke​ ​it. 
  In​ ​order​ ​to​ ​invoke​ ​an​ ​aspect,​ ​explain​ ​why​ ​the​ ​aspect​ ​is​ ​relevant,​ ​spend​ ​Karma,​ ​and​ ​you​ ​can 
  choose​ ​one​ ​of​ ​these​ ​benefits: 
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  ●
  Take​ ​a​ ​+2​ ​on​ ​your​ ​current​ ​skill​ ​roll​ ​after​ ​you’ve​ ​rolled​ ​the​ ​dice. 
  ●
  Reroll​ ​all​ ​your​ ​dice. 
  ●
  Pass​ ​a​ ​+2​ ​benefit​ ​to​ ​another​ ​character’s​ ​roll,​ ​if​ ​it’s​ ​reasonable​ ​that​ ​the​ ​aspect​ ​you’re 
  invoking​ ​would​ ​be​ ​able​ ​to​ ​help. 
  ●
  Add​ ​+2​ ​to​ ​any​ ​source​ ​of​ ​passive​ ​opposition,​ ​if​ ​it’s​ ​reasonable​ ​that​ ​the​ ​aspect​ ​you’re 
  invoking​ ​could​ ​contribute​ ​to​ ​making​ ​things​ ​more​ ​difficult.​ ​You​ ​can​ ​also​ ​use​ ​this​ ​to​ ​create 
  passive​ ​opposition​ ​at​ ​Fair​ ​(+2)​ ​if​ ​there​ ​wasn’t​ ​going​ ​to​ ​be​ ​any. 
  The​ ​Reroll​ ​Vs.​ ​The​ ​+2 
  Rerolling​ ​the​ ​dice​ ​is​ ​a​ ​little​ ​riskier​ ​than​ ​just​ ​getting​ ​the​ ​+2​ ​bonus,​ ​but​ ​has​ ​the​ ​potential​ ​for​ ​greater 
  benefit.​ ​We​ ​recommend​ ​you​ ​reserve​ ​this​ ​option​ ​for​ ​when​ ​you’ve​ ​rolled​ ​a​ ​–3​ ​or​ ​a​ ​–4​ ​on​ ​the​ ​dice, 
  to​ ​maximize​ ​the​ ​chance​ ​that​ ​you’ll​ ​get​ ​a​ ​beneficial​ ​result​ ​from​ ​rerolling.​ ​The​ ​odds​ ​are​ ​better​ ​that 
  way. 
   
  It​ ​doesn’t​ ​matter​ ​when​ ​you​ ​invoke​ ​the​ ​aspect,​ ​but​ ​usually​ ​it’s​ ​best​ ​to​ ​wait​ ​until​ ​after​ ​you’ve​ ​rolled 
  the​ ​dice​ ​to​ ​see​ ​if​ ​you’re​ ​going​ ​to​ ​need​ ​the​ ​benefit.​ ​You​ ​can​ ​invoke​ ​multiple​ ​aspects​ ​on​ ​a​ ​single 
  roll,​ ​but​ ​youcannot​ ​invoke​ ​the​ ​same​ ​aspect​ ​multiple​ ​times​ ​on​ ​a​ ​single​ ​roll.​ ​So​ ​if​ ​your​ ​reroll 
  doesn’t​ ​help​ ​you​ ​enough,​ ​you’ll​ ​have​ ​to​ ​pick​ ​another​ ​aspect​ ​(and​ ​spend​ ​another​ ​Karma)​ ​for​ ​a 
  second​ ​reroll​ ​or​ ​that​ ​+2. 
   
  The​ ​group​ ​has​ ​to​ ​buy​ ​into​ ​the​ ​relevance​ ​of​ ​a​ ​particular​ ​aspect​ ​when​ ​you​ ​invoke​ ​it;​ ​GMs,​ ​you’re 
  the​ ​final​ ​arbiter​ ​on​ ​this​ ​one.​ ​The​ ​use​ ​of​ ​an​ ​aspect​ ​should​ ​make​ ​sense,​ ​or​ ​you​ ​should​ ​be​ ​able​ ​to 
  creatively​ ​narrate​ ​your​ ​way​ ​into​ ​ensuring​ ​it​ ​makes​ ​sense. 
   
  Precisely​ ​how​ ​you​ ​do​ ​this​ ​is​ ​up​ ​to​ ​you.​ ​Sometimes,​ ​it​ ​makes​ ​so​ ​much​ ​sense​ ​to​ ​use​ ​a​ ​particular 
  aspect​ ​that​ ​you​ ​can​ ​just​ ​hold​ ​up​ ​the​ ​Karma​ ​and​ ​name​ ​it.​ ​Or​ ​you​ ​might​ ​need​ ​to​ ​embellish​ ​your 
  character’s​ ​action​ ​a​ ​little​ ​more​ ​so​ ​that​ ​everyone​ ​understands​ ​where​ ​you’re​ ​coming​ ​from.​ ​(That’s 
  why​ ​it​ ​is​ ​recommends​ ​making​ ​sure​ ​that​ ​you’re​ ​on​ ​the​ ​same​ ​page​ ​with​ ​the​ ​group​ ​as​ ​to​ ​what​ ​each 
  of​ ​your​ ​aspects​ ​means—it​ ​makes​ ​it​ ​easier​ ​to​ ​justify​ ​bringing​ ​it​ ​into​ ​play.) 
   
  The​ ​Ellipsis​ ​Trick 
  If​ ​you​ ​want​ ​an​ ​easy​ ​way​ ​to​ ​ensure​ ​you​ ​have​ ​room​ ​to​ ​incorporate​ ​aspects​ ​into​ ​a​ ​roll,​ ​try​ ​narrating 
  your​ ​action​ ​with​ ​an​ ​ellipsis​ ​at​ ​the​ ​end​ ​(“...”),​ ​and​ ​then​ ​finish​ ​the​ ​action​ ​with​ ​the​ ​aspect​ ​you​ ​want 
  to​ ​invoke.​ ​Like​ ​this: 
   
  Patsy​ ​says,​ ​“Okay,​ ​so​ ​I​ ​raise​ ​my​ ​tail​ ​up​ ​and...”​ ​(rolls​ ​dice,​ ​hates​ ​the​ ​result)​ ​“...and​ ​it​ ​looks​ ​like​ ​I’m 
  going​ ​to​ ​miss​ ​at​ ​first,​ ​but​ ​it​ ​turns​ ​out​ ​to​ ​be​ ​a​ ​quick​ ​feint-and-whack,​ ​a​ ​classic​ ​move​ ​from​ ​the 
  Two-Tailed​ ​Crime​ ​Burner”​ ​(spends​ ​the​ ​Karma). 
   
  John​ ​says,​ ​“So​ ​I’m​ ​trying​ ​to​ ​decipher​ ​the​ ​runes​ ​in​ ​the​ ​book​ ​and...”​ ​(rolls​ ​the​ ​dice,​ ​hates​ ​the 
  result)​ ​“...and​ ​If​ ​I​ ​Haven’t​ ​Been​ ​There,​ ​I’ve​ ​Read​ ​About​ ​It...”​ ​(spends​ ​Karma)​ ​“...and​ ​I​ ​easily​ ​start 
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  rambling​ ​about​ ​their​ ​origin.” 
  Free​ ​Invocations 
  You​ ​don’t​ ​always​ ​have​ ​to​ ​pay​ ​Karma​ ​to​ ​invoke​ ​an​ ​aspect—sometimes​ ​it’s​ ​free. 
  When​ ​you​ ​succeed​ ​at​ ​Creating​ ​An​ ​Advantage​,​ ​you​ ​“stick”​ ​a​ ​free​ ​invocation​ ​onto​ ​an​ ​aspect.​ ​If 
  you​ ​succeed​ ​with​ ​style,​ ​you​ ​get​ ​two​ ​invocations.​ ​Some​ ​of​ ​the​ ​other​ ​actions​ ​also​ ​give​ ​you​ ​free 
  boosts. 
  You​ ​also​ ​get​ ​to​ ​stick​ ​a​ ​free​ ​invocation​ ​on​ ​any​ ​consequences​ ​you​ ​inflict​ ​in​ ​a​ ​conflict. 
   
  Free​ ​invocations​ ​work​ ​like​ ​normal​ ​ones​ ​except​ ​in​ ​two​ ​ways:​ ​no​ ​Karma​ ​is​ ​exchanged,​ ​and​ ​you 
  can​ ​stack​ ​them​ ​with​ ​a​ ​normal​ ​invocation​ ​for​ ​a​ ​better​ ​bonus.​ ​So​ ​you​ ​can​ ​use​ ​a​ ​free​ ​invocation 
  and​ ​pay​ ​Karma​ ​on​ ​the​ ​same​ ​aspect​ ​to​ ​get​ ​a​ ​+4​ ​bonus​ ​instead​ ​of​ ​a​ ​+2,​ ​two​ ​rerolls​ ​instead​ ​of 
  one,​ ​or​ ​you​ ​can​ ​add​ ​+4​ ​to​ ​another​ ​character’s​ ​roll​ ​or​ ​increase​ ​passive​ ​opposition​ ​by​ ​+4.​ ​Or​ ​you 
  could​ ​split​ ​the​ ​benefits,​ ​getting​ ​a​ ​reroll​ ​and​ ​a​ ​+2​ ​bonus.​ ​You​ ​can​ ​also​ ​stack​ ​multiple​ ​free 
  invocations​ ​together. 
   
  After​ ​you’ve​ ​used​ ​your​ ​free​ ​invocation,​ ​if​ ​the​ ​aspect​ ​in​ ​question​ ​is​ ​still​ ​around,​ ​you​ ​can​ ​keep 
  invoking​ ​it​ ​by​ ​spending​ ​Karma. 
   
  Pirate​ ​succeeds​ ​on​ ​an​ ​attack,​ ​and​ ​causes​ ​her​ ​opponent​ ​to​ ​take​ ​the​ ​Cut​ ​Across​ ​the​ ​Gut 
  consequence.​ ​On​ ​the​ ​next​ ​exchange,​ ​she​ ​attacks​ ​him​ ​again,​ ​and​ ​she​ ​can​ ​invoke​ ​that​ ​for​ ​free 
  because​ ​she​ ​put​ ​it​ ​there,​ ​giving​ ​her​ ​a​ ​+2​ ​or​ ​a​ ​reroll. 
   
  If​ ​you​ ​want,​ ​you​ ​can​ ​pass​ ​your​ ​free​ ​invocation​ ​to​ ​another​ ​character.​ ​That​ ​allows​ ​you​ ​to​ ​get​ ​some 
  teamwork​ ​going​ ​between​ ​you​ ​and​ ​a​ ​buddy.​ ​This​ ​is​ ​really​ ​useful​ ​in​ ​a​ ​conflict​ ​if​ ​you​ ​want​ ​to​ ​set 
  someone​ ​up​ ​for​ ​a​ ​big​ ​blow—have​ ​everyone​ ​create​ ​an​ ​advantage​ ​and​ ​pass​ ​their​ ​free​ ​invocations 
  onto​ ​one​ ​person,​ ​then​ ​that​ ​person​ ​stacks​ ​all​ ​of​ ​them​ ​up​ ​at​ ​once​ ​for​ ​a​ ​huge​ ​bonus. 
   
  Compelling​ ​Aspects 
  The​ ​other​ ​way​ ​you​ ​use​ ​aspects​ ​in​ ​the​ ​game​ ​is​ ​called​ ​a​ ​compel​.​ ​If​ ​you’re​ ​in​ ​a​ ​situation​ ​where 
  having​ ​or​ ​being​ ​around​ ​a​ ​certain​ ​aspect​ ​means​ ​your​ ​character’s​ ​life​ ​is​ ​more​ ​dramatic​ ​or 
  complicated,​ ​someone​ ​can​ ​compel​ ​the​ ​aspect.​ ​That​ ​aspect​ ​can​ ​be​ ​on​ ​your​ ​character,​ ​the 
  scene,​ ​location,​ ​game,​ ​or​ ​anywhere​ ​else​ ​that’s​ ​currently​ ​in​ ​play.​ ​We’ll​ ​start​ ​with​ ​character 
  aspects,​ ​and​ ​then​ ​talk​ ​about​ ​Compelling​ ​Situation​ ​Aspects​​ ​in​ ​a​ ​bit. 
   
  In​ ​order​ ​to​ ​compel​ ​an​ ​aspect,​ ​explain​ ​why​ ​the​ ​aspect​ ​is​ ​relevant,​ ​and​ ​then​ ​make​ ​an​ ​offer​ ​as​ ​to 
  what​ ​the​ ​complication​ ​is.​ ​You​ ​can​ ​negotiate​ ​the​ ​terms​ ​of​ ​the​ ​complication​ ​a​ ​bit,​ ​until​ ​you​ ​reach​ ​a 
  reasonable​ ​consensus.​ ​Whoever​ ​is​ ​getting​ ​compelled​ ​then​ ​has​ ​two​ ​options: 
  ●
  Accept​ ​the​ ​complication​ ​and​ ​receive​ ​Karma. 
  ●
  Pay​ ​Karma​ ​to​ ​prevent​ ​the​ ​complication​ ​from​ ​happening 
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  ●
   
  The​ ​complication​ ​from​ ​a​ ​compel​ ​occurs​ ​regardless​ ​of​ ​anyone’s​ ​efforts—once​ ​you’ve​ ​made​ ​a 
  deal​ ​and​ ​taken​ ​the​ ​Karma,​ ​you​ ​can’t​ ​use​ ​your​ ​skills​ ​or​ ​anything​ ​else​ ​to​ ​mitigate​ ​the​ ​situation. 
  You​ ​have​ ​to​ ​deal​ ​with​ ​the​ ​new​ ​story​ ​developments​ ​that​ ​arise​ ​from​ ​the​ ​complication. 
   
  If​ ​you​ ​prevent​ ​the​ ​complication​ ​from​ ​happening,​ ​then​ ​you​ ​and​ ​the​ ​group​ ​describe​ ​how​ ​you​ ​avoid 
  it.​ ​Sometimes​ ​it​ ​just​ ​means​ ​that​ ​you​ ​agree​ ​that​ ​the​ ​event​ ​never​ ​happened​ ​in​ ​the​ ​first​ ​place,​ ​and 
  sometimes​ ​it​ ​means​ ​narrating​ ​your​ ​character​ ​doing​ ​something​ ​proactive.​ ​Whatever​ ​you​ ​need​ ​to 
  do​ ​in​ ​order​ ​to​ ​make​ ​it​ ​make​ ​sense​ ​works​ ​fine,​ ​as​ ​long​ ​as​ ​the​ ​group​ ​is​ ​okay​ ​with​ ​it. 
   
  GMs,​ ​you’re​ ​the​ ​final​ ​arbiter​ ​here,​ ​as​ ​always—not​ ​just​ ​on​ ​how​ ​the​ ​result​ ​of​ ​a​ ​compel​ ​plays​ ​out, 
  but​ ​on​ ​whether​ ​or​ ​not​ ​a​ ​compel​ ​is​ ​valid​ ​in​ ​the​ ​first​ ​place.​ ​Use​ ​the​ ​same​ ​judgment​ ​you​ ​apply​ ​to 
  an​ ​invocation—it​ ​should​ ​make​ ​instinctive​ ​sense,​ ​or​ ​require​ ​only​ ​a​ ​small​ ​amount​ ​of​ ​explanation, 
  that​ ​a​ ​complication​ ​might​ ​arise​ ​from​ ​the​ ​aspect. 
   
  Finally,​ ​and​ ​this​ ​is​ ​very​ ​important:​ ​if​ ​a​ ​player​ ​wants​ ​to​ ​compel​ ​another​ ​character,​ ​it​ ​costs 
  Karma​ ​to​ ​propose​ ​the​ ​complication.​ ​The​ ​GM​ ​can​ ​always​ ​compel​ ​for​ ​free,​ ​and​ ​any​ ​player​ ​can 
  propose​ ​a​ ​compel​ ​on​ ​his​ ​or​ ​her​ ​own​ ​character​ ​for​ ​free. 
   
   
  Types​ ​of​ ​Compels 
  There​ ​are​ ​two​ ​major​ ​categories​ ​for​ ​what​ ​a​ ​compel​ ​looks​ ​like​ ​in​ ​the​ ​game:​ ​events​ ​and​ ​decisions. 
  These​ ​are​ ​tools​ ​to​ ​help​ ​you​ ​figure​ ​out​ ​what​ ​a​ ​compel​ ​should​ ​look​ ​like​ ​and​ ​help​ ​break​ ​any​ ​mental 
  blocks. 
  Events 
  An​ ​event-based​ ​compel​ ​happens​ ​to​ ​the​ ​character​ ​in​ ​spite​ ​of​ ​herself,​ ​when​ ​the​ ​world​ ​around​ ​her 
  responds​ ​to​ ​a​ ​certain​ ​aspect​ ​in​ ​a​ ​certain​ ​way​ ​and​ ​creates​ ​a​ ​complicating​ ​circumstance.​ ​It​ ​looks 
  like​ ​this: 
  ●
  You​ ​have​ ​____​ ​aspect​ ​and​ ​are​ ​in​ ​____​ ​situation,​ ​so​ ​it​ ​makes​ ​sense​ ​that,​ ​unfortunately, 
  ____​ ​would​ ​happen​ ​to​ ​you.​ ​Damn​ ​your​ ​luck. 
  Here​ ​are​ ​a​ ​few: 
  Cynere​ ​has​ ​Infamous​ ​Girl​ ​with​ ​Sword​ ​while​ ​covertly​ ​attending​ ​a​ ​gladiatorial​ ​contest,​ ​so​ ​it​ ​makes 
  sense​ ​that,​ ​unfortunately,​ ​an​ ​admirer​ ​would​ ​recognize​ ​her​ ​in​ ​the​ ​stands​ ​and​ ​make​ ​a​ ​huge​ ​fuss, 
  turning​ ​all​ ​eyes​ ​in​ ​the​ ​arena​ ​her​ ​way.​ ​Damn​ ​her​ ​luck. 
   
  Landon​ ​has​ ​I​ ​Owe​ ​Old​ ​Finn​ ​Everything​ ​and​ ​is​ ​returning​ ​to​ ​his​ ​home​ ​village​ ​after​ ​hearing​ ​it​ ​was 
  sacked​ ​by​ ​barbarians,​ ​so​ ​it​ ​makes​ ​sense​ ​that,​ ​unfortunately,​ ​Old​ ​Finn​ ​was​ ​captured​ ​and​ ​taken 
  far​ ​into​ ​the​ ​mountains​ ​with​ ​their​ ​war​ ​party.​ ​Damn​ ​his​ ​luck. 
   
  Zird​ ​has​ ​Rivals​ ​in​ ​the​ ​Collegia​ ​Arcana​ ​and​ ​is​ ​attempting​ ​to​ ​get​ ​an​ ​audience​ ​with​ ​their​ ​Inner 
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  Council,​ ​so​ ​it​ ​makes​ ​sense​ ​that,​ ​unfortunately,​ ​his​ ​rivals​ ​force​ ​the​ ​Collegia​ ​to​ ​demand​ ​he 
  provide​ ​a​ ​detailed​ ​account​ ​of​ ​his​ ​highly-coveted​ ​research​ ​to​ ​re-establish​ ​his​ ​relationship​ ​with​ ​the 
  organization.​ ​Damn​ ​his​ ​luck. 
   
  As​ ​you’ll​ ​see​ ​with​ ​decision-based​ ​compels,​ ​the​ ​real​ ​mileage​ ​is​ ​in​ ​the​ ​complication​ ​itself.​ ​Without 
  that,​ ​you​ ​don’t​ ​really​ ​have​ ​anything​ ​worth​ ​focusing​ ​on—the​ ​fact​ ​that​ ​the​ ​PCs​ ​continually​ ​have 
  complicated​ ​and​ ​dramatic​ ​things​ ​happen​ ​to​ ​them​ ​is,​ ​well,​ ​exactly​ ​what​ ​makes​ ​them​ ​PCs​ ​in​ ​the 
  first​ ​place. 
   
  GMs,​ ​event-based​ ​compels​ ​are​ ​your​ ​opportunity​ ​to​ ​party.​ ​You’re​ ​expected​ ​to​ ​control​ ​the​ ​world 
  around​ ​the​ ​PCs,​ ​so​ ​having​ ​that​ ​world​ ​react​ ​to​ ​them​ ​in​ ​an​ ​unexpected​ ​way​ ​is​ ​pretty​ ​much​ ​part 
  and​ ​parcel​ ​of​ ​your​ ​job​ ​description. 
   
  Players,​ ​event-based​ ​compels​ ​are​ ​great​ ​for​ ​you.​ ​You​ ​get​ ​rewarded​ ​simply​ ​by​ ​being​ ​there—how 
  much​ ​more​ ​awesome​ ​can​ ​you​ ​get?​ ​You​ ​might​ ​have​ ​a​ ​difficult​ ​time​ ​justifying​ ​an​ ​event-based 
  compel​ ​yourself,​ ​as​ ​it​ ​requires​ ​you​ ​to​ ​assert​ ​control​ ​over​ ​an​ ​element​ ​of​ ​the​ ​game​ ​that​ ​you 
  typically​ ​aren’t​ ​in​ ​charge​ ​of.​ ​Feel​ ​free​ ​to​ ​propose​ ​an​ ​event-based​ ​compel,​ ​but​ ​remember​ ​that​ ​the 
  GM​ ​has​ ​the​ ​final​ ​say​ ​on​ ​controlling​ ​the​ ​game​ ​world​ ​and​ ​may​ ​veto​ ​you​ ​if​ ​she’s​ ​got​ ​something 
  else​ ​in​ ​mind. 
  Decisions 
  A​ ​decision​ ​is​ ​a​ ​kind​ ​of​ ​compel​ ​that​ ​is​ ​internal​ ​to​ ​the​ ​character.​ ​It​ ​happens​ ​because​ ​of​ ​a​ ​decision 
  he​ ​makes,​ ​hence​ ​the​ ​name.​ ​It​ ​looks​ ​like​ ​this: 
  ●
  You​ ​have​ ​____​ ​aspect​ ​in​ ​____​ ​situation,​ ​so​ ​it​ ​makes​ ​sense​ ​that​ ​you’d​ ​decide​ ​to​ ​____. 
  This​ ​goes​ ​wrong​ ​when​ ​____​ ​happens. 
  Here​ ​are​ ​a​ ​few: 
  Landon​ ​has​ ​The​ ​Manners​ ​of​ ​a​ ​Goat​ ​while​ ​trying​ ​to​ ​impress​ ​a​ ​dignitary​ ​at​ ​a​ ​royal​ ​ball,​ ​so​ ​it 
  makes​ ​sense​ ​that​ ​he’d​ ​decide​ ​to​ ​share​ ​some​ ​boorish,​ ​raunchy​ ​humor​ ​and/or​ ​commentary.​ ​This 
  goes​ ​wrong​ ​when​ ​he​ ​discovers​ ​she’s​ ​the​ ​princess​ ​of​ ​this​ ​country,​ ​and​ ​his​ ​offense​ ​is​ ​tantamount 
  to​ ​a​ ​crime. 
   
  Cynere​ ​has​ ​Tempted​ ​by​ ​Shiny​ ​Things​ ​while​ ​touring​ ​an​ ​ancient​ ​museum,​ ​so​ ​it​ ​makes​ ​sense​ ​that 
  she’d​ ​decide​ ​to,​ ​ahem,​ ​liberate​ ​a​ ​couple​ ​of​ ​baubles​ ​for​ ​her​ ​personal​ ​collection.​ ​This​ ​goes​ ​wrong 
  when​ ​she​ ​discovers​ ​that​ ​the​ ​artifacts​ ​are​ ​cursed,​ ​and​ ​she’s​ ​now​ ​beholden​ ​to​ ​the​ ​Keepers​ ​of​ ​the 
  Museum​ ​if​ ​she​ ​wants​ ​the​ ​curse​ ​lifted. 
   
  Zird​ ​has​ ​Not​ ​the​ ​Face!​ ​when​ ​he​ ​gets​ ​challenged​ ​to​ ​a​ ​barfight,​ ​so​ ​it​ ​makes​ ​sense​ ​that​ ​he’d 
  decide​ ​to​ ​back​ ​down​ ​from​ ​the​ ​challenge.​ ​This​ ​goes​ ​wrong​ ​when​ ​the​ ​rest​ ​of​ ​the​ ​patrons​ ​decide 
  he’s​ ​a​ ​coward​ ​and​ ​throw​ ​him​ ​unceremoniously​ ​out​ ​into​ ​the​ ​street. 
   
  So​ ​the​ ​real​ ​dramatic​ ​impact​ ​from​ ​these​ ​kinds​ ​of​ ​compels​ ​is​ ​not​ ​what​ ​decision​ ​the​ ​character 
  makes,​ ​most​ ​of​ ​the​ ​time—it’s​ ​how​ ​things​ ​go​ ​wrong.​ ​Before​ ​something​ ​goes​ ​wrong,​ ​the​ ​first 
  sentence​ ​could​ ​be​ ​a​ ​prelude​ ​to​ ​making​ ​a​ ​skill​ ​roll​ ​or​ ​simply​ ​a​ ​matter​ ​of​ ​roleplaying.​ ​The 
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  complication​ ​that​ ​the​ ​decision​ ​creates​ ​is​ ​really​ ​what​ ​makes​ ​it​ ​a​ ​compel. 
   
  GMs,​ ​remember​ ​that​ ​a​ ​player​ ​is​ ​ultimately​ ​responsible​ ​for​ ​everything​ ​that​ ​the​ ​character​ ​says​ ​and 
  does.​ ​you​ ​can​ ​offer​ ​decision-based​ ​compels,​ ​but​ ​if​ ​the​ ​player​ ​doesn’t​ ​feel​ ​like​ ​the​ ​decision​ ​is 
  one​ ​that​ ​the​ ​character​ ​would​ ​make,​ ​don’t​ ​force​ ​the​ ​issue​ ​by​ ​charging​ ​Karma.​ ​instead,​ ​negotiate 
  the​ ​terms​ ​of​ ​the​ ​compel​ ​until​ ​you​ ​find​ ​a​ ​decision​ ​the​ ​player​ ​is​ ​comfortable​ ​making,​ ​and​ ​a 
  complication​ ​that​ ​chains​ ​from​ ​that​ ​decision​ ​instead.​ ​if​ ​you​ ​can’t​ ​agree​ ​on​ ​something,​ ​drop​ ​it. 
  The​ ​decision​ ​part​ ​should​ ​be​ ​very​ ​self-evident,​ ​and​ ​something​ ​a​ ​player​ ​might​ ​have​ ​been​ ​thinking 
  about​ ​doing​ ​anyway.​ ​The​ ​same​ ​goes​ ​for​ ​players​ ​trying​ ​to​ ​compel​ ​NPCs​ ​or​ ​each​ ​other’s 
  PCs—make​ ​sure​ ​you​ ​have​ ​a​ ​strong​ ​mutual​ ​understanding​ ​of​ ​what​ ​that​ ​NPC​ ​or​ ​other​ ​character 
  might​ ​do​ ​before​ ​proposing​ ​the​ ​compel. 
   
  Players,​ ​if​ ​you​ ​need​ ​Karma,​ ​this​ ​is​ ​a​ ​really​ ​good​ ​way​ ​of​ ​getting​ ​it​ ​ ​If​ ​you​ ​propose​ ​a 
  decision-based​ ​compel​ ​for​ ​your​ ​character​ ​to​ ​the​ ​GM,​ ​then​ ​what​ ​you’re​ ​basically​ ​asking​ ​is​ ​for 
  something​ ​you’re​ ​about​ ​to​ ​do​ ​to​ ​go​ ​wrong​ ​somehow.​ ​You​ ​don’t​ ​even​ ​have​ ​to​ ​have​ ​a 
  complication​ ​in​ ​mind—simply​ ​signaling​ ​the​ ​GM​ ​should​ ​be​ ​enough​ ​to​ ​start​ ​a​ ​conversation.​ ​GMs, 
  as​ ​long​ ​as​ ​the​ ​compel​ ​isn’t​ ​weak​ ​(as​ ​in,​ ​as​ ​long​ ​as​ ​there’s​ ​a​ ​good,​ ​juicy​ ​complication),​ ​you 
  should​ ​go​ ​with​ ​this.​ ​If​ ​the​ ​compel​ ​is​ ​weak,​ ​poll​ ​the​ ​rest​ ​of​ ​the​ ​group​ ​for​ ​ideas​ ​until​ ​something 
  more​ ​substantial​ ​sticks. 
  If​ ​you​ ​offer​ ​a​ ​decision-based​ ​compel,​ ​and​ ​no​ ​one​ ​can​ ​agree​ ​on​ ​what​ ​the​ ​decision​ ​part​ ​should 
  be,​ ​it​ ​shouldn’t​ ​cost​ ​Karma​ ​to​ ​counter—just​ ​drop​ ​it.​ ​Countering​ ​a​ ​decision-based​ ​compel​ ​should 
  only​ ​mean​ ​that​ ​the​ ​“what​ ​goes​ ​wrong”​ ​part​ ​doesn’t​ ​happen. 
   
  GMs,​ ​remember​ ​that​ ​a​ ​player​ ​is​ ​ultimately​ ​responsible​ ​for​ ​everything​ ​that​ ​the​ ​character​ ​says​ ​and 
  does.​ ​You​ ​can​ ​offer​ ​decision-based​ ​compels,​ ​but​ ​if​ ​the​ ​player​ ​doesn’t​ ​feel​ ​like​ ​the​ ​decision​ ​is 
  one​ ​that​ ​the​ ​character​ ​would​ ​make,​ ​don’t​ ​force​ ​the​ ​issue​ ​by​ ​charging​ ​Karma.​ ​Instead,​ ​negotiate 
  the​ ​terms​ ​of​ ​the​ ​compel​ ​until​ ​you​ ​find​ ​a​ ​decision​ ​the​ ​player​ ​is​ ​comfortable​ ​making,​ ​and​ ​a 
  complication​ ​that​ ​chains​ ​from​ ​that​ ​decision​ ​instead.​ ​If​ ​you​ ​can’t​ ​agree​ ​on​ ​something,​ ​drop​ ​it. 
  Retroactive​ ​Compels 
  Sometimes,​ ​you’ll​ ​notice​ ​during​ ​the​ ​game​ ​that​ ​you’ve​ ​fulfilled​ ​the​ ​criteria​ ​for​ ​a​ ​compel​ ​without 
  Karma​ ​getting​ ​awarded.​ ​You’ve​ ​played​ ​your​ ​aspects​ ​to​ ​the​ ​hilt​ ​and​ ​gotten​ ​yourself​ ​into​ ​all​ ​kinds 
  of​ ​trouble,​ ​or​ ​you’ve​ ​narrated​ ​crazy​ ​and​ ​dramatic​ ​stuff​ ​happening​ ​to​ ​a​ ​character​ ​related​ ​to​ ​their 
  aspects​ ​just​ ​out​ ​of​ ​reflex. 
   
  Anyone​ ​who​ ​realizes​ ​this​ ​in​ ​play​ ​can​ ​mention​ ​it,​ ​and​ ​the​ ​Karma​ ​can​ ​be​ ​awarded​ ​retroactively, 
  treating​ ​it​ ​like​ ​a​ ​compel​ ​after​ ​the​ ​fact.​ ​GMs,​ ​you’re​ ​the​ ​final​ ​arbiter.​ ​It​ ​should​ ​be​ ​pretty​ ​obvious 
  when​ ​something​ ​like​ ​this​ ​occurs,​ ​though—just​ ​look​ ​at​ ​the​ ​guidelines​ ​for​ ​event​ ​and​ ​decision 
  compels​ ​above,​ ​and​ ​see​ ​if​ ​you​ ​can​ ​summarize​ ​what​ ​happened​ ​in​ ​the​ ​game​ ​according​ ​to​ ​those 
  guidelines.​ ​If​ ​you​ ​can,​ ​award​ ​Karma. 
  Compelling​ ​with​ ​Situation​ ​Aspects 
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  Just​ ​like​ ​with​ ​every​ ​other​ ​kind​ ​of​ ​aspect​ ​use,​ ​you​ ​can​ ​use​ ​situation​ ​aspects​ ​(and​ ​by​ ​extension, 
  game​ ​aspects)​ ​for​ ​compels.​ ​Because​ ​situation​ ​aspects​ ​are​ ​usually​ ​external​ ​to​ ​characters,​ ​you’re 
  almost​ ​always​ ​looking​ ​at​ ​event-based​ ​compels​ ​rather​ ​than​ ​decision-based​ ​ones.​ ​The​ ​character 
  or​ ​characters​ ​affected​ ​get​ ​Karma​ ​for​ ​the​ ​compel. 
  Here​ ​are​ ​a​ ​few​ ​examples: 
  Because​ ​the​ ​warehouse​ ​is​ ​On​ ​Fire,​ ​and​ ​the​ ​player​ ​characters​ ​are​ ​trapped​ ​in​ ​the​ ​middle​ ​of​ ​it,​ ​it 
  makes​ ​sense​ ​that,​ ​unfortunately,​ ​the​ ​ruffian​ ​they’re​ ​chasing​ ​can​ ​get​ ​away​ ​in​ ​the​ ​confusion. 
  Damn​ ​their​ ​luck. 
   
  The​ ​manor​ ​house​ ​Cynere​ ​is​ ​searching​ ​through​ ​is​ ​Littered​ ​with​ ​Debris,​ ​so​ ​it​ ​makes​ ​sense​ ​that, 
  unfortunately,​ ​the​ ​city​ ​guard​ ​is​ ​going​ ​to​ ​arrive​ ​there​ ​before​ ​she​ ​finds​ ​what​ ​she’s​ ​looking​ ​for, 
  which​ ​will​ ​leave​ ​her​ ​with​ ​a​ ​lot​ ​of​ ​explaining​ ​to​ ​do.​ ​Damn​ ​her​ ​luck. 
   
  The​ ​ancient​ ​library​ ​Zird​ ​is​ ​currently​ ​working​ ​in​ ​has​ ​Layers​ ​of​ ​Dust​ ​everywhere,​ ​so​ ​it​ ​makes 
  sense​ ​that,​ ​unfortunately,​ ​while​ ​he​ ​might​ ​be​ ​able​ ​to​ ​find​ ​the​ ​information​ ​he’s​ ​looking​ ​for,​ ​the 
  bounty​ ​hunter​ ​pursuing​ ​him​ ​will​ ​know​ ​that​ ​he​ ​was​ ​here.​ ​Damn​ ​his​ ​luck. 
   
  Using​ ​Aspects​ ​For​ ​Roleplaying 
  Contents 
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  Removing​ ​Or​ ​Changing​ ​An​ ​Aspect 
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  Creating​ ​and​ ​Discovering​ ​New​ ​Aspects​ ​In​ ​Play 
  ●
  Secret​ ​or​ ​Hidden​ ​Aspects 
  Finally,​ ​aspects​ ​have​ ​a​ ​passive​ ​use​ ​that​ ​you​ ​can​ ​draw​ ​on​ ​in​ ​almost​ ​every​ ​instance​ ​of​ ​play. 
  Players,​ ​you​ ​can​ ​use​ ​them​ ​as​ ​a​ ​guide​ ​to​ ​roleplaying​ ​your​ ​character.​ ​This​ ​may​ ​seem 
  self-evident,​ ​but​ ​it​ ​should​ ​be​ ​called​ ​out​ ​anyway—the​ ​aspects​ ​on​ ​your​ ​character​ ​sheet​ ​are​ ​true​ ​of 
  your​ ​character​ ​at​ ​all​ ​times​,​ ​not​ ​just​ ​when​ ​they’re​ ​invoked​ ​or​ ​compelled. 
   
  Think​ ​of​ ​your​ ​collection​ ​of​ ​aspects​ ​as​ ​an​ ​oracle—like​ ​a​ ​tarot​ ​spread​ ​or​ ​tea​ ​leaves.​ ​They​ ​give​ ​you 
  a​ ​big​ ​picture​ ​of​ ​what​ ​your​ ​character’s​ ​about,​ ​and​ ​they​ ​can​ ​reveal​ ​interesting​ ​implications​ ​if​ ​you 
  read​ ​between​ ​the​ ​lines.​ ​If​ ​you’re​ ​wondering​ ​what​ ​your​ ​character​ ​might​ ​do​ ​in​ ​a​ ​certain​ ​situation, 
  look​ ​at​ ​your​ ​aspects.​ ​What​ ​do​ ​they​ ​say​ ​about​ ​your​ ​character’s​ ​personality,​ ​goals,​ ​and​ ​desires? 
  Are​ ​there​ ​any​ ​clues​ ​in​ ​what​ ​your​ ​aspects​ ​say​ ​that​ ​might​ ​suggest​ ​a​ ​course​ ​of​ ​action?​ ​Once​ ​you 
  find​ ​that​ ​suggestion,​ ​go​ ​for​ ​it. 
   
  Playing​ ​to​ ​your​ ​aspects​ ​also​ ​has​ ​another​ ​benefit:​ ​you’re​ ​feeding​ ​the​ ​GM​ ​ideas​ ​for​ ​compels. 
  You’re​ ​already​ ​bringing​ ​your​ ​aspects​ ​into​ ​the​ ​game,​ ​so​ ​all​ ​she​ ​has​ ​to​ ​do​ ​is​ ​offer​ ​you 
  complications​ ​and​ ​you’re​ ​good​ ​to​ ​go. 
   
  GMs,​ ​you’ll​ ​use​ ​your​ ​NPCs​ ​aspects​ ​the​ ​same​ ​way,​ ​but​ ​you​ ​get​ ​an​ ​additional​ ​way​ ​of​ ​“reading​ ​the 
  tea​ ​leaves”—you​ ​can​ ​also​ ​use​ ​them​ ​as​ ​a​ ​way​ ​of​ ​figuring​ ​out​ ​how​ ​the​ ​world​ ​reacts​ ​to​ ​the 
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  characters.​ ​Does​ ​someone​ ​have​ ​the​ ​aspect​ ​Strongest​ ​Man​ ​in​ ​the​ ​World​?​ ​That’s​ ​a​ ​reputation 
  that​ ​might​ ​precede​ ​that​ ​character,​ ​one​ ​that​ ​people​ ​might​ ​know​ ​about​ ​and​ ​react​ ​to.​ ​People​ ​might 
  crowd​ ​in​ ​to​ ​see​ ​that​ ​character​ ​when​ ​he’s​ ​passing​ ​through. 
   
  Also,​ ​it​ ​suggests​ ​something​ ​about​ ​that​ ​character’s​ ​physical​ ​size​ ​and​ ​build.​ ​You​ ​know​ ​that​ ​most 
  people​ ​are​ ​going​ ​to​ ​give​ ​that​ ​character​ ​a​ ​wide​ ​berth​ ​in​ ​a​ ​crowded​ ​space,​ ​might​ ​be​ ​naturally 
  intimidated,​ ​or​ ​might​ ​be​ ​overly​ ​aggressive​ ​or​ ​brusque​ ​as​ ​overcompensation​ ​for​ ​being 
  intimidated. 
  But​ ​no​ ​one’s​ ​going​ ​to​ ​ignore​ ​that​ ​character.​ ​Inserting​ ​these​ ​kinds​ ​of​ ​aspect-related​ ​details​ ​into 
  your​ ​narration​ ​can​ ​help​ ​your​ ​game​ ​seem​ ​more​ ​vivid​ ​and​ ​consistent,​ ​even​ ​when​ ​you’re​ ​not 
  shuffling​ ​Karma​ ​around. 
   
  In​ ​a​ ​session​ ​of​ ​Hearts​ ​of​ ​Steel,​ ​Landon​ ​comes​ ​back​ ​to​ ​his​ ​home​ ​village​ ​of​ ​Vinfeld,​ ​only​ ​to​ ​find 
  that​ ​it​ ​has​ ​been​ ​sacked​ ​by​ ​barbarians​ ​and​ ​that​ ​his​ ​mentor,​ ​Old​ ​Finn,​ ​has​ ​been​ ​kidnapped. 
  Amanda​ ​tells​ ​him​ ​that​ ​the​ ​other​ ​villagers​ ​are​ ​overjoyed​ ​that​ ​he’s​ ​come​ ​back,​ ​and​ ​in​ ​a​ ​scene 
  where​ ​he​ ​talks​ ​to​ ​the​ ​village​ ​elders,​ ​she​ ​also​ ​says​ ​that​ ​they​ ​want​ ​him​ ​to​ ​stay​ ​and​ ​help​ ​with 
  rebuilding​ ​the​ ​town. 
   
  Lenny​ ​looks​ ​at​ ​some​ ​of​ ​the​ ​aspects​ ​on​ ​Landon’s​ ​sheet:​ ​Disciple​ ​of​ ​the​ ​Ivory​ ​Shroud,​ ​I​ ​Owe​ ​Old 
  Finn​ ​Everything,​ ​The​ ​Manners​ ​of​ ​a​ ​Goat,​ ​and​ ​Smashing​ ​is​ ​Always​ ​an​ ​Option.​ ​His​ ​read​ ​of​ ​those 
  aspects​ ​is​ ​that​ ​they​ ​show​ ​Landon​ ​as​ ​being​ ​very​ ​straightforward​ ​(to​ ​the​ ​point​ ​of​ ​rudeness), 
  aggressive,​ ​inclined​ ​to​ ​solve​ ​problems​ ​through​ ​violence,​ ​and​ ​very​ ​loyal​ ​to​ ​those​ ​he​ ​considers 
  his​ ​own. 
   
  Because​ ​of​ ​his​ ​aspects,​ ​there’s​ ​not​ ​a​ ​prayer’s​ ​chance​ ​in​ ​hell​ ​Landon’s​ ​going​ ​to​ ​stay​ ​and​ ​help 
  the​ ​town​ ​when​ ​Finn​ ​might​ ​still​ ​be​ ​alive.​ ​And​ ​not​ ​only​ ​that,​ ​he’s​ ​going​ ​to​ ​tell​ ​the​ ​elders​ ​exactly 
  how​ ​he​ ​feels​ ​about​ ​the​ ​fact​ ​that​ ​they​ ​didn’t​ ​send​ ​a​ ​rescue​ ​party​ ​after​ ​Old​ ​Finn​ ​themselves. 
  Probably​ ​he​ ​uses​ ​words​ ​like​ ​“spineless”​ ​and​ ​“worthless.”​ ​You​ ​know,​ ​words​ ​that​ ​really​ ​make 
  people​ ​sympathize​ ​with​ ​you. 
   
  Amanda​ ​says​ ​that​ ​he​ ​enrages​ ​the​ ​elders​ ​so​ ​much​ ​that​ ​they’re​ ​pondering​ ​banishing​ ​him​ ​from 
  town​ ​for​ ​his​ ​insolence.​ ​She​ ​holds​ ​up​ ​Karma​ ​and​ ​grins,​ ​indicating​ ​a​ ​compel—his​ ​manners​ ​are 
  going​ ​to​ ​get​ ​him​ ​kicked​ ​out​ ​of​ ​Vinfeld. 
   
  Lenny​ ​takes​ ​it,​ ​accepting​ ​that​ ​complication.​ ​“Screw​ ​them​ ​anyway,”​ ​he​ ​says.​ ​“I’ll​ ​rescue​ ​Finn 
  without​ ​their​ ​help.” 
  Removing​ ​Or​ ​Changing​ ​An​ ​Aspect 
  Game​ ​and​ ​character​ ​aspects​ ​change​ ​through​ ​advancement.​ ​See​ ​the​​ ​MilestonesMilestones 
  section​ ​for​ ​that. 
   
  If​ ​you​ ​want​ ​to​ ​get​ ​rid​ ​of​ ​a​ ​situation​ ​aspect,​ ​you​ ​can​ ​do​ ​it​ ​in​ ​one​ ​of​ ​two​ ​ways:​ ​roll​ ​an​ ​overcome 
  81 
  
  action​ ​specifically​ ​for​ ​the​ ​purpose​ ​of​ ​getting​ ​rid​ ​of​ ​the​ ​aspect,​ ​or​ ​roll​ ​some​ ​other​ ​kind​ ​of​ ​action 
  that​ ​would​ ​make​ ​the​ ​aspect​ ​make​ ​no​ ​sense​ ​if​ ​you​ ​succeed.​ ​(For​ ​example,​ ​if​ ​you’re​ ​Grappled​, 
  you​ ​could​ ​try​ ​to​ ​sprint​ ​away.​ ​If​ ​you​ ​succeed,​ ​it​ ​wouldn’t​ ​make​ ​sense​ ​for​ ​you​ ​to​ ​be​ ​Grappled 
  anymore,​ ​so​ ​you’d​ ​also​ ​get​ ​rid​ ​of​ ​that​ ​aspect.) 
   
  If​ ​a​ ​character​ ​can​ ​interfere​ ​with​ ​your​ ​action,​ ​they​ ​get​ ​to​ ​roll​ ​active​ ​opposition​ ​against​ ​you​ ​as​ ​per 
  normal.​ ​Otherwise,​ ​GMs,​ ​it’s​ ​your​ ​job​ ​to​ ​set​ ​passive​ ​opposition​ ​or​ ​just​ ​allow​ ​the​ ​player​ ​to​ ​get​ ​rid 
  of​ ​the​ ​aspect​ ​without​ ​a​ ​roll,​ ​if​ ​there’s​ ​nothing​ ​risky​ ​or​ ​interesting​ ​in​ ​the​ ​way. 
   
  Finally,​ ​if​ ​at​ ​any​ ​point​ ​it​ ​simply​ ​makes​ ​no​ ​sense​ ​for​ ​a​ ​situation​ ​aspect​ ​to​ ​be​ ​in​ ​play,​ ​get​ ​rid​ ​of​ ​it. 
  Creating​ ​and​ ​Discovering​ ​New​ ​Aspects​ ​In​ ​Play 
  In​ ​addition​ ​to​ ​your​ ​character​ ​aspects,​ ​game​ ​aspects,​ ​and​ ​the​ ​situation​ ​aspects​ ​that​ ​the​ ​GM 
  presents,​ ​you​ ​have​ ​the​ ​ability​ ​to​ ​create,​ ​discover,​ ​or​ ​gain​ ​access​ ​to​ ​other​ ​aspects​ ​as​ ​you​ ​play. 
  For​ ​the​ ​most​ ​part,​ ​you’ll​ ​use​ ​the​ ​Create​ ​An​ ​Advantagecreate​ ​an​ ​advantage​​ ​action​ ​to​ ​make​ ​new 
  aspects.​ ​When​ ​you​ ​describe​ ​the​ ​action​ ​that​ ​gives​ ​you​ ​an​ ​advantage,​ ​the​ ​context​ ​should​ ​tell​ ​you 
  if​ ​it​ ​requires​ ​a​ ​new​ ​aspect​ ​or​ ​if​ ​it​ ​derives​ ​from​ ​an​ ​existing​ ​one.​ ​If​ ​you’re​ ​bringing​ ​a​ ​new 
  circumstance​ ​into​ ​play—like​ ​throwing​ ​sand​ ​in​ ​someone’s​ ​eyes—you’re​ ​indicating​ ​that​ ​you​ ​need 
  a​ ​new​ ​situation​ ​aspect. 
   
  With​ ​some​ ​skills,​ ​it’s​ ​going​ ​to​ ​make​ ​more​ ​sense​ ​to​ ​stick​ ​an​ ​advantage​ ​to​ ​an​ ​aspect​ ​that’s 
  already​ ​on​ ​some​ ​other​ ​character’s​ ​sheet.​ ​In​ ​this​ ​case,​ ​the​ ​PC​ ​or​ ​NPC​ ​you’re​ ​targeting​ ​would 
  provide​ ​active​ ​opposition​ ​to​ ​keep​ ​you​ ​from​ ​being​ ​able​ ​to​ ​use​ ​that​ ​aspect. 
   
  If​ ​you’re​ ​not​ ​looking​ ​for​ ​a​ ​free​ ​invocation,​ ​and​ ​you​ ​just​ ​think​ ​it’d​ ​make​ ​sense​ ​if​ ​there​ ​were​ ​a 
  particular​ ​situation​ ​aspect​ ​in​ ​play,​ ​you​ ​don’t​ ​need​ ​to​ ​roll​ ​the​ ​dice​ ​or​ ​anything​ ​to​ ​make​ ​new 
  aspects—just​ ​suggest​ ​them,​ ​and​ ​if​ ​the​ ​group​ ​thinks​ ​they’re​ ​interesting,​ ​write​ ​them​ ​down. 
  For​ ​the​ ​GM:​ ​Extremely​ ​Powerful​ ​Ninja​ ​GM​ ​Trick 
  So,​ ​if​ ​you​ ​don’t​ ​have​ ​any​ ​aspects​ ​made​ ​up​ ​for​ ​a​ ​scene​ ​or​ ​an​ ​NPC,​ ​just​ ​ask​ ​the​ ​players​ ​what 
  kinds​ ​of​ ​aspects​ ​they’re​ ​looking​ ​for​ ​when​ ​they​ ​roll​ ​to​ ​create​ ​an​ ​advantage.​ ​If​ ​they​ ​tie​ ​or​ ​succeed, 
  just​ ​write​ ​down​ ​something​ ​similar​ ​to​ ​what​ ​they​ ​were​ ​looking​ ​for​ ​and​ ​say​ ​they​ ​were​ ​right.​ ​If​ ​they 
  fail,​ ​write​ ​it​ ​down​ ​anyway,​ ​or​ ​write​ ​another​ ​aspect​ ​down​ ​that’s​ ​not​ ​advantageous​ ​to​ ​them,​ ​so​ ​as 
  to​ ​contrast​ ​with​ ​their​ ​expectations. 
  Secret​ ​or​ ​Hidden​ ​Aspects 
  Some​ ​skills​ ​also​ ​let​ ​you​ ​use​ ​the​ ​create​ ​an​ ​advantage​ ​action​ ​to​ ​reveal​ ​aspects​ ​that​ ​are​ ​hidden, 
  either​ ​on​ ​NPCs​ ​or​ ​environments—in​ ​this​ ​case,​ ​the​ ​GM​ ​simply​ ​tells​ ​you​ ​what​ ​the​ ​aspect​ ​is​ ​if​ ​you 
  get​ ​a​ ​tie​ ​or​ ​better​ ​on​ ​the​ ​roll.​ ​You​ ​can​ ​use​ ​this​ ​to​ ​“fish”​ ​for​ ​aspects​ ​if​ ​you’re​ ​not​ ​precisely​ ​sure 
  what​ ​to​ ​look​ ​for—doing​ ​well​ ​on​ ​the​ ​roll​ ​is​ ​sufficient​ ​justification​ ​for​ ​being​ ​able​ ​to​ ​find​ ​something 
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  advantage-worthy. 
   
  Generally​ ​speaking,​ ​it​ ​is​ ​assumed​ ​that​ ​most​ ​of​ ​the​ ​aspects​ ​in​ ​play​ ​are​ ​public​ ​knowledge​ ​for​ ​the 
  players.​ ​The​ ​PCs’​ ​character​ ​sheets​ ​are​ ​sitting​ ​on​ ​the​ ​table,​ ​and​ ​probably​ ​the​ ​main​ ​and 
  supporting​ ​NPCs​ ​are​ ​as​ ​well.​ ​That​ ​doesn’t​ ​always​ ​mean​ ​the​ ​characters​ ​know​ ​about​ ​those 
  aspects,​ ​but​ ​that’s​ ​one​ ​of​ ​the​ ​reasons​ ​why​ ​the​ ​create​ ​an​ ​advantage​ ​action​ ​exists—to​ ​help​ ​you 
  justify​ ​how​ ​a​ ​character​ ​learns​ ​about​ ​other​ ​characters. 
   
  Also,​ ​remember​ ​that​ ​aspects​ ​can​ ​help​ ​deepen​ ​the​ ​story​ ​only​ ​if​ ​you​ ​get​ ​to​ ​use​ ​them—aspects 
  that​ ​are​ ​never​ ​discovered​ ​might​ ​as​ ​well​ ​never​ ​have​ ​existed​ ​in​ ​the​ ​first​ ​place.​ ​So​ ​most​ ​of​ ​the 
  time,​ ​the​ ​players​ ​should​ ​always​ ​know​ ​what​ ​aspects​ ​are​ ​available​ ​for​ ​their​ ​use,​ ​and​ ​if​ ​there’s​ ​a 
  question​ ​as​ ​to​ ​whether​ ​or​ ​not​ ​the​ ​character​ ​knows,​ ​use​ ​the​ ​dice​ ​to​ ​help​ ​you​ ​decide. 
   
  Finally,​ ​sometimes​ ​you’re​ ​going​ ​to​ ​want​ ​to​ ​keep​ ​an​ ​NPC’s​ ​aspects​ ​secret​ ​or​ ​not​ ​reveal​ ​certain 
  situation​ ​aspects​ ​right​ ​away​ ​because​ ​you’re​ ​trying​ ​to​ ​build​ ​tension​ ​in​ ​the​ ​story.​ ​If​ ​the​ ​PCs​ ​are 
  investigating​ ​a​ ​series​ ​of​ ​murders,​ ​you​ ​don’t​ ​exactly​ ​want​ ​the​ ​culprit​ ​to​ ​have​ ​Sociopathic​ ​Serial 
  Murderer​ ​sitting​ ​on​ ​an​ ​index​ ​card​ ​for​ ​the​ ​PCs​ ​to​ ​see​ ​at​ ​the​ ​beginning​ ​of​ ​the​ ​adventure. 
   
  In​ ​those​ ​cases,​ ​it​ ​is​ ​recommended​ ​that​ ​you​ ​don’t​ ​make​ ​an​ ​aspect​ ​directly​ ​out​ ​of​ ​whatever​ ​fact 
  you’re​ ​trying​ ​to​ ​keep​ ​secret.​ ​Instead,​ ​make​ ​the​ ​aspect​ ​a​ ​detail​ ​that​ ​makes​ ​sense​ ​in​ ​context​ ​after 
  the​ ​secret​ ​is​ ​revealed. 
   
  Adam​ ​is​ ​making​ ​an​ ​NPC​ ​who’s​ ​secretly​ ​a​ ​supervillain,​ ​the​ ​main​ ​bad​ ​guy​ ​in​ ​the​ ​scenario​ ​she’s 
  planning.​ ​He’s​ ​also​ ​a​ ​policeman​ ​in​ ​the​ ​town​ ​the​ ​PCs​ ​are​ ​going​ ​to,​ ​so​ ​she​ ​doesn’t​ ​want​ ​to​ ​give 
  things​ ​away​ ​too​ ​easily. 
   
  Instead​ ​of​ ​making​ ​a​ ​Secretly​ ​a​ ​Supervillain​ ​aspect,​ ​she​ ​decides​ ​to​ ​make​ ​a​ ​few​ ​personal​ ​details 
  instead:​ ​Inveterate​ ​Night​ ​Owl,​ ​Tougher​ ​Than​ ​He​ ​Looks,​ ​and​ ​Wheels​ ​Within​ ​Wheels.​ ​If​ ​the​ ​PCs 
  discover​ ​a​ ​couple​ ​of​ ​these,​ ​or​ ​see​ ​them​ ​on​ ​the​ ​table,​ ​they​ ​might​ ​start​ ​to​ ​suspect​ ​the​ ​NPC,​ ​but 
  it’s​ ​not​ ​going​ ​to​ ​ruin​ ​the​ ​mystery​ ​of​ ​the​ ​scenario​ ​right​ ​away. 
   
  Karma​ ​Economy 
  Contents 
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  Refresh 
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  Spending​ ​Karma 
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  Earning​ ​Karma 
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  The​ ​GM​ ​and​ ​Karma 
  For​ ​the​ ​most​ ​part,​ ​the​ ​use​ ​of​ ​aspects​ ​revolves​ ​around​ ​Karma.​ ​You​ ​indicate​ ​your​ ​supply​ ​of​ ​fate 
  Karma​ ​by​ ​using​ ​tokens,​ ​such​ ​as​ ​poker​ ​chips,​ ​glass​ ​beads,​ ​or​ ​other​ ​markers. 
  Ideally,​ ​you​ ​want​ ​a​ ​consistent​ ​ebb​ ​and​ ​flow​ ​of​ ​Karma​ ​going​ ​on​ ​throughout​ ​your​ ​sessions. 
  83 
  
  Players​ ​spend​ ​them​ ​in​ ​order​ ​to​ ​be​ ​awesome​ ​in​ ​a​ ​crucial​ ​moment,​ ​and​ ​they​ ​get​ ​them​ ​back​ ​when 
  their​ ​lives​ ​get​ ​dramatic​ ​and​ ​complicated.​ ​So​ ​if​ ​Karma​ ​is​ ​flowing​ ​the​ ​way​ ​they’re​ ​supposed​ ​to, 
  you’ll​ ​end​ ​up​ ​with​ ​these​ ​cycles​ ​of​ ​triumphs​ ​and​ ​setbacks​ ​that​ ​make​ ​for​ ​a​ ​fun​ ​and​ ​interesting 
  story. 
  Here’s​ ​how​ ​that​ ​works. 
  Refresh 
  Each​ ​player​ ​gets​ ​Karma​ ​to​ ​start​ ​each​ ​session​ ​off​ ​with.​ ​That​ ​total​ ​is​ ​called​ ​the​ ​refresh​ ​rate.​ ​The 
  refresh​ ​for​ ​a​ ​default,​ ​starting​ ​character​ ​is​ ​three​ ​Karma. 
   
  You​ ​get​ ​additional​ ​refresh​ ​as​ ​your​ ​character​ ​achieves​ ​a​ ​major​ ​milestone​ ​(which​ ​is​ ​discussed​ ​in 
  The​ ​Long​ ​GameThe​ ​Long​ ​Game​),​ ​which​ ​you​ ​can​ ​spend​ ​on​ ​getting​ ​more​ ​powers​ ​or​ ​stunts​ ​or 
  keep​ ​in​ ​order​ ​to​ ​increase​ ​your​ ​starting​ ​Karma​ ​total.  
   
  You​ ​might​ ​end​ ​a​ ​session​ ​of​ ​play​ ​with​ ​more​ ​Karma​ ​than​ ​your​ ​actual​ ​refresh.​ ​If​ ​that​ ​happens,​ ​you 
  don’t​ ​lose​ ​the​ ​additional​ ​Karma​ ​when​ ​you​ ​start​ ​the​ ​next​ ​session,​ ​but​ ​you​ ​don’t​ ​gain​ ​any​ ​either. 
  At​ ​the​ ​start​ ​of​ ​a​ ​new​ ​scenario,​ ​you​ ​reset​ ​your​ ​Karma​ ​to​ ​your​ ​refresh​ ​rate​ ​no​ ​matter​ ​what. 
  Spending​ ​Karma 
  You​ ​spend​ ​Karma​ ​in​ ​any​ ​of​ ​the​ ​following​ ​ways: 
  ●
  Invoke​ ​an​ ​Aspect:​ ​Invoking​ ​an​ ​aspect​ ​costs​ ​Karma,​ ​unless​ ​the​ ​invocation​ ​is​ ​free. 
  ●
  Power​ ​Stunt:​ ​It​ ​generally​ ​costs​ ​Karma​ ​in​ ​order​ ​to​ ​try​ ​the​ ​new​ ​use​ ​of​ ​power. 
  ●
  Refuse​ ​a​ ​Compel:​ ​Once​ ​a​ ​compel​ ​is​ ​proposed,​ ​you​ ​can​ ​pay​ ​Karma​ ​to​ ​avoid​ ​the 
  complication​ ​associated​ ​with​ ​it. 
  ●
  Declare​ ​a​ ​Story​ ​Detail:​ ​To​ ​add​ ​something​ ​to​ ​the​ ​narrative​ ​based​ ​on​ ​one​ ​of​ ​your 
  aspects,​ ​spend​ ​Karma. 
  Earning​ ​Karma 
  You​ ​earn​ ​Karma​ ​in​ ​any​ ​of​ ​the​ ​following​ ​ways: 
  ●
  Accept​ ​a​ ​Compel:​ ​You​ ​get​ ​Karma​ ​when​ ​you​ ​agree​ ​to​ ​the​ ​complication​ ​associated​ ​with 
  a​ ​compel.​ ​As​ ​said​ ​above,​ ​this​ ​may​ ​sometimes​ ​happen​ ​retroactively​ ​if​ ​the​ ​circumstances 
  warrant. 
  ●
  Have​ ​Your​ ​Aspects​ ​Invoked​ ​Against​ ​You:​​ ​If​ ​someone​ ​pays​ ​Karma​ ​to​ ​invoke​ ​an 
  aspect​ ​attached​ ​to​ ​your​ ​character,​ ​you​ ​gain​ ​their​ ​Karma​ ​at​ ​the​ ​end​ ​of​ ​the​ ​scene.​ ​This 
  includes​ ​advantages​ ​created​ ​on​ ​your​ ​character,​ ​as​ ​well​ ​as​ ​consequences. 
  ●
  Concede​ ​in​ ​a​ ​Conflict:​ ​You​ ​receive​ ​one​ ​Karma​ ​for​​ ​Conceding​ ​A​ ​Conflict​,​ ​as​ ​well​ ​as 
  additional​ ​Karma​ ​for​ ​each​ ​consequence​ ​that​ ​you’ve​ ​received​ ​in​ ​that​ ​conflict.​ ​(This​ ​isn’t 
  the​ ​same​ ​as​ ​being​ ​taken​ ​out​ ​in​ ​a​ ​conflict,​ ​by​ ​the​ ​way.) 
  84 
  
  The​ ​GM​ ​and​ ​Karma 
  GMs,​ ​you​ ​also​ ​get​ ​to​ ​use​ ​Karma,​ ​but​ ​the​ ​rules​ ​are​ ​a​ ​little​ ​bit​ ​different​ ​than​ ​the​ ​rules​ ​for​ ​players. 
  When​ ​you​ ​award​ ​players​ ​fKarma​ ​for​ ​compels​ ​or​ ​concession,​ ​they​ ​come​ ​out​ ​of​ ​an​ ​unlimited​ ​pool 
  you​ ​have​ ​for​ ​doing​ ​so—you​ ​don’t​ ​have​ ​to​ ​worry​ ​about​ ​running​ ​out​ ​of​ ​Karma​ ​to​ ​award,​ ​and​ ​you 
  always​ ​get​ ​to​ ​compel​ ​for​ ​free. 
  The​ ​NPCs​ ​under​ ​your​ ​control​ ​are​ ​not​ ​so​ ​lucky.​ ​They​ ​have​ ​a​ ​limited​ ​pool​ ​of​ ​Karma​ ​you​ ​get​ ​to​ ​use 
  on​ ​their​ ​behalf.​ ​Whenever​ ​a​ ​scene​ ​starts,​ ​you​ ​get​ ​one​ ​Karma​ ​for​ ​every​ ​PC​ ​in​ ​that​ ​scene. 
  You​ ​can​ ​use​ ​these​ ​points​ ​on​ ​behalf​ ​of​ ​any​ ​NPC​ ​you​ ​want,​ ​but​ ​you​ ​can​ ​get​ ​more​ ​in​ ​that​ ​scene​ ​if 
  they​ ​take​ ​a​ ​compel,​ ​like​ ​PCs​ ​do. 
  You​ ​reset​ ​to​ ​your​ ​default​ ​total,​ ​one​ ​per​ ​PC,​ ​at​ ​the​ ​beginning​ ​of​ ​every​ ​scene. 
  There​ ​are​ ​two​ ​exceptions: 
  ●
  You​ ​accepted​ ​a​ ​compel​ ​that​ ​effectively​ ​ended​ ​the​ ​last​ ​scene​ ​or​ ​starts​ ​the​ ​next​ ​one.​ ​If 
  that​ ​happens,​ ​take​ ​an​ ​extra​ ​Karma​ ​in​ ​the​ ​next​ ​scene. 
  ●
  You​ ​conceded​ ​a​ ​conflict​ ​to​ ​the​ ​PCs​ ​in​ ​the​ ​previous​ ​scene.​ ​If​ ​that​ ​happens,​ ​take​ ​the 
  Karma​ ​you’d​ ​normally​ ​get​ ​for​ ​the​ ​concession​ ​into​ ​the​ ​next​ ​scene​ ​and​ ​add​ ​them​ ​to​ ​the 
  default​ ​total. 
  If​ ​the​ ​immediate​ ​next​ ​scene​ ​doesn’t​ ​present​ ​a​ ​significant​ ​interaction​ ​with​ ​NPCs,​ ​you​ ​can​ ​save 
  these​ ​extra​ ​points​ ​until​ ​the​ ​next​ ​scene​ ​that​ ​does. 
  Amanda​ ​is​ ​running​ ​a​ ​climactic​ ​conflict,​ ​where​ ​the​ ​PCs​ ​are​ ​battling​ ​a​ ​nemesis​ ​they’ve​ ​been​ ​trying 
  to​ ​subdue​ ​for​ ​several​ ​scenarios​ ​now.​ ​Here​ ​are​ ​the​ ​characters​ ​in​ ​the​ ​scene: 
  ●
  Barathar,​ ​Smuggler​ ​Queen​ ​of​ ​the​ ​Sindral​ ​Reach,​ ​a​ ​main​ ​NPC 
  ●
  Og​ ​the​ ​Strong,​ ​one​ ​of​ ​her​ ​chief​ ​enforcers,​ ​a​ ​supporting​ ​NPC 
  ●
  Teran​ ​the​ ​Swift,​ ​an​ ​old​ ​nemesis​ ​of​ ​the​ ​PCs​ ​hired​ ​to​ ​do​ ​Barathar’s​ ​bidding,​ ​a​ ​supporting 
  NPC 
  ●
  Two​ ​nameless​ ​NPC​ ​sergeants 
  ●
  Landon 
  ●
  Cynere 
  ●
  Zird​ ​the​ ​Arcane 
  Her​ ​total​ ​Karma​ ​pool​ ​for​ ​this​ ​scene​ ​is​ ​3​ ​Karma—one​ ​each​ ​for​ ​Landon,​ ​Cynere,​ ​and​ ​Zird.​ ​If​ ​Zird 
  had​ ​been​ ​elsewhere​ ​(say,​ ​doing​ ​some​ ​arcane​ ​research),​ ​Amanda​ ​would’ve​ ​gotten​ ​two​ ​Karma, 
  one​ ​for​ ​Landon​ ​and​ ​one​ ​for​ ​Cynere. 
  Late​ ​in​ ​the​ ​conflict,​ ​Barathar​ ​is​ ​forced​ ​to​ ​concede​ ​so​ ​she​ ​can​ ​get​ ​away​ ​with​ ​her​ ​skin​ ​intact.​ ​She 
  has​ ​taken​ ​two​ ​consequences​ ​in​ ​the​ ​conflict,​ ​meaning​ ​that​ ​she​ ​gets​ ​three​ ​Karma​ ​for​ ​conceding. 
  Those​ ​three​ ​Karma​ ​carry​ ​over​ ​to​ ​the​ ​next​ ​scene. 
   
  The​ ​Basic​ ​Game​ ​Actions 
  We​ ​cover​ ​these​ ​in​ ​more​ ​detail​ ​in​ ​Actions​ ​&​ ​Outcomes​,​ ​but​ ​here’s​ ​a​ ​quick​ ​reference​ ​so​ ​that​ ​you 
  don’t​ ​have​ ​to​ ​flip​ ​all​ ​the​ ​way​ ​over​ ​there​ ​right​ ​now. 
  Overcome:​ ​True​ ​to​ ​its​ ​name,​ ​you​ ​tackle​ ​some​ ​kind​ ​of​ ​challenge,​ ​engaging​ ​task,​ ​or​ ​hindrance 
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  related​ ​to​ ​your​ ​skill. 
  Create​ ​an​ ​Advantage:​ ​Whether​ ​you’re​ ​discovering​ ​something​ ​that​ ​already​ ​exists​ ​about​ ​an 
  opponent​ ​or​ ​creating​ ​a​ ​situation​ ​that​ ​helps​ ​you​ ​succeed,​ ​creating​ ​advantages​ ​allows​ ​you​ ​to 
  discover​ ​and​ ​create​ ​aspects,​ ​and​ ​lets​ ​you​ ​get​ ​free​ ​invocations​ ​of​ ​them. 
  Attack:​ ​You​ ​try​ ​to​ ​harm​ ​someone​ ​in​ ​a​ ​conflict.​ ​That​ ​harm​ ​may​ ​be​ ​physical,​ ​mental,​ ​emotional, 
  or​ ​social​ ​in​ ​nature. 
  Defend:​ ​You​ ​try​ ​to​ ​keep​ ​someone​ ​from​ ​harming​ ​you,​ ​getting​ ​past​ ​you,​ ​or​ ​creating​ ​an​ ​advantage 
  to​ ​use​ ​against​ ​you. 
   
   
  Skill 
  Overcome 
  Create​ ​Advantage 
  Attack 
  Defend 
   
  Fighting 
  X 
  X 
  X 
  X 
  Agility 
  X 
  X 
  X 
  X 
  Strength 
  X 
  X 
  X 
  X 
  Endurance 
  X 
  X 
   
  X 
  Reason 
  X 
  X 
   
   
  Intuition 
  X 
  X 
   
  X 
  Psyche 
  X 
  X 
   
  X 
  Resources 
  X 
  X 
   
   
  Popularity 
  X 
  X 
  X 
   
  Contacts 
  X 
  X 
   
  X 
  Burglary 
  X 
  X 
   
   
  Crafts 
  X 
  X 
   
   
  Deceive 
  X 
  X 
   
  X 
  Drive 
  X 
  X 
   
  X 
  Empathy 
  X 
  X 
   
   
  Investigate 
  X 
  X 
   
   
  Notice 
  X 
  X 
   
  X 
  *Shoot 
  X 
  X 
  X 
   
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  Stealth 
  X 
  X 
   
  X 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Actions​ ​&​ ​Outcomes 
  Contents 
  87 
  
  ●
  It's​ ​Time​ ​For​ ​Action! 
  ●
  Opposition 
  It's​ ​Time​ ​For​ ​Action! 
  You​ ​roll​ ​the​ ​dice​ ​when​ ​there’s​ ​some​ ​kind​ ​of​ ​interesting​ ​opposition​ ​keeping​ ​you​ ​from​ ​achieving 
  your​ ​goals.​ ​If​ ​there’s​ ​no​ ​interesting​ ​opposition,​ ​you​ ​just​ ​accomplish​ ​whatever​ ​you​ ​say​ ​you’re 
  trying​ ​to​ ​do. 
   
  As​ ​said​ ​previously,​ ​characters​ ​in​ ​a​ ​Faterip​ ​game​ ​solve​ ​their​ ​problems​ ​proactively.​ ​Players, 
  during​ ​the​ ​game​ ​you’re​ ​going​ ​to​ ​do​ ​a​ ​lot—you​ ​might​ ​break​ ​into​ ​the​ ​bad​ ​guy’s​ ​fortress,​ ​pilot​ ​a 
  starship​ ​past​ ​a​ ​minefield,​ ​rally​ ​a​ ​group​ ​of​ ​people​ ​into​ ​a​ ​protest,​ ​or​ ​poll​ ​a​ ​network​ ​of​ ​informants​ ​to 
  get​ ​the​ ​latest​ ​word​ ​on​ ​the​ ​street. 
   
  Whenever​ ​you​ ​take​ ​action,​ ​there’s​ ​a​ ​good​ ​chance​ ​that​ ​something​ ​or​ ​someone​ ​is​ ​going​ ​to​ ​be​ ​in 
  your​ ​way.​ ​It​ ​wouldn’t​ ​be​ ​an​ ​interesting​ ​story​ ​if​ ​the​ ​bad​ ​guy​ ​just​ ​rolled​ ​over​ ​and​ ​handed​ ​you 
  victory​ ​on​ ​a​ ​plate—clearly,​ ​he’s​ ​got​ ​some​ ​crazy​ ​security​ ​measures​ ​to​ ​keep​ ​you​ ​out​ ​of​ ​his​ ​place. 
  Or​ ​the​ ​mines​ ​are​ ​unstable​ ​and​ ​already​ ​blowing​ ​up​ ​around​ ​you.​ ​Or​ ​the​ ​protesters​ ​are​ ​really 
  scared​ ​of​ ​the​ ​cops.​ ​Or​ ​someone’s​ ​been​ ​bribing​ ​the​ ​informants​ ​to​ ​keep​ ​quiet. 
   
  That’s​ ​when​ ​it’s​ ​time​ ​to​ ​take​ ​out​ ​the​ ​dice. 
  ●
  Choose​ ​the​ ​character’s​ ​skill​ ​that​ ​is​ ​appropriate​ ​to​ ​the​ ​action​. 
  ●
  Roll​ ​four​ ​Fate​ ​dice. 
  ●
  Add​ ​together​ ​the​ ​symbols​ ​showing​ ​on​ ​the​ ​dice.​ ​A​ ​+​ ​is​ ​+1,​ ​a​ ​-​ ​is​ ​–1,​ ​and​ ​a​ ​0​ ​is​ ​0. 
  ●
  Add​ ​your​ ​skill​ ​rating​ ​to​ ​the​ ​dice​ ​roll.​ ​The​ ​total​ ​is​ ​your​ ​result​ ​on​ ​the​ ​ladder. 
  ●
  If​ ​you​ ​invoke​ ​an​ ​aspect,​ ​add​ ​+2​ ​to​ ​your​ ​result​ ​or​ ​reroll​ ​the​ ​dice. 
  ●
   
  Cynere​ ​needs​ ​to​ ​bribe​ ​her​ ​way​ ​past​ ​the​ ​guards​ ​keeping​ ​her​ ​from​ ​entering​ ​the​ ​city​ ​of​ ​Thaalar. 
  Amanda​ ​says​ ​she’ll​ ​do​ ​this​ ​as​ ​a​ ​straight-up​ ​overcome​ ​action,​ ​because​ ​the​ ​guards​ ​are​ ​nameless 
  NPCs​ ​anyway​ ​and​ ​not​ ​really​ ​worth​ ​a​ ​conflict​. 
   
  Lily​ ​looks​ ​through​ ​Cynere’s​ ​skill​ ​list​ ​and​ ​picks​ ​Resources​ ​as​ ​her​ ​skill,​ ​hoping​ ​she​ ​can​ ​scrounge 
  enough​ ​out​ ​of​ ​her​ ​coin​ ​purse​ ​to​ ​satisfy​ ​them.​ ​Her​ ​Resources​ ​skill​ ​is​ ​Good​ ​(+1),​ ​so​ ​she’ll​ ​add​ ​one 
  to​ ​whatever​ ​result​ ​she​ ​gets​ ​from​ ​rolling​ ​the​ ​dice. 
   
  She​ ​rolls​ ​and​ ​gets:​ ​+-0+ 
  Her​ ​total​ ​result​ ​is​ ​+2​ ​(+1​ ​from​ ​her​ ​dice​ ​and​ ​+1​ ​from​ ​her​ ​skill​ ​of​ ​Good),​ ​which​ ​corresponds​ ​to​ ​a 
  Fair​ ​on​ ​the​ ​ladder. 
  Opposition 
  As​ ​said​ ​in​ ​The​ ​Basics​,​ ​whenever​ ​you​ ​roll​ ​the​ ​dice,​ ​you’re​ ​comparing​ ​your​ ​roll​ ​to​ ​your​ ​opposition. 
  Opposition​ ​is​ ​either​ ​active,​ ​meaning​ ​it’s​ ​another​ ​person​ ​rolling​ ​dice​ ​against​ ​you,​ ​or​ ​passive, 
  88 
  
  meaning​ ​that​ ​it’s​ ​just​ ​a​ ​set​ ​rating​ ​on​ ​the​ ​ladder​ ​which​ ​represents​ ​the​ ​influence​ ​of​ ​the 
  environment​ ​or​ ​situation​ ​you’re​ ​in.​ ​GMs,​ ​it’s​ ​your​ ​job​ ​to​ ​decide​ ​what​ ​the​ ​most​ ​reasonable​ ​source 
  of​ ​opposition​ ​is. 
   
  Amanda​ ​decides​ ​to​ ​roll​ ​active​ ​opposition​ ​against​ ​Lily​ ​on​ ​behalf​ ​of​ ​the​ ​guards.​ ​She​ ​decides​ ​the 
  most​ ​appropriate​ ​opposing​ ​skill​ ​is​ ​Will—they’re​ ​trying​ ​to​ ​resist​ ​the​ ​temptation​ ​of​ ​bribery,​ ​after​ ​all. 
  The​ ​guards​ ​are​ ​nameless​ ​NPCs​ ​with​ ​no​ ​reason​ ​to​ ​be​ ​particularly​ ​strong​ ​of​ ​will,​ ​so​ ​she​ ​gives 
  them​ ​a​ ​Typical​ ​(+0).​ ​She​ ​rolls​ ​and​ ​gets:​ ​++0+ 
  ...for​ ​an​ ​incredibly​ ​lucky​ ​result​ ​of​ ​+3! 
   
  That​ ​gives​ ​her​ ​a​ ​Good​ ​(+3)​ ​result,​ ​beating​ ​Lily’s​ ​roll​ ​by​ ​one. 
  For​ ​the​ ​GM:​ ​Active​ ​or​ ​Passive? 
  If​ ​a​ ​PC​ ​or​ ​a​ ​named​ ​NPC​ ​can​ ​reasonably​ ​interfere​ ​with​ ​whatever​ ​the​ ​action​ ​is,​ ​then​ ​you​ ​should 
  give​ ​them​ ​the​ ​opportunity​ ​to​ ​roll​ ​active​ ​opposition.​ ​This​ ​does​ ​not​ ​count​ ​as​ ​an​ ​action​ ​for​ ​the 
  opposing​ ​character;​ ​it’s​ ​just​ ​a​ ​basic​ ​property​ ​of​ ​resolving​ ​actions.​ ​In​ ​other​ ​words,​ ​a​ ​player 
  doesn’t​ ​have​ ​to​ ​do​ ​anything​ ​special​ ​to​ ​earn​ ​the​ ​right​ ​to​ ​actively​ ​oppose​ ​an​ ​action,​ ​as​ ​long​ ​as​ ​the 
  character​ ​is​ ​present​ ​and​ ​can​ ​interfere.​ ​If​ ​there’s​ ​any​ ​doubt,​ ​having​ ​an​ ​appropriate​ ​situation 
  aspect​ ​helps​ ​justify​ ​why​ ​a​ ​character​ ​gets​ ​to​ ​actively​ ​oppose​ ​someone​ ​else. 
   
  If​ ​there​ ​is​ ​no​ ​character​ ​in​ ​the​ ​way,​ ​then​ ​look​ ​at​ ​your​ ​situation​ ​aspects​ ​in​ ​this​ ​scene​ ​to​ ​see​ ​if​ ​any 
  of​ ​them​ ​justify​ ​some​ ​sort​ ​of​ ​obstacle,​ ​or​ ​consider​ ​the​ ​circumstances​ ​(like​ ​rough​ ​terrain,​ ​a 
  complex​ ​lock,​ ​time​ ​running​ ​out,​ ​a​ ​situational​ ​complication,​ ​etc.).​ ​If​ ​something​ ​sounds​ ​interesting, 
  choose​ ​passive​ ​opposition​ ​and​ ​set​ ​a​ ​rating​ ​on​ ​the​ ​ladder. 
   
  Sometimes​ ​you’re​ ​going​ ​to​ ​run​ ​into​ ​edge​ ​cases,​ ​where​ ​something​ ​inanimate​ ​seems​ ​like​ ​it 
  should​ ​provide​ ​active​ ​opposition​ ​(like​ ​an​ ​automated​ ​gun)​ ​or​ ​an​ ​NPC​ ​can’t​ ​provide​ ​proactive 
  resistance​ ​(like​ ​if​ ​they’re​ ​unaware​ ​of​ ​what​ ​the​ ​PC​ ​is​ ​doing).​ ​Follow​ ​your​ ​gut—use​ ​the​ ​type​ ​of 
  opposition​ ​that​ ​fits​ ​the​ ​circumstances​ ​or​ ​makes​ ​the​ ​scene​ ​more​ ​interesting. 
   
  Four​ ​Outcomes 
  Contents 
  ●
  Fail 
  ●
  Tie 
  ●
  Succeed 
  ●
  Succeed​ ​with​ ​Style 
  ●
   
  When​ ​you​ ​roll​ ​the​ ​dice,​ ​either​ ​you’re​ ​going​ ​to​ ​fail,​ ​tie,​ ​succeed,​ ​or​ ​succeed​ ​with​ ​style. 
  Every​ ​roll​ ​you​ ​make​ ​in​ ​a​ ​Fate​ ​game​ ​results​ ​in​ ​one​ ​of​ ​four​ ​outcomes,​ ​generally​ ​speaking.​ ​The 
  89 
  
  specifics​ ​may​ ​change​ ​a​ ​little​ ​depending​ ​on​ ​what​ ​kind​ ​of​​ ​action​ ​you’re​ ​taking​,​ ​but​ ​all​ ​the​ ​game 
  actions​ ​fit​ ​this​ ​general​ ​pattern. 
  Fail 
  If​ ​you​ ​roll​ ​lower​ ​than​ ​your​ ​opposition,​ ​you​ ​fail. 
  This​ ​means​ ​one​ ​of​ ​several​ ​things:​ ​you​ ​don’t​ ​get​ ​what​ ​you​ ​want,​ ​you​ ​get​ ​what​ ​you​ ​want​ ​at​ ​a 
  serious​ ​cost​,​ ​or​ ​you​ ​suffer​ ​some​ ​negative​ ​mechanical​ ​consequence.​ ​Sometimes,​ ​it​ ​means​ ​more 
  than​ ​one​ ​of​ ​those.​ ​It’s​ ​the​ ​GM’s​ ​job​ ​to​ ​determine​ ​an​ ​appropriate​ ​cost. 
  Tie 
  If​ ​you​ ​roll​ ​the​ ​same​ ​as​ ​your​ ​opposition,​ ​you​ ​tie. 
  This​ ​means​ ​you​ ​get​ ​what​ ​you​ ​want,​ ​but​ ​at​ ​a​ ​minor​ ​cost,​ ​or​ ​you​ ​get​ ​a​ ​lesser​ ​version​ ​of​ ​what​ ​you 
  wanted. 
  Succeed 
  If​ ​you​ ​roll​ ​higher​ ​than​ ​your​ ​opposition​ ​by​ ​1​ ​or​ ​2​ ​shifts,​ ​you​ ​succeed. 
  This​ ​means​ ​you​ ​get​ ​what​ ​you​ ​want​ ​at​ ​no​ ​cost. 
  Succeed​ ​with​ ​Style 
  If​ ​you​ ​roll​ ​higher​ ​than​ ​your​ ​opposition​ ​by​ ​3​ ​or​ ​more​ ​shifts,​ ​you​ ​succeed​ ​with​ ​style. 
  This​ ​means​ ​that​ ​you​ ​get​ ​what​ ​you​ ​want,​ ​but​ ​you​ ​also​ ​get​ ​an​ ​added​ ​benefit​ ​on​ ​top​ ​of​ ​that. 
  For​ ​the​ ​GM:​ ​Serious​ ​Cost​ ​Vs.​ ​Minor​ ​Cost 
  When​ ​you’re​ ​thinking​ ​about​ ​costs,​ ​think​ ​both​ ​about​ ​the​ ​story​ ​in​ ​play​ ​and​ ​the​ ​game​ ​mechanics​ ​to 
  help​ ​you​ ​figure​ ​out​ ​what​ ​would​ ​be​ ​most​ ​appropriate. 
   
  A​ ​serious​ ​cost​ ​should​ ​make​ ​the​ ​current​ ​situation​ ​worse​ ​somehow,​ ​either​ ​by​ ​creating​ ​a​ ​new 
  problem​ ​or​ ​exacerbating​ ​an​ ​existing​ ​one.​ ​Bring​ ​in​ ​another​ ​source​ ​of​ ​opposition​ ​in​ ​this​ ​scene​ ​or 
  the​ ​next​ ​one​ ​(such​ ​as​ ​a​ ​new​ ​opposing​ ​NPC​ ​or​ ​an​ ​obstacle​ ​to​ ​overcome),​ ​or​ ​ask​ ​the​ ​player​ ​to 
  take​ ​a​ ​consequence​ ​at​ ​their​ ​lowest​ ​free​ ​level,​ ​or​ ​give​ ​someone​ ​who​ ​opposes​ ​the​ ​PC​ ​an 
  advantage​ ​with​ ​a​ ​free​ ​invocation. 
   
  A​ ​minor​ ​cost​ ​should​ ​add​ ​a​ ​story​ ​detail​ ​that’s​ ​problematic​ ​or​ ​bad​ ​for​ ​the​ ​PC,​ ​but​ ​doesn’t 
  necessarily​ ​endanger​ ​progress.​ ​You​ ​could​ ​also​ ​ask​ ​the​ ​PC​ ​to​ ​take​ ​Health​ ​or​ ​give​ ​someone​ ​who 
  opposes​ ​the​ ​PCs​ ​a​ ​boost. 
   
  It’s​ ​okay​ ​if​ ​the​ ​minor​ ​cost​ ​is​ ​mainly​ ​a​ ​narrative​ ​detail,​ ​showing​ ​how​ ​the​ ​PC​ ​just​ ​barely​ ​scratched 
  by.​ ​See​ ​more​ ​advice​ ​about​ ​dealing​ ​with​ ​costs​ ​on​ ​in​​ ​Running​ ​the​ ​Game​. 
  90 
  
  For​ ​the​ ​GM:​ ​How​ ​Hard​ ​Should​ ​Skill​ ​Rolls​ ​Be? 
  For​ ​active​ ​opposition,​ ​you​ ​don’t​ ​really​ ​need​ ​to​ ​worry​ ​about​ ​how​ ​hard​ ​the​ ​roll​ ​is—just​ ​use​ ​the 
  NPC’s​ ​skill​ ​level​ ​and​ ​roll​ ​the​ ​dice​ ​like​ ​the​ ​players​ ​do,​ ​letting​ ​the​ ​chips​ ​fall​ ​where​ ​they​ ​may.​ ​There 
  are​ ​guidelines​ ​about​ ​NPC​ ​skill​ ​levels​ ​in​ ​Running​ ​the​ ​Game​. 
   
  For​ ​passive​ ​opposition,​ ​you​ ​have​ ​to​ ​decide​ ​what​ ​rank​ ​on​ ​the​ ​ladder​ ​the​ ​player​ ​has​ ​to​ ​beat.​ ​It’s 
  more​ ​an​ ​art​ ​than​ ​a​ ​science,​ ​but​ ​there​ ​are​ ​some​ ​guidelines​ ​to​ ​help​ ​you. 
   
  Anything​ ​that’s​ ​two​ ​or​ ​more​ ​steps​ ​higher​ ​than​ ​the​ ​PC’s​ ​skill​ ​level—Excellent​ ​(+2)​ ​skill​ ​and 
  Incredible​ ​(+4)​ ​opposition,​ ​for​ ​example—​ ​means​ ​that​ ​the​ ​player​ ​will​ ​probably​ ​fail​ ​or​ ​need​ ​to 
  invoke​ ​aspects​ ​to​ ​succeed. 
   
  Anything​ ​that’s​ ​two​ ​or​ ​more​ ​steps​ ​lower​ ​than​ ​the​ ​PC’s​ ​skill​ ​level—Excellent​ ​(+2)​ ​skill​ ​and​ ​Typical 
  (+0)​ ​opposition,​ ​for​ ​example—means​ ​that​ ​the​ ​player​ ​will​ ​probably​ ​not​ ​need​ ​to​ ​invoke​ ​aspects 
  and​ ​have​ ​a​ ​good​ ​chance​ ​of​ ​succeeding​ ​with​ ​style. 
   
  Between​ ​that​ ​range,​ ​there’s​ ​a​ ​roughly​ ​equal​ ​chance​ ​that​ ​they’ll​ ​tie​ ​or​ ​succeed,​ ​and​ ​a​ ​roughly 
  equal​ ​chance​ ​that​ ​they​ ​will​ ​or​ ​won’t​ ​need​ ​to​ ​invoke​ ​aspects​ ​to​ ​do​ ​so. 
   
  Therefore,​ ​low​ ​difficulties​ ​are​ ​best​ ​when​ ​you​ ​want​ ​to​ ​give​ ​the​ ​PCs​ ​a​ ​chance​ ​to​ ​show​ ​off​ ​and​ ​be 
  awesome,​ ​difficulties​ ​near​ ​their​ ​skill​ ​levels​ ​are​ ​best​ ​when​ ​you​ ​want​ ​to​ ​provide​ ​tension​ ​but​ ​not 
  overwhelm​ ​them,​ ​and​ ​high​ ​difficulties​ ​are​ ​best​ ​when​ ​you​ ​want​ ​to​ ​emphasize​ ​how​ ​dire​ ​or​ ​unusual 
  the​ ​circumstances​ ​are​ ​and​ ​make​ ​them​ ​pull​ ​out​ ​all​ ​the​ ​stops. 
   
  Finally,​ ​a​ ​couple​ ​of​ ​quick​ ​axioms: 
  Good​ ​is​ ​called​ ​Good​ ​for​ ​a​ ​reason—if​ ​nothing​ ​about​ ​the​ ​opposition​ ​sticks​ ​out,​ ​then​ ​the​ ​difficulty 
  doesn’t​ ​need​ ​more​ ​than​ ​a​ ​+1. 
  If​ ​you​ ​can​ ​think​ ​of​ ​at​ ​least​ ​one​ ​reason​ ​why​ ​the​ ​opposition​ ​sticks​ ​out,​ ​but​ ​otherwise​ ​just​ ​can’t 
  decide​ ​what​ ​the​ ​difficulty​ ​should​ ​be,​ ​pick​ ​Excellent​ ​(+2).​ ​It’s​ ​in​ ​the​ ​middle​ ​of​ ​a​ ​PC’s​ ​range​ ​of 
  skills,​ ​so​ ​it​ ​provides​ ​a​ ​decent​ ​challenge​ ​for​ ​every​ ​skill​ ​level​ ​up​ ​to​ ​Incredible​ ​(+4),​ ​and​ ​you​ ​want​ ​to 
  give​ ​PCs​ ​a​ ​chance​ ​to​ ​show​ ​off​ ​their​ ​best​ ​skill​ ​anyway. 
   
  Four​ ​Actions 
  Contents 
  ●
  Overcome 
  ●
  Create​ ​an​ ​Advantage 
  ●
  Attack 
  ●
  Defend 
  91 
  
  When​ ​you​ ​make​ ​a​ ​skill​ ​roll,​ ​you’re​ ​taking​ ​one​ ​of​ ​four​ ​actions:​ ​overcome,​ ​create​ ​an​ ​advantage, 
  attack,​ ​or​ ​defend​. 
  There​ ​are​ ​four​ ​types​ ​of​ ​actions​ ​you​ ​can​ ​take​ ​in​ ​a​ ​game​ ​of​ ​Faterip.​ ​When​ ​you​ ​make​ ​a​ ​skill​ ​roll, 
  you​ ​have​ ​to​ ​decide​ ​which​ ​of​ ​these​ ​you’re​ ​going​ ​to​ ​try.​ ​The​​ ​skill​ ​descriptions​ ​tell​ ​you​ ​which 
  actions​ ​are​ ​appropriate​ ​for​ ​that​ ​skill​ ​and​ ​under​ ​which​ ​circumstances.​ ​Usually,​ ​the​ ​action​ ​you 
  need​ ​to​ ​take​ ​will​ ​be​ ​pretty​ ​obvious​ ​from​ ​the​ ​skill​ ​description,​ ​your​ ​intent,​ ​and​ ​the​ ​situation​ ​in 
  play,​ ​but​ ​sometimes​ ​you​ ​might​ ​have​ ​to​ ​talk​ ​it​ ​over​ ​with​ ​the​ ​group​ ​to​ ​find​ ​out​ ​which​ ​is​ ​the​ ​most 
  appropriate. 
  The​ ​four​ ​actions​ ​are:​ ​overcome,​ ​create​ ​advantage,​ ​attack,​ ​and​ ​defend. 
  Overcome 
  Use​ ​the​ ​overcome​ ​action​ ​to​ ​achieve​ ​assorted​ ​goals​ ​appropriate​ ​to​ ​your​ ​skill. 
  Every​ ​skill​ ​has​ ​a​ ​certain​ ​niche​ ​of​ ​miscellaneous​ ​endeavors​ ​that​ ​fall​ ​under​ ​its​ ​purview,​ ​certain 
  situations​ ​where​ ​it’s​ ​an​ ​ideal​ ​choice.​ ​A​ ​character​ ​with​ ​Burglary​ ​tries​ ​to​ ​jimmy​ ​a​ ​window,​ ​a 
  character​ ​with​ ​Empathy​ ​tries​ ​to​ ​calm​ ​the​ ​crowd,​ ​and​ ​a​ ​character​ ​with​ ​Crafts​ ​tries​ ​to​ ​fix​ ​the 
  broken​ ​axle​ ​on​ ​his​ ​wagon​ ​after​ ​a​ ​desperate​ ​chase. 
  When​ ​your​ ​character’s​ ​in​ ​one​ ​of​ ​these​ ​situations​ ​and​ ​there’s​ ​something​ ​between​ ​her​ ​and​ ​her 
  goals,​ ​you​ ​use​ ​the​ ​overcome​ ​action​ ​to​ ​deal​ ​with​ ​it.​ ​Look​ ​at​ ​it​ ​as​ ​the​ ​“catch-all”​ ​action​ ​for​ ​every 
  skill—if​ ​it​ ​doesn’t​ ​fall​ ​into​ ​any​ ​other​ ​category,​ ​it’s​ ​probably​ ​an​ ​overcome​ ​action. 
  The​ ​opposition​ ​you​ ​have​ ​to​ ​beat​ ​might​ ​be​ ​active​ ​or​ ​passive,​ ​depending​ ​on​ ​the​ ​situation. 
  ●
  When​ ​you​ ​fail​ ​an​ ​overcome​ ​action,​ ​you​ ​have​ ​two​ ​options.​​ ​You​ ​can​ ​simply​ ​fail,​ ​which 
  means​ ​you​ ​don’t​ ​attain​ ​your​ ​goal​ ​or​ ​get​ ​what​ ​you​ ​were​ ​after,​ ​or​ ​you​ ​can​ ​succeed​ ​at​ ​a 
  serious​ ​cost. 
  ●
  When​ ​you​ ​tie​ ​an​ ​overcome​ ​action​,​ ​you​ ​attain​ ​your​ ​goal​ ​or​ ​get​ ​what​ ​you​ ​were​ ​after,​ ​but 
  at​ ​a​ ​minor​ ​cost. 
  ●
  When​ ​you​ ​succeed​ ​at​ ​an​ ​overcome​ ​action​,​ ​you​ ​attain​ ​your​ ​goal​ ​without​ ​any​ ​cost. 
  ●
  When​ ​you​ ​succeed​ ​with​ ​style​ ​at​ ​an​ ​overcome​ ​action​,​ ​you​ ​get​ ​a​ ​boost​ ​in​ ​addition​ ​to 
  attaining​ ​your​ ​goal. 
  You​ ​may​ ​occasionally​ ​run​ ​into​ ​situations​ ​where​ ​it​ ​seems​ ​appropriate​ ​to​ ​provide​ ​a​ ​different 
  benefit​ ​or​ ​penalty​ ​for​ ​a​ ​given​ ​action​ ​result​ ​than​ ​the​ ​one​ ​listed.​ ​It’s​ ​okay​ ​to​ ​go​ ​back​ ​to​ ​the​ ​basic 
  description​ ​of​ ​the​ ​four​ ​outcomes​ ​and​ ​sub​ ​in​ ​something​ ​that​ ​makes​ ​sense. 
  For​ ​example,​ ​on​ ​the​ ​overcome​ ​action​ ​it​ ​says​ ​you​ ​get​ ​a​ ​boost​ ​in​ ​addition​ ​to​ ​success​ ​when​ ​you 
  succeed​ ​with​ ​style.​ ​But​ ​if​ ​that​ ​overcome​ ​roll​ ​is​ ​going​ ​to​ ​end​ ​the​ ​scene,​ ​or​ ​you​ ​can’t​ ​think​ ​of​ ​a 
  good​ ​boost,​ ​You​ ​may​ ​choose​ ​to​ ​offer​ ​a​ ​story​ ​detail​ ​as​ ​an​ ​extra​ ​benefit​ ​instead. 
  Landon​ ​stalks​ ​around​ ​the​ ​siege​ ​tower​ ​of​ ​the​ ​Red​ ​Emperor’s​ ​fortress,​ ​trying​ ​to​ ​sabotage​ ​the 
  ballistas.​ ​If​ ​he​ ​succeeds,​ ​the​ ​army​ ​who​ ​hired​ ​him​ ​has​ ​a​ ​much​ ​better​ ​chance​ ​in​ ​the​ ​field​ ​when 
  they​ ​attack​ ​tomorrow​ ​morning. 
  Amanda​ ​says,​ ​“Okay,​ ​so​ ​you​ ​make​ ​it​ ​to​ ​the​ ​top​ ​of​ ​the​ ​tower,​ ​and​ ​you​ ​start​ ​working.​ ​But​ ​then, 
  you​ ​hear​ ​footsteps​ ​echoing​ ​below​ ​you​ ​in​ ​the​ ​tower—sounds​ ​like​ ​the​ ​next​ ​guard​ ​patrol​ ​got​ ​here 
  just​ ​a​ ​bit​ ​early.” 
  “Damn,”​ ​Lenny​ ​says.​ ​“Figures​ ​I’d​ ​get​ ​the​ ​one​ ​guard​ ​squad​ ​with​ ​real​ ​discipline.​ ​I​ ​need​ ​to​ ​disable 
  these​ ​and​ ​get​ ​out—if​ ​they​ ​find​ ​me,​ ​General​ ​Ephon​ ​already​ ​told​ ​me​ ​he’d​ ​disavow​ ​my​ ​existence.” 
  92 
  
  Amanda​ ​shrugs​ ​a​ ​bit​ ​and​ ​says,​ ​“Work​ ​fast?​ ​You’re​ ​looking​ ​at​ ​passive​ ​opposition 
  here—crunched​ ​for​ ​time,​ ​and​ ​dealing​ ​with​ ​intricate​ ​machinery​ ​bits,​ ​so​ ​I’ll​ ​call​ ​that​ ​Incredible 
  (+4).” 
  Landon​ ​has​ ​the​ ​Crafts​ ​skill​ ​at​ ​Good​ ​(+1).​ ​Lenny​ ​grumbles​ ​and​ ​says,​ ​“Should​ ​have​ ​convinced 
  Zird​ ​to​ ​do​ ​this.”​ ​He​ ​rolls,​ ​getting​ ​a​ ​+2,​ ​for​ ​a​ ​Remarkable​ ​(+3)​ ​result.​ ​Not​ ​good​ ​enough. 
  Landon​ ​chips​ ​in​ ​a​ ​fate​ ​point​ ​and​ ​says,​ ​“Well,​ ​you​ ​know​ ​what​ ​I​ ​always​ ​say...​ ​Smashing​ ​Is​ ​Always 
  an​ ​Option,”​ ​referring​ ​to​ ​one​ ​of​ ​his​ ​aspects.​ ​Amanda​ ​chuckles​ ​and​ ​nods,​ ​and​ ​with​ ​the​ ​invocation, 
  he​ ​manages​ ​an​ ​Amazing​ ​(+5).​ ​That’s​ ​enough​ ​to​ ​succeed,​ ​but​ ​not​ ​enough​ ​to​ ​succeed​ ​with​ ​style, 
  so​ ​Landon​ ​accomplishes​ ​his​ ​objective​ ​at​ ​no​ ​cost. 
  He​ ​describes​ ​how​ ​he​ ​hastily​ ​dismantles​ ​the​ ​ballista,​ ​applying​ ​rather​ ​violent​ ​sabotage​ ​before 
  diving​ ​for​ ​a​ ​hiding​ ​spot​ ​as​ ​the​ ​guards​ ​get​ ​closer... 
  Create​ ​an​ ​Advantage 
  Use​ ​the​ ​create​ ​an​ ​advantage​ ​action​ ​to​ ​make​ ​a​ ​situation​ ​aspect​ ​that​ ​gives​ ​you​ ​a​ ​benefit,​ ​or 
  to​ ​claim​ ​a​ ​benefit​ ​from​ ​any​ ​aspect​ ​you​ ​have​ ​access​ ​to. 
  The​ ​create​ ​an​ ​advantage​ ​action​ ​covers​ ​a​ ​broad​ ​range​ ​of​ ​endeavors,​ ​unified​ ​around​ ​the​ ​theme 
  of​ ​using​ ​your​ ​skills​ ​to​ ​take​ ​advantage​ ​(hence​ ​the​ ​name)​ ​of​ ​the​ ​environment​ ​or​ ​situation​ ​you’re 
  in. 
  Sometimes,​ ​that​ ​means​ ​you’re​ ​doing​ ​something​ ​to​ ​actively​ ​change​ ​your​ ​circumstances​ ​(like 
  throwing​ ​sand​ ​in​ ​an​ ​opponent’s​ ​eyes​ ​or​ ​setting​ ​something​ ​on​ ​fire),​ ​but​ ​it​ ​could​ ​also​ ​mean​ ​that 
  you’re​ ​discovering​ ​new​ ​information​ ​that​ ​helps​ ​you​ ​(like​ ​learning​ ​the​ ​weakness​ ​of​ ​a​ ​monster 
  through​ ​research),​ ​or​ ​taking​ ​advantage​ ​of​ ​something​ ​you’ve​ ​previously​ ​observed​ ​(like​ ​your 
  opponent’s​ ​predisposition​ ​to​ ​a​ ​bad​ ​temper). 
  When​ ​you​ ​roll​ ​to​ ​create​ ​an​ ​advantage,​ ​you​ ​must​ ​specify​ ​whether​ ​you’re​ ​creating​ ​a​ ​new​ ​situation 
  aspect​ ​or​ ​taking​ ​advantage​ ​of​ ​an​ ​aspect​ ​that’s​ ​already​ ​in​ ​place.​ ​If​ ​the​ ​former,​ ​are​ ​you​ ​attaching 
  that​ ​situation​ ​aspect​ ​to​ ​a​ ​character​ ​or​ ​to​ ​the​ ​environment? 
  Opposition​ ​might​ ​be​ ​active​ ​or​ ​passive,​ ​depending​ ​on​ ​the​ ​circumstances.​ ​If​ ​your​ ​target​ ​is​ ​another 
  character,​ ​their​ ​roll​ ​always​ ​counts​ ​as​ ​a​ ​defend​ ​action​. 
  If​ ​you’re​ ​using​ ​create​ ​an​ ​advantage​ ​to​ ​make​ ​a​ ​new​ ​aspect… 
  ●
  When​ ​you​ ​fail​,​ ​you​ ​either​ ​don’t​ ​create​ ​the​ ​aspect,​ ​or​ ​you​ ​create​ ​it​ ​but​ ​someone​ ​else 
  gets​ ​the​ ​free​ ​invoke—whatever​ ​you​ ​end​ ​up​ ​doing​ ​works​ ​to​ ​someone​ ​else’s​ ​advantage 
  instead.​ ​That​ ​could​ ​be​ ​your​ ​opponent​ ​in​ ​a​ ​conflict,​ ​or​ ​any​ ​character​ ​who​ ​could​ ​tangibly 
  benefit​ ​to​ ​your​ ​detriment.​ ​You​ ​may​ ​have​ ​to​ ​reword​ ​the​ ​aspect​ ​to​ ​show​ ​that​ ​the​ ​other 
  character​ ​benefits​ ​instead—work​ ​it​ ​out​ ​with​ ​the​ ​recipient​ ​in​ ​whichever​ ​way​ ​makes​ ​the 
  most​ ​sense. 
  ●
  When​ ​you​ ​tie​,​ ​you​ ​get​ ​a​ ​boost​ ​instead​ ​of​ ​the​ ​situation​ ​aspect​ ​you​ ​were​ ​going​ ​for.​ ​This 
  might​ ​mean​ ​you​ ​have​ ​to​ ​rename​ ​the​ ​aspect​ ​a​ ​bit​ ​to​ ​reflect​ ​its​ ​temporary​ ​nature​ ​(Rough 
  Terrain​ ​becomes​ ​Rocks​ ​on​ ​the​ ​Path). 
  ●
  When​ ​you​ ​succeed​,​ ​you​ ​create​ ​a​ ​situation​ ​aspect​ ​with​ ​a​ ​free​ ​invocation. 
  ●
  When​ ​you​ ​succeed​ ​with​ ​style​,​ ​you​ ​get​ ​a​ ​situation​ ​aspect​ ​with​ ​two​ ​free​ ​invocations 
  instead​ ​of​ ​one. 
  While​ ​deep​ ​in​ ​the​ ​Caverns​ ​of​ ​Yarzuruk,​ ​Cynere​ ​is​ ​in​ ​the​ ​unfortunate​ ​position​ ​of​ ​having​ ​to​ ​fight 
  93 
  
  some​ ​animated​ ​temple​ ​golems. 
  The​ ​first​ ​couple​ ​of​ ​exchanges​ ​have​ ​not​ ​gone​ ​well,​ ​and​ ​she’s​ ​taken​ ​a​ ​couple​ ​of​ ​big​ ​hits​ ​already. 
  Lily​ ​says,​ ​“Amanda,​ ​you​ ​said​ ​there​ ​was​ ​a​ ​lot​ ​of​ ​filigree​ ​and​ ​furnishings​ ​and​ ​stuff​ ​laying​ ​around, 
  right?” 
  Amanda​ ​nods,​ ​and​ ​Lily​ ​asks,​ ​“Can​ ​I​ ​knock​ ​some​ ​of​ ​it​ ​over​ ​in​ ​order​ ​to​ ​trip​ ​these​ ​guys​ ​up​ ​a​ ​bit?​ ​I 
  imagine​ ​if​ ​they’re​ ​big,​ ​clodhopping​ ​golems,​ ​they​ ​aren’t​ ​as​ ​agile​ ​as​ ​I​ ​am.” 
  She​ ​says,​ ​“Sounds​ ​fine​ ​to​ ​me.​ ​Sounds​ ​like​ ​you’re​ ​trying​ ​to​ ​create​ ​an​ ​advantage​ ​with​ ​Athletics. 
  One​ ​of​ ​the​ ​golems​ ​gets​ ​to​ ​roll​ ​a​ ​defend​ ​action​ ​against​ ​you,​ ​just​ ​because​ ​it’s​ ​close​ ​enough​ ​to​ ​get 
  in​ ​your​ ​way.” 
  Cynere​ ​has​ ​Athletics​ ​at​ ​Incredible​ ​(+4).​ ​Lily​ ​rolls​ ​and​ ​gets​ ​a​ ​+1,​ ​for​ ​an​ ​Amazing​ ​(+5)​ ​result.​ ​The 
  nearest​ ​golem​ ​rolls​ ​to​ ​defend​ ​and​ ​only​ ​gets​ ​an​ ​Excellent​ ​(+2).​ ​Cynere​ ​succeeds​ ​with​ ​style!​ ​Lily 
  places​ ​the​ ​aspect​ ​Cluttered​ ​Floor​ ​on​ ​the​ ​scene​ ​and​ ​notes​ ​that​ ​she​ ​can​ ​invoke​ ​that​ ​aspect​ ​twice 
  for​ ​free. 
  Amanda​ ​describes​ ​the​ ​golems’​ ​difficulty​ ​with​ ​their​ ​footing,​ ​and​ ​now​ ​Cynere’s​ ​got​ ​a​ ​little​ ​bit​ ​of​ ​an 
  advantage​ ​in​ ​the​ ​coming​ ​exchange... 
  If​ ​you’re​ ​using​ ​create​ ​an​ ​advantage​ ​on​ ​an​ ​existing​ ​aspect… 
  ●
  When​ ​you​ ​fail​,​ ​you​ ​give​ ​a​ ​free​ ​invoke​ ​on​ ​that​ ​aspect​ ​to​ ​someone​ ​else​ ​instead.​ ​That 
  could​ ​be​ ​your​ ​opponent​ ​in​ ​a​ ​conflict,​ ​or​ ​any​ ​character​ ​who​ ​could​ ​tangibly​ ​benefit​ ​to​ ​your 
  detriment. 
  ●
  When​ ​you​ ​tie​ ​or​ ​succeed​,​ ​you​ ​place​ ​a​ ​free​ ​invocation​ ​on​ ​the​ ​aspect. 
  ●
  When​ ​you​ ​succeed​ ​with​ ​style​,​ ​you​ ​place​ ​two​ ​free​ ​invocations​ ​on​ ​the​ ​aspect. 
  Zird​ ​is​ ​approaching​ ​a​ ​local​ ​merchant​ ​he’s​ ​been​ ​hired​ ​to​ ​get​ ​close​ ​to​ ​(i.e.​ ​spy​ ​on)​ ​for​ ​the​ ​sultan​ ​of 
  Wanir,​ ​in​ ​the​ ​famous​ ​bazaar​ ​of​ ​Wanir’s​ ​capital​ ​city. 
  Ryan​ ​says,​ ​“I’m​ ​going​ ​to​ ​use​ ​Rapport​ ​to​ ​create​ ​an​ ​advantage,​ ​get​ ​this​ ​guy​ ​to​ ​open​ ​up​ ​to​ ​me.​ ​I 
  don’t​ ​know​ ​what​ ​I’m​ ​looking​ ​for​ ​in​ ​terms​ ​of​ ​an​ ​aspect—just​ ​some​ ​juicy​ ​observation​ ​I​ ​can​ ​use 
  later​ ​or​ ​pass​ ​on​ ​to​ ​Cynere.”​ ​He​ ​has​ ​the​ ​Friendly​ ​Liar​ ​stunt,​ ​so​ ​he​ ​can​ ​do​ ​this​ ​without​ ​needing 
  Deceive,​ ​despite​ ​the​ ​fact​ ​that​ ​he’s​ ​hiding​ ​his​ ​real​ ​intent. 
  Amanda​ ​says,​ ​“Works​ ​for​ ​me.​ ​He’s​ ​a​ ​merchant,​ ​so​ ​his​ ​Deceive’s​ ​pretty​ ​high.​ ​I’m​ ​going​ ​to​ ​say​ ​it’s 
  passive​ ​opposition,​ ​though,​ ​because​ ​he’s​ ​not​ ​really​ ​suspicious​ ​of​ ​you.​ ​Try​ ​and​ ​beat​ ​an 
  Incredible​ ​(+4).” 
  Ryan​ ​rolls.​ ​His​ ​Rapport​ ​skill​ ​is​ ​Remarkable​ ​(+3),​ ​and​ ​he​ ​manages​ ​a​ ​+1​ ​on​ ​the​ ​dice,​ ​for​ ​a​ ​tie. 
  Amanda​ ​looks​ ​at​ ​her​ ​notes,​ ​grins,​ ​and​ ​says,​ ​“Okay,​ ​here’s​ ​what​ ​you​ ​notice.​ ​This​ ​merchant​ ​is 
  obviously​ ​a​ ​very​ ​social​ ​fellow,​ ​boisterously​ ​engaging​ ​other​ ​shop​ ​owners​ ​and​ ​potential​ ​customers 
  as​ ​he​ ​makes​ ​his​ ​rounds.​ ​This​ ​geniality​ ​takes​ ​on​ ​more​ ​of​ ​a​ ​flirtatious,​ ​suggestive​ ​air​ ​any​ ​time​ ​he 
  speaks​ ​to​ ​young​ ​men—he​ ​can’t​ ​seem​ ​to​ ​help​ ​that.” 
  She​ ​slides​ ​an​ ​index​ ​card​ ​with​ ​the​ ​aspect​ ​Sucker​ ​for​ ​a​ ​Pretty​ ​Man​ ​written​ ​on​ ​it,​ ​to​ ​indicate​ ​that 
  the​ ​merchant’s​ ​aspect​ ​is​ ​now​ ​public.​ ​Ryan​ ​notes​ ​that​ ​he​ ​has​ ​a​ ​free​ ​invocation​ ​on​ ​that​ ​aspect. 
  “Pretty​ ​man,​ ​huh?”​ ​Ryan​ ​says.​ ​“Does​ ​he​ ​think​ ​I’m​ ​pretty?” 
  Amanda​ ​grins.​ ​“He​ ​certainly​ ​thinks​ ​you’re​ ​friendly…” 
  Ryan​ ​rolls​ ​his​ ​eyes.​ ​“The​ ​things​ ​I​ ​do​ ​for​ ​business...” 
  Attack 
  94 
  
  Use​ ​the​ ​attack​ ​action​ ​to​ ​harm​ ​someone​ ​in​ ​a​ ​conflict​ ​or​ ​take​ ​them​ ​out​ ​of​ ​a​ ​scene. 
  The​ ​attack​ ​action​ ​is​ ​the​ ​most​ ​straightforward​ ​of​ ​the​ ​four​ ​actions—when​ ​you​ ​want​ ​to​ ​hurt 
  someone​ ​in​ ​a​ ​conflict,​ ​it’s​ ​an​ ​attack.​ ​An​ ​attack​ ​isn’t​ ​always​ ​physical​ ​in​ ​nature;​ ​some​ ​skills​ ​allow 
  you​ ​to​ ​hurt​ ​someone​ ​mentally​ ​as​ ​well. 
  Most​ ​of​ ​the​ ​time,​ ​your​ ​target​ ​will​ ​actively​ ​oppose​ ​your​ ​attack.​ ​Passive​ ​opposition​ ​on​ ​an​ ​attack 
  means​ ​you’ve​ ​caught​ ​your​ ​target​ ​unaware​ ​or​ ​otherwise​ ​unable​ ​to​ ​make​ ​a​ ​full​ ​effort​ ​to​ ​resist​ ​you, 
  or​ ​the​ ​NPC​ ​isn’t​ ​important​ ​enough​ ​to​ ​bother​ ​with​ ​dice. 
  In​ ​addition,​ ​passive​ ​or​ ​not,​ ​the​ ​opposition​ ​always​ ​counts​ ​as​ ​a​​ ​Defend​ ​Action​ ​action​ ​so​ ​you​ ​can 
  look​ ​at​ ​these​ ​two​ ​actions​ ​as​ ​being​ ​inexorably​ ​intertwined. 
  ●
  When​ ​you​ ​fail​ ​at​ ​an​ ​attack​,​ ​you​ ​don’t​ ​cause​ ​any​ ​harm​ ​to​ ​your​ ​target.​ ​(It​ ​also​ ​means​ ​that 
  your​ ​target​ ​succeeded​ ​on​ ​the​ ​defend​ ​action,​ ​which​ ​could​ ​get​ ​you​ ​saddled​ ​with​ ​other 
  effects.) 
  ●
  When​ ​you​ ​tie​ ​an​ ​attack​,​ ​you​ ​don’t​ ​cause​ ​any​ ​harm,​ ​but​ ​you​ ​gain​ ​a​ ​boost​. 
  ●
  When​ ​you​ ​succeed​ ​on​ ​an​ ​attack​,​ ​you​ ​inflict​ ​a​ ​hit​ ​on​ ​your​ ​target​ ​equal​ ​to​ ​the​ ​number​ ​of 
  shifts​ ​you​ ​got.​ ​That​ ​forces​ ​the​ ​target​ ​to​ ​try​ ​and​ ​“buy​ ​off”​ ​the​ ​value​ ​of​ ​your​ ​hit​ ​by​ ​taking 
  Health​ ​s​ ​&​ ​Consequences​;​ ​if​ ​that’s​ ​not​ ​possible,​ ​your​ ​target​ ​gets​ ​taken​ ​out​ ​of​ ​the​ ​conflict. 
  ●
  When​ ​you​ ​succeed​ ​with​ ​style​ ​on​ ​an​ ​attack​,​ ​it​ ​works​ ​like​ ​a​ ​normal​ ​success,​ ​but​ ​you 
  also​ ​have​ ​the​ ​option​ ​to​ ​reduce​ ​the​ ​value​ ​of​ ​your​ ​hit​ ​by​ ​one​ ​to​ ​gain​ ​a​ ​boost​ ​as​ ​well. 
  Cynere​ ​is​ ​locked​ ​in​ ​combat​ ​with​ ​Drisban,​ ​one​ ​of​ ​the​ ​famed​ ​Scarlet​ ​Twenty,​ ​the​ ​elite​ ​guard​ ​of 
  Antharus.​ ​In​ ​her​ ​inimitable​ ​fashion,​ ​Cynere​ ​attempts​ ​to​ ​slice​ ​him​ ​open​ ​with​ ​her​ ​flashing​ ​blade. 
  Cynere’s​ ​Fight​ ​skill​ ​is​ ​at​ ​Remarkable​ ​(+3).​ ​Drisban​ ​defends​ ​with​ ​his​ ​Fight​ ​at​ ​Incredible​ ​(+4).​ ​Lily 
  rolls​ ​and​ ​gets​ ​a​ ​+2,​ ​for​ ​an​ ​Amazing​ ​(+5)​ ​attack. 
  Amanda​ ​rolls​ ​for​ ​Drisban​ ​and​ ​gets​ ​a​ ​–1,​ ​bringing​ ​his​ ​total​ ​to​ ​Remarkable​ ​(+3).​ ​Lily​ ​wins​ ​by​ ​two, 
  inflicting​ ​a​ ​2-shift​ ​hit. 
  But​ ​she​ ​decides​ ​that​ ​isn’t​ ​good​ ​enough.​ ​“I’m​ ​also​ ​invoking​ ​Infamous​ ​Girl​ ​With​ ​Sword,”​ ​she​ ​says, 
  “because​ ​for​ ​heaven’s​ ​sake,​ ​this​ ​is​ ​what​ ​I​ ​do,​ ​and​ ​I’m​ ​not​ ​letting​ ​this​ ​punk​ ​off​ ​easy.” 
  Lily​ ​chips​ ​in​ ​her​ ​Karma,​ ​making​ ​her​ ​final​ ​result​ ​Unearthly​ ​(+7).​ ​She​ ​gets​ ​4​ ​shifts​ ​and​ ​succeeds 
  with​ ​style,​ ​cutting​ ​into​ ​him​ ​with​ ​a​ ​flourish.​ ​She​ ​chooses​ ​to​ ​inflict​ ​a​ ​4-shift​ ​hit,​ ​but​ ​she​ ​could​ ​also 
  have​ ​inflicted​ ​a​ ​3-shift​ ​hit​ ​and​ ​taken​ ​a​ ​boost,​ ​if​ ​she’d​ ​wanted​ ​to. 
  Now​ ​Drisban​ ​needs​ ​to​ ​use​ ​health​ ​or​ ​consequences​ ​to​ ​stay​ ​in​ ​the​ ​fight! 
  Defend 
  Use​ ​the​ ​defend​ ​action​ ​to​ ​avoid​ ​an​ ​attack​ ​or​ ​prevent​ ​someone​ ​from​ ​creating​ ​an​ ​advantage 
  against​ ​you. 
  Whenever​ ​someone​ ​attacks​ ​you​ ​in​ ​a​ ​conflict​ ​or​ ​tries​ ​to​ ​create​ ​an​ ​advantage​ ​on​ ​you,​ ​you​ ​always 
  get​ ​a​ ​chance​ ​to​ ​defend.​ ​As​ ​with​ ​attacks,​ ​this​ ​isn’t​ ​always​ ​about​ ​avoiding​ ​physical​ ​sources​ ​of 
  danger—some​ ​of​ ​the​ ​skills​ ​allow​ ​you​ ​to​ ​defend​ ​against​ ​attempts​ ​to​ ​harm​ ​your​ ​mind​ ​or​ ​damage 
  your​ ​resolve. 
  Because​ ​you​ ​roll​ ​to​ ​defend​ ​as​ ​a​ ​reaction,​ ​your​ ​opposition​ ​is​ ​almost​ ​always​ ​active.​ ​If​ ​you’re 
  rolling​ ​a​ ​defend​ ​action​ ​against​ ​passive​ ​opposition,​ ​it’s​ ​because​ ​the​ ​environment​ ​is​ ​hostile​ ​to​ ​you 
  somehow​ ​(like​ ​a​ ​blazing​ ​fire),​ ​or​ ​the​ ​attacking​ ​NPC​ ​isn’t​ ​important​ ​enough​ ​for​ ​the​ ​GM​ ​to​ ​bother 
  with​ ​dice. 
  95 
  
  ●
  When​ ​you​ ​fail​ ​at​ ​a​ ​defense​,​ ​you​ ​suffer​ ​the​ ​consequences​ ​of​ ​whatever​ ​you​ ​were​ ​trying 
  to​ ​prevent.​ ​You​ ​might​ ​take​ ​a​ ​hit​ ​or​ ​have​ ​an​ ​advantage​ ​created​ ​on​ ​you. 
  ●
  When​ ​you​ ​tie​ ​a​ ​defense​,​ ​you​ ​grant​ ​your​ ​opponent​ ​a​ ​Boost​. 
  ●
  When​ ​you​ ​succeed​ ​at​ ​a​ ​defense​,​ ​you​ ​successfully​ ​avoid​ ​the​ ​attack​ ​or​ ​the​ ​attempt​ ​to 
  gain​ ​an​ ​advantage​ ​on​ ​you. 
  ●
  When​ ​you​ ​succeed​ ​with​ ​style​ ​at​ ​a​ ​defense​,​ ​it​ ​works​ ​like​ ​a​ ​normal​ ​success,​ ​but​ ​you 
  also​ ​gain​ ​a​ ​boost​ ​as​ ​you​ ​turn​ ​the​ ​tables​ ​momentarily. 
  Can​ ​I​ ​Defend​ ​Against​ ​Overcome​ ​Actions? 
  Technically,​ ​no.​ ​The​ ​defend​ ​action​ ​is​ ​there​ ​to​ ​stop​ ​you​ ​from​ ​taking​ ​Health,​ ​consequences,​ ​or 
  situation​ ​aspects—basically,​ ​to​ ​protect​ ​you​ ​against​ ​all​ ​the​ ​bad​ ​stuff​ ​represented​ ​with​ ​mechanics. 
  But!​ ​You​ ​can​ ​roll​ ​active​ ​opposition​ ​if​ ​you’re​ ​in​ ​the​ ​way​ ​of​ ​any​ ​action,​ ​as​ ​per​ ​the​​ ​guidelines​.​ ​So​ ​if 
  someone’s​ ​doing​ ​an​ ​overcome​ ​action​ ​that​ ​might​ ​fail​ ​because​ ​you’re​ ​in​ ​the​ ​way,​ ​you​ ​should 
  speak​ ​up​ ​and​ ​say,​ ​“Hey,​ ​I’m​ ​in​ ​the​ ​way!”​ ​and​ ​roll​ ​to​ ​oppose​ ​it.​ ​You​ ​don’t​ ​get​ ​any​ ​extra​ ​benefits 
  like​ ​the​ ​defend​ ​action​ ​gives​ ​you,​ ​but​ ​you​ ​also​ ​don’t​ ​have​ ​to​ ​worry​ ​about​ ​the​ ​aforementioned​ ​bad 
  stuff​ ​if​ ​you​ ​lose. 
  No​ ​Stacked​ ​Effects! 
  You’ll​ ​notice​ ​that​ ​the​ ​defend​ ​action​ ​has​ ​outcomes​ ​that​ ​mirror​ ​some​ ​of​ ​the​ ​outcomes​ ​in​ ​attack 
  and​ ​create​ ​an​ ​advantage.​ ​For​ ​example,​ ​it​ ​says​ ​that​ ​when​ ​you​ ​tie​ ​a​ ​defense,​ ​you​ ​grant​ ​your 
  opponent​ ​a​ ​boost.​ ​Under​ ​attack,​ ​it​ ​says​ ​that​ ​when​ ​you​ ​tie,​ ​you​ ​receive​ ​a​ ​boost. 
  That​ ​doesn’t​ ​mean​ ​the​ ​attacker​ ​gets​ ​two​ ​boosts—it’s​ ​the​ ​same​ ​result,​ ​just​ ​from​ ​two​ ​different 
  points​ ​of​ ​view.​ ​It​ ​was​ ​written​ ​that​ ​way​ ​so​ ​that​ ​the​ ​results​ ​were​ ​consistent​ ​when​ ​you​ ​looked​ ​up 
  the​ ​rule,​ ​regardless​ ​of​ ​what​ ​action​ ​you​ ​took. 
   
  Zird​ ​the​ ​Arcane​ ​is​ ​arguing​ ​a​ ​magical​ ​thesis​ ​before​ ​the​ ​council​ ​of​ ​the​ ​Collegia​ ​Arcana.​ ​But​ ​one​ ​of 
  the​ ​adjutants​ ​on​ ​the​ ​council,​ ​an​ ​old​ ​rival​ ​named​ ​Vokus​ ​Skortch,​ ​has​ ​it​ ​in​ ​for​ ​Zird.​ ​He​ ​wants​ ​not 
  only​ ​to​ ​see​ ​Zird​ ​fail,​ ​but​ ​to​ ​damage​ ​Zird’s​ ​self-confidence​ ​by​ ​forcing​ ​him​ ​to​ ​misstep​ ​and​ ​doubt 
  himself.​ ​The​ ​group​ ​agrees​ ​that​ ​they​ ​know​ ​each​ ​other​ ​well​ ​enough​ ​that​ ​Skortch​ ​could​ ​affect​ ​him 
  this​ ​way,​ ​so​ ​the​ ​conflict​ ​is​ ​on. 
   
  As​ ​Zird​ ​finishes​ ​his​ ​opening​ ​argument,​ ​Amanda​ ​describes​ ​how​ ​Skortch​ ​uses​ ​Provoke​ ​as​ ​an 
  attack,​ ​poking​ ​holes​ ​in​ ​Zird’s​ ​theories​ ​and​ ​forcing​ ​him​ ​to​ ​reevaluate.​ ​Skortch​ ​has​ ​a​ ​Provoke​ ​of 
  Remarkable​ ​(+3). 
   
  Zird​ ​defends​ ​with​ ​Will,​ ​which​ ​he​ ​has​ ​at​ ​Excellent​ ​ ​(+2).​ ​Amanda​ ​rolls​ ​for​ ​Skortch​ ​and​ ​gets​ ​a​ ​+1, 
  for​ ​a​ ​total​ ​of​ ​Incredible​ ​(+4).​ ​Ryan​ ​rolls​ ​for​ ​Zird​ ​and​ ​gets​ ​a​ ​+2,​ ​tying​ ​at​ ​Incredible​ ​(+4).​ ​Zird 
  doesn’t​ ​have​ ​to​ ​deal​ ​with​ ​taking​ ​a​ ​hit,​ ​but​ ​he​ ​does​ ​grant​ ​Skortch​ ​a​ ​boost,​ ​which​ ​Amanda​ ​decides 
  to​ ​call​ ​Momentarily​ ​Tripped​ ​Up. 
   
  96 
  
  Challenges,​ ​Contests,​ ​&​ ​Conflicts 
  Contents 
  ●
  Zooming​ ​In​ ​On​ ​The​ ​Action 
  Zooming​ ​In​ ​On​ ​The​ ​Action 
  Most​ ​of​ ​the​ ​time,​ ​a​ ​single​ ​skill​ ​roll​ ​should​ ​be​ ​enough​ ​to​ ​decide​ ​how​ ​a​ ​particular​ ​situation​ ​in​ ​play 
  resolves.​ ​You’re​ ​not​ ​obligated​ ​to​ ​describe​ ​actions​ ​in​ ​a​ ​particular​ ​timeframe​ ​or​ ​level​ ​of​ ​detail 
  when​ ​you​ ​use​ ​a​ ​skill.​ ​Therefore,​ ​you​ ​could​ ​use​ ​a​ ​single​ ​Athletics​ ​roll​ ​to​ ​find​ ​out​ ​whether​ ​you​ ​can 
  safely​ ​navigate​ ​a​ ​rock​ ​face​ ​that​ ​will​ ​take​ ​days​ ​to​ ​climb,​ ​or​ ​use​ ​that​ ​same​ ​single​ ​skill​ ​roll​ ​to​ ​find 
  out​ ​whether​ ​you​ ​can​ ​safely​ ​avoid​ ​a​ ​swiftly​ ​falling​ ​tree​ ​that’s​ ​about​ ​to​ ​crush​ ​you. 
  Sometimes,​ ​however,​ ​you’ll​ ​be​ ​in​ ​a​ ​situation​ ​where​ ​you’re​ ​doing​ ​something​ ​really​ ​dramatic​ ​and 
  interesting,​ ​like​ ​pivotal​ ​set​ ​pieces​ ​in​ ​a​ ​movie​ ​or​ ​a​ ​book.​ ​When​ ​that​ ​happens,​ ​it’s​ ​a​ ​good​ ​idea​ ​to 
  zoom​ ​in​ ​on​ ​the​ ​action​ ​and​ ​deal​ ​with​ ​it​ ​using​ ​multiple​ ​skill​ ​rolls,​ ​because​ ​the​ ​wide​ ​range​ ​of​ ​dice 
  results​ ​will​ ​make​ ​things​ ​really​ ​dynamic​ ​and​ ​surprising.​ ​Most​ ​fight​ ​scenes​ ​fall​ ​into​ ​this​ ​category, 
  but​ ​you​ ​can​ ​zoom​ ​in​ ​on​ ​anything​ ​that​ ​you​ ​consider​ ​sufficiently​ ​important—car​ ​chases,​ ​court 
  trials,​ ​high-stakes​ ​poker​ ​games,​ ​and​ ​so​ ​on. 
  We​ ​have​ ​three​ ​ways​ ​for​ ​you​ ​to​ ​zoom​ ​in​ ​on​ ​the​ ​action​ ​in​ ​Faterip: 
  ●
  Challenges​,​ ​when​ ​one​ ​or​ ​more​ ​characters​ ​try​ ​to​ ​achieve​ ​something​ ​dynamic​ ​or 
  complicated 
  ●
  Contests​,​ ​when​ ​two​ ​or​ ​more​ ​characters​ ​are​ ​competing​ ​for​ ​a​ ​goal 
  ●
  Conflicts​,​ ​when​ ​two​ ​or​ ​more​ ​characters​ ​are​ ​trying​ ​to​ ​directly​ ​harm​ ​each​ ​other 
   
  Challenges 
  Contents 
  ●
  When​ ​To​ ​Call​ ​For​ ​A​ ​Challenge 
  ●
  Setting​ ​Up​ ​A​ ​Challenge 
  ●
  Conducting​ ​A​ ​Challenge 
  ●
  Advantages​ ​in​ ​a​ ​Challenge 
  ●
  Attacks​ ​in​ ​a​ ​Challenge 
  A​ ​single​ ​overcome​ ​action​ ​is​ ​sufficient​ ​to​ ​deal​ ​with​ ​a​ ​straightforward​ ​goal​ ​or​ ​obstacle—the​ ​hero 
  needs​ ​to​ ​pick​ ​this​ ​lock,​ ​disarm​ ​this​ ​bomb,​ ​sift​ ​out​ ​a​ ​vital​ ​piece​ ​of​ ​information,​ ​and​ ​so​ ​on.​ ​It’s​ ​also 
  useful​ ​when​ ​the​ ​details​ ​of​ ​how​ ​something​ ​gets​ ​done​ ​aren’t​ ​important​ ​or​ ​worth​ ​spending​ ​an 
  intense​ ​amount​ ​of​ ​time​ ​on,​ ​when​ ​what​ ​you​ ​need​ ​to​ ​know​ ​is​ ​whether​ ​the​ ​character​ ​can​ ​get 
  something​ ​done​ ​without​ ​any​ ​setbacks​ ​or​ ​costs. 
   
  97 
  
  Sometimes,​ ​however,​ ​things​ ​get​ ​complicated.​ ​It’s​ ​not​ ​enough​ ​to​ ​pick​ ​the​ ​lock,​ ​because​ ​you​ ​also 
  have​ ​to​ ​hold​ ​off​ ​the​ ​hordes​ ​of​ ​attacking​ ​zombies​ ​and​ ​set​ ​up​ ​the​ ​magical​ ​ward​ ​that’s​ ​going​ ​to 
  keep​ ​pursuers​ ​off​ ​your​ ​back.​ ​It’s​ ​not​ ​enough​ ​to​ ​disarm​ ​the​ ​bomb,​ ​because​ ​you​ ​also​ ​have​ ​to​ ​land 
  the​ ​crashing​ ​blimp​ ​and​ ​keep​ ​the​ ​unconscious​ ​scientist​ ​you’re​ ​rescuing​ ​from​ ​getting​ ​hurt​ ​in​ ​said 
  landing. 
   
  A​ ​challenge​ ​is​ ​a​ ​series​ ​of​ ​overcome​ ​actions​ ​that​ ​you​ ​use​ ​to​ ​resolve​ ​an​ ​especially 
  complicated​ ​or​ ​dynamic​ ​situation.​ ​Each​ ​overcome​ ​action​ ​uses​ ​a​ ​different​ ​skill​ ​to​ ​deal​ ​with 
  one​ ​task​ ​or​ ​part​ ​of​ ​the​ ​situation,​ ​and​ ​you​ ​take​ ​the​ ​individual​ ​results​ ​as​ ​a​ ​whole​ ​to​ ​figure​ ​out​ ​how 
  the​ ​situation​ ​resolves. 
  When​ ​To​ ​Call​ ​For​ ​A​ ​Challenge 
  GMs,​ ​when​ ​you’re​ ​trying​ ​to​ ​figure​ ​out​ ​if​ ​it’s​ ​appropriate​ ​to​ ​call​ ​for​ ​a​ ​challenge,​ ​ask​ ​yourself​ ​the 
  following​ ​questions: 
  ●
  Is​ ​each​ ​separate​ ​task​ ​something​ ​that​ ​can​ ​generate​ ​tension​ ​and​ ​drama 
  independently​ ​of​ ​the​ ​other​ ​tasks?​ ​If​ ​all​ ​the​ ​tasks​ ​are​ ​really​ ​part​ ​of​ ​the​ ​same​ ​overall 
  goal,​ ​like​ ​“detaching​ ​the​ ​detonator,”​ ​“stopping​ ​the​ ​timer”,​ ​and​ ​“disposing​ ​of​ ​the​ ​explosive 
  material”​ ​when​ ​you’re​ ​disarming​ ​a​ ​bomb,​ ​then​ ​that​ ​should​ ​be​ ​one​ ​overcome​ ​action, 
  where​ ​you​ ​use​ ​those​ ​details​ ​to​ ​explain​ ​what​ ​happened​ ​if​ ​the​ ​roll​ ​goes​ ​wrong. 
  ●
  Does​ ​the​ ​situation​ ​require​ ​different​ ​skills​ ​to​ ​deal​ ​with?​ ​Holding​ ​off​ ​the​ ​zombies 
  (Fight)​ ​while​ ​pushing​ ​down​ ​a​ ​barricade​ ​(Physique)​ ​and​ ​fixing​ ​your​ ​broken​ ​wagon​ ​(Crafts) 
  so​ ​that​ ​you​ ​can​ ​get​ ​away​ ​would​ ​be​ ​a​ ​good​ ​instance​ ​for​ ​a​ ​challenge. 
  Setting​ ​Up​ ​A​ ​Challenge 
  To​ ​set​ ​up​ ​a​ ​challenge,​ ​simply​ ​identify​ ​the​ ​individual​ ​tasks​ ​or​ ​goals​ ​that​ ​make​ ​up​ ​the​ ​situation, 
  and​ ​treat​ ​each​ ​one​ ​as​ ​a​ ​separate​ ​overcome​ ​roll.​ ​(Sometimes,​ ​only​ ​a​ ​certain​ ​sequence​ ​for​ ​the 
  rolls​ ​will​ ​make​ ​sense​ ​to​ ​you;​ ​that’s​ ​okay​ ​too.)​ ​Depending​ ​on​ ​the​ ​situation,​ ​one​ ​character​ ​may​ ​be 
  required​ ​to​ ​make​ ​several​ ​rolls,​ ​or​ ​multiple​ ​characters​ ​may​ ​be​ ​able​ ​to​ ​participate. 
  Zird​ ​the​ ​Arcane​ ​is​ ​attempting​ ​to​ ​finish​ ​the​ ​consecration​ ​ritual​ ​of​ ​the​ ​Qirik​ ​in​ ​order​ ​to​ ​sanctify​ ​the 
  ground​ ​of​ ​the​ ​roadside​ ​inn​ ​and​ ​grant​ ​it​ ​the​ ​protection​ ​of​ ​the​ ​Qirik​ ​gods.​ ​Normally,​ ​this​ ​wouldn’t 
  be​ ​too​ ​interesting,​ ​except​ ​that​ ​he’s​ ​trying​ ​to​ ​get​ ​it​ ​done​ ​before​ ​a​ ​horde​ ​of​ ​slavering,​ ​flesh-hungry 
  zombies​ ​he​ ​unwittingly​ ​set​ ​free​ ​earlier​ ​in​ ​the​ ​adventure​ ​overruns​ ​the​ ​inn. 
  Amanda​ ​sees​ ​several​ ​different​ ​components​ ​to​ ​this​ ​scene.​ ​First​ ​there’s​ ​the​ ​ritual​ ​itself,​ ​then 
  there’s​ ​keeping​ ​the​ ​inn​ ​boarded​ ​up,​ ​and​ ​finally​ ​there’s​ ​keeping​ ​the​ ​panicking​ ​inhabitants​ ​of​ ​the 
  inn​ ​calm.​ ​That​ ​calls​ ​for​ ​Lore,​ ​Crafts,​ ​and​ ​some​ ​kind​ ​of​ ​social​ ​skill—Ryan​ ​immediately​ ​chooses 
  Rapport. 
  Thus,​ ​Ryan​ ​will​ ​be​ ​rolling​ ​all​ ​three​ ​of​ ​those​ ​skills​ ​separately,​ ​one​ ​for​ ​each​ ​component​ ​Amanda 
  identified.​ ​She​ ​sets​ ​the​ ​opposition​ ​for​ ​each​ ​of​ ​these​ ​at​ ​Remarkable​ ​(+3)—she​ ​wants​ ​him​ ​to​ ​have 
  even​ ​chances,​ ​while​ ​leaving​ ​room​ ​for​ ​a​ ​variable​ ​outcome. 
  Now​ ​they’re​ ​ready​ ​to​ ​start. 
  98 
  
  Conducting​ ​A​ ​Challenge 
  To​ ​conduct​ ​a​ ​challenge,​ ​call​ ​for​ ​each​ ​overcome​ ​action​ ​in​ ​whichever​ ​order​ ​seems​ ​most 
  interesting,​ ​but​ ​don’t​ ​decide​ ​anything​ ​about​ ​how​ ​the​ ​situation​ ​turns​ ​out​ ​until​ ​after​ ​you’ve 
  collected​ ​all​ ​the​ ​results—you​ ​want​ ​to​ ​have​ ​the​ ​freedom​ ​to​ ​sequence​ ​the​ ​events​ ​of​ ​each​ ​roll​ ​in 
  the​ ​order​ ​that​ ​makes​ ​the​ ​most​ ​sense​ ​and​ ​is​ ​the​ ​most​ ​entertaining.​ ​Players,​ ​if​ ​you​ ​get​ ​a​ ​boost​ ​on 
  one​ ​of​ ​your​ ​rolls,​ ​feel​ ​free​ ​to​ ​use​ ​it​ ​on​ ​another​ ​roll​ ​in​ ​the​ ​challenge,​ ​provided​ ​you​ ​can​ ​justify​ ​it. 
  GMs,​ ​after​ ​the​ ​rolls​ ​have​ ​been​ ​made,​ ​you’ll​ ​consider​ ​the​ ​successes,​ ​failures,​ ​and​ ​costs​ ​of​ ​each 
  action​ ​as​ ​you​ ​interpret​ ​how​ ​the​ ​scene​ ​proceeds.​ ​It​ ​could​ ​be​ ​that​ ​the​ ​results​ ​lead​ ​you​ ​into 
  another​ ​challenge,​ ​a​ ​contest,​ ​or​ ​even​ ​a​ ​conflict. 
   
  Ryan​ ​takes​ ​a​ ​deep​ ​breath​ ​and​ ​says,​ ​“All​ ​right,​ ​let’s​ ​do​ ​this.”​ ​He​ ​takes​ ​up​ ​the​ ​dice. 
  He​ ​decides​ ​to​ ​tackle​ ​securing​ ​the​ ​inn​ ​first,​ ​so​ ​he​ ​rolls​ ​his​ ​Remarkable​ ​(+3)​ ​Crafts​ ​skill​ ​and​ ​gets​ ​a 
  0​ ​on​ ​the​ ​dice.​ ​That​ ​ties​ ​the​ ​roll,​ ​allowing​ ​him​ ​to​ ​achieve​ ​the​ ​goal​ ​at​ ​a​ ​minor​ ​cost.​ ​Amanda​ ​says, 
  “I’m​ ​going​ ​to​ ​say​ ​that​ ​I​ ​get​ ​a​ ​boost​ ​called​ ​Hasty​ ​Work​ ​to​ ​use​ ​against​ ​you​ ​if​ ​I​ ​need​ ​it—you​ ​are 
  working​ ​fast,​ ​after​ ​all.” 
   
  Ryan​ ​sighs​ ​and​ ​nods,​ ​and​ ​then​ ​goes​ ​for​ ​the​ ​second​ ​goal​ ​in​ ​the​ ​challenge,​ ​which​ ​is​ ​calming​ ​the 
  locals​ ​with​ ​his​ ​Remarkable​ ​(+3)​ ​Rapport.​ ​He​ ​makes​ ​his​ ​roll​ ​and​ ​gets​ ​a​ ​terrible​ ​–3​ ​on​ ​the​ ​dice! 
  Now​ ​he​ ​has​ ​the​ ​option​ ​to​ ​fail​ ​or​ ​to​ ​succeed​ ​with​ ​a​ ​major​ ​cost.​ ​He​ ​goes​ ​for​ ​success,​ ​leaving 
  Amanda​ ​to​ ​think​ ​of​ ​a​ ​good​ ​major​ ​cost. 
   
  She​ ​thinks​ ​a​ ​moment.​ ​How​ ​to​ ​make​ ​calming​ ​the​ ​villagers​ ​costly?​ ​Then​ ​she​ ​grins.​ ​“So,​ ​this​ ​is​ ​a 
  story​ ​thing​ ​more​ ​than​ ​a​ ​mechanics​ ​thing,​ ​but​ ​you​ ​know…​ ​you’re​ ​using​ ​Rapport,​ ​so​ ​you’re 
  probably​ ​being​ ​pretty​ ​inspirational​ ​right​ ​now.​ ​I​ ​could​ ​see​ ​you​ ​inadvertently​ ​convincing​ ​some​ ​of 
  these​ ​farmers​ ​and​ ​peasants​ ​that​ ​those​ ​zombies​ ​are​ ​no​ ​real​ ​threat,​ ​and​ ​that​ ​they​ ​totally​ ​can​ ​go 
  out​ ​and​ ​fight​ ​with​ ​little​ ​consequence.​ ​Because​ ​your​ ​magic​ ​is​ ​keeping​ ​them​ ​safe,​ ​right?” 
  Ryan​ ​says,​ ​“But​ ​they​ ​have​ ​to​ ​be​ ​in​ ​the​ ​inn​ ​for​ ​that​ ​to​ ​work!”​ ​Amanda​ ​is​ ​just​ ​grinning.​ ​Ryan​ ​sighs 
  again.​ ​“Okay,​ ​fine.​ ​Some​ ​people​ ​get​ ​totally​ ​the​ ​wrong​ ​idea​ ​and​ ​are​ ​potentially​ ​going​ ​to​ ​get 
  themselves​ ​killed.​ ​I​ ​can​ ​just​ ​hear​ ​them​ ​now…​ ​Zird,​ ​why​ ​did​ ​you​ ​let​ ​my​ ​husband​ ​die?​ ​Augh.” 
  Amanda​ ​grins​ ​some​ ​more. 
   
  Ryan​ ​goes​ ​for​ ​the​ ​final​ ​part​ ​of​ ​the​ ​challenge—the​ ​ritual​ ​itself,​ ​cast​ ​with​ ​his​ ​Incredible​ ​(+4) 
  Reason.​ ​Amanda​ ​invokes​ ​the​ ​boost​ ​she​ ​got​ ​earlier​ ​and​ ​says,​ ​“Yeah,​ ​you​ ​totally​ ​have​ ​very 
  distracting​ ​zombies​ ​chipping​ ​apart​ ​your​ ​barricades.​ ​Very​ ​distracting.”​ ​That​ ​pushes​ ​the​ ​difficulty 
  for​ ​the​ ​final​ ​roll​ ​up​ ​to​ ​Amazing​ ​(+5). 
   
  He​ ​rolls​ ​a​ ​+2​ ​and​ ​gets​ ​a​ ​Monstrous​ ​(+6),​ ​enough​ ​to​ ​succeed​ ​with​ ​no​ ​cost. 
  Amanda​ ​nods​ ​and​ ​together​ ​they​ ​finish​ ​describing​ ​the​ ​scene—Zird​ ​finishes​ ​the​ ​ritual​ ​just​ ​in​ ​time, 
  and​ ​the​ ​holy​ ​power​ ​of​ ​the​ ​Qirik​ ​descends​ ​on​ ​the​ ​inn.​ ​Some​ ​zombies​ ​on​ ​the​ ​verge​ ​of​ ​breaking​ ​in 
  get​ ​sizzled​ ​by​ ​the​ ​holy​ ​aura,​ ​and​ ​Zird​ ​breathes​ ​a​ ​sigh​ ​of​ ​relief…​ ​until​ ​he​ ​hears​ ​the​ ​panicked 
  screams​ ​of​ ​villagers​ ​outside​ ​the​ ​inn… 
  99 
  
   
  But​ ​that’s​ ​next​ ​scene. 
   
  If​ ​you​ ​have​ ​any​ ​boosts​ ​that​ ​went​ ​unused​ ​in​ ​the​ ​challenge,​ ​feel​ ​free​ ​to​ ​keep​ ​them​ ​for​ ​the​ ​rest​ ​of 
  this​ ​scene​ ​or​ ​whatever​ ​scene​ ​you’re​ ​transitioning​ ​to,​ ​if​ ​the​ ​events​ ​of​ ​the​ ​challenge​ ​connect 
  directly​ ​to​ ​the​ ​next​ ​scene. 
  Advantages​ ​in​ ​a​ ​Challenge 
  You​ ​can​ ​try​ ​to​ ​create​ ​an​ ​advantage​ ​during​ ​a​ ​challenge,​ ​for​ ​yourself​ ​or​ ​to​ ​help​ ​someone​ ​else​ ​out. 
  Creating​ ​an​ ​advantage​ ​doesn’t​ ​count​ ​towards​ ​completing​ ​one​ ​of​ ​the​ ​challenge​ ​goals,​ ​but​ ​failing 
  the​ ​roll​ ​could​ ​create​ ​a​ ​cost​ ​or​ ​problem​ ​that​ ​negatively​ ​impacts​ ​one​ ​of​ ​the​ ​other​ ​goals.​ ​Be​ ​careful 
  using​ ​this​ ​tactic;​ ​advantages​ ​can​ ​help​ ​complete​ ​tasks​ ​more​ ​effectively​ ​and​ ​create​ ​momentum, 
  but​ ​trying​ ​to​ ​create​ ​them​ ​is​ ​not​ ​without​ ​risk. 
  Attacks​ ​in​ ​a​ ​Challenge 
  Because​ ​you’re​ ​always​ ​up​ ​against​ ​passive​ ​opposition​ ​in​ ​a​ ​challenge,​ ​you’ll​ ​never​ ​use​ ​the​ ​attack 
  action.​ ​If​ ​you’re​ ​in​ ​a​ ​situation​ ​where​ ​it​ ​seems​ ​reasonable​ ​to​ ​roll​ ​an​ ​attack,​ ​you​ ​should​ ​start 
  setting​ ​up​ ​for​ ​a​ ​conflict. 
   
  Contests 
  Contents 
  ●
  Setting​ ​Up​ ​A​ ​Contest 
  ●
  A​ ​Series​ ​of​ ​Exchanges 
  ●
  Creating​ ​Advantages​ ​in​ ​a​ ​Contest 
  ●
  Attacks​ ​in​ ​a​ ​Contest 
  Whenever​ ​two​ ​or​ ​more​ ​characters​ ​have​ ​mutually​ ​exclusive​ ​goals,​ ​but​ ​they​ ​aren’t​ ​trying​ ​to 
  harm​ ​each​ ​other​ ​directly,​ ​they’re​ ​in​ ​a​ ​contest.​​ ​Arm​ ​wrestling​ ​matches,​ ​races​ ​or​ ​other​ ​sports 
  competitions,​ ​and​ ​public​ ​debates​ ​are​ ​all​ ​good​ ​examples​ ​of​ ​contests. 
  Setting​ ​Up​ ​A​ ​Contest 
  GMs,​ ​answer​ ​the​ ​following​ ​questions​ ​when​ ​you’re​ ​setting​ ​up​ ​a​ ​contest: 
  ●
  What​ ​are​ ​the​ ​“sides”?​ ​Is​ ​every​ ​character​ ​in​ ​the​ ​contest​ ​in​ ​it​ ​for​ ​herself,​ ​or​ ​are​ ​there 
  groups​ ​of​ ​people​ ​opposing​ ​other​ ​groups?​ ​If​ ​you​ ​have​ ​multiple​ ​characters​ ​on​ ​a​ ​side,​ ​they 
  roll​ ​together​ ​using​ ​the​ ​. 
  ●
  What​ ​environment​ ​does​ ​the​ ​contest​ ​take​ ​place​ ​in?​ ​Are​ ​there​ ​any​ ​significant​ ​or​ ​notable 
  features​ ​of​ ​that​ ​environment​ ​you​ ​want​ ​to​ ​define​ ​as​ ​situation​ ​aspects? 
  100 
  
  ●
  How​ ​are​ ​the​ ​participants​ ​opposing​ ​each​ ​other?​ ​Are​ ​they​ ​rolling​ ​against​ ​each​ ​other 
  directly​ ​(like​ ​in​ ​a​ ​straight​ ​sprint​ ​race​ ​or​ ​a​ ​poker​ ​match),​ ​or​ ​are​ ​they​ ​trying​ ​to​ ​overcome 
  something​ ​in​ ​the​ ​environment​ ​(like​ ​an​ ​obstacle​ ​course​ ​or​ ​a​ ​panel​ ​of​ ​judges)? 
  ●
  What​ ​skills​ ​are​ ​appropriate​ ​for​ ​this​ ​contest?​ ​Does​ ​everyone​ ​have​ ​to​ ​roll​ ​the​ ​same​ ​one,​ ​or 
  do​ ​several​ ​apply? 
   
  Zird​ ​the​ ​Arcane​ ​has​ ​been​ ​felled​ ​in​ ​a​ ​battle​ ​with​ ​a​ ​shadowy​ ​group​ ​of​ ​assassins​ ​who​ ​ambushed 
  him​ ​and​ ​Cynere​ ​just​ ​outside​ ​of​ ​town!​ ​Cynere​ ​finishes​ ​off​ ​the​ ​last​ ​of​ ​them,​ ​ending​ ​the​ ​conflict, 
  then​ ​starts​ ​toward​ ​her​ ​fallen​ ​friend. 
   
  That’s​ ​when​ ​the​ ​assassins’​ ​leader,​ ​a​ ​cutpurse​ ​she​ ​knows​ ​well​ ​as​ ​Teran​ ​the​ ​Swift,​ ​blinks​ ​in​ ​with 
  teleportation​ ​magic​ ​next​ ​to​ ​Zird’s​ ​unconscious​ ​form!​ ​He​ ​starts​ ​casting​ ​another​ ​teleportation 
  spell,​ ​clearly​ ​intending​ ​to​ ​leave​ ​with​ ​Zird.​ ​Cynere​ ​breaks​ ​into​ ​a​ ​run.​ ​Can​ ​she​ ​get​ ​there​ ​before 
  Teran​ ​finishes​ ​his​ ​spell? 
   
  Amanda​ ​looks​ ​through​ ​the​ ​questions​ ​for​ ​setting​ ​up​ ​the​ ​contest. 
   
  The​ ​previous​ ​conflict​ ​scene​ ​had​ ​a​ ​situation​ ​aspect​ ​of​ ​Muddy​ ​Ground,​ ​so​ ​she​ ​decides​ ​to​ ​keep 
  that​ ​in​ ​play. 
   
  Clearly,​ ​Teran​ ​and​ ​Cynere​ ​are​ ​directly​ ​opposing​ ​each​ ​other,​ ​so​ ​they’ll​ ​be​ ​providing​ ​active 
  opposition. 
   
  Teran’s​ ​going​ ​to​ ​be​ ​rolling​ ​his​ ​Reason​ ​skill​ ​for​ ​the​ ​contest,​ ​because​ ​he’s​ ​casting​ ​a​ ​spell. 
  Because​ ​this​ ​is​ ​a​ ​pretty​ ​straightforward​ ​movement-related​ ​situation​ ​for​ ​Cynere,​ ​Amanda​ ​and​ ​Lily 
  agree​ ​that​ ​Agility​ ​is​ ​the​ ​most​ ​appropriate​ ​skill​ ​to​ ​roll. 
  Now​ ​you​ ​can​ ​get​ ​started. 
  A​ ​Series​ ​of​ ​Exchanges 
  A​ ​contest​ ​proceeds​ ​in​ ​a​ ​series​ ​of​ ​exchanges​.​ ​In​ ​an​ ​exchange,​ ​every​ ​participant​ ​gets​ ​to​ ​make 
  one​ ​skill​ ​roll​ ​to​ ​determine​ ​how​ ​well​ ​they​ ​do​ ​in​ ​that​ ​leg​ ​of​ ​the​ ​contest.​ ​This​ ​is​ ​basically​ ​an 
  overcome​ ​action. 
  Players,​ ​when​ ​you​ ​make​ ​a​ ​contest​ ​roll,​ ​compare​ ​your​ ​result​ ​to​ ​everyone​ ​else’s. 
  ●
  If​ ​you​ ​got​ ​the​ ​highest​ ​result,​ ​you​ ​win​ ​the​ ​exchange.​​ ​If​ ​you’re​ ​rolling​ ​directly​ ​against 
  the​ ​other​ ​participants,​ ​then​ ​that​ ​means​ ​you​ ​got​ ​the​ ​highest​ ​rank​ ​on​ ​the​ ​ladder​ ​out​ ​of 
  everyone.​ ​If​ ​you’re​ ​all​ ​rolling​ ​against​ ​something​ ​in​ ​the​ ​environment,​ ​it​ ​means​ ​you​ ​got​ ​the 
  most​ ​shifts​ ​out​ ​of​ ​everyone.​ ​Winning​ ​the​ ​exchange​ ​means​ ​you​ ​score​ ​a​ ​victory​ ​(which 
  you​ ​can​ ​just​ ​represent​ ​with​ ​a​ ​tally​ ​mark​ ​or​ ​check​ ​mark​ ​on​ ​scratch​ ​paper)​ ​and​ ​describe 
  how​ ​you​ ​take​ ​the​ ​lead. 
  ●
  If​ ​you​ ​succeed​ ​with​ ​style​ ​and​ ​no​ ​one​ ​else​ ​does​,​ ​then​ ​you​ ​get​ ​to​ ​mark​ ​two​ ​victories. 
  ●
  If​ ​there’s​ ​a​ ​tie​ ​for​ ​the​ ​highest​ ​result,​ ​no​ ​one​ ​gets​ ​a​ ​victory,​ ​and​ ​an​ ​unexpected 
  twist​ ​occurs.​ ​This​ ​could​ ​mean​ ​several​ ​things​ ​depending​ ​on​ ​the​ ​situation—the​ ​terrain​ ​or 
  101 
  
  environment​ ​shifts​ ​somehow,​ ​the​ ​parameters​ ​of​ ​the​ ​contest​ ​change,​ ​or​ ​an​ ​unanticipated 
  variable​ ​shows​ ​up​ ​and​ ​affects​ ​all​ ​the​ ​participants.​ ​GMs,​ ​you​ ​should​ ​create​ ​a​ ​new 
  situation​ ​aspect​ ​reflecting​ ​this​ ​change. 
  ●
  The​ ​first​ ​participant​ ​to​ ​achieve​ ​three​ ​victories​ ​wins​ ​the​ ​contest. 
   
  Cynere​ ​has​ ​Agility​ ​at​ ​Incredible​ ​(+4).​ ​Teran​ ​has​ ​Lore​ ​at​ ​Remarkable​ ​(+3). 
  In​ ​the​ ​first​ ​exchange,​ ​Lily​ ​rolls​ ​poorly​ ​for​ ​Cynere​ ​and​ ​ends​ ​up​ ​with​ ​a​ ​Good​ ​(+1).​ ​Amanda​ ​rolls​ ​a 
  0​ ​on​ ​the​ ​dice​ ​and​ ​stays​ ​at​ ​Remarkable​ ​(+3).​ ​Amanda​ ​wins,​ ​so​ ​Teran​ ​wins​ ​the​ ​exchange​ ​and 
  takes​ ​1​ ​victory.​ ​Amanda​ ​describes​ ​Teran​ ​completing​ ​the​ ​first​ ​major​ ​rune​ ​of​ ​the​ ​spell,​ ​raising​ ​a 
  lambent​ ​green​ ​glow​ ​into​ ​the​ ​air. 
   
  In​ ​the​ ​second​ ​exchange,​ ​Lily​ ​turns​ ​the​ ​tables,​ ​rolling​ ​exceptionally​ ​well​ ​and​ ​getting​ ​an​ ​Amazing 
  (+5),​ ​whereas​ ​Amanda​ ​only​ ​gets​ ​an​ ​Excellent​ ​(+2)​ ​for​ ​Teran.​ ​That’s​ ​a​ ​success​ ​with​ ​style,​ ​so​ ​Lily 
  picks​ ​up​ ​two​ ​victories​ ​and​ ​the​ ​lead.​ ​Lily​ ​describes​ ​Cynere​ ​in​ ​a​ ​full-on​ ​sprint,​ ​bearing​ ​down​ ​on 
  Teran. 
   
  In​ ​the​ ​third​ ​exchange,​ ​they​ ​tie​ ​at​ ​Remarkable​ ​(+3)!​ ​Amanda​ ​now​ ​has​ ​to​ ​introduce​ ​an 
  unexpected​ ​twist​ ​into​ ​the​ ​contest.​ ​She​ ​thinks​ ​about​ ​it​ ​for​ ​a​ ​moment,​ ​and​ ​says,​ ​“Okay,​ ​so​ ​it​ ​looks 
  like​ ​some​ ​of​ ​the​ ​various​ ​magical​ ​reagents​ ​on​ ​Zird’s​ ​belt​ ​pouch​ ​are​ ​reacting​ ​weirdly​ ​with​ ​the 
  magic​ ​of​ ​Teran’s​ ​spell,​ ​throwing​ ​Magical​ ​Distortions​ ​into​ ​the​ ​air.”​ ​She​ ​writes​ ​down​ ​that​ ​situation 
  aspect​ ​on​ ​an​ ​index​ ​card​ ​and​ ​puts​ ​it​ ​on​ ​the​ ​table. 
   
  In​ ​the​ ​fourth​ ​exchange,​ ​they​ ​tie​ ​again,​ ​this​ ​time​ ​at​ ​Incredible​ ​(+4).​ ​Lily​ ​says,​ ​“Forget​ ​this​ ​noise.​ ​I 
  want​ ​to​ ​invoke​ ​two​ ​aspects—one,​ ​because​ ​I​ ​have​ ​I’ve​ ​Got​ ​Zird’s​ ​Back​ ​on​ ​my​ ​sheet,​ ​and 
  Magical​ ​Distortions,​ ​because​ ​I​ ​figure​ ​that​ ​they’re​ ​going​ ​to​ ​interfere​ ​more​ ​with​ ​his​ ​spellcasting 
  than​ ​my​ ​running.”​ ​She​ ​passes​ ​Amanda​ ​two​ ​Karma. 
   
  That​ ​puts​ ​her​ ​final​ ​result​ ​at​ ​Shift​ ​X​ ​(+8),​ ​another​ ​success​ ​with​ ​style​ ​and​ ​another​ ​two​ ​victories. 
  That​ ​gives​ ​her​ ​four​ ​victories​ ​to​ ​Teran’s​ ​one,​ ​and​ ​she​ ​wins​ ​the​ ​exchange​ ​and​ ​the​ ​contest! 
   
  Amanda​ ​and​ ​Lily​ ​describe​ ​how​ ​she​ ​snatches​ ​Zird​ ​just​ ​before​ ​Teran​ ​finishes​ ​his​ ​spell,​ ​and​ ​he 
  teleports​ ​away​ ​without​ ​his​ ​prize. 
  Creating​ ​Advantages​ ​in​ ​a​ ​Contest 
  During​ ​any​ ​exchange,​ ​you​ ​can​ ​try​ ​to​ ​create​ ​an​ ​advantage​ ​before​ ​you​ ​make​ ​your​ ​contest​ ​roll.​ ​If 
  you’re​ ​targeting​ ​another​ ​participant,​ ​they​ ​get​ ​to​ ​defend​ ​normally.​ ​If​ ​someone​ ​can​ ​interfere​ ​with 
  your​ ​attempt,​ ​they​ ​provide​ ​active​ ​opposition​ ​as​ ​normal. 
   
  Doing​ ​this​ ​carries​ ​an​ ​additional​ ​risk—​failing​ ​to​ ​create​ ​an​ ​advantage​ ​means​ ​you​ ​forfeit​ ​your 
  contest​ ​roll​,​ ​which​ ​means​ ​there’s​ ​no​ ​way​ ​you​ ​can​ ​make​ ​progress​ ​in​ ​the​ ​current​ ​exchange.​ ​If 
  you​ ​at​ ​least​ ​tie,​ ​you​ ​get​ ​to​ ​make​ ​your​ ​contest​ ​roll​ ​normally. 
   
  102 
  
  If​ ​you’re​ ​providing​ ​a​ ​bonus​ ​via​ ​the​ ​Teamwork​ ​rules​,​ ​failing​ ​to​ ​create​ ​an​ ​advantage​ ​means​ ​the 
  lead​ ​character​ ​doesn’t​ ​benefit​ ​from​ ​your​ ​help​ ​this​ ​exchange. 
   
  Cynere​ ​tries​ ​to​ ​throw​ ​mud​ ​in​ ​the​ ​eyes​ ​of​ ​Teran​ ​the​ ​Swift​ ​as​ ​she’s​ ​running​ ​to​ ​save​ ​Zird.​ ​Lily​ ​says 
  she​ ​wants​ ​to​ ​create​ ​an​ ​advantage,​ ​with​ ​Teran​ ​as​ ​her​ ​target​ ​and​ ​a​ ​new​ ​aspect​ ​called​ ​Mud​ ​in​ ​the 
  Eyes. 
   
  She​ ​rolls​ ​Agility​ ​to​ ​create​ ​the​ ​advantage​ ​and​ ​gets​ ​an​ ​Incredible​ ​(+4).​ ​Teran​ ​rolls​ ​Agility​ ​to​ ​defend 
  and​ ​gets​ ​a​ ​Remarkable​ ​(+3). 
   
  Teran​ ​gets​ ​mud​ ​in​ ​his​ ​eyes​ ​as​ ​Cynere​ ​intended,​ ​and​ ​Lily​ ​marks​ ​that​ ​she​ ​has​ ​a​ ​free​ ​invocation 
  on​ ​it. 
  Because​ ​Lily​ ​didn’t​ ​fail,​ ​she​ ​gets​ ​to​ ​make​ ​her​ ​contest​ ​roll​ ​normally.​ ​Amanda​ ​decides​ ​that​ ​being 
  semi-blinded​ ​isn’t​ ​going​ ​to​ ​stop​ ​Teran​ ​from​ ​continuing​ ​to​ ​cast,​ ​so​ ​he​ ​also​ ​gets​ ​to​ ​roll​ ​normally. 
  Attacks​ ​in​ ​a​ ​Contest 
  If​ ​someone​ ​tries​ ​to​ ​attack​ ​in​ ​a​ ​contest,​ ​then​ ​they’re​ ​doing​ ​direct​ ​harm,​ ​and​ ​it​ ​ceases​ ​to​ ​be​ ​a 
  contest.​ ​You​ ​should​ ​immediately​ ​stop​ ​what​ ​you’re​ ​doing​ ​and​ ​start​ ​setting​ ​up​ ​for​ ​a​​ ​Conflict 
  instead. 
   
  Conflicts 
  Contents 
  ●
  Setting​ ​the​ ​Scene 
  ●
  Establishing​ ​Sides 
  ●
  Turn​ ​Order 
  ●
  The​ ​Exchange 
  ●
  Resolving​ ​Attacks 
  ●
  Conceding​ ​the​ ​Conflict 
  ●
  Getting​ ​Taken​ ​Out 
  ●
  Movement 
  ●
  Advantages​ ​in​ ​a​ ​Conflict 
  ●
  Ending​ ​a​ ​Conflict 
  In​ ​a​ ​conflict,​ ​characters​ ​are​ ​actively​ ​trying​ ​to​ ​harm​ ​one​ ​another.​ ​It​ ​could​ ​be​ ​a​ ​fist​ ​fight,​ ​a 
  shootout,​ ​or​ ​a​ ​sword​ ​duel.​ ​It​ ​could​ ​also​ ​be​ ​a​ ​tough​ ​interrogation,​ ​a​ ​psychic​ ​assault,​ ​or​ ​a​ ​shouting 
  match​ ​with​ ​a​ ​loved​ ​one.​ ​As​ ​long​ ​as​ ​the​ ​characters​ ​involved​ ​have​ ​both​ ​the​ ​intent​ ​and​ ​the 
  ability​ ​to​ ​harm​ ​one​ ​another,​ ​then​ ​you’re​ ​in​ ​a​ ​conflict​ ​scene. 
   
  Conflicts​ ​are​ ​either​ ​physical​ ​or​ ​mental​ ​in​ ​nature,​ ​based​ ​on​ ​the​ ​kind​ ​of​ ​harm​ ​you’re​ ​at​ ​risk​ ​of 
  103 
  
  suffering.​ ​In​ ​physical​ ​conflicts,​ ​you​ ​suffer​ ​bruises,​ ​scrapes,​ ​cuts,​ ​and​ ​other​ ​injuries.​ ​In​ ​mental 
  conflicts,​ ​you​ ​suffer​ ​loss​ ​of​ ​confidence​ ​and​ ​self-esteem,​ ​loss​ ​of​ ​composure,​ ​and​ ​other 
  psychological​ ​trauma. 
   
  Setting​ ​up​ ​a​ ​conflict​ ​is​ ​a​ ​little​ ​more​ ​involved​ ​than​ ​setting​ ​up​ ​contests​ ​or​ ​challenges.​ ​Here​ ​are​ ​the 
  steps: 
  ●
  Set​ ​the​ ​scene,​ ​describing​ ​the​ ​environment​ ​the​ ​conflict​ ​takes​ ​place​ ​in,​ ​creating​ ​situation 
  aspects​ ​and​ ​zones,​ ​and​ ​establishing​ ​who’s​ ​participating​ ​and​ ​what​ ​side​ ​they’re​ ​on. 
  ●
  Determine​ ​the​ ​turn​ ​order. 
  ●
  Start​ ​the​ ​first​ ​exchange: 
  ○
  On​ ​your​ ​turn,​ ​take​ ​an​ ​action​ ​and​ ​then​ ​resolve​ ​it. 
  ○
  On​ ​other​ ​people’s​ ​turns,​ ​defend​ ​or​ ​respond​ ​to​ ​their​ ​actions​ ​as​ ​necessary. 
  ○
  At​ ​the​ ​end​ ​of​ ​everyone’s​ ​turn,​ ​start​ ​again​ ​with​ ​a​ ​new​ ​exchange. 
  You​ ​know​ ​the​ ​conflict​ ​is​ ​over​ ​when​ ​everyone​ ​on​ ​one​ ​of​ ​the​ ​sides​ ​has​ ​conceded​ ​or​ ​been​ ​taken 
  out. 
  Setting​ ​the​ ​Scene 
  GMs​ ​and​ ​players,​ ​you​ ​should​ ​talk​ ​briefly​ ​before​ ​you​ ​start​ ​a​ ​conflict​ ​about​ ​the​ ​circumstances​ ​of 
  the​ ​scene.​ ​This​ ​mainly​ ​involves​ ​coming​ ​up​ ​with​ ​quick​ ​answers​ ​to​ ​variations​ ​of​ ​the​ ​four 
  W-questions,​ ​such​ ​as: 
  ●
  Who’s​ ​in​ ​the​ ​conflict? 
  ●
  Where​ ​are​ ​they​ ​positioned​ ​relative​ ​to​ ​one​ ​another? 
  ●
  When​ ​is​ ​the​ ​conflict​ ​taking​ ​place?​ ​Is​ ​that​ ​important? 
  ●
  What’s​ ​the​ ​environment​ ​like? 
  You​ ​don’t​ ​need​ ​an​ ​exhaustive​ ​amount​ ​of​ ​detail​ ​here,​ ​like​ ​precise​ ​measures​ ​of​ ​distance​ ​or 
  anything​ ​like​ ​that.​ ​Just​ ​resolve​ ​enough​ ​to​ ​make​ ​it​ ​clear​ ​for​ ​everyone​ ​what’s​ ​going​ ​on. 
  GMs,​ ​you’re​ ​going​ ​to​ ​take​ ​this​ ​information​ ​and​ ​create​ ​situation​ ​aspects​ ​to​ ​help​ ​further​ ​define​ ​the 
  arena​ ​of​ ​conflict. 
   
  Landon,​ ​Zird,​ ​and​ ​Cynere​ ​are​ ​breaking​ ​into​ ​a​ ​dockside​ ​warehouse​ ​in​ ​order​ ​to​ ​find​ ​smuggled 
  goods​ ​on​ ​behalf​ ​of​ ​their​ ​latest​ ​employer.​ ​Unfortunately,​ ​someone​ ​tipped​ ​the​ ​smuggler​ ​off.​ ​Now 
  Og,​ ​one​ ​of​ ​his​ ​thug​ ​lieutenants,​ ​is​ ​at​ ​the​ ​warehouse​ ​waiting​ ​for​ ​them​ ​to​ ​show​ ​up,​ ​and​ ​he​ ​brought 
  along​ ​four​ ​friends. 
   
  The​ ​participants​ ​in​ ​the​ ​conflict​ ​are​ ​pretty​ ​obvious—the​ ​PCs,​ ​plus​ ​Og​ ​and​ ​four​ ​nameless 
  enforcers,​ ​all​ ​NPCs​ ​under​ ​Amanda’s​ ​control.​ ​The​ ​warehouse​ ​is​ ​the​ ​environment,​ ​and​ ​the​ ​group 
  takes​ ​a​ ​moment​ ​to​ ​talk​ ​about​ ​it—boxes​ ​and​ ​crates​ ​everywhere,​ ​large​ ​and​ ​open,​ ​there’s 
  probably​ ​a​ ​second​ ​floor,​ ​and​ ​Amanda​ ​mentions​ ​the​ ​loading​ ​door​ ​is​ ​open​ ​because​ ​they’re 
  waiting​ ​for​ ​a​ ​ship​ ​to​ ​come​ ​in. 
  Situation​ ​Aspects 
  104 
  
  GMs,​ ​when​ ​you’re​ ​setting​ ​the​ ​scene,​ ​keep​ ​an​ ​eye​ ​out​ ​for​ ​fun-sounding​ ​features​ ​of​ ​the 
  environment​ ​to​ ​make​ ​into​ ​situation​ ​aspects​,​ ​especially​ ​if​ ​you​ ​think​ ​someone​ ​might​ ​be​ ​able​ ​to 
  take​ ​advantage​ ​of​ ​them​ ​in​ ​an​ ​interesting​ ​way​ ​in​ ​a​ ​conflict.​ ​Don’t​ ​overload​ ​it—find​ ​three​ ​to​ ​five 
  evocative​ ​things​ ​about​ ​your​ ​conflict​ ​location​ ​and​ ​make​ ​them​ ​into​ ​aspects. 
  Good​ ​options​ ​for​ ​situation​ ​aspects​ ​include: 
  ●
  Anything​ ​regarding​ ​the​ ​general​ ​mood,​ ​weather,​ ​or​ ​lighting—dark​ ​or​ ​badly​ ​lit,​ ​storming, 
  creepy,​ ​crumbling,​ ​blindingly​ ​bright,​ ​etc. 
  ●
  Anything​ ​that​ ​might​ ​affect​ ​or​ ​restrict​ ​movement—filthy,​ ​mud​ ​everywhere,​ ​slippery,​ ​rough, 
  etc. 
  ●
  Things​ ​to​ ​hide​ ​behind—vehicles,​ ​obstructions,​ ​large​ ​furniture,​ ​etc. 
  ●
  Things​ ​you​ ​can​ ​knock​ ​over,​ ​wreck,​ ​or​ ​use​ ​as​ ​improvised​ ​weapons—bookshelves, 
  statues,​ ​etc. 
  ●
  Things​ ​that​ ​are​ ​flammable 
  Situation​ ​Aspects​ ​&​ ​Zones​ ​In​ ​Mental​ ​Conflicts 
  In​ ​a​ ​mental​ ​conflict,​ ​it​ ​might​ ​not​ ​always​ ​make​ ​sense​ ​to​ ​use​ ​situation​ ​aspects​ ​and​ ​zones​ ​to 
  describe​ ​a​ ​physical​ ​space.​ ​It’d​ ​make​ ​sense​ ​in​ ​an​ ​interrogation,​ ​for​ ​example,​ ​where​ ​the​ ​physical 
  features​ ​of​ ​the​ ​space​ ​create​ ​fear,​ ​but​ ​not​ ​in​ ​a​ ​really​ ​violent​ ​argument​ ​with​ ​a​ ​loved​ ​one.​ ​Also, 
  when​ ​people​ ​are​ ​trying​ ​to​ ​hurt​ ​each​ ​other​ ​emotionally,​ ​usually​ ​they’re​ ​using​ ​their​ ​target’s​ ​own 
  weaknesses​ ​against​ ​them—in​ ​other​ ​words,​ ​their​ ​own​ ​aspects. 
   
  So,​ ​you​ ​may​ ​not​ ​even​ ​need​ ​situation​ ​aspects​ ​or​ ​zones​ ​for​ ​a​ ​lot​ ​of​ ​mental​ ​conflicts.​ ​Don’t​ ​feel 
  obligated​ ​to​ ​include​ ​them. 
   
  Considering​ ​our​ ​warehouse​ ​again,​ ​Amanda​ ​thinks​ ​about​ ​what​ ​might​ ​make​ ​good​ ​situation 
  aspects. 
   
  She​ ​decides​ ​that​ ​there​ ​are​ ​enough​ ​crates​ ​in​ ​here​ ​to​ ​make​ ​free​ ​movement​ ​a​ ​potential​ ​problem, 
  so​ ​she​ ​picks​ ​Heavy​ ​Crates​ ​and​ ​Cramped​ ​as​ ​aspects.​ ​The​ ​loading​ ​door​ ​is​ ​open,​ ​which​ ​means 
  that​ ​there’s​ ​a​ ​large​ ​dock​ ​with​ ​water​ ​in​ ​it,​ ​so​ ​she​ ​also​ ​picks​ ​Open​ ​to​ ​the​ ​Water​ ​as​ ​a​ ​situation 
  aspect,​ ​figuring​ ​that​ ​someone​ ​might​ ​try​ ​to​ ​knock​ ​someone​ ​in. 
   
  As​ ​the​ ​scene​ ​unfolds,​ ​players​ ​might​ ​suggest​ ​features​ ​of​ ​the​ ​environment​ ​that​ ​are​ ​perfect​ ​as 
  aspects.​ ​If​ ​the​ ​GM​ ​described​ ​the​ ​scene​ ​as​ ​being​ ​poorly​ ​lit,​ ​a​ ​player​ ​should​ ​be​ ​able​ ​to​ ​invoke​ ​the 
  Shadows​ ​to​ ​help​ ​on​ ​a​ ​Stealth​ ​roll​ ​even​ ​if​ ​she​ ​hadn’t​ ​previously​ ​established​ ​it​ ​as​ ​an​ ​aspect.​ ​If​ ​the 
  feature​ ​would​ ​require​ ​some​ ​intervention​ ​on​ ​the​ ​part​ ​of​ ​the​ ​characters​ ​in​ ​the​ ​scene​ ​to​ ​become 
  aspect-worthy,​ ​then​ ​that’s​ ​the​ ​purview​ ​of​ ​the​ ​Create​ ​An​ ​Advantage​ ​action​.​ ​Usually​ ​the​ ​barn 
  doesn’t​ ​catch​ ​On​ ​Fire!​ ​without​ ​someone​ ​kicking​ ​over​ ​the​ ​lantern.​ ​Usually. 
  Zones 
  GMs,​ ​if​ ​your​ ​conflict​ ​takes​ ​place​ ​over​ ​a​ ​large​ ​area,​ ​you​ ​may​ ​want​ ​to​ ​break​ ​it​ ​down​ ​into​ ​zones​ ​for 
  easier​ ​reference. 
  105 
  
   
  A​ ​zone​ ​is​ ​an​ ​abstract​ ​representation​ ​of​ ​physical​ ​space.​ ​The​ ​best​ ​definition​ ​of​ ​a​ ​zone​ ​is​ ​that​ ​it’s 
  close​ ​enough​ ​that​ ​you​ ​can​ ​interact​ ​directly​ ​with​ ​someone​ ​(in​ ​other​ ​words,​ ​walk​ ​up​ ​to​ ​and​ ​punch 
  them​ ​in​ ​the​ ​face). 
   
  Generally​ ​speaking,​ ​a​ ​conflict​ ​should​ ​rarely​ ​involve​ ​more​ ​than​ ​a​ ​handful​ ​of​ ​zones.​ ​Two​ ​to​ ​four​ ​is 
  probably​ ​sufficient,​ ​save​ ​for​ ​really​ ​big​ ​conflicts.​ ​This​ ​isn’t​ ​a​ ​miniatures​ ​board​ ​game—zones 
  should​ ​give​ ​a​ ​tactile​ ​sense​ ​of​ ​the​ ​environment,​ ​but​ ​at​ ​the​ ​point​ ​where​ ​you​ ​need​ ​something​ ​more 
  than​ ​a​ ​cocktail​ ​napkin​ ​to​ ​lay​ ​it​ ​out,​ ​you’re​ ​getting​ ​too​ ​complicated. 
  ●
  If​ ​you​ ​can​ ​describe​ ​the​ ​area​ ​as​ ​bigger​ ​than​ ​a​ ​house,​ ​you​ ​can​ ​probably​ ​divide​ ​it​ ​into​ ​two 
  or​ ​more​ ​zones—think​ ​of​ ​a​ ​cathedral​ ​or​ ​a​ ​shopping​ ​center​ ​parking​ ​lot. 
  ●
  If​ ​it’s​ ​separated​ ​by​ ​stairs,​ ​a​ ​ladder,​ ​a​ ​fence,​ ​or​ ​a​ ​wall,​ ​it​ ​could​ ​be​ ​divided​ ​zones,​ ​like​ ​two 
  floors​ ​of​ ​a​ ​house. 
  ●
  “Above​ ​X”​ ​and​ ​“below​ ​X”​ ​can​ ​be​ ​different​ ​zones,​ ​especially​ ​if​ ​moving​ ​between​ ​them 
  takes​ ​some​ ​doing—think​ ​of​ ​the​ ​airspace​ ​around​ ​something​ ​large,​ ​like​ ​a​ ​blimp. 
  ●
   
  When​ ​you’re​ ​setting​ ​up​ ​your​ ​zones,​ ​note​ ​any​ ​situation​ ​aspects​ ​that​ ​could​ ​make​ ​moving​ ​between 
  those​ ​zones​ ​problematic.​ ​They’ll​ ​be​ ​important​ ​later,​ ​when​ ​people​ ​want​ ​to​ ​move​ ​from​ ​zone​ ​to 
  zone.​ ​If​ ​that​ ​means​ ​you​ ​need​ ​more​ ​situation​ ​aspects,​ ​add​ ​them​ ​now. 
   
  Amanda​ ​decides​ ​the​ ​warehouse​ ​needs​ ​to​ ​be​ ​multiple​ ​zones.​ ​The​ ​main​ ​floor​ ​is​ ​big​ ​enough,​ ​in 
  her​ ​mind,​ ​for​ ​two​ ​zones,​ ​and​ ​the​ ​Heavy​ ​Crates​ ​she​ ​mentioned​ ​earlier​ ​make​ ​it​ ​hard​ ​to​ ​freely 
  move​ ​between​ ​them. 
   
  She​ ​knows​ ​there’s​ ​also​ ​a​ ​second​ ​floor​ ​ringing​ ​the​ ​inner​ ​walls,​ ​so​ ​she​ ​makes​ ​that​ ​an​ ​additional 
  zone.​ ​She​ ​adds​ ​Ladder​ ​Access​ ​Only​ ​to​ ​the​ ​scene. 
   
  If,​ ​for​ ​some​ ​reason,​ ​someone​ ​decides​ ​to​ ​run​ ​outside,​ ​she​ ​figures​ ​that​ ​can​ ​be​ ​a​ ​fourth​ ​zone,​ ​but 
  she​ ​doesn’t​ ​think​ ​she​ ​needs​ ​any​ ​aspects​ ​for​ ​it. 
   
  She​ ​sketches​ ​the​ ​rough​ ​map​ ​on​ ​an​ ​index​ ​card​ ​for​ ​everyone​ ​to​ ​see. 
  [Your​ ​map​ ​here] 
  Establishing​ ​Sides 
  It’s​ ​important​ ​to​ ​know​ ​everyone’s​ ​goal​ ​in​ ​a​ ​conflict​ ​before​ ​you​ ​start.​ ​People​ ​fight​ ​for​ ​a​ ​reason, 
  and​ ​if​ ​they’re​ ​willing​ ​to​ ​do​ ​harm,​ ​it’s​ ​usually​ ​an​ ​urgent​ ​reason. 
   
  The​ ​normal​ ​assumption​ ​is​ ​that​ ​the​ ​player​ ​characters​ ​are​ ​on​ ​one​ ​side,​ ​fighting​ ​against​ ​NPCs​ ​who 
  are​ ​in​ ​opposition.​ ​It​ ​doesn’t​ ​always​ ​have​ ​to​ ​be​ ​that​ ​way,​ ​however—PCs​ ​can​ ​fight​ ​each​ ​other​ ​and 
  be​ ​allied​ ​with​ ​NPCs​ ​against​ ​each​ ​other. 
   
  Make​ ​sure​ ​everyone​ ​agrees​ ​on​ ​the​ ​general​ ​goals​ ​of​ ​each​ ​side,​ ​who’s​ ​on​ ​which​ ​side,​ ​and​ ​where 
  106 
  
  everyone​ ​is​ ​situated​ ​in​ ​the​ ​scene​ ​(like​ ​who’s​ ​occupying​ ​which​ ​zone)​ ​when​ ​the​ ​conflict​ ​begins. 
  It​ ​might​ ​also​ ​help,​ ​GMs,​ ​to​ ​decide​ ​how​ ​those​ ​groups​ ​are​ ​going​ ​to​ ​“divvy​ ​up”​ ​to​ ​face​ ​one 
  another—is​ ​one​ ​character​ ​going​ ​to​ ​get​ ​mobbed​ ​by​ ​the​ ​bad​ ​guy’s​ ​henchmen,​ ​or​ ​is​ ​the​ ​opposition 
  going​ ​to​ ​spread​ ​itself​ ​around​ ​equally​ ​among​ ​the​ ​PCs?​ ​You​ ​might​ ​change​ ​your​ ​mind​ ​once​ ​the 
  action​ ​starts,​ ​but​ ​if​ ​you​ ​have​ ​a​ ​basic​ ​idea,​ ​it​ ​gives​ ​you​ ​a​ ​good​ ​starting​ ​point​ ​to​ ​work​ ​from. 
   
  In​ ​our​ ​continuing​ ​warehouse​ ​fight​ ​example,​ ​the​ ​sides​ ​are​ ​obvious—Og​ ​and​ ​his​ ​buddies​ ​want​ ​to 
  do​ ​in​ ​the​ ​PCs,​ ​and​ ​the​ ​PCs​ ​want​ ​to​ ​keep​ ​that​ ​from​ ​happening. 
   
  Ryan​ ​asks​ ​Amanda​ ​about​ ​finding​ ​the​ ​smuggled​ ​goods,​ ​and​ ​Amanda​ ​replies,​ ​“If​ ​you​ ​think​ ​you 
  can​ ​sneak​ ​in​ ​a​ ​moment​ ​during​ ​the​ ​fight​ ​to​ ​look​ ​for​ ​them,​ ​go​ ​for​ ​it.​ ​We’ll​ ​see​ ​what​ ​happens.” 
   
  The​ ​conflict​ ​starts​ ​with​ ​everyone​ ​on​ ​the​ ​main​ ​warehouse​ ​floor.​ ​Amanda​ ​decides​ ​that​ ​Og​ ​and 
  one​ ​of​ ​his​ ​friends​ ​are​ ​going​ ​to​ ​go​ ​after​ ​Landon,​ ​two​ ​of​ ​the​ ​other​ ​thugs​ ​are​ ​going​ ​after​ ​Cynere, 
  and​ ​the​ ​final​ ​one​ ​is​ ​going​ ​to​ ​chase​ ​after​ ​Zird. 
  Turn​ ​Order 
  Your​ ​turn​ ​order​ ​in​ ​a​ ​conflict​ ​is​ ​based​ ​on​ ​your​ ​skills.​ ​In​ ​a​ ​conflict,​ ​compare​ ​your​ ​Intuition​ ​skill​ ​to 
  the​ ​other​ ​participants. 
   
  GMs,​ ​for​ ​a​ ​simple​ ​option,​ ​pick​ ​your​ ​most​ ​advantageous​ ​NPC​ ​to​ ​determine​ ​your​ ​place​ ​in​ ​the​ ​turn 
  order,​ ​and​ ​let​ ​all​ ​your​ ​NPCs​ ​go​ ​at​ ​that​ ​time. 
   
  Cynere​ ​has​ ​an​ ​Intuition​ ​of​ ​Remarkable​ ​(+3),​ ​higher​ ​than​ ​everyone​ ​else,​ ​so​ ​she​ ​goes​ ​first. 
  Zird​ ​has​ ​an​ ​Intuition​ ​of​ ​Good​ ​(+1),​ ​so​ ​he​ ​goes​ ​second. 
   
  Landon​ ​and​ ​Og​ ​both​ ​lack​ ​the​ ​Intuition​ ​skill.​ ​Landon​ ​has​ ​Agility​ ​at​ ​Remarkable​ ​(+3),​ ​and​ ​Og​ ​has 
  it​ ​at​ ​Excellent​ ​(+2),​ ​so​ ​Landon​ ​goes​ ​third​ ​and​ ​Og​ ​goes​ ​last. 
  The​ ​Exchange 
  Exchanges​ ​in​ ​a​ ​conflict​ ​are​ ​a​ ​little​ ​more​ ​complicated​ ​than​ ​in​ ​contests.​ ​In​ ​an​ ​exchange,​ ​every 
  character​ ​gets​ ​a​ ​turn​ ​to​ ​take​ ​an​ ​action.​ ​GMs,​ ​you​ ​get​ ​to​ ​go​ ​once​ ​for​ ​every​ ​NPC​ ​you​ ​control​ ​in 
  the​ ​conflict. 
   
  Most​ ​of​ ​the​ ​time,​ ​you’re​ ​going​ ​to​ ​be​ ​attacking​ ​another​ ​character​ ​or​ ​creating​ ​an​ ​advantage​ ​on 
  your​ ​turn,​ ​because​ ​that’s​ ​the​ ​point​ ​of​ ​a​ ​conflict—take​ ​your​ ​opponent​ ​out,​ ​or​ ​set​ ​things​ ​up​ ​to 
  make​ ​it​ ​easier​ ​to​ ​take​ ​your​ ​opponent​ ​out. 
   
  GMs,​ ​if​ ​you​ ​have​ ​a​ ​lot​ ​of​ ​nameless​ ​NPCs​ ​in​ ​your​ ​scene,​ ​feel​ ​free​ ​to​ ​have​ ​them​ ​use​ ​passive 
  opposition​ ​to​ ​keep​ ​your​ ​dice​ ​rolling​ ​down.​ ​Also,​ ​consider​​ ​Using​ ​Mobs​ ​instead​ ​of​ ​individual​ ​NPCs 
  to​ ​keep​ ​things​ ​simple. 
  107 
  
   
  However,​ ​if​ ​you​ ​have​ ​a​ ​secondary​ ​objective​ ​in​ ​the​ ​conflict​ ​scene,​ ​you​ ​might​ ​need​ ​to​ ​roll​ ​an 
  overcome​ ​action​ ​instead.​ ​You’ll​ ​encounter​ ​this​ ​most​ ​often​ ​if​ ​you​ ​want​ ​to​ ​move​ ​between​ ​zones 
  but​ ​there’s​ ​a​ ​situation​ ​aspect​ ​in​ ​place​ ​making​ ​that​ ​problematic. 
   
  Regardless,​ ​you​ ​only​ ​get​ ​to​ ​make​ ​one​ ​skill​ ​roll​ ​on​ ​your​ ​turn​ ​in​ ​an​ ​exchange,​ ​unless​ ​you’re 
  defending​ ​against​ ​someone​ ​else’s​ ​action—you​ ​can​ ​do​ ​that​ ​as​ ​many​ ​times​ ​as​ ​you​ ​want.​ ​You​ ​can 
  even​ ​make​ ​defend​ ​actions​ ​on​ ​behalf​ ​of​ ​others,​ ​so​ ​long​ ​as​ ​you​ ​fulfill​ ​two​ ​conditions:​ ​it​ ​has​ ​to​ ​be 
  reasonable​ ​for​ ​you​ ​to​ ​interpose​ ​yourself​ ​between​ ​the​ ​attack​ ​and​ ​its​ ​target,​ ​and​ ​you​ ​have​ ​to 
  suffer​ ​the​ ​effects​ ​of​ ​any​ ​failed​ ​rolls. 
  Full​ ​Defense 
  If​ ​you​ ​want,​ ​you​ ​can​ ​forgo​ ​your​ ​action​ ​for​ ​the​ ​exchange​ ​to​ ​concentrate​ ​on​ ​defense.​ ​You​ ​don’t 
  get​ ​to​ ​do​ ​anything​ ​proactive,​ ​but​ ​you​ ​do​ ​get​ ​to​ ​roll​ ​all​ ​defend​ ​actions​ ​for​ ​the​ ​exchange​ ​at​ ​a​ ​+2 
  bonus. 
  In​ ​the​ ​first​ ​exchange​ ​of​ ​our​ ​warehouse​ ​fight,​ ​Cynere​ ​goes​ ​first.​ ​Lily​ ​has​ ​Cynere​ ​attack​ ​the​ ​thug 
  that’s​ ​eyeing​ ​her.​ ​That’s​ ​her​ ​action​ ​for​ ​the​ ​exchange—she​ ​can​ ​still​ ​roll​ ​to​ ​defend​ ​whenever​ ​she 
  needs​ ​to,​ ​but​ ​she​ ​can’t​ ​do​ ​anything​ ​else​ ​proactive​ ​until​ ​her​ ​next​ ​turn. 
   
  On​ ​Ryan’s​ ​turn,​ ​he​ ​has​ ​Zird​ ​do​ ​a​ ​full​ ​defense—normally,​ ​he’d​ ​be​ ​able​ ​to​ ​defend​ ​and​ ​get​ ​an 
  action​ ​this​ ​exchange,​ ​but​ ​instead,​ ​he​ ​gets​ ​a​ ​+2​ ​to​ ​his​ ​defense​ ​rolls​ ​until​ ​his​ ​next​ ​turn. 
   
  On​ ​Lenny’s​ ​turn,​ ​he​ ​has​ ​Landon​ ​create​ ​an​ ​advantage​ ​by​ ​placing​ ​an​ ​aspect​ ​on​ ​Og​ ​called 
  Hemmed​ ​In,​ ​hoping​ ​to​ ​corner​ ​him​ ​between​ ​some​ ​crates.​ ​That’s​ ​his​ ​action​ ​for​ ​the​ ​exchange. 
  Amanda​ ​goes​ ​last,​ ​and​ ​she​ ​just​ ​has​ ​all​ ​of​ ​her​ ​NPCs​ ​attack​ ​their​ ​chosen​ ​targets. 
  Resolving​ ​Attacks 
  A​ ​successful​ ​attack​ ​lands​ ​a​ ​hit​ ​equivalent​ ​to​ ​its​ ​shift​ ​value​ ​on​ ​a​ ​target.​ ​So​ ​if​ ​you​ ​get​ ​three​ ​shifts 
  on​ ​an​ ​attack,​ ​you​ ​land​ ​a​ ​3-shift​ ​hit. 
   
  If​ ​you​ ​get​ ​hit​ ​by​ ​an​ ​attack,​ ​one​ ​of​ ​two​ ​things​ ​happen:​ ​either​ ​you​ ​absorb​ ​the​ ​hit​ ​and​ ​stay​ ​in​ ​the 
  fight,​ ​or​ ​you’re​ ​taken​ ​out​. 
   
  Fortunately,​ ​you​ ​have​ ​two​ ​options​ ​for​ ​absorbing​ ​hits​ ​to​ ​stay​ ​in​ ​the​ ​fight—you​ ​can​ ​take​ ​health 
  and/or​ ​consequences.​ ​You​ ​can​ ​also​ ​Concede​ ​A​ ​Conflict​ ​before​ ​you’re​ ​taken​ ​out,​ ​in​ ​order​ ​to 
  preserve​ ​some​ ​control​ ​over​ ​what​ ​happens​ ​to​ ​your​ ​character. 
   
  If,​ ​for​ ​whatever​ ​reason,​ ​you​ ​want​ ​to​ ​forego​ ​your​ ​defense​ ​and​ ​take​ ​a​ ​hit​ ​(like,​ ​say,​ ​to​ ​interpose 
  yourself​ ​in​ ​the​ ​path​ ​of​ ​an​ ​arrow​ ​that’s​ ​about​ ​to​ ​skewer​ ​your​ ​friend),​ ​you​ ​can. 
   
  Because​ ​you’re​ ​not​ ​defending,​ ​the​ ​attacker’s​ ​rolling​ ​against​ ​Typical​ ​(+0)​ ​opposition,​ ​which 
  108 
  
  means​ ​you’re​ ​probably​ ​going​ ​to​ ​take​ ​a​ ​bad​ ​hit. 
   
  Health 
  One​ ​of​ ​your​ ​options​ ​to​ ​mitigate​ ​the​ ​effect​ ​of​ ​a​ ​hit​ ​is​ ​to​ ​take​ ​health. 
   
  The​ ​best​ ​way​ ​to​ ​understand​ ​health​ ​is​ ​that​ ​it​ ​represents​ ​all​ ​the​ ​various​ ​reasons​ ​why​ ​you​ ​just 
  barely​ ​avoid​ ​taking​ ​the​ ​full​ ​force​ ​of​ ​an​ ​attack.​ ​Maybe​ ​you​ ​twist​ ​away​ ​from​ ​the​ ​blow​ ​just​ ​right,​ ​or​ ​it 
  looks​ ​bad​ ​but​ ​is​ ​really​ ​just​ ​a​ ​flesh​ ​wound,​ ​or​ ​you​ ​exhaust​ ​yourself​ ​diving​ ​out​ ​of​ ​the​ ​way​ ​at​ ​the 
  last​ ​second. 
   
  Mentally,​ ​health​ ​could​ ​mean​ ​that​ ​you​ ​just​ ​barely​ ​manage​ ​to​ ​ignore​ ​an​ ​insult,​ ​or​ ​clamp​ ​down​ ​on 
  an​ ​instinctive​ ​emotional​ ​reaction,​ ​or​ ​something​ ​like​ ​that. 
   
  Health​ ​boxes​ ​also​ ​represent​ ​a​ ​loss​ ​of​ ​momentum—you​ ​only​ ​have​ ​so​ ​many​ ​last-second​ ​saves​ ​in 
  you​ ​before​ ​you’ve​ ​got​ ​to​ ​face​ ​the​ ​music. 
   
  On​ ​your​ ​character​ ​sheet,​ ​you​ ​have​ ​a​ ​number​ ​of​ ​health​ ​boxes,​ ​each​ ​with​ ​a​ ​different​ ​shift​ ​value. 
  By​ ​default,​ ​all​ ​characters​ ​get​ ​a​ ​1-point​ ​and​ ​a​ ​2-point​ ​box.​ ​You​ ​may​ ​get​ ​additional,​ ​higher-value 
  health​ ​boxes​ ​depending​ ​on​ ​your​ ​FASE​ ​and​ ​RIP. 
   
  When​ ​you​ ​take​ ​health,​ ​check​ ​off​ ​a​ ​health​ ​box​ ​with​ ​a​ ​value​ ​equal​ ​to​ ​the​ ​shift​ ​value​ ​of​ ​the​ ​hit.​ ​If 
  that​ ​box​ ​is​ ​already​ ​checked,​ ​check​ ​off​ ​a​ ​higher​ ​value​ ​box.​ ​If​ ​there​ ​is​ ​no​ ​higher​ ​available​ ​box, 
  and​ ​you​ ​can’t​ ​take​ ​any​ ​consequences,​ ​you’re​ ​taken​ ​out​ ​of​ ​the​ ​conflict. 
   
  You​ ​can​ ​only​ ​check​ ​off​ ​one​ ​health​ ​box​ ​per​ ​hit. 
   
  Remember​ ​that​ ​you​ ​have​ ​two​ ​sets​ ​of​ ​health​ ​boxes!​ ​One​ ​of​ ​these​ ​is​ ​for​ ​physical​ ​health,​ ​the​ ​other 
  for​ ​mental;​ ​you’ll​ ​start​ ​with​ ​a​ ​1-shift​ ​and​ ​a​ ​2-shift​ ​box​ ​in​ ​each​ ​of​ ​these.​ ​If​ ​you​ ​take​ ​health​ ​from​ ​a 
  physical​ ​source,​ ​you​ ​check​ ​off​ ​a​ ​physical​ ​health​ ​box.​ ​If​ ​it’s​ ​a​ ​mental​ ​hit,​ ​check​ ​off​ ​a​ ​mental 
  health​ ​box. 
   
  After​ ​a​ ​conflict,​ ​when​ ​you​ ​get​ ​a​ ​minute​ ​to​ ​breathe,​ ​any​ ​health​ ​boxes​ ​you​ ​checked​ ​off​ ​become 
  available​ ​for​ ​your​ ​use​ ​again. 
   
  Og​ ​batters​ ​Landon​ ​with​ ​a​ ​whopping​ ​3-shift​ ​hit​ ​on​ ​this​ ​exchange,​ ​wielding​ ​a​ ​giant​ ​club​ ​with 
  spikes. 
  Looking​ ​at​ ​his​ ​character​ ​sheet,​ ​Lenny​ ​sees​ ​that​ ​he’s​ ​only​ ​got​ ​two​ ​health​ ​boxes​ ​left—a​ ​2-point 
  and​ ​a​ ​4-point. 
   
  Because​ ​his​ ​3-point​ ​box​ ​is​ ​already​ ​checked,​ ​the​ ​hit​ ​must​ ​be​ ​absorbed​ ​by​ ​a​ ​higher-value​ ​box.​ ​He 
  reluctantly​ ​checks​ ​off​ ​the​ ​4-point​ ​box. 
  109 
  
   
  Amanda​ ​and​ ​Lenny​ ​describe​ ​the​ ​outcome—Landon​ ​gets​ ​his​ ​sword​ ​up​ ​just​ ​in​ ​time​ ​to​ ​barely 
  deflect​ ​a​ ​blow​ ​that​ ​shatters​ ​a​ ​nearby​ ​crate,​ ​peppering​ ​Landon’s​ ​face​ ​with​ ​splintered​ ​wood.​ ​One 
  inch​ ​closer,​ ​and​ ​it​ ​might​ ​have​ ​been​ ​his​ ​face​ ​that​ ​got​ ​splintered. 
   
  Landon​ ​has​ ​one​ ​more  
  ​ ​box​ ​on​ ​his​ ​sheet,​ ​a​ ​2-shift​ ​box.​ ​That​ ​means​ ​his​ ​reserves​ ​are​ ​almost​ ​gone,​ ​and​ ​the​ ​next​ ​major 
  hit​ ​he​ ​takes​ ​is​ ​going​ ​to​ ​hurt​ ​bad.... 
  Consequences 
  The​ ​second​ ​option​ ​you​ ​have​ ​for​ ​mitigating​ ​a​ ​hit​ ​is​ ​taking​ ​a​ ​consequence.​ ​A​ ​consequence​ ​is 
  more​ ​severe​ ​than  
  —it​ ​represents​ ​some​ ​form​ ​of​ ​lasting​ ​injury​ ​or​ ​setback​ ​that​ ​you​ ​accrue​ ​from​ ​the​ ​conflict, 
  something​ ​that’s​ ​going​ ​to​ ​be​ ​a​ ​problem​ ​for​ ​your​ ​character​ ​after​ ​the​ ​conflict​ ​is​ ​over. 
  Consequences​ ​come​ ​in​ ​three​ ​levels​ ​of​ ​severity—mild,​ ​moderate,​ ​and​ ​severe.​ ​Each​ ​one​ ​has​ ​a 
  different​ ​shift​ ​value:​ ​two,​ ​four,​ ​and​ ​six,​ ​respectively.  
   
  When​ ​you​ ​use​ ​a​ ​consequence​ ​slot,​ ​you​ ​reduce​ ​the​ ​shift​ ​value​ ​of​ ​the​ ​attack​ ​by​ ​the​ ​shift​ ​value​ ​of 
  the​ ​consequence.​ ​You​ ​can​ ​use​ ​more​ ​than​ ​one​ ​consequence​ ​at​ ​a​ ​time​ ​if​ ​they’re​ ​available.​ ​Any​ ​of 
  the​ ​hit’s​ ​remaining​ ​shifts​ ​must​ ​be​ ​handled​ ​by​ ​a​ ​health​ ​box​ ​to​ ​avoid​ ​being​ ​taken​ ​out. 
   
  However,​ ​there’s​ ​a​ ​penalty.​ ​The​ ​consequence​ ​written​ ​in​ ​the​ ​slot​ ​is​ ​an​ ​aspect​ ​that​ ​represents​ ​the 
  lasting​ ​effect​ ​incurred​ ​from​ ​the​ ​attack.​ ​The​ ​opponent​ ​who​ ​forced​ ​you​ ​to​ ​take​ ​a​ ​consequence 
  gets​ ​a​ ​free​ ​invocation,​ ​and​ ​the​ ​aspect​ ​remains​ ​on​ ​your​ ​character​ ​sheet​ ​until​ ​you’ve​ ​recovered 
  the​ ​consequence​ ​slot.​ ​While​ ​it’s​ ​on​ ​your​ ​sheet,​ ​the​ ​consequence​ ​is​ ​treated​ ​like​ ​any​ ​other 
  aspect,​ ​except​ ​because​ ​the​ ​slant​ ​on​ ​it​ ​is​ ​so​ ​negative,​ ​it’s​ ​far​ ​more​ ​likely​ ​to​ ​be​ ​used​ ​to​ ​your 
  character’s​ ​detriment. 
   
  Unlike​ ​health,​ ​a​ ​consequence​ ​slot​ ​may​ ​take​ ​a​ ​long​ ​time​ ​to​ ​recover​ ​after​ ​the​ ​conflict​ ​is​ ​over.​ ​Also 
  unlike​ ​health,​ ​you​ ​only​ ​have​ ​one​ ​set​ ​of​ ​consequences;​ ​there​ ​aren’t​ ​specific​ ​slots​ ​for​ ​physical 
  versus​ ​mental​ ​consequences.​ ​This​ ​means​ ​that,​ ​if​ ​you​ ​have​ ​to​ ​take​ ​a​ ​mild​ ​consequence​ ​to 
  reduce​ ​a​ ​mental​ ​hit​ ​and​ ​your​ ​mild​ ​consequence​ ​slot​ ​is​ ​already​ ​filled​ ​with​ ​a​ ​physical 
  consequence,​ ​you’re​ ​out​ ​of​ ​luck!​ ​You’re​ ​going​ ​to​ ​have​ ​to​ ​use​ ​a​ ​moderate​ ​or​ ​severe 
  consequence​ ​to​ ​absorb​ ​that​ ​hit​ ​(assuming​ ​you​ ​have​ ​one​ ​left).​ ​The​ ​exception​ ​to​ ​this​ ​is​ ​the​ ​extra 
  consequence​ ​slot​ ​you​ ​would​ ​get​ ​from​ ​an​ ​Amazing​ ​(+5)​ ​Physique​ ​or​ ​Will​ ​is​ ​reserved​ ​for​ ​physical 
  or​ ​mental​ ​harm,​ ​respectively. 
  Still,​ ​it’s​ ​better​ ​than​ ​being​ ​taken​ ​out,​ ​right? 
  Cynere​ ​gets​ ​teamed​ ​up​ ​on​ ​by​ ​three​ ​of​ ​the​ ​thugs​ ​during​ ​this​ ​exchange,​ ​and​ ​with​ ​the​ ​help​ ​of​ ​a 
  huge​ ​die​ ​roll​ ​and​ ​some​ ​situation​ ​aspects,​ ​they​ ​manage​ ​to​ ​land​ ​a​ ​6-shift​ ​attack​ ​on​ ​her.​ ​She’s 
  escaped​ ​harm​ ​so​ ​far​ ​this​ ​fight,​ ​and​ ​still​ ​has​ ​all​ ​her​ ​health​ ​boxes​ ​and​ ​consequences​ ​available. 
  She​ ​has​ ​two​ ​ways​ ​to​ ​take​ ​the​ ​hit.​ ​She​ ​could​ ​take​ ​one​ ​severe​ ​consequence,​ ​which​ ​negates​ ​6 
  health.​ ​She​ ​could​ ​also​ ​take​ ​a​ ​moderate​ ​consequence​ ​(4​ ​health)​ ​and​ ​use​ ​her​ ​2-point​ ​health​ ​box. 
  110 
  
  She​ ​decides​ ​that​ ​it’s​ ​not​ ​likely​ ​she’s​ ​going​ ​to​ ​get​ ​hit​ ​for​ ​that​ ​much​ ​again,​ ​so​ ​she​ ​takes​ ​the​ ​severe 
  consequence​ ​to​ ​keep​ ​her​ ​stress​ ​track​ ​open​ ​for​ ​smaller​ ​hits. 
  Amanda​ ​and​ ​Lily​ ​agree​ ​to​ ​call​ ​the​ ​severe​ ​consequence​ ​Nearly​ ​Gutted.​ ​Cynere​ ​takes​ ​a​ ​wicked 
  slash​ ​from​ ​one​ ​of​ ​the​ ​thugs’​ ​swords,​ ​gritting​ ​her​ ​teeth​ ​through​ ​the​ ​pain.... 
  Naming​ ​a​ ​Consequence 
  Here​ ​are​ ​some​ ​guidelines​ ​for​ ​choosing​ ​what​ ​to​ ​name​ ​a​ ​consequence: 
  Mild​ ​consequences​ ​don’t​ ​require​ ​immediate​ ​medical​ ​attention.​ ​They​ ​hurt,​ ​and​ ​they​ ​may​ ​present 
  an​ ​inconvenience,​ ​but​ ​they​ ​aren’t​ ​going​ ​to​ ​force​ ​you​ ​into​ ​a​ ​lot​ ​of​ ​bed​ ​rest.​ ​On​ ​the​ ​mental​ ​side, 
  mild​ ​consequences​ ​express​ ​things​ ​like​ ​small​ ​social​ ​gaffes​ ​or​ ​changes​ ​in​ ​your​ ​surface​ ​emotions. 
  Examples:​ ​Black​ ​Eye,​ ​Bruised​ ​Hand,​ ​Winded,​ ​Flustered,​ ​Cranky,​ ​Temporarily​ ​Blinded​. 
  Moderate​ ​consequences​ ​represent​ ​fairly​ ​serious​ ​impairments​ ​that​ ​require​ ​dedicated​ ​effort 
  toward​ ​recovery​ ​(including​ ​medical​ ​attention).​ ​On​ ​the​ ​mental​ ​side,​ ​they​ ​express​ ​things​ ​like 
  damage​ ​to​ ​your​ ​reputation​ ​or​ ​emotional​ ​problems​ ​that​ ​you​ ​can’t​ ​just​ ​shrug​ ​off​ ​with​ ​an​ ​apology 
  and​ ​a​ ​good​ ​night’s​ ​sleep.​ ​Examples:​ ​Deep​ ​Cut,First​ ​Degree​ ​Burn,​ ​Exhausted,​ ​Drunk,​ ​Terrified​. 
  Severe​ ​consequences​ ​go​ ​straight​ ​to​ ​the​ ​emergency​ ​room​ ​(or​ ​whatever​ ​the​ ​equivalent​ ​is​ ​in​ ​your 
  game)—they’re​ ​extremely​ ​nasty​ ​and​ ​prevent​ ​you​ ​from​ ​doing​ ​a​ ​lot​ ​of​ ​things,​ ​and​ ​will​ ​lay​ ​you​ ​out 
  for​ ​a​ ​while.​ ​On​ ​the​ ​mental​ ​side,​ ​they​ ​express​ ​things​ ​like​ ​serious​ ​trauma​ ​or​ ​relationship-changing 
  harm.​ ​Examples:​ ​Second-Degree​ ​Burn,Compound​ ​Fracture,​ ​Guts​ ​Hanging​ ​Out,​ ​Crippling 
  Shame,​ ​Trauma-Induced​ ​Phobia​. 
  Recovering​ ​from​ ​a​ ​Consequence 
  In​ ​order​ ​to​ ​regain​ ​the​ ​use​ ​of​ ​a​ ​consequence​ ​slot,​ ​you​ ​have​ ​to​ ​recover​ ​from​ ​the​ ​consequence. 
  That​ ​requires​ ​two​ ​things—succeeding​ ​at​ ​an​ ​action​ ​that​ ​allows​ ​you​ ​to​ ​justify​ ​recovery,​ ​and​ ​then 
  waiting​ ​an​ ​appropriate​ ​amount​ ​of​ ​game​ ​time​ ​for​ ​that​ ​recovery​ ​to​ ​take​ ​place. 
  The​ ​action​ ​in​ ​question​ ​is​ ​an​ ​Overcome​ ​An​ ​Obstacle​;​ ​the​ ​obstacle​ ​is​ ​the​ ​consequence​ ​that​ ​you 
  took.​ ​If​ ​it’s​ ​a​ ​physical​ ​injury,​ ​then​ ​the​ ​action​ ​is​ ​some​ ​kind​ ​of​ ​medical​ ​treatment​ ​or​ ​first​ ​aid.​ ​For 
  mental​ ​consequences,​ ​the​ ​action​ ​may​ ​involve​ ​therapy,​ ​counseling,​ ​or​ ​simply​ ​a​ ​night​ ​out​ ​with 
  friends. 
   
  The​ ​difficulty​ ​for​ ​this​ ​obstacle​ ​is​ ​based​ ​on​ ​the​ ​shift​ ​value​ ​of​ ​the​ ​consequence.​ ​Mild​ ​is​ ​Excellent 
  (+2),​ ​moderate​ ​is​ ​Incredible​ ​(+4),​ ​and​ ​severe​ ​is​ ​Monstrous​ ​(+6).​ ​If​ ​you​ ​are​ ​trying​ ​to​ ​perform​ ​the 
  recovery​ ​action​ ​on​ ​yourself,​ ​increase​ ​the​ ​difficulty​ ​by​ ​two​ ​steps​ ​on​ ​the​ ​ladder. 
   
  Keep​ ​in​ ​mind​ ​that​ ​the​ ​circumstances​ ​have​ ​to​ ​be​ ​appropriately​ ​free​ ​of​ ​distraction​ ​and​ ​tension​ ​for 
  you​ ​to​ ​make​ ​this​ ​roll​ ​in​ ​the​ ​first​ ​place—you’re​ ​not​ ​going​ ​to​ ​clean​ ​and​ ​bandage​ ​a​ ​nasty​ ​cut​ ​while 
  ogres​ ​are​ ​tromping​ ​through​ ​the​ ​caves​ ​looking​ ​for​ ​you.​ ​GMs,​ ​you’ve​ ​got​ ​the​ ​final​ ​judgment​ ​call. 
  If​ ​you​ ​succeed​ ​at​ ​the​ ​recovery​ ​action,​ ​or​ ​someone​ ​else​ ​succeeds​ ​on​ ​a​ ​recovery​ ​action​ ​for​ ​you, 
  you​ ​get​ ​to​ ​rename​ ​the​ ​consequence​ ​aspect​ ​to​ ​show​ ​that​ ​it’s​ ​in​ ​recovery.​ ​So,​ ​for​ ​example, 
  Broken​ ​Leg​ ​could​ ​become​ ​Stuck​ ​in​ ​a​ ​Cast​,​ ​Scandalized​ ​could​ ​become​ ​Damage​ ​Control​,​ ​and​ ​so 
  on.​ ​This​ ​doesn’t​ ​free​ ​up​ ​the​ ​consequence​ ​slot,​ ​but​ ​it​ ​serves​ ​as​ ​an​ ​indicator​ ​that​ ​you’re 
  recovering,​ ​and​ ​it​ ​changes​ ​the​ ​ways​ ​the​ ​aspect’s​ ​going​ ​to​ ​be​ ​used​ ​while​ ​it​ ​remains. 
  Whether​ ​you​ ​change​ ​the​ ​consequence’s​ ​name​ ​or​ ​not—and​ ​sometimes​ ​it​ ​might​ ​not​ ​make​ ​sense 
  111 
  
  to​ ​do​ ​so—mark​ ​it​ ​with​ ​a​ ​star​ ​so​ ​that​ ​everyone​ ​remembers​ ​that​ ​recovery​ ​has​ ​started. 
  Then,​ ​you​ ​just​ ​have​ ​to​ ​wait​ ​the​ ​time. 
  ●
  For​ ​a​ ​mild​ ​consequence​,​ ​you​ ​only​ ​have​ ​to​ ​wait​ ​one​ ​whole​ ​scene​ ​after​ ​the​ ​recovery 
  action,​ ​and​ ​then​ ​you​ ​can​ ​remove​ ​the​ ​aspect​ ​and​ ​clear​ ​the​ ​slot. 
  ●
  For​ ​a​ ​moderate​ ​consequence​,​ ​you​ ​have​ ​to​ ​wait​ ​one​ ​whole​ ​session​ ​after​ ​the​ ​recovery 
  action​ ​(which​ ​means​ ​if​ ​you​ ​do​ ​the​ ​recovery​ ​action​ ​in​ ​the​ ​middle​ ​of​ ​a​ ​session,​ ​you​ ​should 
  recover​ ​sometime​ ​in​ ​the​ ​middle​ ​of​ ​next​ ​session). 
  ●
  For​ ​a​ ​severe​ ​consequence​,​ ​you​ ​have​ ​to​ ​wait​ ​one​ ​whole​ ​scenario​ ​after​ ​the​ ​recovery 
  action. 
  Cynere​ ​ended​ ​up​ ​with​ ​the​ ​severe​ ​consequence​ ​Nearly​ ​Gutted​ ​as​ ​the​ ​result​ ​of​ ​the​ ​fight. 
  Back​ ​at​ ​the​ ​inn,​ ​Zird​ ​attempts​ ​to​ ​bandage​ ​up​ ​the​ ​cut.​ ​He​ ​has​ ​a​ ​stunt​ ​called,​ ​“Scholar,​ ​Healer” 
  which​ ​allows​ ​him​ ​to​ ​use​ ​his​ ​Lore​ ​skill​ ​for​ ​recovery​ ​obstacles.​ ​He​ ​makes​ ​his​ ​Reason​ ​roll​ ​at​ ​a 
  difficulty​ ​of​ ​Monstrous​ ​(+6)​ ​and​ ​succeeds. 
   
  This​ ​allows​ ​Cynere’s​ ​Nearly​ ​Gutted​ ​aspect​ ​to​ ​be​ ​renamed​ ​Bandaged​ ​and​ ​start​ ​the​ ​recovery 
  process.​ ​After​ ​the​ ​next​ ​whole​ ​scenario,​ ​she’ll​ ​be​ ​able​ ​to​ ​erase​ ​that​ ​aspect​ ​from​ ​her​ ​sheet​ ​and 
  use​ ​her​ ​severe​ ​consequence​ ​again​ ​in​ ​a​ ​subsequent​ ​conflict. 
  Potions​ ​and​ ​Other​ ​Insta-Healing 
  Many​ ​genres​ ​have​ ​some​ ​sort​ ​of​ ​mechanism​ ​by​ ​which​ ​characters​ ​can​ ​quickly​ ​recover​ ​from 
  injuries.​ ​Fantasy​ ​settings​ ​have​ ​the​ ​ubiquitous​ ​healing​ ​potion​ ​or​ ​spell.​ ​Sci-fi​ ​has​ ​superscience 
  dermal​ ​regenerators​ ​or​ ​biogel.​ ​Usually,​ ​these​ ​mechanisms​ ​exists​ ​because​ ​many​ ​games​ ​express 
  injuries​ ​in​ ​terms​ ​of​ ​a​ ​constant​ ​numerical​ ​penalty​ ​that​ ​drastically​ ​affects​ ​a​ ​character’s 
  effectiveness. 
   
  In​ ​Faterip,​ ​however,​ ​a​ ​consequence​ ​is​ ​largely​ ​just​ ​like​ ​any​ ​other​ ​aspect.​ ​It​ ​only​ ​comes​ ​into​ ​play 
  when​ ​someone​ ​pays​ ​a​ ​fate​ ​point​ ​to​ ​invoke​ ​it​ ​(after​ ​the​ ​initial​ ​free​ ​invoke,​ ​of​ ​course),​ ​or​ ​when​ ​it’s 
  compelled. 
   
  At​ ​best,​ ​powerful​ ​healing​ ​should​ ​simply​ ​eliminate​ ​the​ ​need​ ​to​ ​roll​ ​for​ ​a​ ​recovery​ ​action,​ ​or​ ​should 
  reduce​ ​the​ ​severity​ ​of​ ​a​ ​consequence​ ​by​ ​one​ ​level​ ​or​ ​more.​ ​So,​ ​a​ ​healing​ ​potion​ ​might​ ​turn​ ​a 
  severe​ ​consequence​ ​into​ ​a​ ​moderate​ ​one,​ ​making​ ​the​ ​recovery​ ​time​ ​much​ ​shorter.​ ​The​ ​PC 
  should​ ​have​ ​to​ ​spend​ ​at​ ​least​ ​one​ ​scene​ ​where​ ​the​ ​consequence​ ​could​ ​affect​ ​things,​ ​before​ ​you 
  let​ ​it​ ​go​ ​away. 
  Extreme​ ​Consequences 
  In​ ​addition​ ​to​ ​the​ ​normal​ ​set​ ​of​ ​mild,​ ​moderate,​ ​and​ ​severe​ ​consequences,​ ​every​ ​PC​ ​also​ ​gets 
  one​ ​last-ditch​ ​option​ ​to​ ​stay​ ​in​ ​a​ ​fight—the​ ​extreme​ ​consequence​.​ ​Between​ ​major​ ​milestones, 
  you​ ​can​ ​only​ ​use​ ​this​ ​option​ ​once. 
   
  An​ ​extreme​ ​consequence​ ​will​ ​absorb​ ​up​ ​to​ ​8-shifts​ ​of​ ​a​ ​hit,​ ​but​ ​at​ ​a​ ​very​ ​serious​ ​cost—​you 
  must​ ​replace​ ​one​ ​of​ ​your​ ​aspects​ ​(except​ ​the​ ​high​ ​concept,​ ​that’s​ ​off​ ​limits)​ ​with​ ​the 
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  extreme​ ​consequence​.​ ​That’s​ ​right,​ ​an​ ​extreme​ ​consequence​ ​is​ ​so​ ​serious​ ​that​ ​taking​ ​it 
  literally​ ​changes​ ​who​ ​you​ ​are. 
   
  Unlike​ ​other​ ​consequences,​ ​you​ ​can’t​ ​make​ ​a​ ​recovery​ ​action​ ​to​ ​diminish​ ​an​ ​extreme 
  consequence—you’re​ ​stuck​ ​with​ ​it​ ​until​ ​your​ ​next​ ​major​ ​milestone.​ ​After​ ​that,​ ​you​ ​can​ ​rename 
  the​ ​extreme​ ​consequence​ ​to​ ​reflect​ ​that​ ​you’re​ ​no​ ​longer​ ​vulnerable​ ​to​ ​the​ ​worst​ ​of​ ​it,​ ​as​ ​long​ ​as 
  you​ ​don’t​ ​just​ ​switch​ ​it​ ​out​ ​for​ ​whatever​ ​your​ ​old​ ​aspect​ ​was.​ ​Taking​ ​an​ ​extreme​ ​consequence​ ​is 
  a​ ​permanent​ ​character​ ​change;​ ​treat​ ​it​ ​as​ ​such. 
  Conceding​ ​the​ ​Conflict 
  When​ ​all​ ​else​ ​fails,​ ​you​ ​can​ ​also​ ​just​ ​give​ ​in.​ ​Maybe​ ​you’re​ ​worried​ ​that​ ​you​ ​can’t​ ​absorb 
  another​ ​hit,​ ​or​ ​maybe​ ​you​ ​decide​ ​that​ ​continuing​ ​to​ ​fight​ ​is​ ​just​ ​not​ ​worth​ ​the​ ​punishment. 
  Whatever​ ​the​ ​reason,​ ​you​ ​can​ ​interrupt​ ​any​ ​action​ ​at​ ​any​ ​time​ ​before​ ​the​ ​roll​ ​is​ ​made​ ​to​ ​declare 
  that​ ​you​ ​concede​ ​the​ ​conflict.​ ​This​ ​is​ ​super-important—once​ ​dice​ ​hit​ ​the​ ​table,​ ​what​ ​happens 
  happens,​ ​and​ ​you’re​ ​either​ ​taking​ ​more​ ​stress,​ ​suffering​ ​more​ ​consequences,​ ​or​ ​getting​ ​taken 
  out. 
   
  Concession​ ​gives​ ​the​ ​other​ ​person​ ​what​ ​they​ ​wanted​ ​from​ ​you,​ ​or​ ​in​ ​the​ ​case​ ​of​ ​more​ ​than​ ​two 
  combatants,​ ​removes​ ​you​ ​as​ ​a​ ​concern​ ​for​ ​the​ ​opposing​ ​side.​ ​You’re​ ​out​ ​of​ ​the​ ​conflict,​ ​period. 
  But​ ​it’s​ ​not​ ​all​ ​bad.​ ​First​ ​of​ ​all,​ ​you​ ​get​ ​Karma​ ​for​ ​choosing​ ​to​ ​concede​.​ ​On​ ​top​ ​of​ ​that,​ ​if 
  you’ve​ ​sustained​ ​any​ ​consequences​ ​in​ ​this​ ​conflict,​ ​you​ ​get​ ​an​ ​additional​ ​fate​ ​point​ ​for​ ​each 
  consequence.​ ​These​ ​fate​ ​points​ ​may​ ​be​ ​used​ ​once​ ​this​ ​conflict​ ​is​ ​over. 
   
  Second​ ​of​ ​all,​ ​you​ ​get​ ​to​ ​avoid​ ​the​ ​worst​ ​parts​ ​of​ ​your​ ​fate​.​ ​Yes,​ ​you​ ​lost,​ ​and​ ​the​ ​narration 
  has​ ​to​ ​reflect​ ​that.​ ​But​ ​you​ ​can’t​ ​use​ ​this​ ​privilege​ ​to​ ​undermine​ ​the​ ​opponent’s​ ​victory, 
  either—what​ ​you​ ​say​ ​happens​ ​has​ ​to​ ​pass​ ​muster​ ​with​ ​the​ ​group. 
   
  That​ ​can​ ​make​ ​the​ ​difference​ ​between,​ ​say,​ ​being​ ​mistakenly​ ​left​ ​for​ ​dead​ ​and​ ​ending​ ​up​ ​in​ ​the 
  enemy’s​ ​clutches,​ ​in​ ​shackles,​ ​without​ ​any​ ​of​ ​your​ ​stuff—the​ ​sort​ ​of​ ​thing​ ​that​ ​can​ ​happen​ ​if 
  you’re​ ​taken​ ​out​ ​instead.​ ​That’s​ ​not​ ​nothing. 
   
  Og​ ​proves​ ​to​ ​be​ ​too​ ​much​ ​for​ ​Landon​ ​to​ ​handle​ ​in​ ​the​ ​warehouse​ ​conflict,​ ​having​ ​hit​ ​with 
  several​ ​devastating​ ​attacks​ ​in​ ​the​ ​course​ ​of​ ​the​ ​fight. 
   
  Before​ ​Amanda’s​ ​next​ ​turn,​ ​Lenny​ ​says,​ ​“I​ ​concede.​ ​I​ ​don’t​ ​want​ ​to​ ​risk​ ​any​ ​more 
  consequences.” 
   
  Landon’s​ ​taken​ ​both​ ​a​ ​mild​ ​and​ ​a​ ​moderate​ ​consequence.​ ​He​ ​gets​ ​Karma​ ​for​ ​conceding,​ ​as 
  well​ ​as​ ​two​ ​more​ ​Karma​ ​for​ ​the​ ​two​ ​consequences​ ​he​ ​took,​ ​giving​ ​him​ ​three​ ​total. 
  Amanda​ ​says,​ ​“So,​ ​what​ ​are​ ​you​ ​trying​ ​to​ ​avoid​ ​here?” 
   
  Lenny​ ​says,​ ​“Well,​ ​I​ ​don’t​ ​want​ ​to​ ​get​ ​killed​ ​or​ ​captured,​ ​for​ ​starters.” 
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  Amanda​ ​chuckles​ ​and​ ​says,​ ​“Fair​ ​enough.​ ​So,​ ​we’ll​ ​say​ ​that​ ​Og​ ​knocks​ ​you​ ​out​ ​cold​ ​and 
  doesn’t​ ​bother​ ​to​ ​finish​ ​you​ ​off,​ ​because​ ​he​ ​still​ ​has​ ​Cynere​ ​and​ ​Zird​ ​to​ ​deal​ ​with.​ ​He​ ​may​ ​even 
  think​ ​you’re​ ​dead.​ ​I​ ​feel​ ​like​ ​the​ ​loss​ ​needs​ ​some​ ​more​ ​teeth,​ ​though.​ ​Hm...” 
   
  Ryan​ ​pipes​ ​up​ ​with,​ ​“How​ ​about​ ​he​ ​takes​ ​your​ ​sword​ ​as​ ​a​ ​trophy?” 
   
  Amanda​ ​nods.​ ​“Yeah,​ ​that’s​ ​good.​ ​He​ ​knocks​ ​you​ ​out,​ ​spits​ ​on​ ​you,​ ​and​ ​takes​ ​your​ ​sword.” 
  Lenny​ ​says,​ ​“Bastard!​ ​I’m​ ​so​ ​getting​ ​him​ ​back​ ​for​ ​that​ ​one...” 
  Getting​ ​Taken​ ​Out 
  If​ ​you​ ​don’t​ ​have​ ​any​ ​health​ ​or​ ​consequences​ ​left​ ​to​ ​buy​ ​off​ ​all​ ​the​ ​shifts​ ​of​ ​a​ ​hit,​ ​that​ ​means 
  you’re​ ​taken​ ​out​. 
   
  Taken​ ​out​ ​is​ ​bad—it​ ​means​ ​not​ ​only​ ​that​ ​you​ ​can’t​ ​fight​ ​anymore,​ ​but​ ​that​ ​the​ ​person​ ​who​ ​took 
  you​ ​out​ ​gets​ ​to​ ​decide​ ​what​ ​your​ ​loss​ ​looks​ ​like​ ​and​ ​what​ ​happens​ ​to​ ​you​ ​after​ ​the​ ​conflict. 
  Obviously,​ ​they​ ​can’t​ ​narrate​ ​anything​ ​that’s​ ​out​ ​of​ ​scope​ ​for​ ​the​ ​conflict​ ​(like​ ​having​ ​you​ ​die 
  from​ ​shame),​ ​but​ ​that​ ​still​ ​gives​ ​someone​ ​else​ ​a​ ​lot​ ​of​ ​power​ ​over​ ​your​ ​character​ ​that​ ​you​ ​can’t 
  really​ ​do​ ​anything​ ​about. 
  Character​ ​Death 
  So,​ ​if​ ​you​ ​think​ ​about​ ​it,​ ​there’s​ ​not​ ​a​ ​whole​ ​lot​ ​keeping​ ​someone​ ​from​ ​saying,​ ​after​ ​taking​ ​you 
  out,​ ​that​ ​your​ ​character​ ​dies.​ ​If​ ​you’re​ ​talking​ ​about​ ​a​ ​physical​ ​conflict​ ​where​ ​people​ ​are​ ​using 
  nasty​ ​sharp​ ​weapons,​ ​it​ ​certainly​ ​seems​ ​reasonable​ ​that​ ​one​ ​possible​ ​outcome​ ​of​ ​defeat​ ​is​ ​your 
  character​ ​getting​ ​killed. 
   
  In​ ​practice,​ ​though,​ ​this​ ​assumption​ ​might​ ​be​ ​pretty​ ​controversial​ ​depending​ ​on​ ​what​ ​kind​ ​of 
  group​ ​you’re​ ​in.​ ​Some​ ​people​ ​think​ ​that​ ​character​ ​death​ ​should​ ​always​ ​be​ ​on​ ​the​ ​table,​ ​if​ ​the 
  rules​ ​allow​ ​it—if​ ​that’s​ ​how​ ​the​ ​dice​ ​fall,​ ​then​ ​so​ ​be​ ​it. 
   
  Others​ ​are​ ​more​ ​circumspect,​ ​and​ ​consider​ ​it​ ​very​ ​damaging​ ​to​ ​their​ ​fun​ ​if​ ​they​ ​lose​ ​a​ ​character 
  upon​ ​whom​ ​they’ve​ ​invested​ ​hours​ ​and​ ​hours​ ​of​ ​gameplay,​ ​just​ ​because​ ​someone​ ​spent​ ​a​ ​lot​ ​of 
  fate​ ​points​ ​or​ ​their​ ​die​ ​rolls​ ​were​ ​particularly​ ​unlucky. 
   
  The​ ​latter​ ​approach​ ​is​ ​recommended,​ ​mainly​ ​for​ ​the​ ​following​ ​reason:​ ​most​ ​of​ ​the​ ​time,​ ​sudden 
  character​ ​death​ ​is​ ​a​ ​pretty​ ​boring​ ​outcome​ ​when​ ​compared​ ​to​ ​putting​ ​the​ ​character​ ​through​ ​hell. 
  On​ ​top​ ​of​ ​that,​ ​all​ ​the​ ​story​ ​threads​ ​that​ ​character​ ​was​ ​connected​ ​to​ ​just​ ​kind​ ​of​ ​stall​ ​with​ ​no 
  resolution,​ ​and​ ​you​ ​have​ ​to​ ​expend​ ​a​ ​bunch​ ​of​ ​effort​ ​and​ ​time​ ​figuring​ ​out​ ​how​ ​to​ ​get​ ​a​ ​new 
  character​ ​into​ ​play​ ​mid-stride. 
   
  That​ ​doesn’t​ ​mean​ ​there’s​ ​no​ ​room​ ​for​ ​character​ ​death​ ​in​ ​the​ ​game,​ ​however.​ ​It​ ​is 
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  recommended​ ​that​ ​you​ ​save​ ​that​ ​possibility​ ​for​ ​conflicts​ ​that​ ​are​ ​extremely​ ​pivotal,​ ​dramatic,​ ​and 
  meaningful​ ​for​ ​that​ ​character—in​ ​other​ ​words,​ ​conflicts​ ​in​ ​which​ ​that​ ​character​ ​would​ ​knowingly 
  and​ ​willingly​ ​risk​ ​dying​ ​in​ ​order​ ​to​ ​win.​ ​Players​ ​and​ ​GMs,​ ​if​ ​you’ve​ ​got​ ​the​ ​feeling​ ​that​ ​you’re​ ​in 
  that​ ​kind​ ​of​ ​conflict,​ ​talk​ ​it​ ​out​ ​when​ ​you’re​ ​setting​ ​the​ ​scene​ ​and​ ​see​ ​how​ ​people​ ​feel. 
   
  At​ ​the​ ​very​ ​least,​ ​even​ ​if​ ​you’re​ ​in​ ​a​ ​hardcore​ ​group​ ​that​ ​invites​ ​the​ ​potential​ ​for​ ​character​ ​death 
  on​ ​any​ ​taken​ ​out​ ​result,​ ​make​ ​sure​ ​that​ ​you​ ​telegraph​ ​the​ ​opponent’s​ ​lethal​ ​intent.​ ​GMs,​ ​this​ ​is 
  especially​ ​important​ ​for​ ​you,​ ​so​ ​the​ ​players​ ​will​ ​know​ ​which​ ​NPCs​ ​really​ ​mean​ ​business,​ ​and 
  can​ ​concede​ ​to​ ​keep​ ​their​ ​characters​ ​alive​ ​if​ ​need​ ​be. 
  Movement 
  In​ ​a​ ​conflict,​ ​it’s​ ​important​ ​to​ ​track​ ​where​ ​everyone​ ​is​ ​relative​ ​to​ ​one​ ​another,​ ​which​ ​is​ ​why​ ​the 
  environment​ ​is​ ​divided​ ​into​ ​zones.​ ​Where​ ​you​ ​have​ ​zones,​ ​you​ ​have​ ​people​ ​trying​ ​to​ ​move 
  around​ ​in​ ​them​ ​in​ ​order​ ​to​ ​get​ ​at​ ​one​ ​another​ ​or​ ​at​ ​a​ ​certain​ ​objective. 
   
  Normally,​ ​it’s​ ​no​ ​big​ ​deal​ ​to​ ​move​ ​from​ ​one​ ​zone​ ​to​ ​another—​if​ ​there’s​ ​nothing​ ​preventing 
  you​ ​from​ ​doing​ ​so,​ ​you​ ​can​ ​move​ ​one​ ​zone​ ​in​ ​addition​ ​to​ ​your​ ​action​ ​for​ ​the​ ​exchange. 
  If​ ​you​ ​want​ ​to​ ​move​ ​more​ ​than​ ​one​ ​zone​ ​(up​ ​to​ ​anywhere​ ​else​ ​on​ ​the​ ​map),​ ​if​ ​a​ ​situation​ ​aspect 
  suggests​ ​that​ ​it​ ​might​ ​be​ ​difficult​ ​to​ ​move​ ​freely,​ ​or​ ​if​ ​another​ ​character​ ​is​ ​in​ ​your​ ​way,​ ​then​ ​you 
  must​ ​make​ ​an​ ​overcome​ ​action​ ​using​ ​Agility​ ​to​ ​move.​ ​This​ ​counts​ ​as​ ​your​ ​action​ ​for​ ​the 
  exchange. 
   
  GMs,​ ​just​ ​as​ ​with​ ​other​ ​overcome​ ​rolls,​ ​you’ll​ ​set​ ​the​ ​difficulty.​ ​You​ ​might​ ​use​ ​the​ ​number​ ​of 
  zones​ ​the​ ​character​ ​is​ ​moving​ ​or​ ​the​ ​situation​ ​aspects​ ​in​ ​the​ ​way​ ​as​ ​justification​ ​for​ ​how​ ​high 
  you​ ​set​ ​passive​ ​opposition.​ ​If​ ​another​ ​character​ ​is​ ​impeding​ ​the​ ​path,​ ​roll​ ​active​ ​opposition​ ​and 
  feel​ ​free​ ​to​ ​invoke​ ​obstructing​ ​situation​ ​aspects​ ​in​ ​aid​ ​of​ ​their​ ​defense. 
   
  If​ ​you​ ​fail​ ​that​ ​roll,​ ​whatever​ ​was​ ​impeding​ ​you​ ​keeps​ ​you​ ​from​ ​moving.​ ​If​ ​you​ ​tie,​ ​you​ ​get​ ​to 
  move,​ ​but​ ​your​ ​opponent​ ​takes​ ​a​ ​temporary​ ​advantage​ ​of​ ​some​ ​kind.​ ​If​ ​you​ ​succeed,​ ​you​ ​move 
  without​ ​consequence.​ ​If​ ​you​ ​succeed​ ​with​ ​style,​ ​you​ ​can​ ​claim​ ​a​ ​boost​ ​in​ ​addition​ ​to​ ​your 
  movement. 
   
  In​ ​our​ ​continuing​ ​warehouse​ ​conflict,​ ​Cynere​ ​wants​ ​to​ ​go​ ​after​ ​one​ ​of​ ​Og’s​ ​thugs,​ ​who​ ​has 
  started​ ​shooting​ ​arrows​ ​down​ ​from​ ​the​ ​second​ ​floor.​ ​That​ ​requires​ ​her​ ​to​ ​cross​ ​one​ ​zone​ ​to​ ​get 
  to​ ​the​ ​access​ ​ladder​ ​for​ ​the​ ​second​ ​floor,​ ​and​ ​then​ ​climb​ ​it,​ ​making​ ​her​ ​opponent​ ​two​ ​zones 
  away. 
   
  She’s​ ​currently​ ​mixing​ ​it​ ​up​ ​with​ ​a​ ​thug​ ​herself,​ ​whose​ ​Fight​ ​is​ ​at​ ​Excellent​ ​(+2). 
   
  Lily​ ​tells​ ​Amanda​ ​her​ ​intent,​ ​and​ ​Amanda​ ​says,​ ​“Okay,​ ​the​ ​thug​ ​you’re​ ​fighting​ ​is​ ​going​ ​to​ ​try 
  and​ ​keep​ ​you​ ​from​ ​getting​ ​away,​ ​so​ ​he’s​ ​going​ ​to​ ​provide​ ​active​ ​opposition.” 
   
  115 
  
  Cynere’s​ ​Agility​ ​is​ ​Incredible​ ​(+4).​ ​She​ ​rolls​ ​and​ ​gets​ ​+0,​ ​for​ ​a​ ​Incredible​ ​result.​ ​The​ ​thug​ ​rolls 
  his​ ​opposition,​ ​and​ ​rolls​ ​–1,​ ​for​ ​a​ ​result​ ​of​ ​Good​ ​(+1).​ ​That​ ​gives​ ​Cynere​ ​three​ ​shifts,​ ​and​ ​a 
  success​ ​with​ ​style. 
   
  Lily​ ​and​ ​Amanda​ ​describe​ ​Cynere​ ​faking​ ​out​ ​the​ ​thug,​ ​vaulting​ ​over​ ​a​ ​crate,​ ​and​ ​taking​ ​the 
  ladder​ ​two​ ​rungs​ ​at​ ​a​ ​time​ ​to​ ​get​ ​up​ ​top.​ ​She​ ​takes​ ​a​ ​boost,​ ​which​ ​she​ ​calls​ ​Momentum. 
  The​ ​thug​ ​up​ ​top​ ​swallows​ ​hard,​ ​bringing​ ​his​ ​crossbow​ ​to​ ​bear... 
  Advantages​ ​in​ ​a​ ​Conflict 
  Remember​ ​that​ ​aspects​ ​you​ ​create​ ​as​ ​advantages​ ​follow​ ​all​ ​the​ ​rules​ ​for​​ ​situation​ ​aspects​—the 
  GM​ ​can​ ​use​ ​them​ ​to​ ​justify​ ​overcome​ ​actions,​ ​they​ ​last​ ​until​ ​they’re​ ​made​ ​irrelevant​ ​or​ ​the​ ​scene 
  is​ ​over,​ ​and​ ​in​ ​some​ ​cases​ ​they​ ​represent​ ​as​ ​much​ ​a​ ​threat​ ​to​ ​you​ ​as​ ​an​ ​opponent. 
   
  When​ ​you​ ​create​ ​an​ ​advantage​ ​in​ ​a​ ​conflict,​ ​think​ ​about​ ​how​ ​long​ ​you​ ​want​ ​that​ ​aspect​ ​to​ ​stick 
  around​ ​and​ ​whom​ ​you​ ​want​ ​to​ ​have​ ​access​ ​to​ ​it.​ ​It’s​ ​difficult​ ​for​ ​anyone​ ​besides​ ​you​ ​and​ ​your 
  friends​ ​to​ ​justify​ ​using​ ​an​ ​advantage​ ​you​ ​stick​ ​to​ ​a​ ​character,​ ​but​ ​it’s​ ​also​ ​easier​ ​to​ ​justify​ ​getting 
  rid​ ​of​ ​it—one​ ​overcome​ ​action​ ​could​ ​undo​ ​it.​ ​It’s​ ​harder​ ​to​ ​justify​ ​getting​ ​rid​ ​of​ ​an​ ​aspect​ ​on​ ​the 
  environment​ ​(seriously,​ ​who​ ​is​ ​going​ ​to​ ​move​ ​that​ ​Huge​ ​Bookcase​ ​you​ ​just​ ​knocked​ ​over?),​ ​but 
  anyone​ ​in​ ​the​ ​scene​ ​could​ ​potentially​ ​find​ ​a​ ​reason​ ​to​ ​take​ ​advantage​ ​of​ ​it. 
  Cover​ ​Fire​ ​and​ ​Other​ ​Impositions 
  When​ ​you’re​ ​trying​ ​to​ ​prevent​ ​someone​ ​else​ ​from​ ​getting​ ​attacked,​ ​the​ ​main​ ​way​ ​to​ ​do​ ​it​ ​is​ ​by 
  creating​ ​an​ ​advantage.​ ​You​ ​can​ ​pass​ ​your​ ​buddy​ ​the​ ​invocation​ ​and​ ​make​ ​it​ ​harder​ ​to​ ​hit​ ​them. 
  You​ ​could​ ​also​ ​put​ ​yourself​ ​directly​ ​between​ ​the​ ​attack​ ​and​ ​the​ ​intended​ ​target,​ ​such​ ​that​ ​the 
  bad​ ​guy​ ​has​ ​to​ ​get​ ​through​ ​you​ ​to​ ​get​ ​to​ ​your​ ​buddy.​ ​Then​ ​you’re​ ​just​ ​defending​ ​as​ ​normal​ ​and 
  taking​ ​the​ ​health​ ​and​ ​consequences​ ​yourself. 
  If​ ​you​ ​want​ ​to​ ​defend​ ​other​ ​people​ ​without​ ​directly​ ​interposing​ ​yourself​ ​between​ ​them​ ​and​ ​the 
  attack,​ ​you’ll​ ​need​ ​a​ ​stunt. 
   
  In​ ​terms​ ​of​ ​options​ ​for​ ​advantages,​ ​the​ ​sky’s​ ​the​ ​limit.​ ​Pretty​ ​much​ ​any​ ​situational​ ​modifier​ ​you 
  can​ ​think​ ​of​ ​can​ ​be​ ​expressed​ ​as​ ​an​ ​advantage.​ ​If​ ​you’re​ ​stuck​ ​for​ ​an​ ​idea,​ ​here​ ​are​ ​some 
  examples: 
  ●
  Temporary​ ​Blinding​:​ ​Throwing​ ​sand​ ​or​ ​salt​ ​in​ ​the​ ​enemy’s​ ​eyes​ ​is​ ​a​ ​classic​ ​action 
  staple.​ ​This​ ​places​ ​a​ ​Blinded​ ​aspect​ ​on​ ​a​ ​target,​ ​which​ ​could​ ​require​ ​them​ ​to​ ​get​ ​rid​ ​of 
  the​ ​aspect​ ​with​ ​an​ ​overcome​ ​action​ ​before​ ​doing​ ​anything​ ​dependent​ ​on​ ​sight.​ ​Blinded 
  might​ ​also​ ​present​ ​opportunities​ ​for​ ​a​ ​compel,​ ​so​ ​keep​ ​in​ ​mind​ ​that​ ​your​ ​opponent​ ​can 
  take​ ​advantage​ ​of​ ​this​ ​to​ ​replenish​ ​fate​ ​points. 
  ●
  Disarming​:​ ​You​ ​knock​ ​an​ ​opponent’s​ ​weapon​ ​away,​ ​disarming​ ​them​ ​until​ ​they​ ​can 
  recover​ ​it.​ ​The​ ​target​ ​will​ ​need​ ​an​ ​overcome​ ​action​ ​to​ ​recover​ ​their​ ​weapon. 
  ●
  Positioning​:​ ​There​ ​are​ ​a​ ​lot​ ​of​ ​ways​ ​to​ ​use​ ​advantages​ ​to​ ​represent​ ​positioning,​ ​like 
  High​ ​Ground​ ​or​ ​Cornered​,​ ​which​ ​you​ ​can​ ​invoke​ ​to​ ​take​ ​advantage​ ​of​ ​that​ ​positioning​ ​as 
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  context​ ​demands. 
  ●
  Winded​ ​and​ ​Other​ ​Minor​ ​Hurts​:​ ​Some​ ​strikes​ ​in​ ​a​ ​fight​ ​are​ ​debilitating​ ​because​ ​they’re 
  painful,​ ​rather​ ​than​ ​because​ ​they​ ​cause​ ​injury.​ ​Nerve​ ​hits,​ ​groin​ ​shots,​ ​and​ ​a​ ​lot​ ​of​ ​other 
  “dirty​ ​fighting”​ ​tricks​ ​fall​ ​into​ ​this​ ​category.​ ​You​ ​can​ ​use​ ​an​ ​advantage​ ​to​ ​represent​ ​these, 
  sticking​ ​your​ ​opponent​ ​with​ ​Pain-Blindness​​ ​or​ ​Stunned​ ​or​ ​whatever,​ ​then​ ​following​ ​up 
  with​ ​an​ ​attack​ ​that​ ​exploits​ ​the​ ​aspect​ ​to​ ​do​ ​more​ ​lasting​ ​harm. 
  ●
  Taking​ ​Cover​:​ ​You​ ​can​ ​use​ ​advantages​ ​to​ ​represent​ ​positions​ ​of​ ​cover​ ​and​ ​invoke​ ​them 
  for​ ​your​ ​defense.​ ​This​ ​can​ ​be​ ​as​ ​general​ ​as​ ​Found​ ​Some​ ​Cover​ ​or​ ​as​ ​specific​ ​as​ ​Behind 
  the​ ​Big​ ​Oak​ ​Bar​. 
  ●
  Altering​ ​the​ ​Environment​:​ ​You​ ​can​ ​use​ ​advantages​ ​to​ ​alter​ ​the​ ​environment​ ​to​ ​your 
  benefit,​ ​creating​ ​barriers​ ​to​ ​movement​ ​by​ ​scattering​ ​Loose​ ​Junk​ ​everywhere,​ ​or​ ​setting 
  things​ ​On​ ​Fire​.​ ​That​ ​last​ ​one​ ​is​ ​a​ ​favorite​ ​in​ ​Fate. 
  Other​ ​Actions​ ​in​ ​a​ ​Conflict 
  As​ ​stated​ ​above,​ ​you​ ​may​ ​find​ ​yourself​ ​in​ ​a​ ​situation​ ​where​ ​you​ ​want​ ​to​ ​do​ ​something​ ​else​ ​while 
  your​ ​friends​ ​are​ ​fighting.​ ​You​ ​might​ ​be​ ​disarming​ ​a​ ​death​ ​trap,​ ​searching​ ​for​ ​a​ ​piece​ ​of 
  information,​ ​or​ ​checking​ ​for​ ​hidden​ ​assailants. 
   
  In​ ​order​ ​to​ ​do​ ​this,​ ​GMs,​ ​set​ ​the​ ​player​ ​up​ ​with​ ​a​ ​modified​ ​form​ ​of​ ​challenge.​ ​One​ ​of​ ​the​ ​tasks​ ​is 
  likely​ ​“defend​ ​yourself”—in​ ​any​ ​exchange​ ​where​ ​someone​ ​attacks​ ​you​ ​or​ ​tries​ ​to​ ​create​ ​an 
  advantage​ ​on​ ​you,​ ​you​ ​must​ ​defend​ ​successfully​ ​in​ ​order​ ​to​ ​be​ ​able​ ​to​ ​take​ ​one​ ​of​ ​the​ ​other 
  actions​ ​in​ ​the​ ​challenge.​ ​So​ ​long​ ​as​ ​no​ ​one​ ​has​ ​successfully​ ​attacked​ ​you​ ​or​ ​stuck​ ​an 
  advantage​ ​on​ ​you,​ ​you​ ​can​ ​use​ ​your​ ​action​ ​to​ ​roll​ ​for​ ​one​ ​of​ ​the​ ​challenge​ ​goals. 
  Free​ ​Actions 
  Sometimes​ ​it​ ​just​ ​makes​ ​sense​ ​that​ ​your​ ​character​ ​is​ ​doing​ ​something​ ​else​ ​in​ ​conjunction​ ​with 
  or​ ​as​ ​a​ ​step​ ​toward​ ​their​ ​action​ ​in​ ​an​ ​exchange.​ ​You​ ​quick-draw​ ​a​ ​weapon​ ​before​ ​you​ ​use​ ​it, 
  you​ ​shout​ ​a​ ​warning​ ​before​ ​you​ ​kick​ ​in​ ​a​ ​door,​ ​or​ ​you​ ​quickly​ ​size​ ​up​ ​a​ ​room​ ​before​ ​you​ ​attack. 
  These​ ​little​ ​bits​ ​of​ ​action​ ​are​ ​colorful​ ​description​ ​more​ ​than​ ​anything​ ​else,​ ​meant​ ​to​ ​add 
  atmosphere​ ​to​ ​the​ ​scene. 
   
  GMs,​ ​don’t​ ​fall​ ​into​ ​the​ ​trap​ ​of​ ​trying​ ​to​ ​police​ ​every​ ​little​ ​detail​ ​of​ ​a​ ​player’s​ ​description.  
   
  Remember,​ ​if​ ​there’s​ ​no​ ​significant​ ​or​ ​interesting​ ​opposition,​ ​you​ ​shouldn’t​ ​require​ ​a​ ​roll—just​ ​let 
  the​ ​players​ ​accomplish​ ​what​ ​they​ ​say​ ​they​ ​do.​ ​Reloading​ ​a​ ​gun​ ​or​ ​fishing​ ​for​ ​something​ ​in​ ​your 
  backpack​ ​is​ ​part​ ​of​ ​performing​ ​the​ ​action.​ ​You​ ​shouldn’t​ ​require​ ​any​ ​mechanics​ ​to​ ​deal​ ​with​ ​that. 
  Cynere​ ​is​ ​trying​ ​to​ ​get​ ​a​ ​door​ ​open​ ​so​ ​that​ ​she​ ​and​ ​her​ ​friends​ ​can​ ​escape​ ​into​ ​an​ ​ancient​ ​vault 
  rather​ ​than​ ​fighting​ ​off​ ​endless​ ​hordes​ ​of​ ​temple​ ​guardians. 
   
  Amanda​ ​says,​ ​“Well,​ ​let’s​ ​call​ ​it​ ​an​ ​Excellent​ ​(+2)​ ​Crafts​ ​action​ ​to​ ​get​ ​the​ ​door​ ​open,​ ​and​ ​an 
  Excellent​ ​(+2)​ ​Strength​ ​roll​ ​to​ ​push​ ​it​ ​open​ ​enough​ ​to​ ​slide​ ​through,​ ​because​ ​it’s​ ​one​ ​of​ ​those 
  heavy​ ​vault​ ​doors.​ ​The​ ​other​ ​action​ ​is​ ​defending​ ​yourself.” 
  117 
  
   
  On​ ​that​ ​exchange,​ ​Cynere​ ​successfully​ ​defends​ ​against​ ​an​ ​attack,​ ​so​ ​she​ ​uses​ ​her​ ​action​ ​to 
  pick​ ​the​ ​lock.​ ​She​ ​fails,​ ​and​ ​decides​ ​to​ ​succeed​ ​at​ ​a​ ​cost.​ ​Amanda​ ​figures​ ​the​ ​easiest​ ​thing​ ​is​ ​to 
  hit​ ​her​ ​with​ ​a​ ​consequence​ ​because​ ​she’s​ ​in​ ​a​ ​fight.​ ​So​ ​she​ ​gets​ ​the​ ​door​ ​open,​ ​but​ ​not​ ​before 
  one​ ​of​ ​the​ ​temple​ ​guardians​ ​gives​ ​her​ ​a​ ​Gouged​ ​Leg. 
   
  On​ ​the​ ​next​ ​exchange,​ ​she​ ​fails​ ​to​ ​defend​ ​against​ ​an​ ​attack,​ ​so​ ​she​ ​doesn’t​ ​get​ ​to​ ​roll​ ​for​ ​the 
  challenge. 
   
  On​ ​the​ ​third​ ​exchange,​ ​she​ ​defends​ ​and​ ​succeeds​ ​with​ ​style​ ​at​ ​the​ ​Strength​ ​roll​ ​to​ ​get​ ​the​ ​door 
  open.​ ​She​ ​signals​ ​to​ ​her​ ​friends​ ​and​ ​takes​ ​a​ ​Head​ ​Start​ ​boost,​ ​because​ ​it’s​ ​about​ ​to​ ​be​ ​a 
  chase… 
  Ending​ ​a​ ​Conflict 
  Under​ ​most​ ​circumstances,​ ​when​ ​all​ ​of​ ​the​ ​members​ ​of​ ​one​ ​side​ ​have​ ​either​ ​conceded​ ​the 
  conflict​ ​or​ ​have​ ​been​ ​taken​ ​out,​ ​the​ ​conflict​ ​is​ ​over. 
   
  GMs,​ ​once​ ​you​ ​know​ ​a​ ​conflict​ ​has​ ​definitively​ ​ended,​ ​you​ ​can​ ​pass​ ​out​ ​all​ ​the​ ​Karma​ ​earned 
  from​ ​concession.​ ​Players,​ ​take​ ​the​ ​Karma​ ​for​ ​when​ ​your​ ​aspects​ ​were​ ​invoked​ ​against​ ​you, 
  make​ ​a​ ​note​ ​of​ ​whatever​ ​consequences​ ​you​ ​suffered​ ​in​ ​the​ ​fight,​ ​and​ ​erase​ ​any​ ​checks​ ​in​ ​your 
  health​ ​boxes. 
   
  After​ ​much​ ​struggle​ ​and​ ​insanity,​ ​the​ ​warehouse​ ​conflict​ ​is​ ​finally​ ​over.​ ​Amanda​ ​concedes​ ​the 
  conflict​ ​on​ ​behalf​ ​of​ ​Og​ ​and​ ​his​ ​remaining​ ​thug,​ ​meaning​ ​that​ ​the​ ​PCs​ ​stay​ ​alive​ ​and​ ​can 
  proceed​ ​to​ ​check​ ​out​ ​the​ ​smuggled​ ​goods​ ​they​ ​were​ ​interested​ ​in. 
   
  Because​ ​it​ ​was​ ​a​ ​concession,​ ​Og​ ​gets​ ​away​ ​to​ ​fight​ ​another​ ​day.​ ​Because​ ​Lenny​ ​conceded​ ​to 
  Amanda​ ​in​ ​an​ ​earlier​ ​example,​ ​Og​ ​also​ ​gets​ ​away​ ​with​ ​Landon’s​ ​sword​ ​as​ ​a​ ​personal​ ​trophy. 
  Because​ ​Lenny​ ​conceded,​ ​he​ ​gets​ ​karma.​ ​One​ ​for​ ​conceding,​ ​and​ ​another​ ​two​ ​for​ ​the​ ​mild​ ​and 
  moderate​ ​consequences​ ​he​ ​took​ ​in​ ​the​ ​conflict.​ ​All​ ​the​ ​invocations​ ​used​ ​against​ ​him​ ​were​ ​free, 
  so​ ​that’s​ ​all​ ​he​ ​gets.​ ​Three​ ​Karma. 
   
  Ryan​ ​gets​ ​two​ ​fate​ ​points,​ ​because​ ​Amanda​ ​let​ ​one​ ​of​ ​the​ ​thugs​ ​invoke​ ​his​ ​Not​ ​the​ ​Face!​ ​twice 
  against​ ​him​ ​during​ ​the​ ​conflict. 
   
  Lily​ ​gets​ ​no​ ​fate​ ​points,​ ​because​ ​all​ ​the​ ​invocations​ ​against​ ​her​ ​were​ ​free,​ ​from​ ​advantages​ ​and 
  boosts.​ ​Because​ ​she​ ​won,​ ​she​ ​doesn’t​ ​get​ ​awarded​ ​for​ ​the​ ​consequences​ ​she​ ​took. 
  Transitioning​ ​to​ ​a​ ​Contest​ ​or​ ​Challenge 
  You​ ​may​ ​find​ ​yourself​ ​in​ ​a​ ​conflict​ ​scene​ ​where​ ​the​ ​participants​ ​are​ ​no​ ​longer​ ​interested​ ​in​ ​or 
  willing​ ​to​ ​harm​ ​one​ ​another,​ ​because​ ​of​ ​some​ ​change​ ​in​ ​the​ ​circumstances.​ ​If​ ​that​ ​happens,​ ​and 
  118 
  
  there’s​ ​still​ ​more​ ​to​ ​resolve,​ ​you​ ​can​ ​transition​ ​straight​ ​into​ ​a​ ​contest​ ​or​ ​challenge​ ​as​ ​you​ ​need. 
  In​ ​that​ ​case,​ ​hold​ ​off​ ​on​ ​awarding​ ​the​ ​end-of-conflict​ ​Karma​ ​and​ ​whatnot​ ​until​ ​you’ve​ ​also 
  resolved​ ​the​ ​contest​ ​or​ ​challenge. 
   
  In​ ​an​ ​earlier​ ​example,​ ​Cynere​ ​managed​ ​to​ ​get​ ​a​ ​vault​ ​door​ ​open​ ​so​ ​the​ ​three​ ​PCs​ ​could​ ​escape 
  an​ ​endless​ ​horde​ ​of​ ​temple​ ​guardians.​ ​They​ ​all​ ​decide​ ​to​ ​run​ ​and​ ​try​ ​to​ ​lose​ ​them. 
   
  Now,​ ​the​ ​guardians​ ​and​ ​the​ ​PCs​ ​have​ ​mutually​ ​opposing​ ​goals​ ​but​ ​can’t​ ​harm​ ​one​ ​another,​ ​so 
  now​ ​it’s​ ​a​ ​contest.​ ​Instead​ ​of​ ​running​ ​the​ ​next​ ​exchange,​ ​Amanda​ ​just​ ​starts​ ​setting​ ​up​ ​for​ ​the 
  chase. 
   
  Even​ ​though​ ​the​ ​PCs​ ​have​ ​some​ ​consequences​ ​and​ ​are​ ​due​ ​some​ ​fate​ ​points,​ ​they​ ​won’t​ ​get 
  them​ ​until​ ​after​ ​they​ ​get​ ​away,​ ​or​ ​if​ ​they​ ​get​ ​caught. 
   
  Teamwork 
  Characters​ ​can​ ​help​ ​each​ ​other​ ​out​ ​on​ ​actions.​ ​There​ ​are​ ​two​ ​versions​ ​of​ ​helping​ ​in 
  Fate—combining​ ​skills,​ ​for​ ​when​ ​you​ ​are​ ​all​ ​putting​ ​the​ ​same​ ​kind​ ​of​ ​effort​ ​into​ ​an​ ​action​ ​(like 
  using​ ​Strength​ ​together​ ​to​ ​push​ ​over​ ​a​ ​killer​ ​robot),​ ​and​ ​stacking​ ​advantages,​ ​for​ ​when​ ​the 
  group​ ​is​ ​setting​ ​a​ ​single​ ​person​ ​up​ ​to​ ​do​ ​well​ ​(like​ ​causing​ ​multiple​ ​distractions​ ​so​ ​one​ ​person 
  can​ ​use​ ​Stealth​ ​to​ ​get​ ​into​ ​a​ ​fortress). 
   
  When​ ​you​ ​combine​ ​skills,​ ​figure​ ​out​ ​who​ ​has​ ​the​ ​highest​ ​skill​ ​level​ ​among​ ​the​ ​participants.​ ​Each 
  other​ ​participant​ ​who​ ​has​ ​at​ ​least​ ​a​ ​Good​ ​(+1)​ ​in​ ​the​ ​same​ ​skill​ ​adds​ ​a​ ​+1​ ​to​ ​the​ ​highest 
  person’s​ ​skill​ ​level,​ ​and​ ​then​ ​only​ ​the​ ​lead​ ​character​ ​rolls.​ ​So​ ​if​ ​you​ ​have​ ​three​ ​helpers​ ​and 
  you’re​ ​the​ ​highest,​ ​you​ ​roll​ ​your​ ​skill​ ​level​ ​with​ ​a​ ​+3​ ​bonus. 
   
  If​ ​you​ ​fail​ ​a​ ​roll​ ​to​ ​combine​ ​skills,​ ​all​ ​of​ ​the​ ​participants​ ​share​ ​in​ ​the​ ​potential​ ​costs—whatever 
  complication​ ​affects​ ​one​ ​character​ ​affects​ ​all​ ​of​ ​them,​ ​or​ ​everyone​ ​has​ ​to​ ​take​ ​consequences. 
  Alternatively,​ ​you​ ​can​ ​impose​ ​a​ ​cost​ ​that​ ​affects​ ​all​ ​the​ ​characters​ ​the​ ​same. 
   
  Continuing​ ​with​ ​our​ ​temple​ ​chase​ ​example,​ ​because​ ​it’s​ ​group​ ​vs.​ ​group,​ ​everyone​ ​decides​ ​it’d 
  be​ ​easier​ ​to​ ​just​ ​combine​ ​skills. 
   
  Of​ ​the​ ​three​ ​PCs,​ ​Cynere​ ​has​ ​the​ ​highest​ ​Agility,​ ​at​ ​Incredible​ ​(+4).​ ​Landon​ ​has​ ​Remarkable 
  (+3)​ ​Agility​ ​and​ ​Zird​ ​has​ ​Good​ ​(+1)​ ​Agility,​ ​so​ ​they​ ​each​ ​contribute​ ​+1.​ ​Cynere​ ​rolls​ ​the​ ​contest 
  on​ ​behalf​ ​of​ ​the​ ​PCs​ ​at​ ​Monstrous​ ​(+6). 
   
  Amanda’s​ ​temple​ ​guardians​ ​only​ ​have​ ​Good​ ​(+1)​ ​Athletics,​ ​but​ ​there​ ​are​ ​five​ ​of​ ​them,​ ​so​ ​they 
  roll​ ​Amazing​ ​(+5)​ ​for​ ​the​ ​purposes​ ​of​ ​the​ ​contest. 
   
  When​ ​you​ ​stack​ ​advantages,​ ​each​ ​person​ ​takes​ ​a​ ​create​ ​an​ ​advantage​ ​action​ ​as​ ​usual,​ ​and 
  119 
  
  gives​ ​whatever​ ​free​ ​invocations​ ​they​ ​get​ ​to​ ​a​ ​single​ ​character.​ ​Remember​ ​that​ ​multiple​ ​free 
  invocations​ ​from​ ​the​ ​same​ ​aspect​ ​can​ ​stack. 
   
  Zird​ ​and​ ​Cynere​ ​want​ ​to​ ​set​ ​Landon​ ​up​ ​for​ ​an​ ​extremely​ ​big​ ​hit​ ​on​ ​Tremendor,​ ​the​ ​much-feared 
  giant​ ​of​ ​the​ ​Northern​ ​Wastes. 
   
  Both​ ​Cynere​ ​and​ ​Zird​ ​roll​ ​to​ ​create​ ​an​ ​advantage​ ​on​ ​their​ ​turns,​ ​resulting​ ​in​ ​three​ ​free 
  invocations​ ​on​ ​a​ ​Flashy​ ​Distraction​ ​they​ ​make​ ​from​ ​Zird’s​ ​magical​ ​fireworks​ ​(which​ ​succeeded 
  to​ ​create​ ​the​ ​advantage)​ ​and​ ​Cynere’s​ ​glancing​ ​hits​ ​(which​ ​succeeded​ ​with​ ​style​ ​to​ ​add​ ​two 
  more​ ​free​ ​invocations). 
   
  They​ ​pass​ ​those​ ​to​ ​Landon,​ ​and​ ​on​ ​his​ ​turn,​ ​he​ ​uses​ ​them​ ​all​ ​for​ ​a​ ​gigantic​ ​+6​ ​to​ ​his​ ​attack. 
   
  Running​ ​the​ ​Game 
  Contents 
  ●
  What​ ​the​ ​Gamemaster​ ​Does 
  ●
  Start​ ​and​ ​End​ ​Scenes 
  ●
  Play​ ​the​ ​World​ ​and​ ​the​ ​NPCs 
  ●
  Judge​ ​the​ ​Use​ ​of​ ​the​ ​Rules 
  ●
  Create​ ​Scenarios​ ​(and​ ​Nearly​ ​Everything​ ​Else) 
  What​ ​the​ ​Gamemaster​ ​Does 
  If​ ​you’re​ ​the​ ​gamemaster,​ ​then​ ​your​ ​job​ ​is​ ​a​ ​little​ ​different​ ​from​ ​everyone​ ​else’s.​ ​This​ ​section​ ​is 
  going​ ​to​ ​give​ ​you​ ​a​ ​bunch​ ​of​ ​tools​ ​to​ ​make​ ​that​ ​job​ ​easier​ ​during​ ​play. 
  The​ ​GM’s​ ​job​ ​was​ ​discussed​ ​a​ ​bit​ ​in​ ​The​ ​Basics​,​ ​but​ ​let’s​ ​take​ ​a​ ​more​ ​detailed​ ​look​ ​at​ ​your 
  unique​ ​responsibilities. 
  Start​ ​and​ ​End​ ​Scenes 
  One​ ​of​ ​your​ ​primary​ ​responsibilities​ ​during​ ​the​ ​game​ ​is​ ​to​ ​decide​ ​definitively​ ​when​ ​a​ ​scene 
  begins​ ​and​ ​ends.​ ​This​ ​might​ ​not​ ​seem​ ​like​ ​that​ ​big​ ​a​ ​deal,​ ​but​ ​it​ ​is,​ ​because​ ​it​ ​means​ ​that​ ​you’re 
  the​ ​person​ ​primarily​ ​responsible​ ​for​ ​the​ ​pacing​ ​of​ ​each​ ​session.​ ​If​ ​you​ ​start​ ​scenes​ ​too​ ​early,​ ​it 
  takes​ ​a​ ​long​ ​time​ ​to​ ​get​ ​to​ ​the​ ​main​ ​action.​ ​If​ ​you​ ​don’t​ ​end​ ​them​ ​soon​ ​enough,​ ​then​ ​they​ ​drag 
  on​ ​and​ ​it​ ​takes​ ​you​ ​a​ ​long​ ​time​ ​to​ ​get​ ​anything​ ​significant​ ​done. 
   
  The​ ​players​ ​will​ ​sometimes​ ​help​ ​you​ ​with​ ​this,​ ​if​ ​they’re​ ​keen​ ​on​ ​getting​ ​to​ ​the​ ​next​ ​bit​ ​of​ ​action, 
  but​ ​sometimes​ ​they’ll​ ​naturally​ ​be​ ​inclined​ ​to​ ​spend​ ​too​ ​much​ ​time​ ​bantering​ ​in​ ​character​ ​or 
  focusing​ ​on​ ​minutiae.​ ​When​ ​that​ ​happens,​ ​it’s​ ​your​ ​job​ ​to​ ​step​ ​in​ ​like​ ​a​ ​good​ ​movie​ ​editor​ ​and 
  120 
  
  say,​ ​“I​ ​think​ ​we’ve​ ​pretty​ ​much​ ​milked​ ​this​ ​scene​ ​for​ ​all​ ​it’s​ ​worth.​ ​What​ ​do​ ​we​ ​want​ ​to​ ​do​ ​next?” 
  We​ ​have​ ​more​ ​advice​ ​on​ ​starting​ ​and​ ​ending​ ​scenes​ ​in​ ​the​ ​next​ ​section,​​ ​Scenes,​ ​Sessions,​ ​& 
  Scenarios​. 
  Drama​ ​Is​ ​Better​ ​Than​ ​Realism 
  In​ ​Fate,​ ​don’t​ ​get​ ​too​ ​bogged​ ​down​ ​trying​ ​to​ ​maintain​ ​absolute​ ​consistency​ ​in​ ​the​ ​world​ ​or 
  adhere​ ​to​ ​a​ ​draconian​ ​sense​ ​of​ ​realism.​ ​The​ ​game​ ​operates​ ​by​ ​the​ ​rules​ ​of​ ​drama​ ​and​ ​fiction; 
  use​ ​that​ ​to​ ​your​ ​advantage.​ ​There​ ​should​ ​be​ ​very​ ​few​ ​moments​ ​in​ ​the​ ​game​ ​where​ ​the​ ​PCs​ ​are 
  free​ ​of​ ​conflicts​ ​or​ ​problems​ ​to​ ​deal​ ​with,​ ​even​ ​if​ ​it’d​ ​be​ ​more​ ​“realistic”​ ​for​ ​them​ ​to​ ​get​ ​a​ ​long 
  breather. 
  When​ ​you’re​ ​trying​ ​to​ ​decide​ ​what​ ​happens,​ ​and​ ​the​ ​answer​ ​that​ ​makes​ ​the​ ​most​ ​sense​ ​is​ ​also 
  kind​ ​of​ ​boring,​ ​go​ ​with​ ​something​ ​that’s​ ​more​ ​exciting​ ​than​ ​sensible!​ ​You​ ​can​ ​always​ ​find​ ​a​ ​way 
  later​ ​on​ ​to​ ​justify​ ​something​ ​that​ ​doesn’t​ ​make​ ​immediate​ ​sense. 
  Play​ ​the​ ​World​ ​and​ ​the​ ​NPCs 
  As​ ​the​ ​gamemaster,​ ​it’s​ ​your​ ​job​ ​to​ ​decide​ ​how​ ​everyone​ ​and​ ​everything​ ​else​ ​in​ ​the​ ​world 
  responds​ ​to​ ​what​ ​the​ ​PCs​ ​do,​ ​as​ ​well​ ​as​ ​what​ ​the​ ​PCs’​ ​environment​ ​is​ ​like.​ ​If​ ​a​ ​PC​ ​botches​ ​a 
  roll,​ ​you’re​ ​the​ ​one​ ​who​ ​gets​ ​to​ ​decide​ ​the​ ​consequences.​ ​When​ ​an​ ​NPC​ ​attempts​ ​to 
  assassinate​ ​a​ ​PC’s​ ​friend,​ ​you’re​ ​the​ ​one​ ​who​ ​gets​ ​to​ ​decide​ ​how​ ​they​ ​go​ ​about​ ​it.​ ​When​ ​the 
  PCs​ ​stroll​ ​up​ ​to​ ​a​ ​food​ ​vendor​ ​in​ ​a​ ​market,​ ​you​ ​get​ ​to​ ​decide​ ​what​ ​kind​ ​of​ ​day​ ​the​ ​vendor​ ​is 
  having,​ ​what​ ​kind​ ​of​ ​personality​ ​he​ ​or​ ​she​ ​has,​ ​what’s​ ​on​ ​sale​ ​that​ ​day.​ ​You​ ​determine​ ​the 
  weather​ ​when​ ​the​ ​PCs​ ​pull​ ​up​ ​to​ ​that​ ​dark​ ​cave. 
   
  Fortunately,​ ​you​ ​don’t​ ​have​ ​to​ ​do​ ​this​ ​in​ ​a​ ​vacuum—you​ ​have​ ​a​ ​lot​ ​of​ ​tools​ ​to​ ​help​ ​you​ ​decide 
  what​ ​would​ ​be​ ​appropriate.​ ​The​ ​process​ ​we​ ​outline​ ​in​​ ​Game​ ​Creation​ ​should​ ​provide​ ​you​ ​with​ ​a 
  lot​ ​of​ ​context​ ​about​ ​the​ ​game​ ​you’re​ ​running,​ ​whether​ ​that’s​ ​in​ ​the​ ​form​ ​of​ ​aspects​ ​like​ ​current 
  and​ ​impending​ ​issues,​ ​specific​ ​locations​ ​that​ ​you​ ​might​ ​visit,​ ​or​ ​NPCs​ ​with​ ​strong​ ​agendas​ ​that 
  you​ ​can​ ​use. 
   
  The​ ​PCs’​ ​aspects​ ​also​ ​help​ ​you​ ​decide​ ​how​ ​to​ ​make​ ​the​ ​world​ ​respond​ ​to​ ​them.​ ​As​ ​stated​ ​in​ ​the 
  Aspects​ ​and​ ​Fate​ ​Points​ ​section,​ ​the​ ​Making​ ​A​ ​Good​ ​Aspect​ ​section​ ​the​ ​best​ ​aspects​ ​have​ ​a 
  double​ ​edge​ ​to​ ​them.​ ​You​ ​have​ ​a​ ​lot​ ​of​ ​power​ ​to​ ​exploit​ ​that​ ​double​ ​edge​ ​by​ ​using​ ​event-based 
  compels.​ ​That​ ​way,​ ​you​ ​kill​ ​two​ ​birds​ ​with​ ​one​ ​stone—you​ ​add​ ​detail​ ​and​ ​surprise​ ​to​ ​your​ ​game 
  world,​ ​but​ ​you​ ​also​ ​keep​ ​the​ ​PCs​ ​at​ ​the​ ​center​ ​of​ ​the​ ​story​ ​you’re​ ​telling. 
   
  This​ ​facet​ ​of​ ​your​ ​job​ ​also​ ​means​ ​that​ ​when​ ​you​ ​have​ ​NPCs​ ​in​ ​a​ ​scene,​ ​you​ ​speak​ ​for​ ​and 
  make​ ​decisions​ ​for​ ​them​ ​like​ ​the​ ​players​ ​do​ ​for​ ​their​ ​PCs—you​ ​decide​ ​when​ ​they’re​ ​taking​ ​an 
  action​ ​that​ ​requires​ ​dice,​ ​and​ ​you​ ​follow​ ​the​ ​same​ ​rules​ ​the​ ​players​ ​do​ ​for​ ​determining​ ​how​ ​that 
  turns​ ​out.​ ​Your​ ​NPCs​ ​are​ ​going​ ​to​ ​be​ ​a​ ​little​ ​different​ ​than​ ​the​ ​PCs,​ ​however,​ ​depending​ ​on​ ​how 
  important​ ​they​ ​are​ ​to​ ​the​ ​story. 
  121 
  
  Let​ ​the​ ​Players​ ​Help​ ​You 
  You​ ​don’t​ ​have​ ​to​ ​shoulder​ ​the​ ​whole​ ​burden​ ​of​ ​making​ ​up​ ​world​ ​details​ ​yourself.​ ​Remember, 
  the​ ​more​ ​collaborative​ ​you​ ​get,​ ​the​ ​more​ ​emotional​ ​investment​ ​the​ ​players​ ​are​ ​going​ ​to​ ​have​ ​in 
  the​ ​result,​ ​because​ ​they​ ​shared​ ​in​ ​its​ ​creation. 
   
  If​ ​a​ ​character​ ​has​ ​an​ ​aspect​ ​that​ ​connects​ ​them​ ​to​ ​someone​ ​or​ ​something​ ​in​ ​the​ ​world,​ ​make 
  that​ ​player​ ​your​ ​resident​ ​“expert”​ ​on​ ​whatever​ ​the​ ​aspect​ ​refers​ ​to.​ ​So​ ​if​ ​someone​ ​has​ ​Scars 
  from​ ​the​ ​Great​ ​War,​ ​poll​ ​that​ ​player​ ​for​ ​information​ ​whenever​ ​the​ ​Great​ ​War​ ​comes​ ​up​ ​in 
  conversation.​ ​“You​ ​notice​ ​that​ ​this​ ​sergeant​ ​is​ ​wearing​ ​a​ ​veteran’s​ ​mark,​ ​which​ ​is​ ​a​ ​rare 
  decoration​ ​from​ ​the​ ​War.​ ​What​ ​hardcore​ ​crap​ ​do​ ​you​ ​have​ ​to​ ​do​ ​to​ ​get​ ​one​ ​of​ ​those?​ ​Do​ ​you 
  have​ ​one?”​ ​Some​ ​players​ ​will​ ​defer​ ​back​ ​to​ ​you,​ ​and​ ​that’s​ ​fine,​ ​but​ ​it’s​ ​important​ ​that​ ​you​ ​keep 
  making​ ​the​ ​offer​ ​so​ ​as​ ​to​ ​foster​ ​a​ ​collaborative​ ​atmosphere. 
   
  Also,​ ​one​ ​of​ ​the​ ​main​ ​uses​ ​of​ ​the​ ​create​ ​an​ ​advantage​ ​action​ ​is​ ​precisely​ ​to​ ​give​ ​players​ ​a​ ​way 
  to​ ​add​ ​details​ ​to​ ​the​ ​world​ ​through​ ​their​ ​characters.​ ​Use​ ​that​ ​to​ ​your​ ​advantage​ ​when​ ​you​ ​draw 
  a​ ​blank​ ​or​ ​simply​ ​want​ ​to​ ​delegate​ ​more​ ​control.​ ​One​ ​good​ ​way​ ​to​ ​do​ ​this​ ​during​ ​play​ ​is​ ​to 
  answer​ ​the​ ​player’s​ ​question​ ​with​ ​a​ ​question,​ ​if​ ​they​ ​ask​ ​for​ ​information. 
   
  Ryan:​ ​“Is​ ​there​ ​a​ ​way​ ​to​ ​disrupt​ ​this​ ​magical​ ​construct​ ​without​ ​killing​ ​the​ ​subjects​ ​trapped​ ​in​ ​it?” 
  Amanda:​ ​“Well,​ ​you​ ​know​ ​that​ ​it’s​ ​using​ ​their​ ​life​ ​force​ ​to​ ​power​ ​itself.​ ​If​ ​there​ ​were​ ​a​ ​way​ ​to​ ​do 
  that,​ ​what​ ​do​ ​you​ ​think​ ​it’d​ ​look​ ​like?​ ​I​ ​mean,​ ​you’re​ ​the​ ​expert​ ​wizard,​ ​you​ ​tell​ ​me.” 
  Ryan:​ ​“Hm...​ ​I​ ​think​ ​there’d​ ​be​ ​some​ ​kind​ ​of​ ​counter-incantation,​ ​like​ ​a​ ​failsafe​ ​mechanism​ ​in 
  case​ ​things​ ​go​ ​horribly​ ​wrong.” 
   
  Amanda:​ ​"Yeah,​ ​that​ ​sounds​ ​good.​ ​Roll​ ​Reason​ ​to​ ​see​ ​if​ ​that's​ ​there." 
  Judge​ ​the​ ​Use​ ​of​ ​the​ ​Rules 
  It’s​ ​also​ ​your​ ​job​ ​to​ ​make​ ​most​ ​of​ ​the​ ​moment-to-moment​ ​decisions​ ​about​ ​what’s​ ​legit​ ​and 
  what’s​ ​not​ ​regarding​ ​the​ ​rules.​ ​Most​ ​often,​ ​you’re​ ​going​ ​to​ ​decide​ ​when​ ​something​ ​in​ ​the​ ​game 
  deserves​ ​a​ ​roll,​ ​what​ ​type​ ​of​ ​action​ ​that​ ​is​ ​(overcome,​ ​attack,​ ​etc.)​ ​and​ ​how​ ​difficult​ ​that​ ​roll​ ​is.​ ​In 
  conflicts,​ ​this​ ​can​ ​get​ ​a​ ​little​ ​more​ ​complicated,​ ​like​ ​determining​ ​if​ ​a​ ​situation​ ​aspect​ ​should​ ​force 
  someone​ ​to​ ​make​ ​an​ ​overcome​ ​action,​ ​or​ ​deciding​ ​whether​ ​or​ ​not​ ​a​ ​player​ ​can​ ​justify​ ​a 
  particular​ ​advantage​ ​they’re​ ​trying​ ​to​ ​create. 
   
  You​ ​also​ ​judge​ ​the​ ​appropriateness​ ​of​ ​any​ ​invocations​ ​or​ ​compels​ ​that​ ​come​ ​up​ ​during​ ​play,​ ​like 
  we​ ​talked​ ​about​ ​in​ ​the​ ​Aspects​ ​and​ ​Karma​ ​section,​ ​and​ ​make​ ​sure​ ​that​ ​everyone​ ​at​ ​the​ ​table​ ​is 
  clear​ ​on​ ​what’s​ ​going​ ​on.​ ​With​ ​invocations,​ ​this​ ​is​ ​pretty​ ​easy—as​ ​long​ ​as​ ​the​ ​player​ ​can​ ​explain 
  why​ ​the​ ​aspect​ ​is​ ​relevant,​ ​you’re​ ​good​ ​to​ ​go.​ ​With​ ​compels,​ ​it​ ​can​ ​get​ ​a​ ​little​ ​more​ ​complicated, 
  because​ ​you​ ​need​ ​to​ ​articulate​ ​precisely​ ​what​ ​complication​ ​the​ ​player​ ​is​ ​agreeing​ ​to. 
  We​ ​provide​ ​some​ ​more​ ​tips​ ​on​ ​judging​ ​the​ ​use​ ​of​ ​rules​ ​below. 
  122 
  
  You're​ ​the​ ​Chairman,​ ​Not​ ​God 
  Approach​ ​your​ ​position​ ​as​ ​arbiter​ ​of​ ​the​ ​rules​ ​by​ ​thinking​ ​of​ ​yourself​ ​as​ ​“first​ ​among​ ​equals”​ ​in​ ​a 
  committee,​ ​rather​ ​than​ ​as​ ​an​ ​absolute​ ​authority.​ ​If​ ​there’s​ ​a​ ​disagreement​ ​on​ ​the​ ​use​ ​of​ ​the 
  rules,​ ​try​ ​encouraging​ ​a​ ​brief​ ​discussion​ ​and​ ​let​ ​everyone​ ​talk​ ​freely,​ ​rather​ ​than​ ​making​ ​a 
  unilateral​ ​decision.​ ​A​ ​lot​ ​of​ ​times,​ ​you’ll​ ​find​ ​that​ ​the​ ​group​ ​is​ ​self-policing—if​ ​someone​ ​tries​ ​to 
  throw​ ​out​ ​a​ ​compel​ ​that’s​ ​a​ ​real​ ​stretch,​ ​it’s​ ​just​ ​as​ ​likely​ ​that​ ​another​ ​player​ ​will​ ​bring​ ​it​ ​up 
  before​ ​you​ ​do. 
  Your​ ​job​ ​is​ ​really​ ​to​ ​have​ ​the​ ​“last​ ​word”​ ​on​ ​any​ ​rules-related​ ​subject,​ ​rather​ ​than​ ​to​ ​dictate​ ​from 
  your​ ​chair.​ ​Keep​ ​that​ ​in​ ​mind. 
  Create​ ​Scenarios​ ​(and​ ​Nearly​ ​Everything​ ​Else) 
  Finally,​ ​you’re​ ​responsible​ ​for​ ​making​ ​all​ ​of​ ​the​ ​stuff​ ​that​ ​the​ ​PCs​ ​encounter​ ​and​ ​react​ ​to​ ​in​ ​the 
  game.​ ​That​ ​not​ ​only​ ​includes​ ​NPCs​ ​with​ ​skills​ ​and​ ​aspects,​ ​but​ ​it​ ​also​ ​includes​ ​the​ ​aspects​ ​on 
  scenes,​ ​environments,​ ​and​ ​objects,​ ​as​ ​well​ ​as​ ​the​ ​dilemmas​ ​and​ ​challenges​ ​that​ ​make​ ​up​ ​a 
  scenario​ ​of​ ​Fate.​ ​You​ ​provide​ ​the​ ​prompts​ ​that​ ​give​ ​your​ ​group​ ​a​ ​reason​ ​to​ ​play​ ​this​ ​game​ ​to 
  begin​ ​with—what​ ​problems​ ​they​ ​face,​ ​what​ ​issues​ ​they​ ​have​ ​to​ ​resolve,​ ​whom​ ​they’re​ ​opposing, 
  and​ ​what​ ​they’ll​ ​have​ ​to​ ​go​ ​through​ ​in​ ​order​ ​to​ ​win​ ​the​ ​day. 
   
  This​ ​job​ ​gets​ ​a​ ​whole​ ​section​ ​all​ ​on​ ​its​ ​own.​ ​See​ ​Scenes,​ ​Sessions,​ ​and​ ​Scenarios​. 
   
  What​ ​To​ ​Do​ ​During​ ​Game​ ​Creation 
  Contents 
  ●
  Out​ ​There​ ​vs.​ ​Down​ ​Here 
  ●
  Top​ ​Down​ ​vs.​ ​Bottom​ ​Up 
  ●
  Small​ ​Scale​ ​vs.​ ​Large​ ​Scale 
  ●
  Extras:​ ​Do​ ​You​ ​Need​ ​Them? 
  As​ ​outlined​ ​in​ ​Game​ ​Creation​,​ ​inventing​ ​or​ ​deciding​ ​on​ ​a​ ​setting​ ​is​ ​often​ ​a​ ​collaborative​ ​effort 
  between​ ​you​ ​and​ ​your​ ​players.​ ​In​ ​that​ ​sense,​ ​the​ ​best​ ​thing​ ​you​ ​can​ ​do​ ​as​ ​GM​ ​during​ ​the 
  game-creation​ ​process​ ​is​ ​to​ ​be​ ​open​ ​to​ ​new​ ​ideas​ ​and​ ​be​ ​generous​ ​with​ ​your​ ​own,​ ​just​ ​like 
  everyone​ ​else.​ ​Play​ ​off​ ​of​ ​and​ ​expand​ ​upon​ ​the​ ​suggestions​ ​that​ ​the​ ​others​ ​offer​ ​up.​ ​Your 
  players​ ​will​ ​be​ ​more​ ​invested​ ​in​ ​the​ ​game​ ​if​ ​they​ ​feel​ ​like​ ​they’ve​ ​had​ ​a​ ​hand​ ​in​ ​building​ ​it. 
  Of​ ​course,​ ​if​ ​everyone’s​ ​amenable,​ ​there’s​ ​nothing​ ​stopping​ ​you​ ​from​ ​showing​ ​up​ ​with​ ​a​ ​clear 
  vision​ ​of​ ​exactly​ ​what​ ​you​ ​want​ ​to​ ​run.​ ​“Okay,​ ​this​ ​is​ ​going​ ​to​ ​be​ ​a​ ​game​ ​about​ ​the​ ​Cold​ ​War​ ​in 
  the​ ​‘60s,​ ​except​ ​it’s​ ​all​ ​steampunk​ ​and​ ​mechs.​ ​Go!”​ ​Just​ ​make​ ​sure​ ​everyone’s​ ​on​ ​board​ ​if​ ​you 
  go​ ​that​ ​route.​ ​Even​ ​one​ ​player​ ​who​ ​isn’t​ ​into​ ​it,​ ​and​ ​doesn’t​ ​really​ ​feel​ ​inclined​ ​to​ ​get​ ​into​ ​it,​ ​can 
  really​ ​affect​ ​the​ ​game. 
  123 
  
  Out​ ​There​ ​vs.​ ​Down​ ​Here 
  Speaking​ ​of​ ​steampunk​ ​mechs​ ​in​ ​a​ ​‘60s-era​ ​Soviet​ ​Union,​ ​it’s​ ​a​ ​good​ ​idea​ ​to​ ​consider​ ​just​ ​how 
  “out​ ​there”​ ​you​ ​want​ ​to​ ​get.​ ​High-concept​ ​ideas​ ​are​ ​a​ ​lot​ ​of​ ​fun,​ ​but​ ​if​ ​they’re​ ​too​ ​difficult​ ​to​ ​relate 
  to​ ​then​ ​your​ ​players​ ​may​ ​have​ ​trouble​ ​wrapping​ ​their​ ​heads​ ​around​ ​the​ ​game​ ​you’re​ ​proposing. 
  Where​ ​that​ ​line​ ​is​ ​exactly​ ​will​ ​vary​ ​from​ ​group​ ​to​ ​group​ ​(and​ ​player​ ​to​ ​player),​ ​so​ ​there’s​ ​no 
  definitive​ ​answer​ ​here.​ ​Just​ ​be​ ​aware​ ​that​ ​every​ ​departure​ ​from​ ​the​ ​familiar—whether​ ​that’s​ ​the 
  real​ ​world​ ​or​ ​well-established​ ​genre​ ​conventions—has​ ​the​ ​potential​ ​to​ ​be​ ​a​ ​conceptual​ ​hurdle 
  for​ ​your​ ​players.​ ​Get​ ​everyone​ ​on​ ​the​ ​same​ ​page​ ​and​ ​make​ ​sure​ ​to​ ​go​ ​over​ ​any​ ​questions​ ​in 
  advance. 
   
  The​ ​opposite​ ​approach​ ​is​ ​to​ ​set​ ​the​ ​game​ ​down​ ​here,​ ​in​ ​the​ ​real​ ​world,​ ​with​ ​perhaps​ ​only​ ​one​ ​or 
  two​ ​notable​ ​departures​ ​with​ ​greater​ ​ramifications​ ​that​ ​you​ ​can​ ​explore​ ​as​ ​you​ ​go.​ ​The​ ​easiest 
  way​ ​to​ ​communicate​ ​a​ ​setting​ ​like​ ​this​ ​is​ ​to​ ​name​ ​a​ ​time​ ​and​ ​place​ ​you’re​ ​all​ ​familiar​ ​with,​ ​then 
  tack​ ​on​ ​the​ ​exception.​ ​For​ ​example,​ ​“It’s​ ​like​ ​modern-day​ ​London,​ ​but​ ​robots​ ​are​ ​commonplace” 
  or​ ​“It’s​ ​post-World​ ​War​ ​II​ ​Los​ ​Angeles,​ ​but​ ​some​ ​returning​ ​veterans​ ​have​ ​supernatural​ ​powers.” 
  Top​ ​Down​ ​vs.​ ​Bottom​ ​Up 
  There’s​ ​also​ ​the​ ​matter​ ​of​ ​how​ ​broad​ ​the​ ​scope​ ​of​ ​the​ ​game​ ​will​ ​be.​ ​Some​ ​like​ ​to​ ​start​ ​with​ ​the 
  big​ ​picture​ ​first​ ​and​ ​drill​ ​down​ ​to​ ​the​ ​details,​ ​while​ ​others​ ​prefer​ ​to​ ​start​ ​with​ ​the​ ​here​ ​and​ ​now 
  and​ ​develop​ ​the​ ​big​ ​picture​ ​as​ ​they​ ​go.​ ​These​ ​are​ ​often​ ​called​ ​“top​ ​down”​ ​and​ ​“bottom​ ​up,” 
  respectively.​ ​Neither​ ​one’s​ ​better​ ​than​ ​the​ ​other,​ ​but​ ​each​ ​has​ ​its​ ​pros​ ​and​ ​cons. 
   
  With​ ​the​ ​top-down​ ​approach,​ ​you’ll​ ​determine​ ​most​ ​of​ ​the​ ​setting​ ​in​ ​advance—stuff​ ​like​ ​who​ ​the 
  movers​ ​and​ ​shakers​ ​are,​ ​the​ ​locations​ ​of​ ​important​ ​cities,​ ​the​ ​nature​ ​of​ ​important​ ​organizations, 
  and​ ​so​ ​on.​ ​This​ ​has​ ​the​ ​advantage​ ​of​ ​providing​ ​a​ ​clear​ ​sense​ ​of​ ​how​ ​the​ ​world​ ​fits​ ​together.​ ​For 
  example,​ ​if​ ​you’ve​ ​decided​ ​that​ ​the​ ​Kingdom​ ​of​ ​Talua​ ​is​ ​in​ ​a​ ​perpetual​ ​state​ ​of​ ​conflict​ ​between 
  five​ ​powerful​ ​Houses​ ​vying​ ​for​ ​control,​ ​then​ ​you​ ​know​ ​right​ ​away​ ​that​ ​anyone​ ​of​ ​note​ ​in​ ​the 
  kingdom​ ​is​ ​likely​ ​to​ ​come​ ​from​ ​one​ ​of​ ​those​ ​Houses—and​ ​if​ ​they​ ​aren’t,​ ​it’ll​ ​have​ ​to​ ​be​ ​for​ ​a​ ​very 
  good​ ​reason. 
  The​ ​downside,​ ​of​ ​course,​ ​is​ ​that​ ​unless​ ​you’re​ ​working​ ​from​ ​a​ ​pre-existing​ ​setting​ ​from​ ​a​ ​movie, 
  TV​ ​show,​ ​book,​ ​video​ ​game,​ ​or​ ​whatever,​ ​it’s​ ​usually​ ​a​ ​lot​ ​of​ ​work​ ​on​ ​the​ ​front​ ​end.​ ​It​ ​also 
  requires​ ​the​ ​players​ ​to​ ​show​ ​up​ ​with​ ​a​ ​pretty​ ​thorough​ ​understanding​ ​of​ ​it​ ​all,​ ​which​ ​can​ ​be 
  daunting.​ ​But​ ​if​ ​everyone’s​ ​up​ ​to​ ​speed,​ ​it​ ​can​ ​make​ ​for​ ​a​ ​very​ ​enjoyable​ ​and​ ​rewarding​ ​game. 
  If​ ​you’re​ ​going​ ​bottom-up,​ ​though,​ ​you’ll​ ​start​ ​with​ ​whatever’s​ ​immediately​ ​important​ ​to​ ​the​ ​PCs. 
  That​ ​might​ ​be​ ​anything​ ​from​ ​a​ ​few​ ​notable​ ​NPCs​ ​in​ ​their​ ​hometown​ ​to​ ​the​ ​name​ ​of​ ​the​ ​guy​ ​who 
  works​ ​in​ ​the​ ​next​ ​cubicle​ ​over.​ ​Then​ ​the​ ​group​ ​figures​ ​out​ ​the​ ​details​ ​as​ ​the​ ​story​ ​goes​ ​along. 
  There’s​ ​no​ ​need​ ​to​ ​have​ ​an​ ​idea​ ​of​ ​how​ ​things​ ​fit​ ​into​ ​the​ ​world,​ ​because​ ​everyone​ ​will​ ​make 
  that​ ​up​ ​as​ ​you​ ​go.​ ​The​ ​world​ ​just​ ​spirals​ ​out​ ​from​ ​whatever​ ​you​ ​start​ ​with. 
   
  The​ ​potential​ ​downside​ ​here​ ​is​ ​that​ ​it​ ​requires​ ​quite​ ​a​ ​bit​ ​of​ ​improvisation​ ​and​ ​thinking​ ​on​ ​your 
  124 
  
  feet.​ ​That​ ​goes​ ​for​ ​everyone​ ​at​ ​the​ ​table,​ ​GM​ ​and​ ​players​ ​alike.​ ​For​ ​you,​ ​the​ ​GM,​ ​that​ ​might​ ​not 
  be​ ​such​ ​a​ ​big​ ​deal—running​ ​a​ ​game​ ​almost​ ​always​ ​involves​ ​a​ ​degree​ ​of​ ​flying​ ​by​ ​the​ ​seat​ ​of 
  one’s​ ​pants—but​ ​not​ ​all​ ​players​ ​are​ ​going​ ​to​ ​be​ ​ready​ ​for​ ​that​ ​sort​ ​of​ ​responsibility.​ ​In​ ​addition,​ ​if 
  your​ ​players​ ​like​ ​to​ ​immerse​ ​themselves​ ​in​ ​their​ ​characters​ ​and​ ​see​ ​the​ ​game​ ​world​ ​through 
  their​ ​eyes,​ ​they​ ​may​ ​find​ ​it​ ​jarring​ ​to​ ​occasionally​ ​break​ ​from​ ​that​ ​perspective​ ​to,​ ​say,​ ​invent​ ​a 
  name​ ​on​ ​the​ ​spot​ ​for​ ​the​ ​enchanted​ ​axe​ ​they​ ​just​ ​found​ ​or​ ​tell​ ​you​ ​what​ ​happened​ ​to​ ​the​ ​last 
  Shadow​ ​Director​ ​of​ ​the​ ​CIA. 
   
  Fate​ ​can​ ​handle​ ​either,​ ​but​ ​the​ ​system’s​ ​support​ ​for​ ​player-driven​ ​contributions​ ​to​ ​the​ ​narrative 
  in​ ​the​ ​form​ ​of​ ​aspects​ ​and​ ​story​ ​details​ ​really​ ​makes​ ​the​ ​bottom-up​ ​method​ ​sing.​ ​If​ ​that’s​ ​the 
  way​ ​you​ ​like​ ​to​ ​play​ ​anyway,​ ​great!​ ​If​ ​not,​ ​no​ ​pressure—but​ ​give​ ​it​ ​a​ ​try​ ​sometime. 
  Small​ ​Scale​ ​vs.​ ​Large​ ​Scale 
  There’s​ ​already​ ​been​ ​some​ ​discussion​ ​of​ ​Game​ ​Scale​ ​in​ ​Game​ ​Creation,​ ​but​ ​it’s​ ​worth​ ​a​ ​little 
  more​ ​discussion. 
  As​ ​laid​ ​out​ ​in​ ​that​ ​section,​ ​small-scale​ ​stories​ ​concern​ ​events​ ​closely​ ​connected​ ​to​ ​the​ ​PCs,​ ​and 
  probably​ ​within​ ​a​ ​very​ ​limited​ ​geographical​ ​area.​ ​Large-scale​ ​games​ ​are​ ​the​ ​opposite:​ ​epic​ ​tales 
  spanning​ ​nations,​ ​planets,​ ​or​ ​galaxies​ ​with​ ​world(s)-shaking​ ​consequences.​ ​Both​ ​types​ ​of 
  stories​ ​can​ ​be​ ​a​ ​lot​ ​of​ ​fun—winning​ ​the​ ​title​ ​of​ ​Grand​ ​Emperor​ ​of​ ​the​ ​Galactic​ ​Reach​ ​can​ ​be​ ​just 
  as​ ​rewarding​ ​as​ ​winning​ ​the​ ​hand​ ​of​ ​the​ ​prettiest​ ​girl​ ​in​ ​the​ ​village. 
  However,​ ​don’t​ ​be​ ​fooled​ ​into​ ​thinking​ ​the​ ​two​ ​are​ ​mutually​ ​exclusive.​ ​Here​ ​are​ ​a​ ​couple​ ​ways​ ​to 
  combine​ ​them. 
  ●
  Start​ ​Small​ ​and​ ​Grow​:​ ​This​ ​is​ ​the​ ​classic​ ​zero-to-hero​ ​story​ ​in​ ​which​ ​an​ ​unassuming 
  individual​ ​with​ ​no​ ​pretensions​ ​to​ ​glory​ ​is​ ​suddenly​ ​swept​ ​up​ ​in​ ​events​ ​beyond​ ​the​ ​scope 
  of​ ​his​ ​experience.​ ​Consider​ ​Luke​ ​Skywalker​ ​in​ ​Star​ ​Wars:​ ​A​ ​New​ ​Hope.​ ​He​ ​starts​ ​off​ ​a 
  nobody​ ​moisture​ ​farmer,​ ​racing​ ​T-16s​ ​and​ ​getting​ ​up​ ​to​ ​the​ ​odd​ ​bit​ ​of​ ​mischief​ ​at​ ​Tosche 
  Station.​ ​Then​ ​a​ ​pair​ ​of​ ​droids​ ​come​ ​into​ ​his​ ​life​ ​and​ ​inject​ ​a​ ​little​ ​mystery:​ ​Who’s​ ​this 
  Obi-Wan​ ​Kenobi?​ ​Before​ ​he​ ​knows​ ​it,​ ​he’s​ ​consorting​ ​with​ ​smugglers,​ ​rescuing​ ​a 
  princess,​ ​and​ ​striking​ ​a​ ​blow​ ​for​ ​the​ ​Rebellion.​ ​It’s​ ​a​ ​classic​ ​case​ ​of​ ​starting​ ​small-scale 
  and​ ​expanding​ ​into​ ​a​ ​large-scale​ ​story. 
  ●
  Peaks​ ​and​ ​Valleys​:​ ​Here,​ ​you’re​ ​alternating​ ​the​ ​large-scale​ ​with​ ​the​ ​small,​ ​using​ ​the 
  latter​ ​almost​ ​as​ ​something​ ​of​ ​a​ ​breather.​ ​Typically,​ ​the​ ​large-scale​ ​storylines​ ​will​ ​deal 
  with​ ​matters​ ​of​ ​state,​ ​the​ ​conquering​ ​of​ ​planets,​ ​the​ ​banishing​ ​of​ ​unthinkable​ ​Beings 
  From​ ​Beyond,​ ​and​ ​the​ ​like,​ ​while​ ​the​ ​small-scale​ ​storylines​ ​will​ ​be​ ​of​ ​a​ ​more​ ​personal 
  nature,​ ​with​ ​few​ ​if​ ​any​ ​connections​ ​to​ ​the​ ​earth-shaking​ ​events​ ​transpiring​ ​in​ ​the 
  characters’​ ​lives.​ ​For​ ​example,​ ​you​ ​might​ ​spend​ ​a​ ​session​ ​or​ ​two​ ​tussling​ ​with​ ​that 
  Grand​ ​Emperor,​ ​then​ ​change​ ​focus​ ​to​ ​a​ ​character​ ​reconnecting​ ​with​ ​her​ ​father​ ​or​ ​coming 
  to​ ​the​ ​aid​ ​of​ ​a​ ​friend​ ​in​ ​need.​ ​The​ ​small-scale​ ​sessions​ ​serve​ ​as​ ​something​ ​of​ ​a​ ​breather 
  between​ ​all​ ​that​ ​epic​ ​action,​ ​and​ ​give​ ​the​ ​players​ ​a​ ​chance​ ​to​ ​delve​ ​into​ ​some 
  unexplored​ ​corners​ ​of​ ​their​ ​characters.​ ​Plus,​ ​if​ ​you​ ​want​ ​to​ ​connect​ ​the​ ​small-​ ​and 
  large-scale​ ​stories​ ​down​ ​the​ ​line,​ ​you​ ​can—and​ ​the​ ​payoff​ ​will​ ​be​ ​all​ ​the​ ​more​ ​satisfying 
  for​ ​the​ ​players. 
  125 
  
  Extras:​ ​Do​ ​You​ ​Need​ ​Them? 
  Does​ ​your​ ​setting​ ​require​ ​things​ ​like​ ​superpowers,​ ​magic,​ ​high-tech​ ​gadgetry,​ ​or​ ​something​ ​else 
  that​ ​falls​ ​outside​ ​the​ ​confines​ ​of​ ​the​ ​mundane?​ ​Either​ ​way,​ ​you’re​ ​going​ ​to​ ​want​ ​to​ ​figure​ ​that 
  out​ ​now,​ ​before​ ​play​ ​begins.​ ​See​ ​the​ ​Extras​ ​section​ ​for​ ​more​ ​on​ ​what​ ​extras​ ​are​ ​and​ ​how​ ​you 
  can​ ​make​ ​use​ ​of​ ​them​ ​in​ ​your​ ​game. 
   
   
  What​ ​To​ ​Do​ ​During​ ​Play 
  Contents 
  ●
  The​ ​Golden​ ​Rule 
  ●
  When​ ​to​ ​Roll​ ​Dice 
  ●
  Making​ ​Failure​ ​Awesome 
  ●
  Setting​ ​Difficulties 
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  Dealing​ ​with​ ​Extraordinary​ ​Success 
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  Dealing​ ​with​ ​Time 
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  Judging​ ​the​ ​Use​ ​of​ ​Skills​ ​and​ ​Stunts 
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  Dealing​ ​with​ ​Conflicts​ ​and​ ​Other​ ​Weird​ ​Stuff 
  ●
  Dealing​ ​with​ ​Aspects 
  Now​ ​that​ ​you’ve​ ​gone​ ​through​ ​the​ ​process​ ​of​ ​game​ ​creation​ ​with​ ​the​ ​players,​ ​let’s​ ​take​ ​a 
  detailed​ ​look​ ​at​ ​how​ ​to​ ​approach​ ​your​ ​various​ ​jobs​ ​during​ ​a​ ​session​ ​of​ ​play. 
  The​ ​Golden​ ​Rule 
  Before​ ​going​ ​into​ ​specifics,​ ​here’s​ ​our​ ​general​ ​Golden​ ​Rule​ ​of​ ​Fate: 
  ●
  Decide​ ​what​ ​you’re​ ​trying​ ​to​ ​accomplish​ ​first,​ ​then​ ​consult​ ​the​ ​rules​ ​to​ ​help​ ​you 
  do​ ​it. 
  This​ ​might​ ​seem​ ​like​ ​common​ ​sense,​ ​but​ ​it​ ​is​ ​called​ ​out​ ​because​ ​the​ ​order​ ​is​ ​important.​ ​In​ ​other 
  words,​ ​don’t​ ​look​ ​at​ ​the​ ​rules​ ​as​ ​a​ ​straitjacket​ ​or​ ​a​ ​hard​ ​limit​ ​on​ ​an​ ​action.​ ​Instead,​ ​use​ ​them​ ​as 
  a​ ​variety​ ​of​ ​potential​ ​tools​ ​to​ ​model​ ​whatever​ ​you’re​ ​trying​ ​to​ ​do.​ ​Your​ ​intent,​ ​whatever​ ​it​ ​is, 
  always​ ​takes​ ​precedence​ ​over​ ​the​ ​mechanics. 
   
  Most​ ​of​ ​the​ ​time,​ ​the​ ​very​ ​definition​ ​of​ ​an​ ​action​ ​makes​ ​this​ ​easy—any​ ​time​ ​your​ ​intent​ ​is​ ​to 
  harm​ ​someone,​ ​you​ ​know​ ​that’s​ ​an​ ​attack.​ ​Any​ ​time​ ​you’re​ ​trying​ ​to​ ​avoid​ ​harm,​ ​you​ ​know​ ​that’s 
  a​ ​defense. 
   
  But​ ​sometimes,​ ​you’re​ ​going​ ​to​ ​get​ ​into​ ​situations​ ​where​ ​it’s​ ​not​ ​immediately​ ​clear​ ​what​ ​type​ ​of 
  action​ ​is​ ​the​ ​most​ ​appropriate.​ ​As​ ​a​ ​GM,​ ​don’t​ ​respond​ ​to​ ​these​ ​situations​ ​by​ ​forbidding​ ​the 
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  action.​ ​Instead,​ ​try​ ​to​ ​nail​ ​down​ ​a​ ​specific​ ​intent,​ ​in​ ​order​ ​to​ ​point​ ​more​ ​clearly​ ​to​ ​one​ ​(or​ ​more) 
  of​ ​the​ ​basic​ ​game​ ​actions. 
  The​ ​Silver​ ​Rule 
  The​ ​corollary​ ​to​ ​the​ ​Golden​ ​Rule​ ​is​ ​as​ ​follows:​ ​Never​ ​let​ ​the​ ​rules​ ​get​ ​in​ ​the​ ​way​ ​of​ ​what​ ​makes 
  narrative​ ​sense.​ ​If​ ​you​ ​or​ ​the​ ​players​ ​narrate​ ​something​ ​in​ ​the​ ​game​ ​and​ ​it​ ​makes​ ​sense​ ​to 
  apply​ ​a​ ​certain​ ​rule​ ​outside​ ​of​ ​the​ ​normal​ ​circumstances​ ​where​ ​you​ ​would​ ​do​ ​so,​ ​go​ ​ahead​ ​and 
  do​ ​it. 
  The​ ​most​ ​common​ ​example​ ​of​ ​this​ ​has​ ​to​ ​do​ ​with​​ ​Health​ ​&​ ​Consequences​.​ ​The​ ​rules​ ​say​ ​that 
  by​ ​default,​ ​a​ ​consequence​ ​is​ ​something​ ​a​ ​player​ ​chooses​ ​to​ ​take​ ​after​ ​getting​ ​hit​ ​by​ ​an​ ​attack​ ​in 
  a​ ​conflict. 
   
  But​ ​say​ ​you’re​ ​in​ ​a​ ​scene​ ​where​ ​a​ ​player​ ​decides​ ​that,​ ​as​ ​part​ ​of​ ​trying​ ​to​ ​intimidate​ ​his​ ​way 
  past​ ​someone,​ ​his​ ​PC​ ​is​ ​going​ ​to​ ​punch​ ​through​ ​a​ ​glass-top​ ​table​ ​with​ ​a​ ​bare​ ​fist. 
   
  Everyone​ ​likes​ ​the​ ​idea​ ​and​ ​thinks​ ​it’s​ ​cool,​ ​so​ ​no​ ​one’s​ ​interested​ ​in​ ​what​ ​happens​ ​if​ ​the​ ​PC 
  fails​ ​the​ ​roll.​ ​However,​ ​everyone​ ​agrees​ ​that​ ​it​ ​also​ ​makes​ ​sense​ ​that​ ​the​ ​PC​ ​would​ ​injure​ ​his 
  hand​ ​in​ ​the​ ​process​ ​(which​ ​is​ ​part​ ​of​ ​what​ ​makes​ ​it​ ​intimidating). 
   
  It’s​ ​totally​ ​fine​ ​to​ ​assign​ ​a​ ​mild​ ​consequence​ ​of​ ​Glass​ ​in​ ​My​ ​Hand​ ​in​ ​that​ ​case,​ ​because​ ​it​ ​fits 
  with​ ​the​ ​narration,​ ​even​ ​though​ ​there’s​ ​no​ ​conflict​ ​and​ ​nothing​ ​technically​ ​attacked​ ​the​ ​PC. 
  As​ ​with​ ​the​ ​Golden​ ​Rule,​ ​make​ ​sure​ ​everyone’s​ ​on​ ​the​ ​same​ ​page​ ​before​ ​you​ ​do​ ​stuff​ ​like​ ​this. 
  Due​ ​to​ ​a​ ​failure​ ​on​ ​a​ ​previous​ ​roll,​ ​Cynere​ ​has​ ​accidentally​ ​set​ ​off​ ​a​ ​deadly​ ​magical​ ​trap​ ​while​ ​in 
  pursuit​ ​of​ ​the​ ​Idol​ ​of​ ​Karlon-Kar,​ ​an​ ​ancient​ ​god​ ​of​ ​destruction.​ ​Amanda​ ​describes​ ​the​ ​hall​ ​as 
  continually​ ​filled​ ​with​ ​fiery​ ​bolts​ ​of​ ​death,​ ​seemingly​ ​in​ ​a​ ​random​ ​configuration,​ ​with​ ​the​ ​pedestal 
  holding​ ​the​ ​idol​ ​located​ ​on​ ​the​ ​far​ ​end​ ​of​ ​the​ ​hall​ ​from​ ​where​ ​Cynere’s​ ​currently​ ​standing. 
   
  Lily​ ​says,​ ​“Well,​ ​there’s​ ​nothing​ ​for​ ​it.​ ​I’m​ ​going​ ​after​ ​the​ ​idol.​ ​I​ ​take​ ​off​ ​down​ ​the​ ​hall,​ ​keeping 
  my​ ​eye​ ​out​ ​for​ ​fiery​ ​death​ ​bolts.” 
   
  Amanda​ ​thinks,​ ​because​ ​she​ ​knows​ ​that​ ​dice​ ​are​ ​going​ ​to​ ​have​ ​to​ ​come​ ​out​ ​on​ ​this.​ ​If​ ​Cynere​ ​is 
  moving​ ​through​ ​the​ ​hall,​ ​it​ ​looks​ ​most​ ​like​ ​an​ ​overcome​ ​action​ ​to​ ​do​ ​the​ ​movement.​ ​But​ ​with​ ​the 
  fiery​ ​death​ ​bolts​ ​in​ ​the​ ​room,​ ​it​ ​seems​ ​more​ ​like​ ​Lily​ ​would​ ​need​ ​to​ ​defend​ ​herself.​ ​There​ ​are 
  also​ ​two​ ​ways​ ​she​ ​could​ ​handle​ ​the​ ​trap—it’s​ ​technically​ ​just​ ​passive​ ​opposition​ ​against​ ​Lily​ ​to 
  prevent​ ​her​ ​passing​ ​through​ ​the​ ​room​ ​safely,​ ​but​ ​because​ ​it​ ​can​ ​do​ ​damage,​ ​it​ ​seems​ ​more​ ​like 
  an​ ​attack. 
   
  So​ ​Amanda​ ​asks,​ ​“Lily,​ ​we​ ​need​ ​to​ ​go​ ​to​ ​dice,​ ​but​ ​what​ ​exactly​ ​do​ ​you​ ​want​ ​to​ ​accomplish 
  here?​ ​Are​ ​you​ ​mainly​ ​trying​ ​to​ ​make​ ​sure​ ​you​ ​don’t​ ​get​ ​hit,​ ​or​ ​are​ ​you​ ​blasting​ ​through​ ​the​ ​hall 
  to​ ​get​ ​to​ ​the​ ​idol?” 
   
  Lily​ ​doesn’t​ ​hesitate.​ ​“Oh,​ ​the​ ​idol,​ ​for​ ​sure.” 
  127 
  
   
  Amanda​ ​asks,​ ​“So​ ​you’re​ ​willing​ ​to​ ​take​ ​damage​ ​in​ ​the​ ​process?” 
   
  Lily​ ​says,​ ​“Yeah.​ ​Throwing​ ​myself​ ​into​ ​danger​ ​as​ ​usual.” 
   
  Amanda​ ​says,​ ​“Okay,​ ​so​ ​we​ ​can​ ​do​ ​it​ ​in​ ​one​ ​roll.​ ​Here’s​ ​how​ ​we’ll​ ​handle​ ​it.​ ​You​ ​roll​ ​Agility 
  against​ ​Monstrous​ ​(+6)​ ​opposition.​ ​If​ ​you​ ​make​ ​it,​ ​you’re​ ​through​ ​the​ ​trap​ ​and​ ​don’t​ ​take​ ​any 
  harm. 
   
  If​ ​you​ ​don’t​ ​make​ ​it,​ ​you’re​ ​stuck​ ​in​ ​the​ ​hallway​ ​and​ ​will​ ​have​ ​to​ ​try​ ​again​ ​to​ ​make​ ​it​ ​all​ ​the​ ​way 
  through.​ ​We’re​ ​also​ ​going​ ​to​ ​treat​ ​that​ ​failure​ ​like​ ​a​ ​failed​ ​defense​ ​roll,​ ​so​ ​you’re​ ​going​ ​to​ ​take​ ​a 
  hit​ ​as​ ​well.​ ​Because​ ​of​ ​all​ ​the​ ​fiery​ ​death​ ​and​ ​whatnot.” 
   
  Lily​ ​winces,​ ​but​ ​nods​ ​and​ ​gathers​ ​up​ ​her​ ​dice. 
   
  In​ ​this​ ​example,​ ​Amanda​ ​combined​ ​effects​ ​from​ ​overcome​ ​and​ ​defend​ ​to​ ​determine​ ​what 
  happens​ ​to​ ​Cynere.​ ​This​ ​is​ ​totally​ ​okay,​ ​because​ ​it​ ​fits​ ​their​ ​intent​ ​and​ ​it​ ​makes​ ​sense​ ​given​ ​the 
  situation​ ​they​ ​described.​ ​She​ ​might​ ​have​ ​decided​ ​to​ ​do​ ​both​ ​rolls​ ​separately,​ ​and​ ​that​ ​would 
  have​ ​been​ ​fine​ ​too—she​ ​just​ ​wanted​ ​to​ ​get​ ​it​ ​all​ ​into​ ​one​ ​roll. 
   
  If​ ​you’re​ ​ever​ ​in​ ​doubt​ ​during​ ​play,​ ​come​ ​back​ ​to​ ​the​ ​Golden​ ​Rule​ ​and​ ​remember​ ​that​ ​you​ ​have 
  the​ ​flexibility​ ​to​ ​do​ ​the​ ​same​ ​kind​ ​of​ ​thing​ ​as​ ​you​ ​need​ ​to.​ ​Just​ ​make​ ​sure​ ​that​ ​when​ ​you​ ​do​ ​this, 
  you​ ​and​ ​the​ ​players​ ​are​ ​on​ ​the​ ​same​ ​page. 
  When​ ​to​ ​Roll​ ​Dice 
  Roll​ ​the​ ​dice​ ​when​ ​succeeding​ ​or​ ​failing​ ​at​ ​the​ ​action​ ​could​ ​each​ ​contribute​ ​something 
  interesting​ ​to​ ​the​ ​game. 
   
  This​ ​is​ ​pretty​ ​easy​ ​to​ ​figure​ ​out​ ​in​ ​regards​ ​to​ ​success,​ ​most​ ​of​ ​the​ ​time—the​ ​PCs​ ​overcome​ ​a 
  significant​ ​obstacle,​ ​win​ ​a​ ​conflict,​ ​or​ ​succeed​ ​at​ ​a​ ​goal,​ ​which​ ​creates​ ​fodder​ ​for​ ​the​ ​next​ ​thing. 
  With​ ​failure,​ ​however,​ ​it’s​ ​a​ ​little​ ​more​ ​difficult,​ ​because​ ​it’s​ ​easy​ ​to​ ​look​ ​at​ ​failure​ ​in​ ​strictly 
  negative​ ​terms—you​ ​fail,​ ​you​ ​lose,​ ​you​ ​don’t​ ​get​ ​what​ ​you​ ​want.​ ​If​ ​there’s​ ​nothing​ ​to​ ​build​ ​on 
  after​ ​that​ ​failure,​ ​play​ ​can​ ​grind​ ​to​ ​a​ ​halt​ ​in​ ​a​ ​hurry. 
   
  The​ ​worst,​ ​worst​ ​thing​ ​you​ ​can​ ​do​ ​is​ ​have​ ​a​ ​failed​ ​roll​ ​that​ ​means​ ​nothing​ ​happens—no​ ​new 
  knowledge,​ ​no​ ​new​ ​course​ ​of​ ​action​ ​to​ ​take,​ ​and​ ​no​ ​change​ ​in​ ​the​ ​situation.​ ​That​ ​is​ ​totally 
  boring,​ ​and​ ​it​ ​discourages​ ​players​ ​from​ ​investing​ ​in​ ​failure—something​ ​you​ ​absolutely​ ​want 
  them​ ​to​ ​do,​ ​given​ ​how​ ​important​ ​compels​ ​and​ ​the​ ​concession​ ​mechanic​ ​are.​ ​Do​ ​not​ ​do​ ​this. 
   
  If​ ​you​ ​can’t​ ​imagine​ ​an​ ​interesting​ ​outcome​ ​from​ ​both​ ​results,​ ​then​ ​don’t​ ​call​ ​for​ ​that​ ​roll.​ ​If 
  failure​ ​is​ ​the​ ​uninteresting​ ​option,​ ​just​ ​give​ ​the​ ​PCs​ ​what​ ​they​ ​want​ ​and​ ​call​ ​for​ ​a​ ​roll​ ​later,​ ​when 
  you​ ​can​ ​think​ ​of​ ​an​ ​interesting​ ​failure.​ ​If​ ​success​ ​is​ ​the​ ​boring​ ​option,​ ​then​ ​see​ ​if​ ​you​ ​can​ ​turn 
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  your​ ​idea​ ​for​ ​failure​ ​into​ ​a​ ​compel​ ​instead,​ ​using​ ​that​ ​moment​ ​as​ ​an​ ​opportunity​ ​to​ ​funnel​ ​Karma 
  to​ ​the​ ​players. 
  Situation​ ​Aspects​ ​Are​ ​Your​ ​Friend 
  When​ ​you’re​ ​trying​ ​to​ ​figure​ ​out​ ​if​ ​there’s​ ​a​ ​good​ ​reason​ ​to​ ​ask​ ​the​ ​PCs​ ​to​ ​make​ ​an​ ​overcome 
  roll,​ ​look​ ​at​ ​the​ ​aspects​ ​on​ ​your​ ​scene.​ ​If​ ​the​ ​existence​ ​of​ ​the​ ​aspect​ ​suggests​ ​some​ ​trouble​ ​or 
  problem​ ​for​ ​the​ ​PC,​ ​call​ ​for​ ​an​ ​overcome​ ​roll.​ ​If​ ​not,​ ​and​ ​you​ ​can’t​ ​think​ ​of​ ​an​ ​interesting 
  consequence​ ​for​ ​failure,​ ​don’t​ ​bother. 
   
  For​ ​example,​ ​if​ ​a​ ​character​ ​is​ ​trying​ ​to​ ​sprint​ ​quickly​ ​across​ ​a​ ​room,​ ​and​ ​you​ ​have​ ​a​ ​situation 
  aspect​ ​like​ ​Cluttered​ ​Floors,​ ​it​ ​makes​ ​sense​ ​to​ ​ask​ ​for​ ​a​ ​roll​ ​before​ ​they​ ​can​ ​move.​ ​If​ ​there​ ​is​ ​no 
  such​ ​aspect,​ ​just​ ​let​ ​them​ ​make​ ​the​ ​move​ ​and​ ​get​ ​on​ ​to​ ​something​ ​more​ ​interesting. 
  Making​ ​Failure​ ​Awesome 
  If​ ​the​ ​PCs​ ​fail​ ​a​ ​roll​ ​in​ ​the​ ​game​ ​and​ ​you’re​ ​not​ ​sure​ ​how​ ​to​ ​make​ ​that​ ​interesting,​ ​try​ ​one​ ​of​ ​the 
  following​ ​ideas. 
  Blame​ ​the​ ​Circumstances 
  The​ ​PCs​ ​are​ ​extremely​ ​competent​ ​people​ ​(remember,​ ​that’s​ ​one​ ​of​ ​the​ ​things​ ​Fate​ ​is​ ​about). 
  They​ ​aren’t​ ​supposed​ ​to​ ​look​ ​like​ ​fools​ ​on​ ​a​ ​regular​ ​or​ ​even​ ​semi-regular​ ​basis.​ ​Sometimes,​ ​all 
  it​ ​takes​ ​is​ ​the​ ​right​ ​description​ ​to​ ​make​ ​failure​ ​into​ ​something​ ​dynamic—instead​ ​of​ ​narrating​ ​that 
  the​ ​PC​ ​just​ ​borked​ ​things​ ​up,​ ​blame​ ​the​ ​failure​ ​on​ ​something​ ​that​ ​the​ ​PC​ ​couldn’t​ ​have 
  prevented.​ ​There’s​ ​a​ ​secondary​ ​mechanism​ ​on​ ​that​ ​lock​ ​that​ ​initially​ ​looked​ ​simple​ ​(Burglary),​ ​or 
  the​ ​contact​ ​broke​ ​his​ ​promise​ ​to​ ​show​ ​up​ ​on​ ​time​ ​(Contacts),​ ​or​ ​the​ ​ancient​ ​tome​ ​is​ ​too​ ​withered 
  to​ ​read​ ​(Reason),​ ​or​ ​a​ ​sudden​ ​seismic​ ​shift​ ​throws​ ​off​ ​your​ ​run​ ​(Agility). 
   
  That​ ​way,​ ​the​ ​PCs​ ​still​ ​look​ ​competent​ ​and​ ​awesome,​ ​even​ ​though​ ​they​ ​don’t​ ​get​ ​what​ ​they 
  want.​ ​More​ ​importantly,​ ​shifting​ ​the​ ​blame​ ​to​ ​the​ ​circumstances​ ​gives​ ​you​ ​an​ ​opportunity​ ​to 
  suggest​ ​a​ ​new​ ​course​ ​of​ ​action,​ ​which​ ​allows​ ​the​ ​failure​ ​to​ ​create​ ​forward​ ​momentum​ ​in​ ​your 
  story.​ ​The​ ​contact​ ​didn’t​ ​make​ ​his​ ​appointment?​ ​Where​ ​is​ ​he?​ ​Who​ ​was​ ​following​ ​him​ ​to​ ​the 
  rendezvous?​ ​The​ ​ancient​ ​tome​ ​is​ ​withered?​ ​Maybe​ ​someone​ ​can​ ​restore​ ​it.​ ​That​ ​way,​ ​you​ ​don’t 
  spend​ ​time​ ​dwelling​ ​on​ ​the​ ​failure​ ​and​ ​can​ ​move​ ​on​ ​to​ ​something​ ​new. 
  Succeed​ ​at​ ​a​ ​Cost 
  You​ ​can​ ​also​ ​offer​ ​to​ ​give​ ​the​ ​PCs​ ​what​ ​they​ ​want,​ ​but​ ​at​ ​a​ ​price—in​ ​this​ ​case,​ ​the​ ​failed​ ​roll 
  means​ ​they​ ​weren’t​ ​able​ ​to​ ​achieve​ ​their​ ​goals​ ​without​ ​consequence. 
  A​ ​minor​ ​cost​ ​should​ ​complicate​ ​the​ ​PC’s​ ​life.​​ ​Like​ ​the​ ​above​ ​suggestion,​ ​this​ ​focuses​ ​on 
  using​ ​failure​ ​as​ ​a​ ​means​ ​to​ ​change​ ​up​ ​the​ ​situation​ ​a​ ​bit,​ ​rather​ ​than​ ​just​ ​negating​ ​whatever​ ​the 
  PC​ ​wanted.​ ​Some​ ​suggestions: 
  ●
  Foreshadow​ ​some​ ​imminent​ ​peril.​ ​“The​ ​lock​ ​opens​ ​with​ ​a​ ​soft​ ​click,​ ​but​ ​the​ ​same​ ​can’t 
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  be​ ​said​ ​for​ ​the​ ​vault​ ​door.​ ​If​ ​they​ ​didn’t​ ​know​ ​you​ ​were​ ​here​ ​before,​ ​they​ ​sure​ ​do​ ​now.” 
  ●
  Introduce​ ​a​ ​new​ ​wrinkle.​ ​“Yes,​ ​the​ ​Guildmaster​ ​is​ ​able​ ​to​ ​put​ ​you​ ​in​ ​touch​ ​with​ ​a​ ​mage 
  who​ ​can​ ​translate​ ​the​ ​withered​ ​tome—a​ ​guy​ ​named​ ​Berthold.​ ​You​ ​know​ ​him,​ ​actually, 
  but​ ​the​ ​last​ ​time​ ​you​ ​saw​ ​him​ ​was​ ​years​ ​ago,​ ​when​ ​he​ ​caught​ ​you​ ​with​ ​his​ ​wife.” 
  ●
  Present​ ​the​ ​player​ ​with​ ​a​ ​tough​ ​choice.​ ​“You​ ​brace​ ​the​ ​collapsing​ ​ceiling​ ​long​ ​enough​ ​for 
  two​ ​of​ ​the​ ​others​ ​to​ ​get​ ​through​ ​safely,​ ​but​ ​not​ ​the​ ​rest.​ ​Who’s​ ​it​ ​going​ ​to​ ​be?” 
  ●
  Place​ ​an​ ​aspect​ ​on​ ​the​ ​PC​ ​or​ ​the​ ​scene.​ ​“Somehow​ ​you​ ​manage​ ​to​ ​land​ ​on​ ​your​ ​feet, 
  but​ ​with​ ​a​ ​Twisted​ ​Ankle​ ​as​ ​a​ ​souvenir.” 
  ●
  Give​ ​an​ ​NPC​ ​a​ ​boost.​ ​“Nikolai​ ​surprises​ ​you​ ​a​ ​bit​ ​by​ ​agreeing​ ​to​ ​your​ ​offer,​ ​but​ ​he​ ​does 
  so​ ​with​ ​a​ ​wry​ ​smile​ ​that​ ​makes​ ​you​ ​uneasy.​ ​Clearly,​ ​Nikolai​ ​Has​ ​A​ ​Plan.” 
  ●
  Check​ ​one​ ​of​ ​the​ ​PC’s​ ​healthboxes.​ ​Careful​ ​with​ ​this​ ​one—it’s​ ​only​ ​a​ ​real​ ​cost​ ​if​ ​the​ ​PC’s 
  likely​ ​to​ ​take​ ​more​ ​hits​ ​in​ ​the​ ​same​ ​scene.​ ​If​ ​you​ ​don’t​ ​think​ ​that’s​ ​going​ ​to​ ​happen,​ ​go 
  with​ ​another​ ​choice. 
   
  A​ ​serious​ ​cost​ ​does​ ​more​ ​than​ ​complicate​ ​the​ ​PC’s​ ​life​ ​or​ ​promise​ ​something​ ​worse​ ​to 
  come​—it​ ​takes​ ​a​ ​serious​ ​and​ ​possibly​ ​irrevocable​ ​toll,​ ​right​ ​now. 
  One​ ​way​ ​you​ ​can​ ​do​ ​this​ ​is​ ​by​ ​taking​ ​a​ ​minor​ ​cost​ ​to​ ​the​ ​next​ ​level.​ ​Instead​ ​of​ ​suspecting​ ​that​ ​a 
  guard​ ​heard​ ​them​ ​open​ ​the​ ​vault,​ ​a​ ​few​ ​guards​ ​burst​ ​in​ ​the​ ​room,​ ​weapons​ ​drawn.​ ​Instead​ ​of 
  being​ ​merely​ ​cut​ ​off​ ​from​ ​their​ ​allies​ ​by​ ​a​ ​collapsing​ ​ceiling,​ ​one​ ​or​ ​more​ ​of​ ​those​ ​allies​ ​ends​ ​up 
  buried​ ​in​ ​the​ ​debris.​ ​Instead​ ​of​ ​merely​ ​having​ ​to​ ​face​ ​an​ ​awkward​ ​situation​ ​with​ ​Berthold,​ ​he’s 
  still​ ​angry​ ​and​ ​out​ ​for​ ​their​ ​blood. 
   
  Other​ ​options​ ​could​ ​include: 
  ●
  Reinforce​ ​the​ ​opposition.​ ​You​ ​might​ ​clear​ ​one​ ​of​ ​an​ ​NPC’s​ ​health​ ​boxes,​ ​improve​ ​one​ ​of 
  their​ ​skills​ ​by​ ​one​ ​step​ ​for​ ​the​ ​scene,​ ​or​ ​give​ ​them​ ​a​ ​new​ ​aspect​ ​with​ ​a​ ​free​ ​invocation. 
  ●
  Bring​ ​in​ ​new​ ​opposition​ ​or​ ​a​ ​new​ ​obstacle,​ ​such​ ​as​ ​additional​ ​enemies​ ​or​ ​a​ ​situation 
  aspect​ ​that​ ​worsens​ ​the​ ​situation. 
  ●
  Delay​ ​success.​ ​The​ ​task​ ​at​ ​hand​ ​will​ ​take​ ​much​ ​longer​ ​than​ ​expected. 
  ●
  Give​ ​the​ ​PC​ ​a​ ​consequence​ ​that​ ​follows​ ​logically​ ​from​ ​the​ ​circumstances—mild​ ​if​ ​they 
  have​ ​one​ ​available,​ ​moderate​ ​if​ ​they​ ​don’t. 
   
  If​ ​you’re​ ​stuck​ ​for​ ​just​ ​how​ ​serious​ ​a​ ​serious​ ​cost​ ​should​ ​be,​ ​you​ ​may​ ​want​ ​to​ ​use​ ​the​ ​margin​ ​of 
  failure​ ​as​ ​a​ ​gauge.​ ​For​ ​instance,​ ​in​ ​the​ ​vault-opening​ ​example,​ ​above—the​ ​one​ ​where​ ​the 
  guards​ ​hear​ ​the​ ​PC​ ​and​ ​burst​ ​in​ ​the​ ​room—if​ ​the​ ​player​ ​failed​ ​their​ ​Burglary​ ​roll​ ​by​ ​1​ ​or​ ​2,​ ​the 
  PCs​ ​outnumber​ ​the​ ​guards.​ ​Not​ ​a​ ​tough​ ​fight,​ ​but​ ​a​ ​fight​ ​nonetheless.​ ​If​ ​they​ ​failed​ ​it​ ​by​ ​3​ ​to​ ​5, 
  it’s​ ​an​ ​even​ ​match,​ ​one​ ​that’s​ ​likely​ ​to​ ​use​ ​up​ ​resources​ ​like​ ​fate​ ​points​ ​or​ ​consequences.​ ​But​ ​if 
  they​ ​failed​ ​by​ ​6​ ​or​ ​more,​ ​they’re​ ​outnumbered​ ​and​ ​in​ ​real​ ​danger. 
  Let​ ​the​ ​Player​ ​Do​ ​the​ ​Work 
  You​ ​can​ ​also​ ​kick​ ​the​ ​question​ ​back​ ​to​ ​the​ ​players,​ ​and​ ​let​ ​them​ ​decide​ ​what​ ​the​ ​context​ ​of​ ​their 
  own​ ​failure​ ​is.​ ​This​ ​is​ ​a​ ​great​ ​move​ ​to​ ​foster​ ​a​ ​collaborative​ ​spirit,​ ​and​ ​some​ ​players​ ​will​ ​be 
  surprisingly​ ​eager​ ​to​ ​hose​ ​their​ ​own​ ​characters​ ​in​ ​order​ ​to​ ​further​ ​the​ ​story,​ ​especially​ ​if​ ​it​ ​means 
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  they​ ​can​ ​keep​ ​control​ ​of​ ​their​ ​own​ ​portrayal. 
   
  It’s​ ​also​ ​a​ ​great​ ​thing​ ​to​ ​do​ ​if​ ​you​ ​just​ ​plain​ ​can’t​ ​think​ ​of​ ​anything.​ ​“Okay,​ ​so,​ ​you​ ​failed​ ​that 
  Burglary​ ​roll​ ​by​ ​2.​ ​So​ ​you’re​ ​working​ ​the​ ​lock,​ ​and​ ​something​ ​goes​ ​wrong.​ ​What​ ​is​ ​it?”​ ​“You 
  missed​ ​that​ ​Alertness​ ​roll.​ ​What​ ​don’t​ ​you​ ​notice​ ​as​ ​you’re​ ​sneaking​ ​up​ ​to​ ​the​ ​queen’s 
  chambers?”​ ​It’s​ ​better​ ​if​ ​the​ ​question​ ​is​ ​specific,​ ​like​ ​those​ ​examples—just​ ​saying,​ ​“Okay,​ ​tell​ ​me 
  how​ ​you​ ​fail!”​ ​can​ ​easily​ ​stall​ ​things​ ​by​ ​putting​ ​a​ ​player​ ​on​ ​the​ ​spot​ ​unnecessarily.​ ​You​ ​want​ ​to 
  let​ ​the​ ​player​ ​do​ ​the​ ​work,​ ​not​ ​make​ ​them. 
  Setting​ ​Difficulties 
  When​ ​you’re​ ​setting​ ​passive​ ​opposition​ ​for​ ​an​ ​action,​ ​keep​ ​in​ ​mind​ ​the​ ​difficulty​ ​“break​ ​points” 
  mentioned​ ​in​ ​Actions​ ​and​ ​Outcomes—anything​ ​that’s​ ​two​ ​or​ ​more​ ​steps​ ​above​ ​the​ ​PC’s​ ​skill​ ​is 
  probably​ ​going​ ​to​ ​cost​ ​them​ ​fate​ ​points,​ ​and​ ​anything​ ​that’s​ ​two​ ​or​ ​more​ ​below​ ​the​ ​PC’s​ ​skill​ ​will 
  be​ ​a​ ​breeze. 
   
  Rather​ ​than​ ​“modeling​ ​the​ ​world”​ ​or​ ​going​ ​for​ ​“realism,”​ ​try​ ​setting​ ​difficulties​ ​according​ ​to 
  dramatic​ ​necessity—things​ ​should​ ​generally​ ​be​ ​more​ ​challenging​ ​when​ ​the​ ​stakes​ ​are​ ​high​ ​and 
  less​ ​challenging​ ​when​ ​they​ ​aren’t. 
   
  (Functionally,​ ​this​ ​is​ ​the​ ​same​ ​as​ ​setting​ ​a​ ​consistent​ ​difficulty​ ​and​ ​assessing​ ​a​ ​circumstantial 
  penalty​ ​to​ ​the​ ​roll​ ​to​ ​reflect​ ​rushing​ ​the​ ​task​ ​or​ ​some​ ​other​ ​unfavorable​ ​condition.​ ​But 
  psychologically,​ ​the​ ​difference​ ​between​ ​a​ ​high​ ​difficulty​ ​and​ ​a​ ​lower​ ​difficulty​ ​with​ ​a​ ​penalty​ ​is 
  vast​ ​and​ ​shouldn’t​ ​be​ ​underestimated.​ ​A​ ​player​ ​facing​ ​a​ ​higher​ ​difficulty​ ​will​ ​often​ ​feel​ ​like 
  they’re​ ​being​ ​properly​ ​challenged,​ ​while​ ​that​ ​same​ ​player​ ​facing​ ​a​ ​large​ ​penalty,​ ​likely​ ​chosen​ ​at 
  the​ ​GM’s​ ​discretion,​ ​will​ ​often​ ​feel​ ​discouraged​ ​by​ ​it.) 
   
  Setting​ ​a​ ​difficulty​ ​low​ ​is​ ​mainly​ ​about​ ​showcasing​ ​a​ ​PC’s​ ​awesomeness,​ ​letting​ ​them​ ​shine​ ​in​ ​a 
  particular​ ​moment​ ​and​ ​reminding​ ​us​ ​why​ ​this​ ​character​ ​is​ ​in​ ​the​ ​spotlight.​ ​You​ ​can​ ​also​ ​set 
  lower​ ​difficulties​ ​during​ ​periods​ ​when​ ​you​ ​know​ ​the​ ​PCs​ ​are​ ​low​ ​on​ ​fate​ ​points,​ ​giving​ ​them​ ​the 
  chance​ ​to​ ​take​ ​compels​ ​in​ ​order​ ​to​ ​get​ ​more.​ ​You​ ​should​ ​also​ ​set​ ​lower​ ​difficulties​ ​on​ ​anything 
  that’s​ ​in​ ​the​ ​way​ ​of​ ​the​ ​PC’s​ ​getting​ ​to​ ​the​ ​main​ ​action​ ​of​ ​a​ ​scene​—you​ ​don’t​ ​want​ ​them​ ​to​ ​get 
  stalled​ ​at​ ​the​ ​evil​ ​overlord’s​ ​drawbridge​ ​if​ ​the​ ​point​ ​of​ ​the​ ​scene​ ​is​ ​confronting​ ​the​ ​evil​ ​overlord! 
  Finally,​ ​some​ ​actions​ ​should​ ​take​ ​lower​ ​difficulties​ ​by​ ​default,​ ​especially​ ​if​ ​no​ ​one’s​ ​contesting​ ​or 
  resisting​ ​them.​ ​Unopposed​ ​efforts​ ​to​ ​create​ ​advantages​ ​in​ ​a​ ​conflict​ ​should​ ​never​ ​be​ ​harder 
  than​ ​Good​ ​(+1)​ ​or​ ​Excellent​ ​(+2),​ ​and​ ​neither​ ​should​ ​attempts​ ​to​ ​put​ ​an​ ​aspect​ ​on​ ​an​ ​object​ ​or 
  location.​ ​Remember​ ​that​ ​opposition​ ​doesn’t​ ​have​ ​to​ ​always​ ​take​ ​the​ ​form​ ​of​ ​an​ ​NPC​ ​getting​ ​in 
  the​ ​way—if​ ​the​ ​evil​ ​mastermind​ ​has​ ​hidden​ ​the​ ​evidence​ ​in​ ​his​ ​office​ ​away​ ​from​ ​prying​ ​eyes, 
  you​ ​might​ ​consider​ ​that​ ​a​ ​form​ ​of​ ​opposition,​ ​even​ ​though​ ​the​ ​mastermind​ ​might​ ​not​ ​be 
  physically​ ​present. 
  If​ ​the​ ​PCs​ ​are​ ​overflowing​ ​in​ ​fate​ ​points,​ ​or​ ​it’s​ ​a​ ​crucial​ ​moment​ ​in​ ​the​ ​story​ ​when​ ​someone’s 
  life​ ​is​ ​on​ ​the​ ​line,​ ​or​ ​the​ ​fate​ ​of​ ​many​ ​is​ ​at​ ​stake,​ ​or​ ​they’re​ ​finally​ ​going​ ​against​ ​foes​ ​that​ ​they’ve 
  been​ ​building​ ​up​ ​to​ ​for​ ​a​ ​scenario​ ​or​ ​two,​ ​feel​ ​free​ ​to​ ​raise​ ​difficulties​ ​across​ ​the​ ​board.​ ​You 
  131 
  
  should​ ​also​ ​raise​ ​difficulties​ ​to​ ​indicate​ ​when​ ​a​ ​particular​ ​opponent​ ​is​ ​extremely​ ​prepared​ ​for​ ​the 
  PCs,​ ​or​ ​to​ ​reflect​ ​situations​ ​that​ ​aren’t​ ​ideal—if​ ​the​ ​PC’s​ ​are​ ​not​ ​prepared,​ ​or​ ​don’t​ ​have​ ​the​ ​right 
  tools​ ​for​ ​the​ ​job,​ ​or​ ​are​ ​in​ ​a​ ​time​ ​crunch,​ ​etc. 
   
  Setting​ ​the​ ​difficulty​ ​right​ ​at​ ​the​ ​PC’s​ ​skill​ ​level​ ​is,​ ​as​ ​you​ ​might​ ​imagine,​ ​sort​ ​of​ ​a​ ​middle​ ​ground 
  between​ ​these​ ​two​ ​extremes.​ ​Do​ ​this​ ​when​ ​you​ ​want​ ​some​ ​tension​ ​without​ ​turning​ ​things​ ​up​ ​to 
  11,​ ​or​ ​when​ ​the​ ​odds​ ​are​ ​slightly​ ​in​ ​the​ ​PC’s​ ​favor​ ​but​ ​you​ ​want​ ​a​ ​tangible​ ​element​ ​of​ ​risk. 
  Important:​ ​Justify​ ​Your​ ​Choice 
  Your​ ​only​ ​other​ ​constraint​ ​in​ ​setting​ ​difficulties​ ​goes​ ​back​ ​to​ ​the​ ​Silver​ ​Rule​ ​above—you​ ​need​ ​to 
  make​ ​sure​ ​that​ ​your​ ​choices​ ​make​ ​sense​ ​in​ ​the​ ​context​ ​of​ ​the​ ​narrative​ ​you’re​ ​creating.​ ​While 
  you​ ​shouldn't​ ​go​ ​crazy​ ​with​ ​trying​ ​to​ ​model​ ​the​ ​world​ ​too​ ​much​ ​and​ ​thus​ ​box​ ​yourself​ ​into​ ​a 
  useless​ ​set​ ​of​ ​constraints​ ​(“Locks​ ​in​ ​the​ ​village​ ​of​ ​Glenwood​ ​are​ ​generally​ ​of​ ​Remarkable 
  quality,​ ​due​ ​to​ ​their​ ​proximity​ ​to​ ​an​ ​Alien​ ​Alloy​ ​accident.”),​ ​don’t​ ​look​ ​at​ ​this​ ​purely​ ​as​ ​a​ ​numbers 
  game​ ​either.​ ​If​ ​the​ ​only​ ​reason​ ​for​ ​setting​ ​a​ ​difficulty​ ​at​ ​Amazing​ ​(+5)​ ​is​ ​because​ ​it’s​ ​two​ ​higher 
  than​ ​the​ ​PC’s​ ​skill​ ​level​ ​and​ ​you​ ​want​ ​to​ ​bleed​ ​his​ ​Karma​ ​off,​ ​you​ ​strain​ ​credibility. 
   
  In​ ​that​ ​sense,​ ​you​ ​can​ ​look​ ​at​ ​setting​ ​difficulties​ ​as​ ​being​ ​a​ ​lot​ ​like​ ​invoking​ ​aspects—there 
  needs​ ​to​ ​be​ ​a​ ​good​ ​reason​ ​that​ ​backs​ ​up​ ​your​ ​choice​ ​in​ ​the​ ​story.​ ​It’s​ ​totally​ ​okay​ ​if​ ​that 
  justification​ ​is​ ​something​ ​you’re​ ​about​ ​to​ ​make​ ​up,​ ​rather​ ​than​ ​something​ ​you​ ​know​ ​beforehand. 
  Situation​ ​aspects​ ​are​ ​a​ ​great​ ​tool​ ​for​ ​this—if​ ​the​ ​players​ ​already​ ​know​ ​that​ ​the​ ​cave​ ​they’re​ ​in​ ​is 
  Pitch​ ​Black​ ​and​ ​Cramped​ ​as​ ​Hell,​ ​it’s​ ​easy​ ​to​ ​justify​ ​why​ ​it’s​ ​so​ ​hard​ ​to​ ​stay​ ​quiet​ ​as​ ​they​ ​Stealth 
  through​ ​the​ ​tunnels.​ ​No​ ​one​ ​will​ ​bat​ ​an​ ​eye​ ​at​ ​you​ ​looking​ ​at​ ​the​ ​relevant​ ​situation​ ​aspects​ ​and 
  giving​ ​a​ ​+2​ ​to​ ​the​ ​opposition​ ​for​ ​each​ ​one,​ ​because​ ​it​ ​mirrors​ ​the​ ​invoke​ ​bonus​ ​they​ ​get. 
  Either​ ​way,​ ​don’t​ ​skip​ ​the​ ​justification​ ​part—either​ ​let​ ​the​ ​players​ ​know​ ​what​ ​it​ ​is​ ​immediately 
  when​ ​you​ ​tell​ ​them​ ​the​ ​difficulty,​ ​or​ ​shrug​ ​mysteriously​ ​and​ ​then​ ​let​ ​them​ ​find​ ​out​ ​soon​ ​thereafter 
  (as​ ​in,​ ​the​ ​time​ ​it​ ​takes​ ​to​ ​think​ ​it​ ​up). 
   
  You​ ​might​ ​also​ ​try​ ​using​ ​“out​ ​of​ ​place”​ ​difficulties​ ​to​ ​indicate​ ​the​ ​presence​ ​of​ ​unanswered 
  questions​ ​during​ ​the​ ​game—for​ ​some​ ​odd​ ​reason,​ ​the​ ​stable​ ​you’re​ ​trying​ ​to​ ​break​ ​into​ ​has​ ​an 
  Monstrous​ ​(+7)​ ​lock​ ​on​ ​the​ ​door.​ ​What​ ​could​ ​be​ ​so​ ​important​ ​in​ ​there​ ​that​ ​you​ ​don’t​ ​know 
  about? 
  Or​ ​maybe​ ​you’re​ ​trying​ ​to​ ​finish​ ​the​ ​famed​ ​initiation​ ​test​ ​of​ ​the​ ​scholastic​ ​Amethyst​ ​Order,​ ​and 
  the​ ​test​ ​is​ ​only​ ​a​ ​Excellent​ ​(+2)​ ​Reason​ ​roll—what’s​ ​the​ ​deal?​ ​Are​ ​they​ ​going​ ​easy​ ​on​ ​you?​ ​Is 
  your​ ​appointment​ ​a​ ​political​ ​necessity?​ ​Who​ ​pulled​ ​the​ ​strings​ ​on​ ​that?​ ​Or​ ​is​ ​it​ ​just​ ​that​ ​the 
  reputation​ ​of​ ​the​ ​Order’s​ ​scholars​ ​is​ ​a​ ​fabrication? 
  Dealing​ ​with​ ​Extraordinary​ ​Success 
  Sometimes,​ ​a​ ​PC​ ​is​ ​going​ ​to​ ​roll​ ​far​ ​in​ ​excess​ ​of​ ​the​ ​difficulty,​ ​getting​ ​a​ ​lot​ ​of​ ​shifts​ ​on​ ​the​ ​roll. 
  Some​ ​of​ ​the​ ​basic​ ​actions​ ​already​ ​have​ ​a​ ​built-in​ ​effect​ ​for​ ​rolling​ ​really​ ​well,​ ​like​ ​hitting​ ​harder 
  on​ ​a​ ​good​ ​attack​ ​roll. 
  132 
  
  For​ ​others,​ ​it’s​ ​not​ ​so​ ​clear.​ ​What’s​ ​happens​ ​when​ ​you​ ​get​ ​a​ ​lot​ ​of​ ​shifts​ ​on​ ​a​ ​Crafts​ ​roll​ ​or​ ​an 
  Investigate​ ​roll?​ ​You​ ​want​ ​to​ ​make​ ​sure​ ​those​ ​results​ ​have​ ​some​ ​kind​ ​of​ ​meaning​ ​and​ ​reflect 
  how​ ​competent​ ​the​ ​PC’s​ ​are. 
  Here​ ​are​ ​a​ ​few​ ​choice​ ​options. 
  ●
  Go​ ​Gonzo​ ​with​ ​the​ ​Narration​:​ ​It​ ​might​ ​seem​ ​superfluous,​ ​but​ ​it’s​ ​important​ ​to​ ​celebrate 
  a​ ​great​ ​roll​ ​with​ ​a​ ​suitable​ ​narration​ ​of​ ​over​ ​the​ ​top​ ​success.​ ​This​ ​is​ ​a​ ​great​ ​time​ ​to​ ​take 
  the​ ​suggestions​ ​above​ ​for​ ​Making​ ​Failure​ ​Awesome​ ​and​ ​applying​ ​them​ ​here.​ ​Let​ ​the 
  success​ ​affect​ ​something​ ​else,​ ​in​ ​addition​ ​to​ ​what​ ​the​ ​PC​ ​was​ ​going​ ​for,​ ​and​ ​bring​ ​the 
  player​ ​into​ ​the​ ​process​ ​of​ ​selling​ ​it​ ​by​ ​prompting​ ​them​ ​to​ ​make​ ​up​ ​cool​ ​details.​ ​“Three 
  extra​ ​shifts​ ​on​ ​that​ ​Burglary​ ​roll—tell​ ​me,​ ​is​ ​anyone​ ​ever​ ​going​ ​to​ ​be​ ​able​ ​to​ ​lock​ ​that 
  crypt​ ​again?”​ ​“So​ ​you​ ​got​ ​five​ ​shifts​ ​on​ ​that​ ​Contacts​ ​roll—tell​ ​me,​ ​where​ ​does​ ​Nicky​ ​the 
  Fink​ ​usually​ ​go​ ​when​ ​he’s​ ​running​ ​out​ ​on​ ​his​ ​wife,​ ​and​ ​what​ ​do​ ​you​ ​say​ ​when​ ​you​ ​find 
  him​ ​there?” 
  ●
  Add​ ​an​ ​Aspect​:​ ​You​ ​can​ ​express​ ​additional​ ​effects​ ​of​ ​a​ ​good​ ​roll​ ​by​ ​placing​ ​an​ ​aspect 
  on​ ​the​ ​PC​ ​or​ ​on​ ​the​ ​scene,​ ​essentially​ ​letting​ ​them​ ​create​ ​an​ ​advantage​ ​for​ ​free.​ ​“So 
  your​ ​Resources​ ​roll​ ​to​ ​bribe​ ​the​ ​guard​ ​succeeded​ ​with​ ​four​ ​shifts.​ ​She’ll​ ​let​ ​you​ ​through 
  the​ ​gate​ ​all​ ​right,​ ​and​ ​she’ll​ ​also​ ​act​ ​as​ ​Available​ ​Backup​ ​if​ ​you​ ​should​ ​need​ ​some​ ​help 
  later.” 
  ●
  Reducing​ ​Time​:​ ​If​ ​it’s​ ​important​ ​to​ ​get​ ​something​ ​done​ ​fast,​ ​then​ ​you​ ​can​ ​use​ ​extra 
  shifts​ ​to​ ​decrease​ ​the​ ​time​ ​that​ ​it​ ​takes​ ​to​ ​do​ ​an​ ​action. 
  Dealing​ ​with​ ​Time 
  There​ ​are​ ​two​ ​kinds​ ​of​ ​time​ ​in​ ​Fate:​ ​game​ ​time​ ​and​ ​story​ ​time​. 
  Game​ ​Time 
  Game​ ​time​ ​is​ ​how​ ​to​ ​organize​ ​play​ ​in​ ​terms​ ​of​ ​the​ ​real​ ​players​ ​sitting​ ​at​ ​the​ ​table.​ ​Each​ ​unit​ ​of 
  game​ ​time​ ​corresponds​ ​to​ ​a​ ​certain​ ​amount​ ​of​ ​real​ ​time.​ ​They​ ​are: 
  ●
  Exchange​:​ ​The​ ​amount​ ​of​ ​time​ ​it​ ​takes​ ​all​ ​participants​ ​in​ ​a​ ​conflict​ ​to​ ​take​ ​a​ ​turn,​ ​which 
  includes​ ​doing​ ​an​ ​action​ ​and​ ​responding​ ​to​ ​any​ ​action​ ​taken​ ​against​ ​them.​ ​This​ ​usually 
  doesn’t​ ​take​ ​longer​ ​than​ ​a​ ​few​ ​minutes. 
  ●
  Scene​:​ ​The​ ​amount​ ​of​ ​time​ ​it​ ​takes​ ​to​ ​resolve​ ​a​ ​conflict,​ ​deal​ ​with​ ​a​ ​single​ ​prominent 
  situation,​ ​or​ ​accomplish​ ​a​ ​goal.​ ​Scenes​ ​vary​ ​in​ ​length,​ ​from​ ​a​ ​minute​ ​or​ ​two​ ​if​ ​it’s​ ​just​ ​a 
  quick​ ​description​ ​and​ ​some​ ​dialogue,​ ​to​ ​a​ ​half​ ​hour​ ​or​ ​more​ ​in​ ​the​ ​case​ ​of​ ​a​ ​major 
  setpiece​ ​battle​ ​against​ ​a​ ​main​ ​NPC. 
  ●
  Session​:​ ​The​ ​sum​ ​total​ ​of​ ​all​ ​the​ ​scenes​ ​you​ ​run​ ​through​ ​in​ ​a​ ​single​ ​sitting.​ ​A​ ​session 
  ends​ ​when​ ​you​ ​and​ ​your​ ​friends​ ​pack​ ​it​ ​up​ ​for​ ​the​ ​night​ ​and​ ​go​ ​home.​ ​For​ ​most​ ​people, 
  a​ ​session​ ​is​ ​about​ ​2​ ​to​ ​4​ ​hours,​ ​but​ ​there​ ​is​ ​no​ ​theoretical​ ​limit—if​ ​you​ ​have​ ​few 
  obligations,​ ​then​ ​you’re​ ​only​ ​really​ ​limited​ ​by​ ​the​ ​need​ ​for​ ​food​ ​and​ ​sleep.​ ​A​ ​minor 
  milestone​ ​usually​ ​occurs​ ​after​ ​a​ ​session. 
  ●
  Scenario​:​ ​One​ ​or​ ​more​ ​sessions​ ​of​ ​play,​ ​but​ ​usually​ ​no​ ​more​ ​than​ ​four.​ ​Most​ ​of​ ​the​ ​time, 
  the​ ​sessions​ ​that​ ​make​ ​up​ ​a​ ​scenario​ ​will​ ​definitively​ ​resolve​ ​some​ ​kind​ ​of​ ​problem​ ​or 
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  dilemma​ ​presented​ ​by​ ​the​ ​GM,​ ​or​ ​wrap​ ​up​ ​a​ ​storyline​ ​(see​ ​Scenes,​ ​Sessions,​ ​and 
  Scenarios​ ​for​ ​more​ ​on​ ​scenarios).​ ​A​ ​significant​ ​milestone​ ​usually​ ​occurs​ ​at​ ​the​ ​end​ ​of​ ​a 
  scenario.​ ​You​ ​can​ ​look​ ​at​ ​this​ ​like​ ​an​ ​episode​ ​of​ ​a​ ​television​ ​show—the​ ​number​ ​of 
  sessions​ ​it​ ​takes​ ​to​ ​tell​ ​one​ ​story. 
  ●
  Arc​:​ ​Several​ ​scenarios,​ ​usually​ ​between​ ​two​ ​and​ ​four.​ ​An​ ​arc​ ​typically​ ​culminates​ ​in​ ​an 
  event​ ​that​ ​brings​ ​great​ ​change​ ​to​ ​the​ ​game​ ​world,​ ​building​ ​up​ ​from​ ​the​ ​resolution​ ​of​ ​the 
  scenarios.​ ​You​ ​can​ ​look​ ​at​ ​an​ ​arc​ ​like​ ​a​ ​season​ ​of​ ​a​ ​television​ ​show,​ ​where​ ​individual 
  episodes​ ​lead​ ​to​ ​a​ ​tumultuous​ ​climax.​ ​You’re​ ​not​ ​always​ ​guaranteed​ ​to​ ​have​ ​a 
  recognizable​ ​arc,​ ​just​ ​like​ ​not​ ​all​ ​TV​ ​shows​ ​have​ ​a​ ​plotline​ ​that​ ​carries​ ​through​ ​the​ ​whole 
  season—it’s​ ​possible​ ​to​ ​bounce​ ​from​ ​situation​ ​to​ ​situation​ ​without​ ​having​ ​a​ ​defined​ ​plot 
  structure.​ ​Major​ ​milestones​ ​usually​ ​happen​ ​at​ ​the​ ​end​ ​of​ ​an​ ​arc. 
  ●
  Campaign​:​ ​The​ ​sum​ ​of​ ​all​ ​the​ ​time​ ​you’ve​ ​sat​ ​at​ ​a​ ​table​ ​playing​ ​this​ ​particular​ ​game​ ​of 
  Fate—every​ ​session,​ ​every​ ​scenario,​ ​every​ ​arc.​ ​Technically,​ ​there’s​ ​no​ ​upper​ ​limit​ ​to 
  how​ ​long​ ​a​ ​campaign​ ​can​ ​be.​ ​Some​ ​groups​ ​go​ ​for​ ​years;​ ​others​ ​get​ ​to​ ​the​ ​end​ ​of​ ​an​ ​arc 
  and​ ​then​ ​stop.​ ​It​ ​is​ ​presumed​ ​that​ ​a​ ​typical​ ​group​ ​will​ ​go​ ​for​ ​a​ ​few​ ​arcs​ ​(or​ ​about​ ​ten 
  scenarios)​ ​before​ ​having​ ​a​ ​grand​ ​finale​ ​and​ ​moving​ ​on​ ​to​ ​another​ ​game​ ​(hopefully 
  another​ ​Fate​ ​game!).​ ​You​ ​might​ ​set​ ​up​ ​your​ ​campaign​ ​as​ ​a​ ​kind​ ​of​ ​“super-arc,”​ ​where 
  there’s​ ​one​ ​massive​ ​conflict​ ​that​ ​everything​ ​else​ ​is​ ​a​ ​smaller​ ​part​ ​of,​ ​or​ ​it​ ​might​ ​simply 
  consist​ ​of​ ​the​ ​smaller​ ​individual​ ​stories​ ​that​ ​you​ ​tell​ ​in​ ​your​ ​scenarios. 
  Story​ ​Time 
  Story​ ​time​ ​is​ ​the​ ​time​ ​as​ ​the​ ​characters​ ​perceive​ ​it,​ ​from​ ​the​ ​perspective​ ​of​ ​being​ ​“in​ ​the 
  story”—the​ ​amount​ ​of​ ​time​ ​it​ ​takes​ ​for​ ​them​ ​to​ ​accomplish​ ​any​ ​of​ ​the​ ​stuff​ ​you​ ​and​ ​the​ ​players 
  say​ ​that​ ​they​ ​do​ ​during​ ​play.​ ​Most​ ​of​ ​the​ ​time,​ ​you’ll​ ​do​ ​this​ ​as​ ​an​ ​afterthought,​ ​mentioning​ ​it​ ​in 
  passing​ ​(“Okay,​ ​so​ ​it​ ​takes​ ​you​ ​an​ ​hour​ ​to​ ​get​ ​to​ ​the​ ​airport​ ​by​ ​cab”)​ ​or​ ​mentioning​ ​it​ ​as​ ​part​ ​of​ ​a 
  skill​ ​roll​ ​(“Cool,​ ​so​ ​after​ ​20​ ​minutes​ ​of​ ​sweeping​ ​the​ ​room,​ ​you​ ​find​ ​the​ ​following…”). 
   
  Under​ ​most​ ​circumstances,​ ​story​ ​time​ ​has​ ​no​ ​actual​ ​relation​ ​to​ ​real​ ​time.For​ ​example,​ ​a​ ​combat 
  exchange​ ​might​ ​take​ ​a​ ​few​ ​minutes​ ​to​ ​play​ ​out​ ​in​ ​real​ ​time,​ ​but​ ​it​ ​only​ ​covers​ ​what​ ​happens​ ​in 
  the​ ​first​ ​few​ ​seconds​ ​of​ ​a​ ​conflict.​ ​Likewise,​ ​you​ ​can​ ​cover​ ​long​ ​swaths​ ​of​ ​time​ ​simply​ ​by​ ​saying 
  that​ ​it​ ​happens​ ​(“The​ ​contact​ ​takes​ ​two​ ​weeks​ ​to​ ​get​ ​back​ ​to​ ​you—are​ ​you​ ​doing​ ​anything​ ​while 
  you​ ​wait,​ ​or​ ​can​ ​we​ ​just​ ​skip​ ​to​ ​the​ ​meeting?”).​ ​When​ ​used​ ​this​ ​way,​ ​it’s​ ​really​ ​just​ ​a 
  convenience,​ ​a​ ​narrative​ ​device​ ​in​ ​order​ ​to​ ​add​ ​verisimilitude​ ​and​ ​some​ ​consistency​ ​to​ ​your 
  story. 
   
  Sometimes,​ ​though,​ ​you​ ​can​ ​use​ ​story​ ​time​ ​in​ ​creative​ ​ways​ ​to​ ​create​ ​tension​ ​and​ ​surprise 
  during​ ​the​ ​game.​ ​Here’s​ ​how. 
  Deadline​ ​Pressure 
  Nothing​ ​creates​ ​tension​ ​like​ ​a​ ​good​ ​deadline.​ ​The​ ​heroes​ ​only​ ​have​ ​a​ ​certain​ ​number​ ​of​ ​minutes 
  to​ ​disable​ ​the​ ​death​ ​trap,​ ​or​ ​a​ ​certain​ ​amount​ ​of​ ​time​ ​to​ ​get​ ​across​ ​the​ ​city​ ​before​ ​something 
  blows​ ​up,​ ​or​ ​a​ ​certain​ ​amount​ ​of​ ​time​ ​to​ ​deliver​ ​the​ ​ransom​ ​before​ ​loved​ ​ones​ ​get​ ​aced​ ​by​ ​the 
  134 
  
  bad​ ​guys,​ ​and​ ​so​ ​on. 
   
  Some​ ​of​ ​the​ ​game’s​ ​default​ ​actions​ ​are​ ​made​ ​to​ ​take​ ​advantage​ ​of​ ​deadline​ ​pressure,​ ​such​ ​as 
  challenges​ ​or​ ​contests​—they​ ​each​ ​limit​ ​the​ ​number​ ​of​ ​rolls​ ​that​ ​a​ ​player​ ​can​ ​make​ ​before 
  something​ ​happens,​ ​for​ ​better​ ​or​ ​for​ ​worse. 
   
  You​ ​don’t​ ​have​ ​to​ ​limit​ ​yourself​ ​to​ ​using​ ​just​ ​those​ ​two,​ ​though.​ ​If​ ​you​ ​set​ ​a​ ​hard​ ​deadline​ ​for 
  something​ ​bad​ ​in​ ​one​ ​of​ ​your​ ​scenarios,​ ​you​ ​can​ ​start​ ​keeping​ ​track​ ​of​ ​the​ ​amount​ ​of​ ​time 
  everything​ ​takes,​ ​and​ ​use​ ​it​ ​as​ ​a​ ​way​ ​to​ ​keep​ ​the​ ​pressure​ ​on.​ ​(“Oh,​ ​so​ ​you​ ​want​ ​to​ ​browse​ ​all 
  the​ ​town’s​ ​historical​ ​archives?​ ​Well,​ ​you​ ​have​ ​three​ ​days​ ​until​ ​the​ ​ritual—I​ ​can​ ​give​ ​you​ ​a​ ​Lore 
  roll,​ ​but​ ​just​ ​the​ ​attempt​ ​is​ ​probably​ ​going​ ​to​ ​eat​ ​up​ ​one​ ​of​ ​those​ ​days.”)​ ​Remember,​ ​nearly 
  everything​ ​takes​ ​time.​ ​Even​ ​a​ ​basic​ ​attempt​ ​to​ ​create​ ​an​ ​advantage​ ​using​ ​Empathy​ ​requires​ ​you 
  to​ ​sit​ ​with​ ​the​ ​target​ ​for​ ​a​ ​little​ ​while,​ ​and​ ​if​ ​every​ ​action​ ​the​ ​PCs​ ​are​ ​taking​ ​is​ ​chipping​ ​away​ ​at​ ​a 
  clock,​ ​it​ ​may​ ​be​ ​time​ ​they​ ​don’t​ ​have. 
   
  Of​ ​course,​ ​it’d​ ​be​ ​no​ ​fun​ ​if​ ​there​ ​was​ ​nothing​ ​they​ ​could​ ​do​ ​to​ ​improve​ ​a​ ​deadline​ ​situation,​ ​and 
  it’d​ ​be​ ​no​ ​fun​ ​if​ ​the​ ​crawl​ ​toward​ ​the​ ​deadline​ ​was​ ​predictable. 
  Using​ ​Story​ ​Time​ ​in​ ​Success​ ​and​ ​Failure 
  Therefore,​ ​when​ ​you’re​ ​using​ ​story​ ​time​ ​to​ ​create​ ​deadline​ ​pressure,​ ​feel​ ​free​ ​to​ ​incorporate 
  unpredictable​ ​jumps​ ​in​ ​time​ ​when​ ​the​ ​PCs​ ​do​ ​really​ ​well​ ​or​ ​really​ ​badly​ ​on​ ​a​ ​roll. 
   
  Taking​ ​extra​ ​time​ ​is​ ​a​ ​great​ ​way​ ​to​ ​make​ ​failure​ ​awesome​ ​as​ ​per​ ​the​ ​guidelines​ ​above, 
  especially​ ​using​ ​the​ ​“Success​ ​at​ ​a​ ​Cost”​ ​option—give​ ​the​ ​players​ ​exactly​ ​what​ ​they​ ​want,​ ​but​ ​at 
  the​ ​cost​ ​of​ ​taking​ ​more​ ​time​ ​than​ ​they​ ​were​ ​trying​ ​to​ ​spend,​ ​thus​ ​risking​ ​that​ ​their​ ​efforts​ ​will 
  come​ ​too​ ​late.​ ​Or​ ​it​ ​could​ ​be​ ​the​ ​thing​ ​that​ ​pushes​ ​a​ ​deadline​ ​over​ ​the​ ​edge—maybe​ ​things 
  aren’t​ ​completely​ ​hopeless,​ ​but​ ​now​ ​there​ ​are​ ​extra​ ​problems​ ​to​ ​deal​ ​with. 
   
  Likewise,​ ​reward​ ​extreme​ ​success​ ​by​ ​reducing​ ​the​ ​amount​ ​of​ ​time​ ​it​ ​takes​ ​to​ ​do​ ​something 
  while​ ​the​ ​PCs​ ​are​ ​under​ ​deadline.​ ​That​ ​historical​ ​research​ ​(Reason)​ ​that​ ​was​ ​going​ ​to​ ​take​ ​a 
  day​ ​gets​ ​wrapped​ ​up​ ​in​ ​a​ ​few​ ​hours.​ ​While​ ​looking​ ​for​ ​a​ ​good​ ​merchant​ ​(Contacts)​ ​to​ ​get​ ​your 
  supplies,​ ​you​ ​manage​ ​to​ ​find​ ​another​ ​one​ ​who​ ​can​ ​fulfill​ ​your​ ​order​ ​that​ ​same​ ​day​ ​rather​ ​than​ ​in 
  a​ ​week. 
   
  If​ ​time​ ​is​ ​a​ ​factor,​ ​you​ ​should​ ​also​ ​be​ ​able​ ​to​ ​use​ ​invocations​ ​and​ ​compels​ ​to​ ​manipulate​ ​time,​ ​to 
  make​ ​things​ ​easier​ ​or​ ​more​ ​complicated​ ​respectively.​ ​(“Hey,​ ​I’m​ ​a​ ​Garage​ ​Bunny​,​ ​so​ ​fixing​ ​this 
  car​ ​shouldn’t​ ​take​ ​me​ ​that​ ​long,​ ​right?”​ ​“Oh,​ ​you​ ​know​ ​what?​ ​Your​ ​sheet​ ​says​ ​I​ ​Can’t​ ​Get 
  Enough​ ​of​ ​the​ ​Fun​ ​and​ ​Games​…​ ​doesn’t​ ​it​ ​make​ ​sense​ ​that​ ​if​ ​you’re​ ​looking​ ​for​ ​a​ ​guy​ ​in​ ​a 
  casino,​ ​it’d​ ​be​ ​easy​ ​to​ ​get​ ​caught​ ​up​ ​in​ ​distractions?​ ​All​ ​those​ ​machines​ ​and​ ​stuff…”) 
  How​ ​Much​ ​Time​ ​Is​ ​A​ ​Shift​ ​Worth? 
  Just​ ​like​ ​with​ ​any​ ​other​ ​roll,​ ​the​ ​number​ ​of​ ​shifts​ ​you​ ​get​ ​(or​ ​the​ ​amount​ ​you​ ​fail​ ​by)​ ​should​ ​serve 
  135 
  
  as​ ​a​ ​barometer​ ​for​ ​just​ ​how​ ​severe​ ​the​ ​time​ ​jump​ ​is.​ ​So,​ ​how​ ​do​ ​you​ ​decide​ ​just​ ​how​ ​much​ ​to 
  award​ ​or​ ​penalize? 
   
  It​ ​really​ ​depends​ ​on​ ​how​ ​much​ ​time​ ​you​ ​decide​ ​the​ ​initial​ ​action​ ​is​ ​going​ ​to​ ​take.​ ​Time​ ​is​ ​usually 
  expressed​ ​in​ ​two​ ​parts:​ ​a​ ​specific​ ​or​ ​abstract​ ​measure​ ​of​ ​quantity,​ ​then​ ​a​ ​unit​ ​of​ ​time,​ ​such​ ​as​ ​“a 
  few​ ​days,”​ ​“twenty​ ​seconds,”​ ​“three​ ​weeks,”​ ​and​ ​so​ ​on. 
   
  It​ ​is​ ​recommended​ ​that​ ​you​ ​measure​ ​in​ ​the​ ​abstract​ ​and​ ​express​ ​all​ ​the​ ​game​ ​actions​ ​as​ ​half, 
  one,​ ​a​ ​few,​ ​or​ ​several​ ​of​ ​a​ ​given​ ​unit​ ​of​ ​time.​ ​So​ ​if​ ​you​ ​imagine​ ​something​ ​taking​ ​six​ ​hours,​ ​think 
  of​ ​it​ ​as​ ​“several​ ​hours.”​ ​If​ ​you​ ​imagine​ ​something​ ​taking​ ​twenty​ ​minutes,​ ​you​ ​can​ ​either​ ​call​ ​that 
  “several​ ​minutes”​ ​or​ ​round​ ​up​ ​to​ ​“half​ ​an​ ​hour”,​ ​whichever​ ​feels​ ​closest. 
   
  This​ ​gives​ ​you​ ​a​ ​starting​ ​point​ ​for​ ​moving​ ​up​ ​and​ ​down.​ ​Each​ ​shift​ ​is​ ​worth​ ​one​ ​jump​ ​from 
  wherever​ ​your​ ​starting​ ​point​ ​is.​ ​So​ ​if​ ​your​ ​starting​ ​point​ ​is​ ​“several​ ​hours,”​ ​and​ ​it​ ​benefits​ ​the 
  PCs​ ​to​ ​speed​ ​things​ ​up,​ ​then​ ​it​ ​works​ ​like​ ​this:​ ​one​ ​shift​ ​jumps​ ​the​ ​time​ ​down​ ​to​ ​“a​ ​few​ ​hours,” 
  two​ ​shifts​ ​down​ ​to​ ​“one​ ​hour,”​ ​and​ ​three​ ​shifts​ ​down​ ​to​ ​“a​ ​half​ ​hour.” 
   
  Going​ ​past​ ​either​ ​end​ ​of​ ​the​ ​spectrum​ ​moves​ ​you​ ​down​ ​to​ ​several​ ​increments​ ​of​ ​the​ ​next​ ​unit​ ​of 
  time​ ​or​ ​up​ ​to​ ​half​ ​the​ ​next​ ​unit​ ​of​ ​time,​ ​depending​ ​on​ ​which​ ​direction​ ​you’re​ ​going.​ ​So​ ​four​ ​shifts 
  on​ ​the​ ​aforementioned​ ​roll​ ​might​ ​jump​ ​you​ ​from​ ​“several​ ​hours”​ ​to​ ​“several​ ​minutes.”​ ​Failing​ ​by 
  one,​ ​conversely,​ ​might​ ​jump​ ​you​ ​from​ ​“several​ ​hours”​ ​to​ ​“half​ ​a​ ​day.” 
   
  This​ ​allows​ ​you​ ​to​ ​quickly​ ​deal​ ​with​ ​time​ ​jumps​ ​no​ ​matter​ ​where​ ​you’re​ ​starting​ ​from,​ ​whether 
  the​ ​actions​ ​you​ ​have​ ​in​ ​mind​ ​are​ ​going​ ​to​ ​take​ ​moments​ ​or​ ​generations 
  Story​ ​Time​ ​and​ ​the​ ​Scope​ ​of​ ​an​ ​Action 
  It’s​ ​easy​ ​to​ ​think​ ​of​ ​most​ ​actions​ ​that​ ​a​ ​PC​ ​takes​ ​being​ ​limited​ ​to​ ​anything​ ​that​ ​the​ ​character​ ​can 
  directly​ ​affect,​ ​and​ ​working​ ​on​ ​a​ ​“person-to-person”​ ​scope.​ ​And​ ​most​ ​of​ ​the​ ​time,​ ​that’s​ ​going​ ​to 
  be​ ​precisely​ ​the​ ​case—after​ ​all,​ ​Faterip​ ​is​ ​a​ ​game​ ​about​ ​individual​ ​competence​ ​shining​ ​in​ ​the 
  face​ ​of​ ​dramatic​ ​adversity. 
   
  However,​ ​consider​ ​for​ ​a​ ​moment​ ​what​ ​a​ ​PC​ ​might​ ​do​ ​with​ ​that​ ​competence​ ​and​ ​all​ ​the​ ​time​ ​in 
  the​ ​world​ ​to​ ​accomplish​ ​a​ ​particular​ ​action.​ ​Imagine​ ​a​ ​month-long​ ​Popularity​ ​roll​ ​for​ ​a 
  negotiation,​ ​where​ ​the​ ​PC​ ​gets​ ​to​ ​talk​ ​with​ ​every​ ​delegate​ ​in​ ​detail,​ ​rather​ ​than​ ​just​ ​focusing​ ​on 
  a​ ​single​ ​conference.​ ​Imagine​ ​a​ ​weeks-long​ ​Investigate,​ ​charting​ ​out​ ​every​ ​detail​ ​of​ ​a​ ​target’s 
  personal​ ​routine. 
  By​ ​allowing​ ​each​ ​roll​ ​to​ ​represent​ ​a​ ​long​ ​period​ ​of​ ​time,​ ​you​ ​can​ ​“zoom​ ​out”​ ​to​ ​handle​ ​events 
  that​ ​reach​ ​far​ ​beyond​ ​the​ ​individual​ ​player​ ​character​ ​making​ ​the​ ​roll,​ ​and​ ​affect​ ​the​ ​setting​ ​in​ ​a 
  big​ ​way.​ ​That​ ​month-long​ ​Rapport​ ​roll​ ​might​ ​result​ ​in​ ​charting​ ​a​ ​new​ ​political​ ​course​ ​for​ ​the 
  country​ ​the​ ​PC​ ​is​ ​negotiating​ ​for.​ ​That​ ​Investigate​ ​roll​ ​might​ ​be​ ​the​ ​start​ ​of​ ​bringing​ ​in​ ​one​ ​of​ ​the 
  most​ ​notorious​ ​criminals​ ​in​ ​the​ ​setting,​ ​one​ ​that’s​ ​been​ ​hounding​ ​the​ ​PCs​ ​for​ ​a​ ​whole​ ​campaign. 
   
  This​ ​is​ ​a​ ​great​ ​way​ ​to​ ​make​ ​long​ ​breaks​ ​in​ ​story​ ​time​ ​more​ ​interactive,​ ​rather​ ​than​ ​bogging​ ​the 
  136 
  
  game​ ​down​ ​with​ ​long​ ​narration​ ​or​ ​trying​ ​to​ ​retroactively​ ​come​ ​up​ ​with​ ​what​ ​happened​ ​during 
  that​ ​time.​ ​If​ ​the​ ​PCs​ ​have​ ​long-term​ ​goals​ ​they​ ​want​ ​to​ ​accomplish,​ ​see​ ​if​ ​you​ ​can​ ​find​ ​a​ ​way​ ​to 
  turn​ ​that​ ​into​ ​a​ ​contest,​ ​challenge,​ ​or​ ​conflict​ ​that​ ​covers​ ​the​ ​whole​ ​break,​ ​or​ ​just​ ​have​ ​them 
  make​ ​a​ ​single​ ​skill​ ​roll​ ​to​ ​see​ ​if​ ​something​ ​unexpected​ ​happens.​ ​If​ ​they​ ​happen​ ​to​ ​fail​ ​the​ ​roll, 
  whatever​ ​you​ ​invent​ ​as​ ​a​ ​consequence​ ​will​ ​make​ ​good​ ​material​ ​for​ ​the​ ​game​ ​going​ ​forward. 
   
  Remember​ ​that​ ​if​ ​you​ ​do​ ​this​ ​with​ ​a​ ​conflict​ ​or​ ​a​ ​contest,​ ​that​ ​you​ ​scale​ ​each​ ​exchange 
  appropriately—if​ ​a​ ​conflict​ ​is​ ​taking​ ​place​ ​over​ ​the​ ​course​ ​of​ ​a​ ​year,​ ​then​ ​each​ ​exchange​ ​might 
  be​ ​a​ ​month​ ​or​ ​two,​ ​and​ ​everyone​ ​should​ ​describe​ ​their​ ​actions​ ​and​ ​the​ ​results​ ​of​ ​their​ ​actions​ ​in 
  that​ ​context. 
   
  During​ ​a​ ​major​ ​milestone​ ​in​ ​the​ ​campaign,​ ​Landon​ ​shifted​ ​his​ ​high​ ​concept​ ​to​ ​Former​ ​Ivory 
  Shroud​ ​Disciple,​ ​as​ ​a​ ​result​ ​of​ ​discovering​ ​a​ ​plot​ ​from​ ​within​ ​their​ ​ranks​ ​to​ ​take​ ​over​ ​a​ ​small 
  kingdom​ ​as​ ​their​ ​own. 
   
  Amanda​ ​wants​ ​to​ ​jump​ ​the​ ​campaign​ ​six​ ​months​ ​forward,​ ​and​ ​she​ ​suggests​ ​that​ ​if​ ​Landon​ ​goes 
  on​ ​the​ ​run,​ ​they’re​ ​going​ ​to​ ​try​ ​to​ ​hunt​ ​him​ ​down.​ ​She​ ​sees​ ​an​ ​opportunity​ ​to​ ​create​ ​material​ ​for 
  the​ ​next​ ​part​ ​of​ ​the​ ​game,​ ​so​ ​she​ ​says,​ ​“I​ ​think​ ​we​ ​should​ ​find​ ​out​ ​if​ ​Landon​ ​starts​ ​the​ ​next 
  scenario​ ​in​ ​their​ ​clutches​ ​or​ ​not.” 
   
  They​ ​decide​ ​to​ ​do​ ​it​ ​as​ ​a​ ​conflict,​ ​with​ ​each​ ​exchange​ ​representing​ ​one​ ​confrontation​ ​between 
  Landon​ ​and​ ​the​ ​Shroud’s​ ​trackers.​ ​It​ ​goes​ ​badly​ ​for​ ​him​ ​and​ ​he​ ​concedes,​ ​taking​ ​a​ ​moderate 
  consequence​ ​into​ ​the​ ​next​ ​session.​ ​Amanda​ ​suggests​ ​that​ ​they​ ​want​ ​to​ ​bring​ ​Landon​ ​back​ ​into 
  the​ ​fold​ ​rather​ ​than​ ​hurt​ ​or​ ​kill​ ​him,​ ​so​ ​Lenny​ ​decides​ ​to​ ​take​ ​I​ ​Don’t​ ​Know​ ​What’s​ ​Right 
  Anymore,​ ​reflecting​ ​the​ ​seeds​ ​of​ ​doubt​ ​they’re​ ​planting​ ​in​ ​his​ ​mind. 
   
  When​ ​we​ ​see​ ​Landon​ ​again,​ ​he’ll​ ​be​ ​in​ ​the​ ​clutches​ ​of​ ​the​ ​Ivory​ ​Shroud,​ ​struggling​ ​with​ ​his 
  loyalties. 
  Zoom​ ​In,​ ​Zoom​ ​Out 
  There’s​ ​no​ ​rule​ ​that​ ​says​ ​you’re​ ​required​ ​to​ ​keep​ ​your​ ​rolls​ ​consistent​ ​in​ ​terms​ ​of​ ​story​ ​time.​ ​One 
  cool​ ​trick​ ​you​ ​can​ ​do​ ​is​ ​use​ ​the​ ​result​ ​of​ ​one​ ​roll​ ​to​ ​segue​ ​into​ ​another​ ​roll​ ​that​ ​takes​ ​place​ ​over 
  a​ ​much​ ​smaller​ ​period​ ​in​ ​time,​ ​or​ ​vice​ ​versa.​ ​This​ ​is​ ​a​ ​great​ ​way​ ​to​ ​open​ ​a​ ​new​ ​scene,​ ​contest, 
  or​ ​conflict,​ ​or​ ​just​ ​introduce​ ​a​ ​change​ ​of​ ​pace. 
   
  During​ ​the​ ​aforementioned​ ​six-month​ ​break,​ ​Cynere​ ​has​ ​been​ ​researching​ ​the​ ​demon 
  compatriots​ ​of​ ​the​ ​horrific​ ​Arc’yeth,​ ​who​ ​soul-burned​ ​her​ ​in​ ​the​ ​last​ ​arc​ ​of​ ​the​ ​campaign.​ ​She 
  decides​ ​to​ ​go​ ​it​ ​alone,​ ​even​ ​though​ ​Zird​ ​offered​ ​to​ ​help,​ ​and​ ​ends​ ​up​ ​rolling​ ​her​ ​newly​ ​acquired 
  Good​ ​(+1)​ ​Reason​ ​to​ ​succeed​ ​at​ ​an​ ​overcome​ ​roll. 
   
  She​ ​ends​ ​up​ ​doing​ ​really​ ​well,​ ​and​ ​Amanda​ ​describes​ ​Cynere​ ​getting​ ​lost​ ​in​ ​research​ ​for​ ​a​ ​few 
  months.​ ​Then​ ​Amanda​ ​says,​ ​“Awesome.​ ​You​ ​return​ ​home​ ​with​ ​the​ ​dirt​ ​of​ ​the​ ​trail​ ​on​ ​you,​ ​weary 
  137 
  
  to​ ​the​ ​bone,​ ​hands​ ​stained​ ​with​ ​ink,​ ​but​ ​your​ ​search​ ​has​ ​uncovered​ ​the​ ​hiding​ ​place​ ​of 
  Arc’yeth’s​ ​right​ ​hand​ ​in​ ​the​ ​Circle​ ​of​ ​Thirteen,​ ​a​ ​minor​ ​demon​ ​named​ ​Tan’shael​ ​(all​ ​these 
  apostrophes!).​ ​You​ ​fall​ ​into​ ​bed,​ ​ready​ ​to​ ​start​ ​the​ ​search​ ​in​ ​the​ ​morning...​ ​and​ ​are​ ​wakened​ ​in 
  the​ ​middle​ ​of​ ​the​ ​night​ ​by​ ​a​ ​crashing​ ​sound​ ​coming​ ​from​ ​your​ ​study.” 
   
  Lily​ ​says,​ ​“Well,​ ​hell,​ ​I​ ​get​ ​up​ ​and​ ​rush​ ​in​ ​there,​ ​grabbing​ ​my​ ​sword​ ​as​ ​I​ ​go!” 
   
  Amanda​ ​says,​ ​“Great—you​ ​notice​ ​that​ ​your​ ​research​ ​notes​ ​are​ ​gone,​ ​and​ ​that​ ​the​ ​window​ ​is 
  broken​ ​open.​ ​You​ ​hear​ ​footsteps​ ​rushing​ ​away​ ​into​ ​the​ ​night.” 
   
  Lily​ ​says,​ ​“Oh,​ ​hell​ ​no.​ ​I’m​ ​going​ ​after​ ​him.​ ​Her,​ ​it,​ ​them,​ ​whatever.” 
   
  Amanda​ ​says,​ ​“Great!​ ​That’s​ ​using​ ​Agility,​ ​and​ ​let’s​ ​do​ ​a​ ​contest​ ​and​ ​see​ ​if​ ​you​ ​can​ ​catch​ ​the 
  culprit.”​ ​(Notice,​ ​GMs,​ ​that​ ​this​ ​is​ ​now​ ​happening​ ​in​ ​immediately​ ​consecutive​ ​time—we​ ​went 
  right​ ​from​ ​rolling​ ​for​ ​months-long​ ​stuff,​ ​to​ ​rolling​ ​for​ ​the​ ​seconds​ ​it​ ​takes​ ​for​ ​Cynere​ ​to​ ​give 
  chase.) 
  The​ ​contest​ ​goes​ ​badly​ ​for​ ​Cynere,​ ​and​ ​the​ ​person​ ​gets​ ​away.​ ​Lily​ ​immediately​ ​says,​ ​“Screw 
  that.​ ​Someone​ ​in​ ​town​ ​has​ ​to​ ​know​ ​something,​ ​or​ ​he​ ​left​ ​some​ ​clue​ ​behind,​ ​or​ ​something.​ ​I’m 
  going​ ​to​ ​roll​ ​Investigate.” 
   
  Lily​ ​rolls​ ​and​ ​succeeds​ ​with​ ​style,​ ​and​ ​Amanda​ ​says,​ ​“A​ ​week​ ​later,​ ​you’re​ ​in​ ​the​ ​village​ ​of 
  Sunloft,​ ​outside​ ​the​ ​Shoeless​ ​Horse​ ​tavern,​ ​where​ ​she​ ​(it’s​ ​a​ ​she,​ ​by​ ​the​ ​way)​ ​is​ ​rumored​ ​to​ ​be 
  staying.​ ​Oh,​ ​and​ ​you​ ​got​ ​some​ ​shifts,​ ​so​ ​I’ll​ ​just​ ​go​ ​ahead​ ​and​ ​tell​ ​you​ ​her​ ​name​ ​is 
  Corathia—she​ ​dropped​ ​it​ ​to​ ​someone​ ​in​ ​your​ ​hometown​ ​while​ ​trying​ ​to​ ​find​ ​your​ ​place.​ ​That’s 
  worth​ ​an​ ​aspect,​ ​I​ ​Know​ ​Your​ ​Name,​ ​which​ ​you​ ​might​ ​use​ ​to​ ​undermine​ ​her​ ​confidence.” 
   
  (GMs,​ ​see​ ​what​ ​happened?​ ​One​ ​roll​ ​jumped​ ​a​ ​week,​ ​but​ ​Amanda​ ​and​ ​Lily​ ​are​ ​playing​ ​it​ ​at​ ​the 
  table​ ​in​ ​continuous​ ​time.) 
   
  Lily​ ​says,​ ​“I​ ​bust​ ​the​ ​door​ ​down​ ​and​ ​scream​ ​her​ ​name.” 
   
  Amanda​ ​says,​ ​“Everyone​ ​backs​ ​away​ ​from​ ​a​ ​lithe​ ​woman​ ​at​ ​the​ ​bar,​ ​who​ ​sneers​ ​at​ ​them​ ​and 
  goes​ ​for​ ​her​ ​sword,​ ​bounding​ ​off​ ​the​ ​stool​ ​and​ ​aiming​ ​a​ ​whistling​ ​cut​ ​at​ ​your​ ​face.” 
   
  “It’s​ ​on!”​ ​Lily​ ​says,​ ​and​ ​goes​ ​for​ ​dice​ ​to​ ​defend.​ ​(Now​ ​it’s​ ​a​ ​conflict​ ​and​ ​happening​ ​in​ ​super 
  zoomed-in​ ​time.) 
  Aspects​ ​and​ ​Details:​ ​Discovery​ ​vs.​ ​Creation 
  From​ ​the​ ​player’s​ ​point​ ​of​ ​view,​ ​there’s​ ​almost​ ​no​ ​way​ ​to​ ​know​ ​what​ ​you’ve​ ​made​ ​up 
  beforehand​ ​and​ ​what​ ​you’re​ ​inventing​ ​in​ ​the​ ​moment,​ ​especially​ ​if​ ​you’re​ ​the​ ​kind​ ​of​ ​GM​ ​who 
  doesn’t​ ​display​ ​or​ ​consult​ ​any​ ​notes​ ​at​ ​the​ ​table.​ ​Thus,​ ​when​ ​a​ ​player​ ​tries​ ​to​ ​discover 
  something​ ​you​ ​haven’t​ ​made​ ​up​ ​yet,​ ​you​ ​can​ ​treat​ ​it​ ​as​ ​if​ ​they​ ​were​ ​making​ ​a​ ​new​ ​aspect​ ​or 
  138 
  
  story​ ​detail.​ ​If​ ​they​ ​succeed,​ ​they​ ​find​ ​what​ ​they’re​ ​looking​ ​for.​ ​If​ ​they​ ​fail,​ ​you​ ​can​ ​use​ ​what​ ​they 
  were​ ​looking​ ​for​ ​as​ ​inspiration​ ​to​ ​help​ ​you​ ​come​ ​up​ ​with​ ​the​ ​real​ ​information. 
   
  If​ ​you’re​ ​really​ ​comfortable​ ​with​ ​improvising,​ ​this​ ​means​ ​that​ ​you​ ​can​ ​come​ ​to​ ​the​ ​table​ ​with​ ​very 
  little​ ​prepared​ ​beforehand,​ ​and​ ​let​ ​the​ ​players’​ ​reactions​ ​and​ ​questions​ ​build​ ​everything​ ​for​ ​you. 
  You​ ​may​ ​need​ ​to​ ​ask​ ​some​ ​prompting​ ​questions​ ​first,​ ​to​ ​narrow​ ​down​ ​the​ ​scope​ ​of​ ​what 
  information​ ​the​ ​player’s​ ​looking​ ​for,​ ​but​ ​after​ ​that,​ ​the​ ​sky’s​ ​the​ ​limit. 
   
  Zird​ ​the​ ​Arcane​ ​is​ ​scouting​ ​an​ ​ancient​ ​ritual​ ​site,​ ​looking​ ​for​ ​a​ ​good​ ​place​ ​to​ ​work​ ​on​ ​banishing 
  the​ ​curse​ ​that’s​ ​been​ ​placed​ ​on​ ​the​ ​nearby​ ​village​ ​of​ ​Belwitch,​ ​the​ ​mayor​ ​of​ ​which​ ​is​ ​paying​ ​him 
  good​ ​money​ ​for​ ​the​ ​effort. 
   
  Ryan​ ​says,​ ​“I’m​ ​going​ ​to​ ​spend​ ​some​ ​time​ ​in​ ​a​ ​local​ ​library,​ ​researching​ ​some​ ​history​ ​about​ ​the 
  site.​ ​I’d​ ​like​ ​to​ ​use​ ​Reason​ ​to​ ​create​ ​an​ ​advantage.” 
   
  Amanda​ ​thinks​ ​for​ ​a​ ​moment.​ ​She​ ​didn’t​ ​really​ ​have​ ​anything​ ​special​ ​planned​ ​for​ ​the​ ​site, 
  because​ ​all​ ​her​ ​energy​ ​was​ ​focused​ ​on​ ​detailing​ ​the​ ​nature​ ​of​ ​the​ ​curse​ ​and​ ​what​ ​would​ ​be 
  required​ ​to​ ​get​ ​rid​ ​of​ ​it,​ ​because​ ​it’s​ ​being​ ​maintained​ ​by​ ​a​ ​force​ ​more​ ​powerful​ ​than​ ​the​ ​PCs 
  currently​ ​realize. 
   
  “What​ ​kind​ ​of​ ​info​ ​are​ ​you​ ​looking​ ​for?”​ ​Amanda​ ​asks.​ ​“Just​ ​book​ ​report-type​ ​details,​ ​or...?” 
  Ryan​ ​says,​ ​“Well,​ ​what​ ​I​ ​really​ ​want​ ​to​ ​know​ ​is​ ​if​ ​anyone’s​ ​used​ ​the​ ​site​ ​for​ ​dark​ ​or​ ​nefarious 
  magic...​ ​if​ ​this​ ​village​ ​has​ ​a​ ​local​ ​boogeyman​ ​or​ ​spook​ ​story​ ​centered​ ​around​ ​that​ ​site.” 
   
  Amanda​ ​says,​ ​“Oh,​ ​cool.​ ​Yeah,​ ​roll​ ​your​ ​Reason,​ ​opposition​ ​is​ ​Excellent​ ​(+2).”​ ​Unexpectedly, 
  Ryan​ ​rolls​ ​a​ ​–4​ ​and​ ​ends​ ​up​ ​with​ ​a​ ​Typical​ ​(+0),​ ​meaning​ ​that​ ​he​ ​failed.​ ​Ryan​ ​decides​ ​not​ ​to 
  spend​ ​any​ ​fate​ ​points​ ​on​ ​the​ ​roll. 
   
  Wanting​ ​to​ ​turn​ ​the​ ​failure​ ​into​ ​something​ ​awesome,​ ​she​ ​says,​ ​“Well,​ ​you​ ​don’t​ ​get​ ​an​ ​aspect​ ​for 
  it,​ ​but​ ​what​ ​you​ ​find​ ​out​ ​is​ ​actually​ ​the​ ​opposite​ ​of​ ​what​ ​you’re​ ​looking​ ​for—the​ ​site​ ​has​ ​an 
  impeccable​ ​reputation​ ​as​ ​a​ ​place​ ​of​ ​blessed​ ​power,​ ​and​ ​the​ ​records​ ​you​ ​find​ ​all​ ​talk​ ​about 
  healing​ ​and​ ​harvest​ ​rituals​ ​that​ ​brought​ ​great​ ​plenty​ ​and​ ​good​ ​fortune​ ​to​ ​the​ ​area.” 
   
  Ryan​ ​says,​ ​“If​ ​the​ ​site​ ​is​ ​so​ ​powerful,​ ​how​ ​did​ ​the​ ​village​ ​become​ ​cursed?” 
   
  Amanda​ ​shrugs.​ ​“Guess​ ​you’ll​ ​have​ ​to​ ​investigate​ ​further​ ​if​ ​you​ ​want​ ​to​ ​find​ ​out.” 
   
  In​ ​her​ ​notes,​ ​she​ ​jots​ ​something​ ​briefly​ ​about​ ​the​ ​fact​ ​that​ ​the​ ​site​ ​is​ ​now​ ​magically​ ​defiled​ ​and 
  that​ ​the​ ​town’s​ ​priest​ ​is​ ​keeping​ ​that​ ​a​ ​secret,​ ​changing​ ​Ryan’s​ ​suggestion​ ​a​ ​little​ ​bit​ ​and​ ​adding 
  some​ ​material​ ​for​ ​him​ ​if​ ​he​ ​decides​ ​to​ ​ask​ ​around. 
  Dealing​ ​with​ ​Conflicts​ ​and​ ​Other​ ​Weird​ ​Stuff 
  139 
  
  The​ ​most​ ​complicated​ ​situations​ ​you’re​ ​going​ ​to​ ​encounter​ ​as​ ​a​ ​GM​ ​will​ ​be​ ​conflicts,​ ​hands 
  down.​ ​Conflicts​ ​use​ ​the​ ​most​ ​rules​ ​in​ ​the​ ​game​ ​and​ ​pack​ ​them​ ​into​ ​a​ ​small​ ​amount​ ​of​ ​time 
  compared​ ​to​ ​everything​ ​else​ ​in​ ​the​ ​system.​ ​They​ ​require​ ​you​ ​to​ ​keep​ ​track​ ​of​ ​a​ ​lot​ ​of​ ​things​ ​at 
  once—everyone’s​ ​relative​ ​position,​ ​who’s​ ​acting​ ​against​ ​whom,​ ​how​ ​much​ ​health​ ​and​ ​what 
  consequences​ ​your​ ​NPCs​ ​have​ ​taken,​ ​and​ ​so​ ​on. 
   
  They’re​ ​also​ ​where​ ​your​ ​movie-watching​ ​brain​ ​will​ ​come​ ​to​ ​the​ ​fore,​ ​especially​ ​if​ ​your​ ​game 
  features​ ​a​ ​lot​ ​of​ ​high-octane​ ​physical​ ​conflict.​ ​Action​ ​sequences​ ​you​ ​see​ ​in​ ​media​ ​don’t​ ​always 
  conform​ ​to​ ​the​ ​structured​ ​order​ ​of​ ​turns​ ​that​ ​Faterip​ ​has,​ ​so​ ​it​ ​can​ ​be​ ​hard​ ​to​ ​see​ ​how​ ​they 
  correspond​ ​when​ ​you’re​ ​trying​ ​to​ ​visualize​ ​what​ ​happens.​ ​Sometimes,​ ​people​ ​will​ ​also​ ​want​ ​to 
  do​ ​crazy​ ​actions​ ​that​ ​you​ ​hadn’t​ ​thought​ ​of​ ​when​ ​you​ ​were​ ​conceiving​ ​the​ ​conflict,​ ​leaving​ ​you 
  at​ ​a​ ​loss​ ​for​ ​how​ ​to​ ​handle​ ​them. 
   
  Here​ ​are​ ​some​ ​tools​ ​to​ ​help​ ​you​ ​handle​ ​things​ ​with​ ​grace​ ​and​ ​speed. 
  Affecting​ ​Multiple​ ​Targets 
  Invariably,​ ​if​ ​you​ ​play​ ​Faterip​ ​long​ ​enough,​ ​someone’s​ ​going​ ​to​ ​try​ ​to​ ​affect​ ​multiple​ ​people​ ​at 
  once​ ​in​ ​a​ ​conflict.​ ​Explosions​ ​are​ ​a​ ​staple​ ​of​ ​physical​ ​conflict,​ ​but​ ​are​ ​by​ ​no​ ​means​ ​the​ ​only 
  example—consider​ ​tear​ ​gas​ ​or​ ​some​ ​kind​ ​of​ ​high-tech​ ​stunner.​ ​You​ ​can​ ​extend​ ​this​ ​to​ ​mental 
  conflict​ ​also.​ ​For​ ​example,​ ​you​ ​might​ ​use​ ​Provoke​ ​to​ ​establish​ ​dominance​ ​in​ ​a​ ​room​ ​with​ ​your 
  presence,​ ​or​ ​Rapport​ ​to​ ​make​ ​an​ ​inspirational​ ​speech​ ​that​ ​affects​ ​everyone​ ​listening. 
   
  The​ ​easiest​ ​way​ ​to​ ​do​ ​this​ ​is​ ​to​ ​create​ ​an​ ​advantage​ ​on​ ​the​ ​scene,​ ​rather​ ​than​ ​on​ ​a​ ​specific 
  target.​ ​A​ ​Gas-Filled​ ​Room​ ​has​ ​the​ ​potential​ ​to​ ​affect​ ​everyone​ ​in​ ​it,​ ​and​ ​it’s​ ​not​ ​too​ ​much​ ​of​ ​a 
  stretch​ ​to​ ​suggest​ ​that​ ​the​ ​Inspirational​ ​Mood​​ ​in​ ​a​ ​room​ ​could​ ​be​ ​contagious.​ ​In​ ​this​ ​context,​ ​the 
  aspect​ ​presents​ ​an​ ​excuse​ ​to​ ​call​ ​for​ ​a​ ​skill​ ​roll​ ​(using​ ​the​ ​overcome​ ​action)​ ​from​ ​anyone​ ​in​ ​the 
  scene​ ​who​ ​attempts​ ​to​ ​get​ ​past​ ​it.​ ​Generally​ ​speaking,​ ​it​ ​won’t​ ​cause​ ​damage,​ ​but​ ​it​ ​will​ ​make 
  things​ ​more​ ​difficult​ ​for​ ​those​ ​affected. 
   
  Landon​ ​stalks​ ​the​ ​battlefield​ ​in​ ​search​ ​of​ ​a​ ​worthy​ ​opponent. 
   
  “Who’s​ ​the​ ​biggest,​ ​toughest-looking​ ​guy​ ​around​ ​here?”​ ​Lenny​ ​asks​ ​Amanda. 
   
  “That’s​ ​easy,”​ ​Amanda​ ​answers.​ ​“You​ ​immediately​ ​spot​ ​a​ ​towering​ ​7-foot-tall​ ​warrior,​ ​clearly​ ​not 
  entirely​ ​human,​ ​armed​ ​with​ ​an​ ​unnecessarily​ ​flanged​ ​axe​ ​and​ ​flanked​ ​by​ ​three​ ​underlings.​ ​They 
  call​ ​him​ ​Gorlok​ ​the​ ​Demon-Blooded.” 
   
  “Yeah,​ ​that​ ​sounds​ ​good,”​ ​Lenny​ ​says.​ ​“I’m​ ​gonna​ ​kill​ ​him.” 
   
  “I​ ​like​ ​it.​ ​His​ ​three​ ​henchmen​ ​move​ ​to​ ​intercept.​ ​They’re​ ​not​ ​exactly​ ​7-foot-tall​ ​half-demons,​ ​but 
  they​ ​seem​ ​to​ ​know​ ​what​ ​they’re​ ​doing.” 
   
  140 
  
  Lenny​ ​sighs.​ ​“I​ ​don’t​ ​have​ ​time​ ​for​ ​these​ ​mooks.​ ​I​ ​want​ ​to​ ​make​ ​it​ ​clear​ ​to​ ​them​ ​that​ ​they’re​ ​not 
  up​ ​to​ ​this.​ ​You​ ​know,​ ​wave​ ​my​ ​sword​ ​around​ ​menacingly​ ​and​ ​look​ ​like​ ​even​ ​more​ ​of​ ​a​ ​bad-ass. 
  I​ ​want​ ​these​ ​guys​ ​to​ ​know​ ​that​ ​this​ ​fight​ ​is​ ​between​ ​me​ ​and​ ​Gorlok.” 
   
  “Sounds​ ​like​ ​you​ ​want​ ​to​ ​put​ ​an​ ​aspect​ ​on​ ​the​ ​zone.​ ​Give​ ​me​ ​a​ ​Popularity​ ​roll.” 
   
  Lenny​ ​rolls​ ​a​ ​–3,​ ​and​ ​adds​ ​his​ ​Excellent​ ​(+2)​ ​Popularity​ ​for​ ​a​ ​total​ ​of​ ​Poor​ ​(–1).​ ​He​ ​needed​ ​a 
  Typical​ ​(+0),​ ​so​ ​he’s​ ​failed.​ ​But​ ​Amanda​ ​likes​ ​the​ ​idea​ ​of​ ​Landon​ ​and​ ​Gorlok​ ​facing​ ​off​ ​here 
  without​ ​anyone​ ​else​ ​getting​ ​in​ ​the​ ​way,​ ​so​ ​she​ ​decides​ ​to​ ​give​ ​it​ ​to​ ​him,​ ​but​ ​at​ ​a​ ​cost. 
   
  “All​ ​right,”​ ​she​ ​says,​ ​“what’s​ ​it​ ​going​ ​to​ ​be?” 
   
  Lenny​ ​doesn’t​ ​hesitate.​ ​He​ ​writes​ ​down​ ​a​ ​mild​ ​mental​ ​consequence:​ ​This​ ​Guy​ ​is​ ​Bigger​ ​Than​ ​I 
  Thought.... 
   
  “Cool.​ ​They​ ​look​ ​at​ ​you,​ ​then​ ​back​ ​to​ ​Gorlok.​ ​He​ ​waves​ ​a​ ​hand​ ​dismissively.​ ​‘Go,​ ​find​ ​another​ ​to 
  kill,’​ ​he​ ​growls.​ ​‘This​ ​one’s​ ​mine.’” 
   
  Things​ ​get​ ​more​ ​complicated​ ​when​ ​you​ ​want​ ​to​ ​filter​ ​specific​ ​targets,​ ​rather​ ​than​ ​just​ ​affect​ ​a 
  whole​ ​zone​ ​or​ ​scene.​ ​When​ ​that​ ​happens,​ ​divide​ ​your​ ​resulting​ ​total​ ​up​ ​against​ ​every​ ​target, 
  who​ ​all​ ​get​ ​to​ ​defend​ ​as​ ​per​ ​normal.​ ​Anyone​ ​who​ ​fails​ ​to​ ​defend​ ​either​ ​takes​ ​stress​ ​or​ ​gains​ ​an 
  aspect,​ ​depending​ ​on​ ​what​ ​you​ ​were​ ​trying​ ​to​ ​do.​ ​(Note:​ ​If​ ​you​ ​create​ ​an​ ​advantage​ ​to​ ​put​ ​an 
  aspect​ ​on​ ​multiple​ ​targets,​ ​you​ ​do​ ​get​ ​a​ ​free​ ​invocation​ ​for​ ​each​ ​one.) 
   
  Zird​ ​the​ ​Arcane​ ​is​ ​unleashing​ ​fiery​ ​death​ ​upon​ ​his​ ​foes​ ​in​ ​a​ ​magical​ ​fashion,​ ​as​ ​is​ ​his​ ​wont.​ ​He 
  has​ ​three​ ​such​ ​foes,​ ​charging​ ​at​ ​him​ ​across​ ​a​ ​battlefield.​ ​Zird​ ​figures​ ​it’s​ ​probably​ ​Landon’s​ ​fault 
  he’s​ ​found​ ​himself​ ​in​ ​this​ ​circumstance. 
   
  Zird’s​ ​magic​ ​uses​ ​his​ ​Lore​ ​skill,​ ​and​ ​he​ ​does​ ​extremely​ ​well,​ ​getting​ ​an​ ​Monstrous​ ​(+7)​ ​result. 
   
  He​ ​knows​ ​he​ ​wants​ ​to​ ​get​ ​one​ ​of​ ​them​ ​pretty​ ​good,​ ​so​ ​he​ ​opts​ ​to​ ​divide​ ​his​ ​spread​ ​up​ ​as 
  Amazing​ ​(+5),​ ​Good​ ​(+1),​ ​and​ ​Good​ ​(+1).​ ​That​ ​adds​ ​up​ ​to​ ​+7,​ ​which​ ​was​ ​his​ ​roll,​ ​so​ ​he’s​ ​all 
  good.​ ​Now​ ​Amanda​ ​has​ ​to​ ​defend​ ​for​ ​all​ ​three​ ​of​ ​them. 
   
  The​ ​first​ ​defender​ ​rolls​ ​a​ ​Typical​ ​(+0)​ ​and​ ​takes​ ​5​ ​health.​ ​This​ ​is​ ​a​ ​nameless​ ​NPC​ ​(see​ ​below), 
  so​ ​Amanda​ ​decides​ ​he’s​ ​out​ ​of​ ​the​ ​fight,​ ​and​ ​describes​ ​him​ ​screaming​ ​and​ ​batting​ ​at​ ​flames. 
  The​ ​second​ ​defender​ ​gets​ ​an​ ​Excellent​ ​(+2),​ ​beating​ ​the​ ​attack​ ​roll.​ ​He​ ​charges​ ​forward 
  undaunted. 
   
  The​ ​third​ ​defender​ ​gets​ ​a​ ​Typical​ ​(+0)​ ​as​ ​well,​ ​taking​ ​a​ ​single​ ​point​ ​of​ ​stress.​ ​Amanda​ ​checks 
  his​ ​lone​ ​health​ ​box​ ​and​ ​describes​ ​him​ ​sacrificing​ ​his​ ​shield​ ​to​ ​deflect​ ​the​ ​blast. 
   
  Attacking​ ​a​ ​whole​ ​zone​ ​or​ ​everyone​ ​in​ ​a​ ​scene​ ​is​ ​something​ ​you’re​ ​going​ ​to​ ​have​ ​to​ ​judge​ ​by 
  141 
  
  circumstance,​ ​like​ ​any​ ​other​ ​stretch​ ​use​ ​of​ ​a​ ​skill​.​ ​Depending​ ​on​ ​the​ ​circumstances​ ​of​ ​your 
  setting,​ ​this​ ​might​ ​be​ ​a​ ​totally​ ​normal​ ​thing​ ​to​ ​do​ ​(for​ ​example,​ ​because​ ​everyone​ ​uses 
  grenades​ ​and​ ​explosives),​ ​it​ ​might​ ​be​ ​impossible,​ ​or​ ​it​ ​might​ ​require​ ​a​ ​stunt.​ ​As​ ​long​ ​as​ ​you​ ​can 
  justify​ ​it,​ ​you​ ​don’t​ ​need​ ​to​ ​apply​ ​any​ ​special​ ​rules—you​ ​roll​ ​for​ ​the​ ​attack,​ ​and​ ​everyone​ ​in​ ​the 
  zone​ ​defends​ ​as​ ​normal.​ ​Depending​ ​on​ ​the​ ​circumstances,​ ​you​ ​may​ ​even​ ​have​ ​to​ ​defend 
  against​ ​your​ ​own​ ​roll,​ ​if​ ​you’re​ ​in​ ​the​ ​same​ ​zone​ ​as​ ​the​ ​attack! 
  Compels​ ​and​ ​Multiple​ ​Targets 
  Just​ ​a​ ​quick​ ​note:​ ​players​ ​who​ ​want​ ​to​ ​compel​ ​their​ ​way​ ​out​ ​of​ ​a​ ​conflict​ ​don’t​ ​get​ ​a​ ​free​ ​lunch 
  on​ ​affecting​ ​multiple​ ​targets,​ ​whether​ ​it’s​ ​one​ ​aspect​ ​or​ ​several​ ​that​ ​justify​ ​the​ ​compel.​ ​A​ ​player 
  must​ ​spend​ ​one​ ​Karma​ ​for​ ​each​ ​target​ ​they​ ​wish​ ​to​ ​compel.​ ​One​ ​Karma​ ​compels​ ​one​ ​individual, 
  period. 
  Environmental​ ​Hazards 
  Not​ ​every​ ​participant​ ​in​ ​a​ ​conflict​ ​is​ ​another​ ​PC​ ​or​ ​NPC.​ ​Plenty​ ​of​ ​things​ ​without​ ​self-awareness 
  can​ ​potentially​ ​threaten​ ​PCs​ ​or​ ​keep​ ​them​ ​from​ ​their​ ​goals,​ ​whether​ ​it’s​ ​a​ ​natural​ ​disaster,​ ​a 
  cunning​ ​mechanical​ ​trap,​ ​or​ ​high-tech​ ​automated​ ​security. 
  So,​ ​what​ ​do​ ​you​ ​do​ ​when​ ​the​ ​PCs​ ​go​ ​up​ ​against​ ​something​ ​that​ ​isn’t​ ​a​ ​character? 
  Simple:​ ​treat​ ​it​ ​as​ ​a​ ​character.​ ​(This​ ​is​ ​the​ ​Bronze​ ​Rule​ ​of​ ​Fate​:​ ​You​ ​can​ ​treat​ ​everything​ ​like​ ​a 
  character.​ ​There​ ​are​ ​a​ ​lot​ ​of​ ​different​ ​ways​ ​to​ ​work​ ​with​ ​that​ ​in​ ​the​​ ​Extras​ ​section,​ ​but​ ​let’s​ ​stay 
  on​ ​topic​ ​for​ ​now.) 
  ●
  Is​ ​the​ ​hazard​ ​something​ ​that​ ​can​ ​harm​ ​a​ ​PC?​ ​Give​ ​it​ ​a​ ​skill​ ​and​ ​let​ ​it​ ​make​ ​attacks​ ​just 
  like​ ​an​ ​opponent. 
  ●
  Is​ ​it​ ​more​ ​of​ ​a​ ​distraction​ ​or​ ​harassment​ ​than​ ​a​ ​direct​ ​threat?​ ​Let​ ​it​ ​create​ ​aspects. 
  ●
  Does​ ​it​ ​have​ ​sensors​ ​it​ ​can​ ​use​ ​to​ ​discover​ ​a​ ​PC’s​ ​aspects?​ ​Give​ ​it​ ​a​ ​skill​ ​for​ ​that. 
  And​ ​in​ ​return,​ ​let​ ​the​ ​PCs​ ​use​ ​their​ ​skills​ ​against​ ​the​ ​threat​ ​just​ ​like​ ​they​ ​would​ ​an​ ​opponent.​ ​An 
  automated​ ​security​ ​system​ ​might​ ​be​ ​vulnerable​ ​to​ ​“attacks”​ ​from​ ​a​ ​PC’s​ ​Burglary​ ​skill,​ ​or​ ​they 
  might​ ​escape​ ​a​ ​trap​ ​by​ ​winning​ ​an​ ​Agility​ ​contest​.​ ​If​ ​it​ ​makes​ ​sense​ ​for​ ​the​ ​hazard​ ​in​ ​question​ ​to 
  take​ ​a​ ​good​ ​deal​ ​of​ ​effort​ ​to​ ​surpass,​ ​give​ ​it​ ​a​ ​health​ ​track​ ​and​ ​let​ ​it​ ​take​ ​a​ ​mild​ ​consequence​ ​or 
  two.​ ​In​ ​other​ ​words,​ ​cleave​ ​to​ ​whatever​ ​makes​ ​narrative​ ​sense—if​ ​a​ ​fire​ ​is​ ​too​ ​big​ ​for​ ​a​ ​PC​ ​to 
  put​ ​out,​ ​the​ ​scene​ ​should​ ​focus​ ​on​ ​avoidance​ ​or​ ​escape,​ ​and​ ​work​ ​like​ ​a​​ ​challenge​. 
   
  Cynere,​ ​Landon,​ ​and​ ​Zird​ ​are​ ​exploring​ ​the​ ​Caverns​ ​of​ ​Kazak-Thorn,​ ​in​ ​pursuit​ ​of​ ​one​ ​of​ ​the 
  demonic​ ​opponents​ ​that​ ​Cynere’s​ ​been​ ​so​ ​interested​ ​in​ ​lately.​ ​Of​ ​course,​ ​the​ ​demon​ ​princess​ ​in 
  question​ ​doesn’t​ ​appreciate​ ​being​ ​hunted​ ​by​ ​pesky​ ​adventurers​ ​and​ ​has​ ​summoned​ ​the​ ​powers 
  of​ ​darkness​ ​to​ ​stand​ ​between​ ​our​ ​heroes​ ​and​ ​herself.​ ​So​ ​it​ ​goes. 
   
  They​ ​come​ ​to​ ​the​ ​bottom​ ​floor​ ​of​ ​the​ ​cave​ ​system,​ ​only​ ​to​ ​find​ ​it​ ​full​ ​of​ ​wisps​ ​of​ ​inky​ ​darkness, 
  writhing​ ​around​ ​snakelike​ ​and​ ​cutting​ ​off​ ​the​ ​light​ ​where​ ​they​ ​whip​ ​about.​ ​Zird​ ​rolls​ ​Lore,​ ​and 
  Amanda​ ​tells​ ​him​ ​that​ ​they​ ​are​ ​magical​ ​hunger​ ​spirits—not​ ​individual​ ​entities​ ​so​ ​much​ ​as​ ​pure 
  expressions​ ​of​ ​hunger,​ ​ready​ ​to​ ​devour​ ​anything​ ​they​ ​touch.​ ​He​ ​throws​ ​a​ ​stone​ ​into​ ​the​ ​corridor 
  and​ ​watches​ ​the​ ​tendrils​ ​turn​ ​it​ ​to​ ​ash. 
  142 
  
   
  “I​ ​think​ ​I​ ​speak​ ​for​ ​us​ ​all​ ​when​ ​I​ ​say​ ​‘Yikes,’”​ ​Ryan​ ​says. 
   
  He​ ​asks​ ​about​ ​banishing​ ​the​ ​monsters.​ ​Amanda​ ​shakes​ ​her​ ​head​ ​a​ ​touch.​ ​“You’re​ ​in 
  Asahandra’s​ ​place​ ​of​ ​power,​ ​and​ ​the​ ​whole​ ​place​ ​is​ ​just​ ​flooded​ ​with​ ​those​ ​things—it’d​ ​take 
  days​ ​to​ ​dismantle​ ​an​ ​enchantment​ ​this​ ​strong.​ ​You​ ​might,​ ​however,​ ​be​ ​able​ ​to​ ​use​ ​your​ ​magic 
  to​ ​keep​ ​them​ ​at​ ​bay​ ​as​ ​you​ ​look​ ​for​ ​Asahandra​ ​herself.” 
   
  Lily​ ​says,​ ​“I’m​ ​willing​ ​to​ ​go​ ​for​ ​it.​ ​Let’s​ ​do​ ​this.” 
   
  Amanda​ ​decides​ ​that​ ​even​ ​though​ ​she​ ​could​ ​put​ ​them​ ​into​ ​a​ ​straight-up​ ​conflict,​ ​it’d​ ​be​ ​easier 
  and​ ​quicker​ ​to​ ​deal​ ​with​ ​it​ ​as​ ​a​ ​challenge.​ ​She​ ​tells​ ​them​ ​that​ ​to​ ​get​ ​past​ ​the​ ​shadow 
  summoning,​ ​each​ ​of​ ​them​ ​needs​ ​Will​ ​to​ ​resist​ ​the​ ​shadows’​ ​potent​ ​magical​ ​aura​ ​and​ ​Stealth​ ​to 
  move​ ​past.​ ​Zird​ ​can​ ​roll​ ​Lore​ ​to​ ​try​ ​and​ ​thin​ ​the​ ​herd​ ​with​ ​magic.​ ​In​ ​addition,​ ​she​ ​says​ ​that​ ​the 
  spirits​ ​can​ ​provide​ ​active​ ​opposition​ ​against​ ​each​ ​attempt,​ ​and​ ​that​ ​failing​ ​the​ ​Will​ ​roll​ ​will​ ​be 
  treated​ ​like​ ​an​ ​attack.​ ​The​ ​three​ ​grit​ ​their​ ​teeth​ ​and​ ​start​ ​to​ ​make​ ​their​ ​way​ ​through​ ​the​ ​cave.... 
  Dealing​ ​with​ ​Aspects 
  As​ ​with​ ​skills​ ​and​ ​stunts,​ ​the​ ​entire​ ​Aspects​ ​&​ ​Karma​ ​section​ ​is​ ​designed​ ​to​ ​help​ ​you​ ​judge​ ​the 
  use​ ​of​ ​aspects​ ​in​ ​the​ ​game.​ ​As​ ​the​ ​GM,​ ​you​ ​have​ ​a​ ​very​ ​important​ ​job​ ​in​ ​managing​ ​the​ ​flow​ ​of 
  fate​ ​points​ ​to​ ​and​ ​from​ ​the​ ​players,​ ​giving​ ​them​ ​opportunities​ ​to​ ​spend​ ​freely​ ​in​ ​order​ ​to​ ​succeed 
  and​ ​look​ ​awesome,​ ​and​ ​bringing​ ​in​ ​potential​ ​complications​ ​to​ ​help​ ​keep​ ​them​ ​stocked​ ​up​ ​on 
  points. 
  Invocations 
  Because​ ​of​ ​that,​ ​it​ ​is​ ​recommended​ ​that​ ​you​ ​don’t​ ​apply​ ​extremely​ ​exacting​ ​standards​ ​when​ ​the 
  PC​ ​wants​ ​to​ ​invoke​ ​an​ ​aspect—you​ ​want​ ​them​ ​to​ ​spend​ ​in​ ​order​ ​to​ ​keep​ ​the​ ​flow​ ​going,​ ​and​ ​if 
  you’re​ ​too​ ​stringent​ ​on​ ​your​ ​requirements,​ ​it’s​ ​going​ ​to​ ​discourage​ ​them​ ​from​ ​that​ ​free​ ​spending. 
  On​ ​the​ ​other​ ​hand,​ ​feel​ ​free​ ​to​ ​ask​ ​for​ ​more​ ​clarification​ ​if​ ​you​ ​don’t​ ​get​ ​what​ ​a​ ​player​ ​is 
  implying,​ ​in​ ​terms​ ​of​ ​how​ ​the​ ​aspect​ ​relates​ ​to​ ​what’s​ ​happening​ ​in​ ​play.​ ​Sometimes,​ ​what 
  seems​ ​obvious​ ​to​ ​one​ ​person​ ​isn’t​ ​to​ ​another,​ ​and​ ​you​ ​shouldn’t​ ​let​ ​the​ ​desire​ ​to​ ​toss​ ​karma 
  lead​ ​to​ ​overlooking​ ​the​ ​narration.​ ​If​ ​a​ ​player​ ​is​ ​having​ ​a​ ​hard​ ​time​ ​justifying​ ​the​ ​invocation,​ ​ask 
  them​ ​to​ ​elaborate​ ​on​ ​their​ ​action​ ​more​ ​or​ ​unpack​ ​their​ ​thoughts. 
   
  You​ ​might​ ​also​ ​have​ ​the​ ​problem​ ​of​ ​players​ ​who​ ​get​ ​lost​ ​in​ ​the​ ​open-ended​ ​nature​ ​of 
  aspects—they​ ​don’t​ ​invoke​ ​because​ ​they​ ​aren’t​ ​sure​ ​if​ ​it’s​ ​too​ ​much​ ​of​ ​a​ ​stretch​ ​to​ ​apply​ ​an 
  aspect​ ​in​ ​a​ ​certain​ ​way.​ ​The​ ​more​ ​work​ ​you​ ​do​ ​beforehand​ ​making​ ​sure​ ​that​ ​everyone’s​ ​clear 
  on​ ​what​ ​an​ ​aspect​ ​means,​ ​the​ ​less​ ​you’ll​ ​run​ ​into​ ​this.​ ​To​ ​get​ ​the​ ​player​ ​talking​ ​about​ ​invoking 
  aspects,​ ​always​ ​ask​ ​them​ ​whether​ ​or​ ​not​ ​they’re​ ​satisfied​ ​with​ ​a​ ​skill​ ​roll​ ​result​ ​(“So,​ ​that’s​ ​a 
  Great.​ ​You​ ​want​ ​to​ ​leave​ ​it​ ​at​ ​that?​ ​Or​ ​do​ ​you​ ​want​ ​to​ ​be​ ​even​ ​more​ ​awesome?”).​ ​Make​ ​it​ ​clear 
  that​ ​invoking​ ​an​ ​aspect​ ​is​ ​almost​ ​always​ ​an​ ​option​ ​on​ ​any​ ​roll,​ ​in​ ​order​ ​to​ ​try​ ​and​ ​get​ ​them 
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  talking​ ​about​ ​the​ ​possibilities.​ ​Eventually,​ ​once​ ​you​ ​get​ ​a​ ​consistent​ ​dialogue​ ​going,​ ​things 
  should​ ​smooth​ ​out. 
  Compels 
  During​ ​the​ ​game,​ ​you​ ​should​ ​look​ ​for​ ​opportunities​ ​to​ ​compel​ ​the​ ​PCs’​ ​aspects​ ​at​ ​the​ ​following 
  times: 
  ●
  Whenever​ ​simply​ ​succeeding​ ​at​ ​a​ ​skill​ ​roll​ ​would​ ​be​ ​bland 
  ●
  Whenever​ ​any​ ​player​ ​has​ ​one​ ​or​ ​no​ ​karma 
  ●
  Whenever​ ​someone​ ​tries​ ​to​ ​do​ ​something,​ ​and​ ​you​ ​immediately​ ​think​ ​of​ ​some 
  aspect-related​ ​way​ ​it​ ​could​ ​go​ ​wrong 
  Remember​ ​that​ ​there​ ​are​ ​essentially​ ​two​ ​types​ ​of​ ​compels​ ​in​ ​the​ ​game:​ ​decision-based​,​ ​where 
  something​ ​complicated​ ​occurs​ ​as​ ​a​ ​result​ ​of​ ​something​ ​a​ ​character​ ​does;​ ​and​ ​event-based, 
  where​ ​something​ ​complicated​ ​occurs​ ​simply​ ​as​ ​a​ ​result​ ​of​ ​the​ ​character​ ​being​ ​in​ ​the​ ​wrong 
  situation​ ​at​ ​the​ ​wrong​ ​time. 
   
  Of​ ​the​ ​two,​ ​you’re​ ​going​ ​to​ ​get​ ​the​ ​most​ ​mileage​ ​out​ ​of​ ​event-based​ ​compels—it’s​ ​already​ ​your 
  job​ ​to​ ​decide​ ​how​ ​the​ ​world​ ​responds​ ​to​ ​the​ ​PCs,​ ​so​ ​you​ ​have​ ​a​ ​lot​ ​of​ ​leeway​ ​to​ ​bring 
  unfortunate​ ​coincidence​ ​into​ ​their​ ​lives.​ ​Most​ ​of​ ​the​ ​time,​ ​players​ ​are​ ​just​ ​going​ ​to​ ​accept​ ​you 
  doing​ ​this​ ​without​ ​any​ ​problems​ ​or​ ​minimal​ ​negotiation. 
   
  Decision-based​ ​compels​ ​are​ ​a​ ​little​ ​trickier.​ ​Try​ ​to​ ​refrain​ ​from​ ​suggesting​ ​decisions​ ​to​ ​the 
  players,​ ​and​ ​focus​ ​on​ ​responding​ ​to​ ​their​ ​decisions​ ​with​ ​potential​ ​complications.​ ​It’s​ ​important 
  that​ ​the​ ​players​ ​retain​ ​their​ ​sense​ ​of​ ​autonomy​ ​over​ ​what​ ​their​ ​PCs​ ​say​ ​and​ ​do,​ ​so​ ​you​ ​don’t 
  want​ ​to​ ​dictate​ ​that​ ​to​ ​them.​ ​If​ ​the​ ​players​ ​are​ ​roleplaying​ ​their​ ​characters​ ​according​ ​to​ ​their 
  aspects,​ ​it​ ​shouldn’t​ ​be​ ​hard​ ​to​ ​connect​ ​the​ ​complications​ ​you​ ​propose​ ​to​ ​one​ ​of​ ​them. 
   
  During​ ​play,​ ​you’ll​ ​also​ ​need​ ​to​ ​make​ ​clear​ ​when​ ​a​ ​particular​ ​compel​ ​is​ ​“set”,​ ​meaning​ ​that 
  there’s​ ​no​ ​backing​ ​out​ ​without​ ​paying​ ​a​ ​fate​ ​point.​ ​When​ ​players​ ​propose​ ​their​ ​own​ ​compels, 
  this​ ​won’t​ ​come​ ​up,​ ​because​ ​they’re​ ​fishing​ ​for​ ​the​ ​point​ ​to​ ​begin​ ​with.​ ​When​ ​you​ ​propose​ ​them, 
  you​ ​need​ ​to​ ​give​ ​the​ ​players​ ​room​ ​to​ ​negotiate​ ​with​ ​you​ ​over​ ​what​ ​the​ ​complication​ ​is,​ ​before 
  you​ ​make​ ​a​ ​final​ ​decision.​ ​Be​ ​transparent​ ​about​ ​this—let​ ​them​ ​know​ ​when​ ​the​ ​negotiation 
  phase​ ​has​ ​ended. 
  Weaksauce​ ​Compels 
  In​ ​order​ ​for​ ​the​ ​compel​ ​mechanic​ ​to​ ​be​ ​effective,​ ​you​ ​have​ ​to​ ​take​ ​care​ ​that​ ​you’re​ ​proposing 
  complications​ ​of​ ​sufficient​ ​dramatic​ ​weight.​ ​Stay​ ​away​ ​from​ ​superficial​ ​consequences​ ​that​ ​don’t 
  really​ ​affect​ ​the​ ​character​ ​except​ ​to​ ​provide​ ​color​ ​for​ ​the​ ​scene.​ ​If​ ​you​ ​can’t​ ​think​ ​of​ ​an 
  immediate,​ ​tangible​ ​way​ ​that​ ​the​ ​complication​ ​changes​ ​what’s​ ​going​ ​on​ ​in​ ​the​ ​game,​ ​you 
  probably​ ​need​ ​to​ ​turn​ ​up​ ​the​ ​heat.​ ​If​ ​someone​ ​doesn’t​ ​go​ ​“oh​ ​crap”​ ​or​ ​give​ ​a​ ​similar​ ​visceral 
  reaction,​ ​you​ ​probably​ ​need​ ​to​ ​turn​ ​up​ ​the​ ​heat.​ ​It’s​ ​not​ ​good​ ​enough​ ​for​ ​someone​ ​to​ ​be​ ​angry 
  at​ ​the​ ​PC—they​ ​get​ ​angry​ ​and​ ​they’re​ ​willing​ ​to​ ​do​ ​something​ ​about​ ​it​ ​in​ ​front​ ​of​ ​everyone.​ ​It’s 
  not​ ​good​ ​enough​ ​for​ ​a​ ​business​ ​partner​ ​to​ ​cut​ ​them​ ​off—he​ ​cuts​ ​them​ ​off​ ​and​ ​tells​ ​the​ ​rest​ ​of​ ​his 
  144 
  
  associates​ ​to​ ​blacklist​ ​them. 
   
  Also,​ ​keep​ ​in​ ​mind​ ​that​ ​some​ ​players​ ​may​ ​tend​ ​to​ ​offer​ ​weak​ ​compels​ ​when​ ​they’re​ ​fishing​ ​for 
  karma,​ ​because​ ​they​ ​don’t​ ​really​ ​want​ ​to​ ​hose​ ​their​ ​character​ ​that​ ​badly.​ ​Feel​ ​free​ ​to​ ​push​ ​for 
  something​ ​harder​ ​if​ ​their​ ​initial​ ​proposal​ ​doesn’t​ ​actually​ ​make​ ​the​ ​situation​ ​that​ ​much​ ​more 
  dramatic. 
  Encouraging​ ​the​ ​Players​ ​to​ ​Compel 
  With​ ​five​ ​aspects​ ​per​ ​PC,​ ​it’s​ ​prohibitively​ ​difficult​ ​for​ ​you​ ​to​ ​take​ ​the​ ​sole​ ​responsibility​ ​for 
  compels​ ​at​ ​the​ ​table,​ ​because​ ​that’s​ ​a​ ​lot​ ​of​ ​stuff​ ​to​ ​remember​ ​and​ ​keep​ ​track​ ​of.​ ​You​ ​need​ ​the 
  players​ ​to​ ​be​ ​invested​ ​in​ ​looking​ ​for​ ​moments​ ​to​ ​compel​ ​their​ ​own​ ​characters. 
   
  Open-ended​ ​prompting​ ​can​ ​go​ ​a​ ​long​ ​way​ ​to​ ​create​ ​this​ ​habit​ ​in​ ​your​ ​players.​ ​If​ ​you​ ​see​ ​an 
  opportunity​ ​for​ ​a​ ​potential​ ​compel,​ ​instead​ ​of​ ​proposing​ ​it​ ​directly,​ ​ask​ ​a​ ​leading​ ​question 
  instead.​ ​“So,​ ​you’re​ ​at​ ​the​ ​royal​ ​ball​ ​and​ ​you​ ​have​ ​The​ ​Manners​ ​of​ ​a​ ​Goat​.​ ​Lenny,​ ​do​ ​you​ ​think 
  this​ ​is​ ​going​ ​to​ ​go​ ​smoothly​ ​for​ ​your​ ​character?”​ ​Let​ ​the​ ​player​ ​do​ ​the​ ​work​ ​of​ ​coming​ ​up​ ​with 
  the​ ​complication​ ​and​ ​then​ ​pass​ ​the​ ​fate​ ​point​ ​along. 
   
  Also​ ​remind​ ​the​ ​players​ ​that​ ​they​ ​can​ ​compel​ ​your​ ​NPCs,​ ​if​ ​they​ ​happen​ ​to​ ​know​ ​one​ ​of​ ​that 
  NPC’s​ ​aspects.​ ​Do​ ​the​ ​same​ ​open-ended​ ​prompting​ ​when​ ​you’re​ ​about​ ​to​ ​have​ ​an​ ​NPC​ ​make​ ​a 
  decision,​ ​and​ ​ask​ ​the​ ​players​ ​to​ ​fill​ ​in​ ​the​ ​blanks.​ ​“So,​ ​you​ ​know​ ​that​ ​Duke​ ​Orsin​ ​is​ ​Woefully 
  Overconfident​....You​ ​think​ ​he’s​ ​going​ ​to​ ​get​ ​out​ ​of​ ​the​ ​jousting​ ​tournament​ ​unscathed?​ ​How 
  might​ ​that​ ​go​ ​wrong?​ ​You​ ​willing​ ​to​ ​pay​ ​a​ ​fate​ ​point​ ​to​ ​say​ ​it​ ​does?” 
   
  Your​ ​main​ ​goal​ ​should​ ​be​ ​to​ ​enlist​ ​the​ ​players​ ​as​ ​partners​ ​in​ ​bringing​ ​the​ ​drama,​ ​rather​ ​than 
  being​ ​the​ ​sole​ ​provider. 
   
  Fate​ ​Core 
  Creating​ ​and​ ​Playing​ ​the​ ​Opposition 
  Contents 
  ●
  Take​ ​Only​ ​What​ ​You​ ​Need​ ​to​ ​Survive 
  ●
  The​ ​NPC​ ​Types 
  ●
  Playing​ ​The​ ​Opposition 
  One​ ​of​ ​your​ ​most​ ​important​ ​jobs​ ​as​ ​a​ ​GM​ ​is​ ​creating​ ​the​ ​NPCs​ ​who​ ​will​ ​oppose​ ​the​ ​PCs​ ​and​ ​try 
  to​ ​keep​ ​them​ ​from​ ​their​ ​goals​ ​during​ ​your​ ​scenarios.​ ​The​ ​real​ ​story​ ​comes​ ​from​ ​what​ ​the​ ​PCs​ ​do 
  when​ ​worthy​ ​adversaries​ ​stand​ ​between​ ​them​ ​and​ ​their​ ​objectives—how​ ​far​ ​they’re​ ​willing​ ​to 
  go,​ ​what​ ​price​ ​they’re​ ​willing​ ​to​ ​pay,​ ​and​ ​how​ ​they​ ​change​ ​as​ ​a​ ​result​ ​of​ ​the​ ​experience. 
   
  As​ ​a​ ​GM,​ ​you​ ​want​ ​to​ ​shoot​ ​for​ ​a​ ​balancing​ ​act​ ​with​ ​the​ ​opposing​ ​NPCs—you​ ​want​ ​the​ ​players 
  to​ ​experience​ ​tension​ ​and​ ​uncertainty,​ ​but​ ​you​ ​don’t​ ​want​ ​their​ ​defeat​ ​to​ ​be​ ​a​ ​foregone 
  145 
  
  conclusion.​ ​You​ ​want​ ​them​ ​to​ ​work​ ​for​ ​it,​ ​but​ ​you​ ​don’t​ ​want​ ​them​ ​to​ ​lose​ ​hope. 
   
  Here’s​ ​how. 
  Take​ ​Only​ ​What​ ​You​ ​Need​ ​to​ ​Survive 
  First​ ​of​ ​all,​ ​keep​ ​in​ ​mind​ ​that​ ​you’re​ ​never​ ​obligated​ ​to​ ​give​ ​any​ ​NPC​ ​a​ ​full​ ​sheet​ ​like​ ​the​ ​ones 
  the​ ​PCs​ ​have.​ ​Most​ ​of​ ​the​ ​time,​ ​you’re​ ​not​ ​going​ ​to​ ​need​ ​to​ ​know​ ​that​ ​much​ ​information, 
  because​ ​the​ ​NPCs​ ​aren’t​ ​going​ ​to​ ​be​ ​the​ ​center​ ​of​ ​attention​ ​like​ ​the​ ​PCs​ ​are.​ ​It’s​ ​better​ ​to​ ​focus 
  on​ ​writing​ ​down​ ​exactly​ ​what​ ​you​ ​need​ ​for​ ​that​ ​NPC’s​ ​encounter​ ​with​ ​the​ ​PCs,​ ​and​ ​then​​ ​Quick 
  Character​ ​Creationfill​ ​in​ ​the​ ​blanks​ ​on​ ​the​ ​fly​ ​(just​ ​like​ ​PCs​ ​can)​ ​if​ ​that​ ​NPC​ ​ends​ ​up​ ​becoming 
  more​ ​important​ ​in​ ​the​ ​campaign. 
  The​ ​NPC​ ​Types 
  NPCs​ ​come​ ​in​ ​three​ ​different​ ​flavors:​ ​nameless​ ​NPCs​,​ ​supporting​ ​NPCs​,​ ​and​ ​main​ ​NPCs​. 
  Nameless​ ​NPCs 
  The​ ​majority​ ​of​ ​the​ ​NPCs​ ​in​ ​your​ ​campaign​ ​world​ ​are​ ​nameless—people​ ​who​ ​are​ ​so 
  insignificant​ ​to​ ​the​ ​story​ ​that​ ​the​ ​PCs​ ​interactions​ ​with​ ​them​ ​don’t​ ​even​ ​require​ ​them​ ​to​ ​learn​ ​a 
  name.​ ​The​ ​random​ ​shopkeeper​ ​they​ ​pass​ ​on​ ​the​ ​street,​ ​the​ ​archivist​ ​at​ ​the​ ​library,​ ​the​ ​third 
  patron​ ​from​ ​the​ ​left​ ​at​ ​the​ ​bar,​ ​the​ ​guards​ ​at​ ​the​ ​gate.​ ​Their​ ​role​ ​in​ ​the​ ​story​ ​is​ ​temporary​ ​and 
  fleeting—the​ ​PCs​ ​will​ ​probably​ ​encounter​ ​them​ ​once​ ​and​ ​never​ ​see​ ​them​ ​again.​ ​In​ ​fact,​ ​most​ ​of 
  the​ ​time,​ ​you’ll​ ​create​ ​them​ ​simply​ ​out​ ​of​ ​reflex​ ​when​ ​you​ ​describe​ ​an​ ​environment.​ ​“The​ ​plaza 
  is​ ​beautiful​ ​at​ ​midday,​ ​and​ ​full​ ​of​ ​shoppers​ ​milling​ ​about.​ ​There’s​ ​a​ ​town​ ​crier​ ​with​ ​an​ ​extremely 
  shrill,​ ​high-pitched​ ​voice​ ​barking​ ​out​ ​the​ ​local​ ​news.” 
   
  On​ ​their​ ​own,​ ​nameless​ ​NPCs​ ​usually​ ​aren’t​ ​meant​ ​to​ ​provide​ ​much​ ​of​ ​a​ ​challenge​ ​to​ ​the​ ​PCs. 
  You​ ​use​ ​them​ ​like​ ​you​ ​use​ ​a​ ​low-difficulty​ ​skill​ ​roll,​ ​mainly​ ​as​ ​an​ ​opportunity​ ​to​ ​showcase​ ​the 
  PCs’​ ​competence.​ ​In​ ​conflicts,​ ​they​ ​serve​ ​as​ ​a​ ​distraction​ ​or​ ​a​ ​delay,​ ​forcing​ ​the​ ​PCs​ ​to​ ​work​ ​a 
  little​ ​harder​ ​to​ ​get​ ​what​ ​they​ ​want.​ ​Action-adventure​ ​stories​ ​often​ ​feature​ ​master​ ​villains​ ​with​ ​an 
  army​ ​of​ ​mooks.​ ​These​ ​are​ ​the​ ​mooks. 
   
  For​ ​a​ ​nameless​ ​NPC,​ ​all​ ​you​ ​really​ ​need​ ​is​ ​two​ ​or​ ​three​ ​skills​ ​based​ ​on​ ​their​ ​role​ ​in​ ​the​ ​scene. 
  Your​ ​average​ ​security​ ​guard​ ​might​ ​have​ ​Fight​ ​and​ ​Shoot,​ ​while​ ​your​ ​average​ ​clerk​ ​might​ ​only 
  have​ ​Lore.​ ​They​ ​never​ ​get​ ​more​ ​than​ ​one​ ​or​ ​two​ ​aspects,​ ​because​ ​they​ ​just​ ​aren’t​ ​important 
  enough.​ ​They​ ​only​ ​have​ ​one​ ​or​ ​two​ ​stress​ ​boxes,​ ​if​ ​any,​ ​to​ ​absorb​ ​both​ ​physical​ ​and​ ​mental 
  hits.​ ​In​ ​other​ ​words,​ ​they’re​ ​no​ ​match​ ​for​ ​a​ ​typical​ ​PC. 
   
  Nameless​ ​NPCs​ ​come​ ​in​ ​three​ ​varieties:​ ​Good​,​ ​Excellent​,​ ​and​ ​Remarkable 
  Good 
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  ●
  Competence​:​ ​Rank-and-file​ ​order-takers,​ ​local​ ​conscripts,​ ​and​ ​the​ ​like.​ ​When​ ​in​ ​doubt, 
  a​ ​nameless​ ​NPC​ ​is​ ​Average. 
  ●
  Purpose​:​ ​Mostly​ ​there​ ​to​ ​make​ ​the​ ​PCs​ ​look​ ​more​ ​awesome. 
  ●
  Aspects​:​ ​One​ ​or​ ​two. 
  ●
  Skills​:​ ​One​ ​or​ ​two​ ​Good​ ​(+1). 
  ●
  Stress​:​ ​No​ ​stress​ ​boxes—a​ ​one​ ​shift​ ​hit​ ​is​ ​enough​ ​to​ ​take​ ​them​ ​out. 
  Excellent 
  ●
  Competence​:​ ​Trained​ ​professionals,​ ​like​ ​soldiers​ ​and​ ​elite​ ​guards,​ ​or​ ​others​ ​whose​ ​role 
  in​ ​the​ ​scene​ ​speaks​ ​to​ ​their​ ​experience,​ ​such​ ​as​ ​a​ ​sharp-tongued​ ​courtier​ ​or​ ​talented 
  thief. 
  ●
  Purpose​:​ ​Drain​ ​a​ ​few​ ​of​ ​the​ ​players’​ ​resources​ ​(one​ ​or​ ​two​ ​fate​ ​points,​ ​stress​ ​boxes, 
  possibly​ ​a​ ​mild​ ​consequence). 
  ●
  Aspects​:​ ​One​ ​or​ ​two. 
  ●
  Skills​:​ ​One​ ​Excellent​ ​(+2),​ ​and​ ​one​ ​or​ ​two​ ​Good​ ​(+1). 
  ●
  Stress:​ ​One​ ​stress​ ​box—a​ ​two​ ​shift​ ​hit​ ​is​ ​enough​ ​to​ ​take​ ​them​ ​out. 
  Remarkable 
  ●
  Competence​:​ ​Tough​ ​opposition,​ ​especially​ ​in​ ​numbers. 
  ●
  Purpose​:​ ​Drain​ ​the​ ​players’​ ​resources—as​ ​Fair,​ ​but​ ​more​ ​so.​ ​Provide​ ​a​ ​decent 
  stumbling​ ​block​ ​(in​ ​numbers)​ ​on​ ​the​ ​way​ ​to​ ​a​ ​more​ ​significant​ ​encounter. 
  ●
  Aspects​:​ ​One​ ​or​ ​two. 
  ●
  Skills​:​ ​One​ ​Remarkable​ ​(+3),​ ​one​ ​Excellent​ ​(+2),​ ​and​ ​one​ ​or​ ​two​ ​Good​ ​(+1). 
  ●
  Stress​:​ ​Two​ ​stress​ ​boxes—a​ ​three​ ​shift​ ​hit​ ​is​ ​enough​ ​to​ ​take​ ​them​ ​out. 
  Mobs 
  Whenever​ ​possible,​ ​identical​ ​nameless​ ​NPCs​ ​like​ ​to​ ​form​ ​groups,​ ​or​ ​mobs.​ ​Not​ ​only​ ​does​ ​this 
  better​ ​ensure​ ​their​ ​survival,​ ​it​ ​reduces​ ​the​ ​workload​ ​on​ ​the​ ​GM.​ ​For​ ​all​ ​intents​ ​and​ ​purposes, 
  you​ ​can​ ​treat​ ​a​ ​mob​ ​as​ ​a​ ​single​ ​unit—instead​ ​of​ ​rolling​ ​dice​ ​individually​ ​for​ ​each​ ​of​ ​three​ ​thugs, 
  just​ ​roll​ ​once​ ​for​ ​the​ ​whole​ ​mob. 
  See​ ​the​ ​Teamwork​ ​section​ ​in​ ​the​ ​previous​ ​chapter​ ​to​ ​see​ ​how​ ​mobs​ ​can​ ​concentrate​ ​their 
  efforts​ ​to​ ​be​ ​more​ ​effective. 
  Hits​ ​and​ ​Overflow 
  When​ ​a​ ​mob​ ​takes​ ​a​ ​hit,​ ​shifts​ ​in​ ​excess​ ​of​ ​what’s​ ​needed​ ​to​ ​take​ ​out​ ​one​ ​NPC​ ​are​ ​applied​ ​to 
  the​ ​next​ ​NPCs​ ​in​ ​the​ ​mob,​ ​one​ ​at​ ​a​ ​time.​ ​In​ ​this​ ​way,​ ​it’s​ ​entirely​ ​possible​ ​for​ ​a​ ​PC​ ​to​ ​take​ ​out​ ​a 
  mob​ ​of​ ​four​ ​or​ ​five​ ​nameless​ ​NPCs​ ​(or​ ​more!)​ ​in​ ​a​ ​single​ ​exchange. 
   
  When​ ​a​ ​mob​ ​takes​ ​enough​ ​stress​ ​to​ ​reduce​ ​it​ ​to​ ​a​ ​single​ ​NPC,​ ​try​ ​to​ ​have​ ​that​ ​orphaned​ ​NPC 
  join​ ​up​ ​with​ ​another​ ​mob​ ​in​ ​the​ ​scene,​ ​if​ ​it​ ​makes​ ​sense.​ ​(If​ ​it​ ​doesn’t,​ ​just​ ​have​ ​them​ ​flee. 
  Nameless​ ​NPCs​ ​are​ ​good​ ​at​ ​that.) 
   
  Landon​ ​and​ ​Cynere​ ​are​ ​set​ ​upon​ ​by​ ​a​ ​half-dozen​ ​ill-informed​ ​street-gang​ ​toughs​ ​just​ ​for​ ​walking 
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  down​ ​the​ ​wrong​ ​alleyway. 
   
  These​ ​thugs​ ​are​ ​nameless​ ​NPCs​ ​with​ ​Notice​ ​and​ ​Fight​ ​skills​ ​of​ ​Good​ ​(+1). 
   
  Normally​ ​Cynere’s​ ​Remarkable​ ​(+3)​ ​Notice​ ​would​ ​allow​ ​her​ ​to​ ​act​ ​first,​ ​but​ ​Amanda​ ​reasons​ ​that 
  the​ ​thugs’​ ​ability​ ​to​ ​surround​ ​the​ ​PCs​ ​gives​ ​them​ ​the​ ​drop.​ ​In​ ​a​ ​big​ ​group​ ​of​ ​six,​ ​their​ ​Average 
  (+1)​ ​Notice​ ​is​ ​increased​ ​by​ ​+5​ ​to​ ​a​ ​Monstrous​ ​(+6). 
   
  As​ ​they​ ​make​ ​their​ ​assault,​ ​Amanda​ ​splits​ ​them​ ​into​ ​two​ ​mobs​ ​of​ ​three:​ ​one​ ​for​ ​Landon​ ​and​ ​one 
  for​ ​Cynere.​ ​Both​ ​attack​ ​with​ ​Remarkable​ ​(+3)​ ​ratings​ ​(Good​ ​Fight​ ​skill​ ​with​ ​+2​ ​for​ ​the​ ​helpers), 
  but​ ​neither​ ​mob​ ​hits. 
   
  Cynere​ ​goes​ ​next.​ ​Lily​ ​says,​ ​“In​ ​a​ ​flash,​ ​Cynere’s​ ​sword​ ​is​ ​in​ ​hand​ ​and​ ​slicing​ ​through​ ​these 
  punks!”​ ​She​ ​gets​ ​an​ ​Incredible​ ​(+4)​ ​result​ ​with​ ​her​ ​Fight.​ ​Amanda’s​ ​first​ ​thug​ ​mob​ ​defends​ ​with 
  a​ ​Remarkable​ ​(+3)​ ​(+0​ ​on​ ​the​ ​dice,​ ​Good​ ​skill,​ ​with​ ​+2​ ​for​ ​the​ ​helpers),​ ​so​ ​Cynere​ ​deals​ ​one 
  shift​ ​to​ ​the​ ​mob—enough​ ​to​ ​take​ ​one​ ​of​ ​them​ ​out.​ ​There​ ​are​ ​still​ ​two​ ​in​ ​the​ ​mob,​ ​though,​ ​so​ ​they 
  only​ ​get​ ​+1​ ​for​ ​the​ ​helper​ ​when​ ​they​ ​attack​ ​next. 
   
  On​ ​Lenny’s​ ​turn,​ ​Landon​ ​deals​ ​two​ ​shifts​ ​to​ ​the​ ​mob​ ​he’s​ ​facing,​ ​enough​ ​to​ ​take​ ​out​ ​two​ ​thugs 
  and​ ​reducing​ ​it​ ​from​ ​a​ ​mob​ ​of​ ​three​ ​to​ ​a​ ​single​ ​nameless​ ​NPC. 
  Nameless​ ​NPCs​ ​as​ ​Obstacles: 
  An​ ​even​ ​easier​ ​way​ ​to​ ​handle​ ​nameless​ ​NPCs​ ​is​ ​simply​ ​to​ ​treat​ ​them​ ​as​ ​obstacles:​ ​Give​ ​a 
  difficulty​ ​for​ ​the​ ​PC​ ​to​ ​overcome​ ​whatever​ ​threat​ ​the​ ​NPC​ ​presents,​ ​and​ ​just​ ​do​ ​it​ ​in​ ​one​ ​roll. 
  You​ ​don’t​ ​even​ ​have​ ​to​ ​write​ ​anything​ ​down,​ ​just​ ​set​ ​a​ ​difficulty​ ​according​ ​to​ ​the​ ​guidelines​ ​in 
  this​ ​chapter​ ​and​ ​Actions​ ​&​ ​Outcomes​,​ ​and​ ​assume​ ​that​ ​the​ ​PC​ ​gets​ ​past​ ​on​ ​a​ ​successful​ ​roll. 
   
  If​ ​the​ ​situation​ ​is​ ​more​ ​complicated​ ​than​ ​that,​ ​make​ ​it​ ​a​ ​challenge​ ​instead.​ ​This​ ​trick​ ​is​ ​useful 
  when​ ​you​ ​want​ ​a​ ​group​ ​of​ ​nameless​ ​NPCs​ ​more​ ​as​ ​a​ ​feature​ ​of​ ​the​ ​scene​ ​than​ ​as​ ​individuals. 
  Zird​ ​wants​ ​to​ ​convince​ ​a​ ​group​ ​of​ ​mages​ ​that​ ​continuing​ ​their​ ​research​ ​into​ ​the​ ​Dark​ ​Void​ ​will 
  doom​ ​them​ ​all,​ ​and​ ​possibly​ ​the​ ​world.​ ​Amanda​ ​doesn’t​ ​want​ ​to​ ​deal​ ​with​ ​him​ ​needing​ ​to 
  convince​ ​each​ ​mage​ ​individually,​ ​so​ ​she​ ​makes​ ​a​ ​challenge​ ​out​ ​of​ ​them. 
   
  The​ ​steps​ ​of​ ​the​ ​challenge​ ​are:​ ​establish​ ​your​ ​bona​ ​fides​ ​(Reason),​ ​turn​ ​them​ ​against​ ​each 
  other​ ​(Deceive),​ ​and​ ​cow​ ​them​ ​into​ ​submission​ ​by​ ​preaching​ ​doom​ ​and​ ​gloom​ ​(Popularity).​ ​She 
  chooses​ ​a​ ​passive​ ​opposition​ ​of​ ​Incredible​ ​(+4)​ ​for​ ​the​ ​challenge. 
  NPC​ ​First,​ ​Name​ ​Later 
  Nameless​ ​NPCs​ ​don’t​ ​have​ ​to​ ​remain​ ​nameless.​ ​If​ ​the​ ​players​ ​decide​ ​to​ ​get​ ​to​ ​know​ ​that 
  barkeep​ ​or​ ​town​ ​crier​ ​or​ ​security​ ​chief​ ​or​ ​whatever,​ ​go​ ​ahead​ ​and​ ​make​ ​a​ ​real​ ​person​ ​out​ ​of 
  them—but​ ​that​ ​doesn’t​ ​mean​ ​that​ ​you​ ​need​ ​to​ ​make​ ​them​ ​any​ ​more​ ​mechanically​ ​complex.​ ​If 
  you​ ​want​ ​to,​ ​of​ ​course,​ ​go​ ​ahead​ ​and​ ​promote​ ​them​ ​to​ ​a​ ​supporting​ ​NPC.​ ​But​ ​otherwise,​ ​simply 
  giving​ ​that​ ​courtier​ ​a​ ​name​ ​and​ ​a​ ​motivation​ ​doesn’t​ ​mean​ ​he​ ​can’t​ ​go​ ​down​ ​in​ ​one​ ​punch. 
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  Tavern-Keeper​ ​(Good) 
  Aspects:​ ​I​ ​Don’t​ ​Want​ ​No​ ​Trouble​ ​in​ ​My​ ​Place 
  Skills:​ ​Good(+1)​ ​Contacts 
  Trained​ ​Thug​ ​(Excellent) 
  Aspects:​ ​The​ ​Ways​ ​of​ ​the​ ​Streets,​ ​Violent​ ​Criminal 
  Skills:​ ​Excellent​ ​(+2)​ ​Fighting,​ ​Good​ ​(+1)​ ​Agility​ ​and​ ​Strength 
  Dark​ ​Dimension​ ​Minor​ ​Sorcerer​ ​(Remarkable) 
  Aspects:​ ​Haughty​ ​Demeanor,​ ​Devoted​ ​to​ ​the​ ​Arcane​ ​Arts 
  Skills:​ ​Remarkable​ ​(+3)​ ​Psyche,​ ​Excellent​ ​(+2)​ ​Deceive,​ ​Good​ ​(+1)​ ​Reasonl​ ​and​ ​Empathy 
  Supporting​ ​NPCs 
  Supporting​ ​NPCs​ ​have​ ​proper​ ​names​ ​and​ ​are​ ​a​ ​little​ ​more​ ​detailed​ ​than​ ​nameless​ ​NPCs, 
  playing​ ​a​ ​supporting​ ​role​ ​in​ ​your​ ​scenarios​ ​(hence​ ​the​ ​name).​ ​They​ ​often​ ​display​ ​some​ ​kind​ ​of 
  strong​ ​distinguishing​ ​trait​ ​that​ ​sets​ ​them​ ​apart​ ​from​ ​the​ ​crowd,​ ​because​ ​of​ ​their​ ​relationship​ ​to​ ​a 
  PC​ ​or​ ​NPC,​ ​a​ ​particular​ ​competence​ ​or​ ​unique​ ​ability,​ ​or​ ​simply​ ​the​ ​fact​ ​that​ ​they​ ​tend​ ​to​ ​appear 
  in​ ​the​ ​game​ ​a​ ​great​ ​deal.​ ​Many​ ​action-adventure​ ​stories​ ​feature​ ​a​ ​“lieutenant”​ ​character​ ​who​ ​is 
  the​ ​right-hand​ ​man​ ​of​ ​the​ ​lead​ ​villain;​ ​that’s​ ​a​ ​supporting​ ​NPC​ ​in​ ​game​ ​terms.​ ​The​​ ​Faces​ ​& 
  Places​ ​faces​ ​that​ ​you​ ​assign​ ​to​ ​the​ ​locations​​ ​you​ ​make​ ​during​ ​game​ ​creation​ ​are​ ​supporting 
  NPCs,​ ​as​ ​are​ ​any​ ​characters​ ​who​ ​are​ ​named​ ​in​ ​one​ ​of​ ​the​ ​PCs’​ ​aspects. 
   
  Supporting​ ​NPCs​ ​are​ ​a​ ​great​ ​source​ ​of​ ​interpersonal​ ​drama,​ ​because​ ​they’re​ ​usually​ ​the​ ​people 
  that​ ​the​ ​PCs​ ​have​ ​a​ ​relationship​ ​with,​ ​such​ ​as​ ​friends,​ ​sidekicks,​ ​family,​ ​contacts,​ ​and 
  noteworthy​ ​opponents.​ ​While​ ​they​ ​may​ ​never​ ​be​ ​central​ ​to​ ​resolving​ ​the​ ​main​ ​dilemma​ ​of​ ​a 
  scenario,​ ​they’re​ ​a​ ​significant​ ​part​ ​of​ ​the​ ​journey,​ ​either​ ​because​ ​they​ ​provide​ ​aid,​ ​present​ ​a 
  problem,​ ​or​ ​figure​ ​into​ ​a​ ​subplot. 
   
  Supporting​ ​NPCs​ ​are​ ​made​ ​much​ ​like​ ​nameless​ ​NPCs,​ ​except​ ​they​ ​get​ ​to​ ​have​ ​a​ ​few​ ​more​ ​of 
  the​ ​standard​ ​character​ ​elements.​ ​These​ ​include​ ​a​ ​high​ ​concept,​ ​a​ ​trouble,​ ​one​ ​or​ ​more 
  additional​ ​aspects,​ ​one​ ​stunt,​ ​and​ ​the​ ​standard​ ​two​ ​stress​ ​tracks​ ​with​ ​two​ ​boxes​ ​each.​ ​They 
  should​ ​have​ ​a​ ​handful​ ​of​ ​skills​ ​(say​ ​four​ ​or​ ​five).​ ​If​ ​they​ ​have​ ​a​ ​skill​ ​that​ ​entitles​ ​them​ ​to​ ​bonus 
  stress​ ​boxes,​ ​award​ ​those​ ​as​ ​well.​ ​They​ ​have​ ​one​ ​mild​ ​consequence​ ​and,​ ​if​ ​you​ ​want​ ​them​ ​to 
  be​ ​especially​ ​tough,​ ​one​ ​moderate​ ​consequence. 
   
  Skills​ ​for​ ​a​ ​supporting​ ​NPC​ ​should​ ​follow​ ​a​ ​column​ ​distribution​.​ ​Because​ ​you’re​ ​only​ ​going​ ​to 
  define​ ​four​ ​or​ ​five​ ​skills,​ ​just​ ​treat​ ​it​ ​as​ ​one​ ​column.​ ​If​ ​your​ ​NPC​ ​has​ ​a​ ​skill​ ​at​ ​Incredible,​ ​fill​ ​in 
  one​ ​skill​ ​at​ ​each​ ​positive​ ​step​ ​below​ ​it—so​ ​oneRemarkable,​ ​one​ ​Excellent,​ ​and​ ​one​ ​Good​ ​skill. 
  ●
  Skill​ ​Levels​:​ ​A​ ​supporting​ ​NPC’s​ ​top​ ​skill​ ​can​ ​exceed​ ​your​ ​best​ ​PC’s​ ​by​ ​one​ ​or​ ​two 
  levels,​ ​but​ ​only​ ​if​ ​their​ ​role​ ​in​ ​the​ ​game​ ​is​ ​to​ ​provide​ ​serious​ ​opposition—supporting 
  NPCs​ ​who​ ​are​ ​allied​ ​with​ ​the​ ​PCs​ ​should​ ​be​ ​their​ ​rough​ ​peers​ ​in​ ​skill​ ​level.​ ​(Another 
  action-adventure​ ​trope​ ​is​ ​to​ ​make​ ​the​ ​“lieutenant”​ ​character​ ​better​ ​than​ ​the​ ​main​ ​villain​ ​at 
  combat,​ ​contrasting​ ​brawn​ ​to​ ​the​ ​villain’s​ ​brain.) 
  149 
  
  ●
  Concessions​:​ ​Supporting​ ​NPCs​ ​should​ ​not​ ​fight​ ​to​ ​the​ ​bitter​ ​end,​ ​given​ ​the​ ​option. 
  Instead,​ ​have​ ​them​ ​concede​ ​conflicts​ ​often,​ ​especially​ ​early​ ​in​ ​a​ ​story,​ ​and​ ​especially​ ​if 
  the​ ​concession​ ​is​ ​something​ ​like​ ​“They​ ​get​ ​away.”​ ​Conceding​ ​like​ ​this​ ​serves​ ​a​ ​few 
  purposes.​ ​For​ ​one,​ ​it​ ​foreshadows​ ​a​ ​future,​ ​more​ ​significant​ ​encounter​ ​with​ ​the​ ​NPC. 
  Because​ ​conceding​ ​comes​ ​with​ ​a​ ​reward​ ​of​ ​one​ ​or​ ​more​ ​fate​ ​points,​ ​it​ ​also​ ​makes​ ​them 
  more​ ​of​ ​a​ ​threat​ ​the​ ​next​ ​time​ ​they​ ​show​ ​up.​ ​What’s​ ​more,​ ​it’s​ ​virtually​ ​guaranteed​ ​to​ ​pay 
  off​ ​for​ ​the​ ​players​ ​in​ ​a​ ​satisfying​ ​way​ ​the​ ​next​ ​time​ ​the​ ​NPC​ ​makes​ ​an​ ​appearance.​ ​“So, 
  Landon,​ ​we​ ​meet​ ​again!​ ​But​ ​this​ ​time​ ​it​ ​shall​ ​not​ ​go​ ​so​ ​easily​ ​for​ ​you.” 
  ●
   
  Finally,​ ​it​ ​implicitly​ ​demonstrates​ ​to​ ​the​ ​players​ ​that,​ ​when​ ​things​ ​are​ ​desperate,​ ​conceding​ ​a 
  conflict​ ​is​ ​a​ ​viable​ ​course​ ​of​ ​action.​ ​A​ ​PC​ ​concession​ ​here​ ​and​ ​there​ ​can​ ​raise​ ​the​ ​stakes​ ​and 
  introduce​ ​new​ ​complications​ ​organically,​ ​both​ ​of​ ​which​ ​make​ ​for​ ​a​ ​more​ ​dramatic,​ ​engaging 
  story. 
   
  Warrior​ ​Wallaby,​ ​Komet​ ​Koala’s​ ​mentor 
  Aspects:​ ​Retired​ ​Space​ ​Major,​ ​Too​ ​Old​ ​For​ ​This​ ​Shit,​ ​Komet’s​ ​Mentor 
  Skills:​ ​Incredible​ ​(+4)​ ​Agility​ ​-​ ​Shoot,​ ​Remarkable​ ​(+3)​ ​Fighting,​ ​Excellent​ ​(+2)​ ​Psyche,​ ​Average 
  (+1)​ ​Agility,​ ​Military​ ​Remarkable​ ​+3 
   
  Tera​ ​the​ ​Terror,​ ​Thief​ ​Extraordinaire 
  Aspects:​ ​Intergalactic​ ​Burglar 
  Skills:​ ​Amazing​ ​(+5)​ ​Burglary,​ ​Incredible​ ​(+4)​ ​Stealth,​ ​Remarkable​ ​(+3)​ ​Reason,​ ​Excellent​ ​(+2) 
  Fighting,​ ​Good​ ​(+1)​ ​Endurance​ ​-​ ​Physical​ ​Health​ ​3 
  Power​ ​Stunt:​ ​Inside​ ​Man.​ ​+2​ ​to​ ​Stealth​ ​in​ ​an​ ​indoor,​ ​urban​ ​environment. 
  Oga​ ​the​ ​CircleHead​ ​Giant​ ​Brute​ ​Soldier 
  Aspects:​ ​Oga​ ​Smash!,​ ​Oga​ ​Not​ ​Terribly​ ​Bright 
  Skills:​ ​Monstrous​ ​(+6)​ ​Fighting,​ ​Amazing(+5)​ ​Strength,​ ​Incredible​ ​(+4)​ ​Agility​ ​-​ ​Physical​ ​Health 
  4,​ ​2​ ​Mild​ ​Consequences 
  Main​ ​NPCs 
  Main​ ​NPCs​ ​are​ ​the​ ​closest​ ​you’re​ ​ever​ ​going​ ​to​ ​get​ ​to​ ​playing​ ​a​ ​PC​ ​yourself.​ ​They​ ​have​ ​full 
  character​ ​sheets​ ​just​ ​like​ ​a​ ​PC​ ​does,​ ​with​ ​five​ ​aspects,​ ​a​ ​full​ ​distribution​ ​of​ ​skills,​ ​and​ ​a​ ​selection 
  of​ ​stunts.​ ​They​ ​are​ ​the​ ​most​ ​significant​ ​characters​ ​in​ ​your​ ​PCs’​ ​lives,​ ​because​ ​they​ ​represent 
  pivotal​ ​forces​ ​of​ ​opposition​ ​or​ ​allies​ ​of​ ​crucial​ ​importance.​ ​Because​ ​they​ ​have​ ​a​ ​full​ ​spread​ ​of 
  aspects,​ ​they​ ​also​ ​offer​ ​the​ ​most​ ​nuanced​ ​options​ ​for​ ​interaction,​ ​and​ ​they​ ​have​ ​the​ ​most 
  options​ ​to​ ​invoke​ ​and​ ​be​ ​compelled.​ ​Your​ ​primary​ ​“bad​ ​guys”​ ​in​ ​a​ ​scenario​ ​or​ ​arc​ ​should​ ​always 
  be​ ​main​ ​NPCs,​ ​as​ ​should​ ​any​ ​NPCs​ ​who​ ​are​ ​the​ ​most​ ​vital​ ​pieces​ ​of​ ​your​ ​stories. 
   
  Because​ ​they​ ​have​ ​all​ ​the​ ​same​ ​things​ ​on​ ​their​ ​sheet​ ​as​ ​PCs​ ​do,​ ​main​ ​NPCs​ ​will​ ​require​ ​a​ ​lot 
  more​ ​of​ ​your​ ​time​ ​and​ ​attention​ ​than​ ​other​ ​characters.​ ​How​ ​you​ ​create​ ​one​ ​really​ ​depends​ ​on 
  how​ ​much​ ​time​ ​you​ ​have—if​ ​you​ ​want,​ ​you​ ​can​ ​go​ ​through​ ​the​ ​whole​ ​character​ ​creation 
  process​ ​and​ ​work​ ​out​ ​their​ ​whole​ ​backstory​ ​through​ ​phases,​ ​leaving​ ​only​ ​those​ ​slots​ ​for​ ​“guest 
  150 
  
  starring”​ ​open. 
   
  Of​ ​course,​ ​if​ ​you​ ​want,​ ​you​ ​can​ ​also​ ​upgrade​ ​one​ ​of​ ​your​ ​current​ ​supporting​ ​NPCs​ ​to​ ​a​ ​main 
  using​ ​this​ ​method.​ ​This​ ​is​ ​great​ ​for​ ​when​ ​a​ ​supporting​ ​NPC​ ​has​ ​suddenly​ ​or​ ​gradually 
  become—usually​ ​because​ ​of​ ​the​ ​players—a​ ​major​ ​fixture​ ​in​ ​the​ ​story,​ ​despite​ ​your​ ​original 
  plans​ ​for​ ​them. 
   
  You​ ​could​ ​also​ ​do​ ​things​ ​more​ ​on​ ​the​ ​fly​ ​if​ ​you​ ​need​ ​to,​ ​creating​ ​a​ ​partial​ ​sheet​ ​of​ ​the​ ​aspects 
  you​ ​know​ ​for​ ​sure,​ ​those​ ​skills​ ​you​ ​definitely​ ​need​ ​them​ ​to​ ​have,​ ​and​ ​any​ ​stunts​ ​you​ ​want.​ ​Then 
  fill​ ​in​ ​the​ ​rest​ ​as​ ​you​ ​go.​ ​This​ ​is​ ​almost​ ​like​ ​making​ ​a​ ​supporting​ ​NPC,​ ​except​ ​you​ ​can​ ​add​ ​to​ ​the 
  sheet​ ​during​ ​play. 
   
  Main​ ​NPCs​ ​will​ ​fight​ ​to​ ​the​ ​bitter​ ​end​ ​if​ ​need​ ​be,​ ​making​ ​the​ ​PCs​ ​work​ ​for​ ​every​ ​step. 
  Regarding​ ​skill​ ​levels,​ ​your​ ​main​ ​NPCs​ ​will​ ​come​ ​in​ ​one​ ​of​ ​two​ ​flavors—exact​ ​peers​ ​of​ ​the​ ​PCs 
  who​ ​grow​ ​with​ ​them​ ​as​ ​the​ ​campaign​ ​progresses,​ ​or​ ​superiors​ ​to​ ​the​ ​PCs​ ​who​ ​remain​ ​static 
  while​ ​the​ ​PCs​ ​grow​ ​to​ ​sufficient​ ​strength​ ​to​ ​oppose​ ​them.​ ​If​ ​it’s​ ​the​ ​former,​ ​just​ ​give​ ​them​ ​the 
  exact​ ​same​ ​skill​ ​distribution​ ​the​ ​PCs​ ​currently​ ​have.​ ​If​ ​it’s​ ​the​ ​latter,​ ​give​ ​them​ ​enough​ ​skills​ ​to 
  go​ ​at​ ​least​ ​two​ ​higher​ ​than​ ​whatever​ ​the​ ​current​ ​PCs​ ​are. 
   
  Likewise,​ ​a​ ​particularly​ ​significant​ ​NPC​ ​might​ ​have​ ​more​ ​than​ ​five​ ​aspects​ ​to​ ​highlight​ ​their 
  importance​ ​to​ ​the​ ​story. 
  Barathar,​ ​Smuggler​ ​Queen​ ​of​ ​the​ ​Sindral​ ​Reach 
  Aspects: 
  ●
  Smuggler​ ​Queen​ ​of​ ​the​ ​Sindral​ ​Reach 
  ●
  A​ ​Mostly​ ​Loyal​ ​Crew 
  ●
  Remorse​ ​is​ ​For​ ​the​ ​Weak 
  ●
  “Zird,​ ​Why​ ​Won’t​ ​You​ ​Die?” 
  ●
  My​ ​Ship,​ ​The​ ​Death​ ​Dealer 
  ●
  A​ ​Harem​ ​of​ ​Thugs 
  ●
  I’ve​ ​Got​ ​the​ ​Law​ ​in​ ​My​ ​Pocket 
  Skills: 
  ●
  Monstrous​ ​(+6)​ ​Deceive​ ​and​ ​Fighting 
  ●
  Amazing​ ​(+5)​ ​Agility​ ​-​ ​Shoot​ ​and​ ​Burglary 
  ●
  Incredible​ ​(+4)​ ​Resources​ ​and​ ​Psyche 
  ●
  Remarkable​ ​(+3)​ ​Contacts​ ​and​ ​Intuition 
  ●
  Excellent​ ​(+2)​ ​Crafts​ ​and​ ​Stealth 
  ●
  Average​ ​(+1)​ ​Reason​ ​and​ ​Strength 
  Health:​ ​3​ ​physical​ ​boxes,​ ​4​ ​mental​ ​boxes 
  ower​ ​Stunts: 
  ●
  Takes​ ​One​ ​to​ ​Know​ ​One​.​ ​Use​ ​Deceive​ ​instead​ ​of​ ​Empathy​ ​to​ ​create​ ​an​ ​advantage​ ​in 
  social​ ​situations. 
  ●
  Feint​ ​Master​.​ ​+2​ ​to​ ​use​ ​Deceive​ ​to​ ​create​ ​an​ ​advantage​ ​in​ ​a​ ​physical​ ​conflict. 
  ●
  Riposte​.​ ​If​ ​you​ ​succeed​ ​with​ ​style​ ​on​ ​a​ ​Fighting​ ​defense,​ ​you​ ​can​ ​choose​ ​to​ ​inflict​ ​a 
  151 
  
  2-shift​ ​hit​ ​rather​ ​than​ ​take​ ​a​ ​boost. 
  Playing​ ​The​ ​Opposition 
  Here​ ​are​ ​some​ ​tips​ ​for​ ​using​ ​the​ ​opposition​ ​characters​ ​you​ ​create​ ​in​ ​play. 
  Right-sizing 
  Remember,​ ​you​ ​want​ ​a​ ​balancing​ ​act​ ​between​ ​obliterating​ ​the​ ​PCs​ ​and​ ​letting​ ​them​ ​walk​ ​all 
  over​ ​your​ ​opposition​ ​(unless​ ​it’s​ ​a​ ​mook​ ​horde,​ ​in​ ​which​ ​case​ ​that’s​ ​pretty​ ​much​ ​what​ ​they’re 
  there​ ​for).​ ​It’s​ ​important​ ​to​ ​keep​ ​in​ ​mind​ ​not​ ​just​ ​the​ ​skill​ ​levels​ ​of​ ​the​ ​NPCs​ ​in​ ​your​ ​scenes,​ ​but 
  their​ ​number​ ​and​ ​importance. 
   
  Right-sizing​ ​the​ ​opposition​ ​is​ ​more​ ​of​ ​an​ ​art​ ​than​ ​a​ ​science,​ ​but​ ​here​ ​are​ ​some​ ​strategies​ ​to 
  help. 
  ●
  Don’t​ ​outnumber​ ​the​ ​PCs​ ​unless​ ​your​ ​NPCs​ ​have​ ​comparatively​ ​lower​ ​skills. 
  ●
  If​ ​they’re​ ​going​ ​to​ ​team​ ​up​ ​against​ ​one​ ​big​ ​opponent,​ ​make​ ​sure​ ​that​ ​opponent​ ​has​ ​a 
  peak​ ​skill​ ​two​ ​levels​ ​higher​ ​than​ ​whatever​ ​the​ ​best​ ​PC​ ​can​ ​bring​ ​in​ ​that​ ​conflict. 
  ●
  Limit​ ​yourself​ ​to​ ​one​ ​main​ ​NPC​ ​per​ ​scene,​ ​unless​ ​it’s​ ​a​ ​big​ ​climactic​ ​conflict​ ​at​ ​the​ ​end​ ​of 
  an​ ​arc.​ ​Remember,​ ​supporting​ ​NPCs​ ​can​ ​have​ ​skills​ ​as​ ​high​ ​as​ ​you​ ​want. 
  ●
  Most​ ​of​ ​the​ ​opposition​ ​the​ ​PCs​ ​encounter​ ​in​ ​a​ ​session​ ​should​ ​be​ ​nameless​ ​NPCs,​ ​with 
  one​ ​or​ ​two​ ​supporting​ ​NPCs​ ​and​ ​main​ ​NPCs​ ​along​ ​the​ ​way. 
  ●
  Nameless​ ​and​ ​supporting​ ​NPCs​ ​means​ ​shorter​ ​conflicts​ ​because​ ​they​ ​give​ ​up​ ​or​ ​lose 
  sooner;​ ​main​ ​NPCs​ ​mean​ ​longer​ ​conflicts. 
  Creating​ ​Advantages​ ​for​ ​NPCs 
  It’s​ ​easy​ ​to​ ​fall​ ​into​ ​the​ ​default​ ​mode​ ​of​ ​using​ ​the​ ​opposition​ ​as​ ​a​ ​direct​ ​means​ ​to​ ​get​ ​in​ ​the​ ​PCs’ 
  way,​ ​drawing​ ​them​ ​into​ ​a​ ​series​ ​of​ ​conflict​ ​scenes​ ​until​ ​someone​ ​is​ ​defeated. 
   
  However,​ ​keep​ ​in​ ​mind​ ​that​ ​the​ ​NPCs​ ​can​ ​create​ ​advantages​ ​just​ ​like​ ​the​ ​PCs​ ​can.​ ​Feel​ ​free​ ​to 
  use​ ​opposition​ ​characters​ ​to​ ​create​ ​scenes​ ​that​ ​aren’t​ ​necessarily​ ​about​ ​stopping​ ​the​ ​PCs​ ​from 
  achieving​ ​a​ ​goal,​ ​but​ ​scouting​ ​out​ ​information​ ​about​ ​them​ ​and​ ​stacking​ ​up​ ​free​ ​invocations.​ ​Let 
  your​ ​bad​ ​guys​ ​and​ ​the​ ​PCs​ ​have​ ​tea​ ​together​ ​and​ ​then​ ​bring​ ​out​ ​the​ ​Empathy​ ​rolls.​ ​Or​ ​instead 
  of​ ​having​ ​that​ ​fight​ ​scene​ ​take​ ​place​ ​in​ ​the​ ​dark​ ​alley,​ ​let​ ​your​ ​NPCs​ ​show​ ​up,​ ​gauge​ ​the​ ​PCs’ 
  abilities,​ ​and​ ​then​ ​flee. 
   
  Likewise,​ ​keep​ ​in​ ​mind​ ​that​ ​your​ ​NPCs​ ​have​ ​a​ ​home​ ​turf​ ​advantage​ ​in​ ​conflicts​ ​if​ ​the​ ​PCs​ ​go​ ​to 
  them​ ​in​ ​order​ ​to​ ​resolve​ ​something.​ ​So,​ ​when​ ​you’re​ ​setting​ ​up​ ​situation​ ​aspects,​ ​you​ ​can 
  pre-load​ ​the​ ​NPC​ ​with​ ​some​ ​free​ ​invocations​ ​if​ ​it’s​ ​reasonable​ ​that​ ​they’ve​ ​had​ ​time​ ​to​ ​place 
  those​ ​aspects.​ ​Use​ ​this​ ​trick​ ​in​ ​good​ ​faith,​ ​though—two​ ​or​ ​three​ ​such​ ​aspects​ ​is​ ​probably 
  pushing​ ​the​ ​limit. 
  152 
  
  Change​ ​Venues​ ​of​ ​Conflict 
  Your​ ​opposition​ ​will​ ​be​ ​way​ ​more​ ​interesting​ ​if​ ​they​ ​try​ ​to​ ​get​ ​at​ ​the​ ​PCs​ ​in​ ​multiple​ ​venues​ ​of 
  conflict,​ ​rather​ ​than​ ​just​ ​going​ ​for​ ​the​ ​most​ ​direct​ ​route.​ ​Remember​ ​that​ ​there​ ​are​ ​a​ ​lot​ ​of​ ​ways 
  to​ ​get​ ​at​ ​someone,​ ​and​ ​that​ ​mental​ ​conflict​ ​is​ ​just​ ​as​ ​valid​ ​as​ ​physical​ ​conflict​ ​as​ ​a​ ​means​ ​of 
  doing​ ​so.​ ​If​ ​the​ ​opposition​ ​has​ ​a​ ​vastly​ ​different​ ​skill​ ​set​ ​than​ ​one​ ​or​ ​more​ ​of​ ​your​ ​PCs,​ ​leverage 
  their​ ​strengths​ ​and​ ​choose​ ​a​ ​conflict​ ​strategy​ ​that​ ​gives​ ​them​ ​the​ ​best​ ​advantage. 
   
  For​ ​example,​ ​someone​ ​going​ ​after​ ​Landon​ ​probably​ ​doesn’t​ ​want​ ​to​ ​confront​ ​him​ ​physically, 
  because​ ​Fighting​ ​and​ ​Agility​ ​are​ ​his​ ​highest​ ​skills.​ ​He’s​ ​not​ ​as​ ​well​ ​equipped​ ​to​ ​see​ ​through​ ​a 
  clever​ ​deception,​ ​however,​ ​or​ ​handle​ ​a​ ​magical​ ​assault​ ​on​ ​his​ ​mind.​ ​Zird,​ ​on​ ​the​ ​other​ ​hand,​ ​is 
  best​ ​threatened​ ​by​ ​the​ ​biggest,​ ​nastiest​ ​bruiser​ ​possible,​ ​someone​ ​who​ ​can​ ​strike​ ​at​ ​him​ ​before 
  he​ ​has​ ​a​ ​chance​ ​to​ ​bring​ ​his​ ​magic​ ​to​ ​bear. 
   
   
  By​ ​now,​ ​you​ ​and​ ​your​ ​group​ ​have​ ​created​ ​the​ ​PCs,​ ​established​ ​the​ ​world​ ​they​ ​inhabit,​ ​and​ ​set 
  all​ ​the​ ​basic​ ​assumptions​ ​for​ ​the​ ​game​ ​you’re​ ​going​ ​to​ ​play.​ ​Now​ ​you​ ​have​ ​a​ ​pile​ ​of​ ​aspects​ ​and 
  NPCs,​ ​brimming​ ​with​ ​dramatic​ ​potential​ ​and​ ​waiting​ ​to​ ​come​ ​to​ ​life. 
  What​ ​do​ ​you​ ​do​ ​with​ ​them? 
  It’s​ ​time​ ​to​ ​get​ ​into​ ​the​ ​real​ ​meat​ ​of​ ​the​ ​game:​ ​creating​ ​and​ ​playing​ ​through​ ​scenarios. 
  ●
  Defining​ ​Scenarios 
  ●
  Find​ ​Problems 
  ●
  Ask​ ​Story​ ​Questions 
  ●
  Establish​ ​the​ ​Opposition 
  ●
  Set​ ​Up​ ​The​ ​First​ ​Scene 
  ●
  Defining​ ​Scenes 
  ●
  The​ ​Scenario​ ​In​ ​Play 
   
  Defining​ ​Scenarios 
  Contents 
  ●
  Creating​ ​A​ ​Scenario:​ ​Step​ ​By​ ​Step 
  As​ ​mentioned​ ​in​ ​Running​ ​the​ ​Game,​ ​a​ ​scenario​ ​is​ ​a​ ​unit​ ​of​ ​game​ ​time​ ​usually​ ​lasting​ ​from​ ​one 
  to​ ​four​ ​sessions,​ ​and​ ​made​ ​up​ ​of​ ​a​ ​number​ ​of​ ​discrete​ ​scenes.​ ​The​ ​end​ ​of​ ​a​ ​scenario​ ​should 
  trigger​ ​a​ ​significant​ ​milestone,​ ​allowing​ ​your​ ​PCs​ ​to​ ​get​ ​better​ ​at​ ​what​ ​they​ ​do. 
  In​ ​a​ ​scenario,​ ​the​ ​PCs​ ​are​ ​going​ ​to​ ​face​ ​and​ ​try​ ​to​ ​resolve​ ​some​ ​kind​ ​of​ ​big,​ ​urgent,​ ​open-ended 
  problem​ ​(or​ ​problems).​ ​The​ ​GM​ ​will​ ​typically​ ​open​ ​a​ ​scenario​ ​by​ ​presenting​ ​this​ ​problem​ ​to​ ​the 
  players,​ ​with​ ​subsequent​ ​scenes​ ​revolving​ ​around​ ​what​ ​the​ ​PCs​ ​do​ ​to​ ​deal​ ​with​ ​it,​ ​whether 
  that’s​ ​researching​ ​information,​ ​gathering​ ​resources,​ ​or​ ​striking​ ​directly​ ​at​ ​the​ ​problem’s​ ​source. 
   
  153 
  
  Along​ ​the​ ​way,​ ​you’ll​ ​also​ ​have​ ​some​ ​NPCs​ ​who​ ​are​ ​opposed​ ​to​ ​the​ ​PCs’​ ​goals​ ​interfere​ ​with 
  their​ ​attempts​ ​to​ ​solve​ ​the​ ​problem.​ ​These​ ​could​ ​be​ ​your​ ​Raymond​ ​Chandler-esque​ ​“two​ ​guys 
  with​ ​guns”​ ​bursting​ ​through​ ​the​ ​door​ ​to​ ​kill​ ​them,​ ​or​ ​simply​ ​someone​ ​with​ ​different​ ​interests​ ​who 
  wants​ ​to​ ​negotiate​ ​with​ ​the​ ​PCs​ ​in​ ​order​ ​to​ ​get​ ​them​ ​to​ ​deal​ ​with​ ​the​ ​problem​ ​in​ ​a​ ​different​ ​way. 
  The​ ​best​ ​scenarios​ ​don’t​ ​have​ ​one​ ​particular​ ​“right”​ ​ending.​ ​Maybe​ ​the​ ​PCs​ ​don’t​ ​resolve​ ​the 
  problem,​ ​or​ ​resolve​ ​it​ ​in​ ​such​ ​a​ ​way​ ​that​ ​it​ ​has​ ​bad​ ​repercussions.​ ​Maybe​ ​they​ ​succeed​ ​with 
  flying​ ​colors.​ ​Maybe​ ​they​ ​circumvent​ ​the​ ​problem,​ ​or​ ​change​ ​the​ ​situation​ ​in​ ​order​ ​to​ ​minimize 
  the​ ​impact​ ​of​ ​the​ ​problem.​ ​You​ ​won’t​ ​know​ ​until​ ​you​ ​play. 
   
  Once​ ​the​ ​problem​ ​is​ ​resolved​ ​(or​ ​it​ ​can​ ​no​ ​longer​ ​be​ ​resolved),​ ​the​ ​scenario​ ​is​ ​over.​ ​The 
  following​ ​session,​ ​you’ll​ ​start​ ​a​ ​new​ ​scenario,​ ​which​ ​can​ ​either​ ​relate​ ​directly​ ​to​ ​the​ ​previous 
  scenario​ ​or​ ​present​ ​a​ ​whole​ ​new​ ​problem. 
  Creating​ ​A​ ​Scenario:​ ​Step​ ​By​ ​Step 
  ●
  Find​ ​Problems 
  ●
  Ask​ ​Story​ ​Questions 
  ●
  Establish​ ​the​ ​Opposition 
  ●
  Set​ ​the​ ​First​ ​Scene 
   
  Find​ ​Problems 
  Contents 
  ●
  Problems​ ​and​ ​Character​ ​Aspects 
  ●
  Problems​ ​and​ ​Game​ ​Aspects 
  ●
  Problems​ ​and​ ​Aspect​ ​Pairs 
  Creating​ ​a​ ​scenario​ ​begins​ ​with​ ​finding​ ​a​ ​problem​ ​for​ ​the​ ​PCs​ ​to​ ​deal​ ​with.​ ​A​ ​good​ ​problem​ ​is 
  relevant​ ​to​ ​the​ ​PCs,​ ​cannot​ ​be​ ​resolved​ ​without​ ​their​ ​involvement,​ ​and​ ​cannot​ ​be​ ​ignored 
  without​ ​dire​ ​consequences. 
   
  That​ ​may​ ​seem​ ​like​ ​a​ ​tall​ ​order.​ ​Fortunately,​ ​you​ ​have​ ​a​ ​great​ ​storytelling​ ​tool​ ​to​ ​help​ ​you​ ​figure 
  out​ ​appropriate​ ​problems​ ​for​ ​your​ ​game:​ ​aspects. 
   
  Your​ ​PCs’​ ​aspects​ ​have​ ​a​ ​lot​ ​of​ ​story​ ​built​ ​into​ ​them—they’re​ ​an​ ​indication​ ​of​ ​what’s​ ​important 
  about​ ​(and​ ​to)​ ​each​ ​character,​ ​they​ ​indicate​ ​what​ ​things​ ​in​ ​the​ ​game​ ​world​ ​the​ ​PCs​ ​are 
  connected​ ​to,​ ​and​ ​they​ ​describe​ ​the​ ​unique​ ​facets​ ​of​ ​each​ ​character’s​ ​identity. 
  You​ ​also​ ​have​ ​the​ ​aspects​ ​that​ ​are​ ​attached​ ​to​ ​your​ ​game—all​ ​your​ ​current​ ​and​ ​impending 
  issues,​ ​location​ ​aspects,​ ​and​ ​any​ ​aspects​ ​you’ve​ ​put​ ​on​ ​any​ ​of​ ​your​ ​campaign’s​ ​faces.​ ​Riffing 
  off​ ​of​ ​those​ ​helps​ ​to​ ​reinforce​ ​the​ ​sense​ ​of​ ​a​ ​consistent,​ ​dynamic​ ​world,​ ​and​ ​keep​ ​your​ ​game’s 
  central​ ​premise​ ​in​ ​the​ ​forefront​ ​of​ ​play. 
  154 
  
   
  Because​ ​of​ ​all​ ​these​ ​aspects,​ ​you​ ​already​ ​have​ ​a​ ​ton​ ​of​ ​story​ ​potential​ ​sitting​ ​right​ ​in​ ​front​ ​of 
  you—now,​ ​you​ ​just​ ​have​ ​to​ ​unlock​ ​it. 
   
  You​ ​can​ ​look​ ​at​ ​an​ ​aspect-related​ ​problem​ ​as​ ​a​ ​very​ ​large-scale​ ​kind​ ​of​​ ​event​ ​compel​.​ ​The 
  setup​ ​is​ ​a​ ​little​ ​more​ ​work,​ ​but​ ​the​ ​structure​ ​is​ ​similar—having​ ​an​ ​aspect​ ​suggests​ ​or​ ​implies 
  something​ ​problematic​ ​for​ ​the​ ​PC​ ​or​ ​multiple​ ​PCs,​ ​but​ ​unlike​ ​a​ ​compel,​ ​it’s​ ​something​ ​they​ ​can’t 
  easily​ ​resolve​ ​or​ ​deal​ ​with​ ​in​ ​the​ ​moment. 
  You​ ​Don't​ ​Always​ ​Have​ ​To​ ​Destroy​ ​The​ ​World 
  As​ ​you​ ​will​ ​see​ ​from​ ​the​ ​examples,​ ​not​ ​all​ ​of​ ​our​ ​urgent,​ ​consequential​ ​problems​ ​necessarily 
  involve​ ​the​ ​fate​ ​of​ ​the​ ​world​ ​or​ ​even​ ​a​ ​large​ ​portion​ ​of​ ​the​ ​setting.​ ​Interpersonal​ ​problems​ ​can 
  have​ ​just​ ​as​ ​much​ ​of​ ​an​ ​impact​ ​on​ ​a​ ​group​ ​of​ ​PCs​ ​as​ ​stopping​ ​this​ ​week’s​ ​bad​ ​guy—winning 
  someone’s​ ​respect​ ​or​ ​resolving​ ​an​ ​ongoing​ ​dispute​ ​between​ ​two​ ​characters​ ​can​ ​just​ ​as​ ​easily 
  take​ ​the​ ​focus​ ​for​ ​a​ ​scenario​ ​as​ ​whatever​ ​grand​ ​scheme​ ​your​ ​badass​ ​villain​ ​is​ ​cooking​ ​up. 
   
  If​ ​you​ ​want​ ​a​ ​classic​ ​action-adventure​ ​story​ ​setup,​ ​see​ ​if​ ​you​ ​can​ ​come​ ​up​ ​with​ ​two​ ​main 
  problems​ ​for​ ​your​ ​scenario—one​ ​that​ ​focuses​ ​on​ ​something​ ​external​ ​to​ ​the​ ​characters​ ​(like​ ​the 
  villain’s​ ​scheme),​ ​and​ ​one​ ​that​ ​deals​ ​with​ ​interpersonal​ ​issues.​ ​The​ ​latter​ ​will​ ​serve​ ​as​ ​a​ ​subplot 
  in​ ​your​ ​scenario​ ​and​ ​give​ ​the​ ​characters​ ​some​ ​development​ ​time​ ​while​ ​they’re​ ​in​ ​the​ ​midst​ ​of 
  dealing​ ​with​ ​other​ ​problems. 
  Problems​ ​and​ ​Character​ ​Aspects 
  When​ ​you’re​ ​trying​ ​to​ ​get​ ​a​ ​problem​ ​from​ ​a​ ​character​ ​aspect,​ ​try​ ​fitting​ ​it​ ​into​ ​this​ ​sentence: 
  ●
  You​ ​have​ ​____​ ​aspect,​ ​which​ ​implies​ ​____​ ​(and​ ​this​ ​may​ ​be​ ​a​ ​list​ ​of​ ​things,​ ​by​ ​the​ ​way). 
  Because​ ​of​ ​that,​ ​____​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​you. 
  The​ ​second​ ​blank​ ​is​ ​what​ ​makes​ ​this​ ​a​ ​little​ ​harder​ ​than​ ​an​ ​event​ ​compel—you​ ​have​ ​to​ ​think 
  about​ ​all​ ​the​ ​different​ ​potential​ ​implications​ ​of​ ​an​ ​aspect.​ ​Here​ ​are​ ​some​ ​questions​ ​to​ ​help​ ​with 
  that. 
  ●
  Who​ ​might​ ​have​ ​a​ ​problem​ ​with​ ​the​ ​character​ ​because​ ​of​ ​this​ ​aspect? 
  ●
  Does​ ​the​ ​aspect​ ​point​ ​to​ ​a​ ​potential​ ​threat​ ​to​ ​that​ ​character? 
  ●
  Does​ ​the​ ​aspect​ ​describe​ ​a​ ​connection​ ​or​ ​relationship​ ​that​ ​could​ ​cause​ ​trouble​ ​for​ ​the 
  character? 
  ●
  Does​ ​the​ ​aspect​ ​speak​ ​to​ ​a​ ​backstory​ ​element​ ​that​ ​could​ ​come​ ​back​ ​to​ ​haunt​ ​the 
  character? 
  ●
  Does​ ​the​ ​aspect​ ​describe​ ​something​ ​or​ ​someone​ ​important​ ​to​ ​the​ ​character​ ​that​ ​you​ ​can 
  threaten? 
   
  As​ ​long​ ​as​ ​whatever​ ​you​ ​put​ ​in​ ​the​ ​third​ ​blank​ ​fits​ ​the​ ​criteria​ ​at​ ​the​ ​beginning​ ​of​ ​this​ ​section, 
  you’re​ ​good​ ​to​ ​go 
  . 
  155 
  
  Cynere​ ​has​ ​Infamous​ ​Girl​ ​With​ ​Sword,​ ​which​ ​implies​ ​that​ ​her​ ​reputation​ ​precedes​ ​her​ ​across 
  the​ ​countryside.​ ​Because​ ​of​ ​that,​ ​a​ ​copycat​ ​committing​ ​crimes​ ​in​ ​her​ ​name​ ​and​ ​getting​ ​the 
  inhabitants​ ​of​ ​the​ ​next​ ​city​ ​she​ ​visits​ ​angry​ ​and​ ​murderous​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for 
  her. 
   
  Landon​ ​has​ ​an​ ​aspect​ ​of​ ​I​ ​Owe​ ​Old​ ​Finn​ ​Everything,​ ​which​ ​implies​ ​that​ ​he’d​ ​feel​ ​obligated​ ​to 
  help​ ​Finn​ ​out​ ​with​ ​any​ ​personal​ ​problems.​ ​Because​ ​of​ ​that,​ ​having​ ​to​ ​bail​ ​Finn’s​ ​son​ ​out​ ​of​ ​a 
  gambling​ ​debt​ ​he​ ​owes​ ​to​ ​some​ ​very​ ​nasty​ ​people​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​him. 
   
  Zird​ ​has​ ​Rivals​ ​in​ ​the​ ​Collegia​ ​Arcana,​ ​which​ ​implies​ ​that​ ​some​ ​or​ ​many​ ​of​ ​them​ ​are​ ​scheming 
  against​ ​him​ ​constantly.​ ​Because​ ​of​ ​that,​ ​a​ ​series​ ​of​ ​concentrated​ ​assassination​ ​attempts​ ​from 
  someone​ ​or​ ​several​ ​people​ ​who​ ​know​ ​how​ ​to​ ​get​ ​past​ ​all​ ​his​ ​magical​ ​defenses​ ​would​ ​probably 
  be​ ​a​ ​big​ ​problem​ ​for​ ​him. 
  Problems​ ​and​ ​Game​ ​Aspects 
  Problems​ ​you​ ​get​ ​from​ ​a​ ​game’s​ ​current​ ​and​ ​impending​ ​issues​ ​will​ ​be​ ​a​ ​little​ ​wider​ ​in​ ​scope 
  than​ ​character-driven​ ​problems,​ ​affecting​ ​all​ ​your​ ​PCs​ ​and​ ​possibly​ ​a​ ​significant​ ​number​ ​of 
  NPCs​ ​as​ ​well.​ ​They’re​ ​less​ ​personal,​ ​but​ ​that​ ​doesn’t​ ​mean​ ​they​ ​have​ ​to​ ​be​ ​less​ ​compelling 
  (pardon​ ​the​ ​pun). 
  ●
  Because​ ​____​ ​is​ ​an​ ​issue,​ ​it​ ​implies​ ​____.​ ​Therefore,​ ​____​ ​would​ ​probably​ ​create​ ​a​ ​big 
  problem​ ​for​ ​the​ ​PCs. 
  Ask​ ​yourself: 
  ●
  What​ ​threats​ ​does​ ​the​ ​issue​ ​present​ ​to​ ​the​ ​PCs? 
  ●
  Who​ ​are​ ​the​ ​driving​ ​forces​ ​behind​ ​the​ ​issue,​ ​and​ ​what​ ​messed​ ​up​ ​thing​ ​might​ ​they​ ​be 
  willing​ ​to​ ​do​ ​to​ ​advance​ ​their​ ​agenda? 
  ●
  Who​ ​else​ ​cares​ ​about​ ​dealing​ ​with​ ​the​ ​issue,​ ​and​ ​how​ ​might​ ​their​ ​“solution”​ ​be​ ​bad​ ​for 
  the​ ​PCs? 
  ●
  What’s​ ​a​ ​good​ ​next​ ​step​ ​for​ ​resolving​ ​the​ ​issue,​ ​and​ ​what​ ​makes​ ​accomplishing​ ​that​ ​step 
  hard? 
  Put​ ​A​ ​Face​ ​On​ ​It 
  While​ ​not​ ​all​ ​of​ ​your​ ​scenario​ ​problems​ ​have​ ​to​ ​be​ ​directly​ ​caused​ ​by​ ​an​ ​NPC​ ​who​ ​serves​ ​as​ ​a 
  “master​ ​villain”​ ​for​ ​the​ ​PCs​ ​to​ ​take​ ​down,​ ​it’s​ ​often​ ​easier​ ​if​ ​they​ ​are.​ ​At​ ​the​ ​very​ ​least,​ ​you 
  should​ ​be​ ​able​ ​to​ ​point​ ​directly​ ​to​ ​an​ ​NPC​ ​who​ ​benefits​ ​a​ ​great​ ​deal​ ​from​ ​the​ ​scenario​ ​problem 
  not​ ​going​ ​the​ ​way​ ​the​ ​PCs​ ​want​ ​it​ ​to​ ​go. 
   
  Because​ ​The​ ​Scar​ ​Triad​ ​is​ ​an​ ​issue,​ ​it​ ​implies​ ​that​ ​the​ ​Triad​ ​is​ ​making​ ​a​ ​serious​ ​power​ ​play 
  across​ ​the​ ​land.​ ​Therefore,​ ​a​ ​complete​ ​government​ ​takeover​ ​by​ ​Triad​ ​members​ ​in​ ​the​ ​city 
  they’re​ ​sent​ ​to​ ​on​ ​their​ ​next​ ​job​ ​would​ ​probably​ ​create​ ​a​ ​big​ ​problem​ ​for​ ​the​ ​PCs. 
   
  Because​ ​The​ ​Doom​ ​that​ ​Is​ ​to​ ​Come​ ​is​ ​an​ ​issue,​ ​it​ ​implies​ ​that​ ​agents​ ​of​ ​the​ ​Cult​ ​of​ ​Tranquility 
  156 
  
  are​ ​constantly​ ​trying​ ​to​ ​fulfill​ ​parts​ ​of​ ​the​ ​ancient​ ​prophecies​ ​that​ ​foretell​ ​the​ ​doom.​ ​Therefore,​ ​a 
  series​ ​of​ ​ritual​ ​murders​ ​in​ ​the​ ​next​ ​town​ ​meant​ ​to​ ​awaken​ ​an​ ​ancient​ ​demon​ ​that​ ​sleeps​ ​under 
  the​ ​town​ ​would​ ​probably​ ​create​ ​a​ ​big​ ​problem​ ​for​ ​the​ ​PCs. 
   
  Because​ ​the​ ​Cult​ ​of​ ​Tranquility’s​ ​Two​ ​Conflicting​ ​Prophecies​ ​is​ ​an​ ​issue,​ ​it​ ​implies​ ​that​ ​there’s 
  an​ ​internal​ ​Cult​ ​struggle​ ​to​ ​validate​ ​one​ ​prophecy​ ​as​ ​being​ ​definitive.​ ​Therefore,​ ​an​ ​all-out​ ​war 
  between​ ​rival​ ​factions​ ​in​ ​the​ ​next​ ​town​ ​that​ ​brings​ ​innocents​ ​into​ ​the​ ​crossfire​ ​would​ ​probably 
  create​ ​a​ ​big​ ​problem​ ​for​ ​the​ ​PCs. 
  Problems​ ​and​ ​Aspect​ ​Pairs 
  This​ ​is​ ​where​ ​you​ ​really​ ​start​ ​cooking​ ​with​ ​gas.​ ​You​ ​can​ ​also​ ​create​ ​problems​ ​from​ ​the 
  relationship​ ​between​ ​two​ ​aspects​ ​instead​ ​of​ ​relying​ ​on​ ​just​ ​one.​ ​That​ ​lets​ ​you​ ​keep​ ​things 
  personal,​ ​but​ ​broaden​ ​the​ ​scope​ ​of​ ​your​ ​problem​ ​to​ ​impact​ ​multiple​ ​characters,​ ​or​ ​thread​ ​a 
  particular​ ​PC’s​ ​story​ ​into​ ​the​ ​story​ ​of​ ​the​ ​game. 
   
  There​ ​are​ ​two​ ​main​ ​forms​ ​of​ ​aspect​ ​pairing:​ ​connecting​ ​two​ ​character​ ​aspects,​ ​and​ ​connecting 
  a​ ​character​ ​aspect​ ​to​ ​an​ ​issue. 
  Two​ ​Character​ ​Aspects 
  ●
  Because​ ​____​ ​has​ ​____​ ​aspect​ ​and​ ​____​ ​has​ ​____​ ​aspect,​ ​it​ ​implies​ ​that​ ​____. 
  Therefore,​ ​____​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​them. 
  Ask​ ​yourself: 
  ●
  Do​ ​the​ ​two​ ​aspects​ ​put​ ​those​ ​characters​ ​at​ ​odds​ ​or​ ​suggest​ ​a​ ​point​ ​of​ ​tension​ ​between 
  them? 
  ●
  Is​ ​there​ ​a​ ​particular​ ​kind​ ​of​ ​problem​ ​or​ ​trouble​ ​that​ ​both​ ​would​ ​be​ ​likely​ ​to​ ​get​ ​into 
  because​ ​of​ ​the​ ​aspects? 
  ●
  Does​ ​one​ ​character​ ​have​ ​a​ ​relationship​ ​or​ ​a​ ​connection​ ​that​ ​could​ ​become​ ​problematic 
  for​ ​the​ ​other? 
  ●
  Do​ ​the​ ​aspects​ ​point​ ​to​ ​backstory​ ​elements​ ​that​ ​can​ ​intersect​ ​in​ ​the​ ​present? 
  ●
  Is​ ​there​ ​a​ ​way​ ​for​ ​one​ ​PC’s​ ​fortune​ ​to​ ​become​ ​another’s​ ​misfortune,​ ​because​ ​of​ ​the 
  aspects? 
  Because​ ​Landon​ ​is​ ​a​ ​Disciple​ ​of​ ​the​ ​Ivory​ ​Shroud,​ ​and​ ​Zird​ ​has​ ​Rivals​ ​in​ ​the​ ​Collegia​ ​Arcana,​ ​it 
  implies​ ​that​ ​both​ ​factions​ ​could​ ​occasionally​ ​cross​ ​paths​ ​and​ ​have​ ​incompatible​ ​agendas. 
  Therefore,​ ​a​ ​mandate​ ​from​ ​the​ ​monks​ ​of​ ​a​ ​local​ ​Shroud​ ​monastery​ ​to​ ​capture​ ​or​ ​kill​ ​the 
  members​ ​of​ ​a​ ​local​ ​Collegia​ ​chapterhouse​ ​for​ ​an​ ​unknown​ ​slight​ ​would​ ​probably​ ​be​ ​a​ ​big 
  problem​ ​for​ ​them. 
  Because​ ​Cynere​ ​is​ ​Tempted​ ​by​ ​Shiny​ ​Things,​ ​and​ ​Landon​ ​has​ ​The​ ​Manners​ ​of​ ​a​ ​Goat,​ ​it 
  implies​ ​that​ ​they’re​ ​probably​ ​the​ ​worst​ ​partners​ ​for​ ​any​ ​kind​ ​of​ ​undercover​ ​heist.​ ​Therefore,​ ​a 
  contract​ ​to​ ​infiltrate​ ​the​ ​Royal​ ​Ball​ ​of​ ​Ictherya​ ​with​ ​no​ ​backup​ ​and​ ​walk​ ​out​ ​with​ ​the​ ​Crown 
  Jewels​ ​on​ ​behalf​ ​of​ ​a​ ​neighboring​ ​kingdom​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​them. 
   
  157 
  
  Because​ ​Zird​ ​has​ ​If​ ​I​ ​Haven’t​ ​Been​ ​There,​ ​I’ve​ ​Read​ ​About​ ​It,​ ​and​ ​Cynere​ ​is​ ​the​ ​Secret​ ​Sister​ ​of 
  Barathar,​ ​it​ ​implies​ ​that​ ​proof​ ​of​ ​Cynere’s​ ​true​ ​heritage​ ​could​ ​one​ ​day​ ​fall​ ​into​ ​Zird’s​ ​hands. 
  Therefore,​ ​the​ ​unexpected​ ​arrival​ ​of​ ​a​ ​genealogical​ ​document​ ​in​ ​code​ ​that​ ​Barathar​ ​and​ ​her 
  henchies​ ​seek​ ​to​ ​recover​ ​at​ ​all​ ​costs​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​them. 
  Character​ ​Aspect​ ​and​ ​Issue 
  ●
  Because​ ​you​ ​have​ ​____​ ​aspect​ ​and​ ​____​ ​is​ ​an​ ​issue,​ ​it​ ​implies​ ​that​ ​____.​ ​Therefore, 
  ____​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​you. 
  Ask​ ​yourself: 
  ●
  Does​ ​the​ ​issue​ ​suggest​ ​a​ ​threat​ ​to​ ​any​ ​of​ ​the​ ​PC’s​ ​relationships? 
  ●
  Is​ ​the​ ​next​ ​step​ ​to​ ​dealing​ ​with​ ​the​ ​issue​ ​something​ ​that​ ​impacts​ ​a​ ​particular​ ​character 
  personally​ ​because​ ​of​ ​their​ ​aspects? 
  ●
  Does​ ​someone​ ​connected​ ​to​ ​the​ ​issue​ ​have​ ​a​ ​particular​ ​reason​ ​to​ ​target​ ​the​ ​PC 
  because​ ​of​ ​an​ ​aspect? 
  How​ ​Many​ ​Problems​ ​Do​ ​I​ ​Need 
  For​ ​a​ ​single​ ​scenario,​ ​one​ ​or​ ​two​ ​is​ ​sufficient,​ ​trust​ ​us.​ ​You’ll​ ​see​ ​below​ ​that​ ​even​ ​one​ ​problem 
  can​ ​create​ ​enough​ ​material​ ​for​ ​two​ ​or​ ​three​ ​sessions.​ ​Don’t​ ​feel​ ​like​ ​you​ ​have​ ​to​ ​engage​ ​every 
  PC​ ​with​ ​every​ ​scenario—rotate​ ​the​ ​spotlight​ ​around​ ​a​ ​little​ ​so​ ​that​ ​they​ ​each​ ​get​ ​some​ ​spotlight 
  time,​ ​and​ ​then​ ​throw​ ​in​ ​an​ ​issue-related​ ​scenario​ ​when​ ​you​ ​want​ ​to​ ​concentrate​ ​on​ ​the​ ​larger 
  “plot”​ ​of​ ​the​ ​game. 
   
  Because​ ​Cynere​ ​is​ ​the​ ​Secret​ ​Sister​ ​of​ ​Barathar​ ​and​ ​The​ ​Scar​ ​Triad​ ​is​ ​an​ ​issue,​ ​it​ ​implies​ ​that 
  the​ ​Triad​ ​could​ ​have​ ​leverage​ ​over​ ​Cynere​ ​for​ ​blackmail.​ ​Therefore,​ ​the​ ​Triad​ ​hiring​ ​her​ ​for​ ​an 
  extremely​ ​dangerous​ ​and​ ​morally​ ​reprehensible​ ​job​ ​on​ ​the​ ​threat​ ​of​ ​revealing​ ​her​ ​secret​ ​to​ ​the 
  world​ ​and​ ​making​ ​her​ ​a​ ​public​ ​enemy​ ​across​ ​the​ ​land​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​her. 
  Because​ ​Zird​ ​has​ ​If​ ​I​ ​Haven’t​ ​Been​ ​There,​ ​I’ve​ ​Read​ ​About​ ​It,​ ​and​ ​the​ ​Cult​ ​of​ ​Tranquility’s​ ​Two 
  Conflicting​ ​Prophecies​ ​are​ ​an​ ​issue,​ ​it​ ​implies​ ​that​ ​Zird​ ​could​ ​be​ ​the​ ​key​ ​to​ ​figuring​ ​out​ ​which​ ​of 
  the​ ​prophecies​ ​is​ ​legitimate.​ ​Therefore,​ ​getting​ ​approached​ ​by​ ​the​ ​Primarch​ ​to​ ​learn​ ​the​ ​Rites​ ​of 
  Tranquility​ ​and​ ​figure​ ​out​ ​the​ ​truth​ ​of​ ​the​ ​prophecy,​ ​and​ ​thus​ ​becoming​ ​a​ ​target​ ​for​ ​manipulation 
  from​ ​both​ ​major​ ​factions,​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​him. 
   
  Because​ ​Landon​ ​has​ ​An​ ​Eye​ ​for​ ​an​ ​Eye,​ ​and​ ​The​ ​Doom​ ​that​ ​Is​ ​to​ ​Come​ ​is​ ​an​ ​issue,​ ​it​ ​implies 
  that​ ​anything​ ​the​ ​Cult​ ​does​ ​to​ ​Landon’s​ ​loved​ ​ones​ ​would​ ​be​ ​met​ ​with​ ​a​ ​desire​ ​for​ ​vengeance. 
  Therefore,​ ​an​ ​attack​ ​on​ ​his​ ​hometown​ ​by​ ​Cult​ ​agents​ ​on​ ​the​ ​prowl​ ​for​ ​more​ ​indoctrinated 
  servants​ ​as​ ​preparation​ ​for​ ​the​ ​End​ ​Times​ ​would​ ​probably​ ​be​ ​a​ ​big​ ​problem​ ​for​ ​him. 
   
  Ask​ ​Story​ ​Questions 
  Now​ ​that​ ​you​ ​have​ ​a​ ​really​ ​grabby​ ​problem,​ ​you​ ​can​ ​flesh​ ​the​ ​situation​ ​out​ ​a​ ​little​ ​and​ ​figure​ ​out 
  precisely​ ​what​ ​your​ ​scenario​ ​is​ ​intended​ ​to​ ​resolve—in​ ​other​ ​words,​ ​what​ ​are​ ​the​ ​really​ ​grabby 
  158 
  
  questions​ ​at​ ​the​ ​heart​ ​of​ ​this​ ​problem? 
   
  That’s​ ​what​ ​you’ll​ ​do​ ​in​ ​this​ ​step:​ ​create​ ​a​ ​series​ ​of​ ​questions​ ​that​ ​you​ ​want​ ​your​ ​scenario​ ​to 
  answer.​ ​We​ ​call​ ​these​ ​story​ ​questions​,​ ​because​ ​the​ ​story​ ​will​ ​emerge​ ​naturally​ ​from​ ​the 
  process​ ​of​ ​answering​ ​them. 
   
  The​ ​more​ ​story​ ​questions​ ​you​ ​have,​ ​the​ ​longer​ ​your​ ​scenario’s​ ​going​ ​to​ ​be.​ ​One​ ​to​ ​three​ ​story 
  questions​ ​will​ ​probably​ ​wrap​ ​up​ ​in​ ​a​ ​session.​ ​Four​ ​to​ ​eight​ ​might​ ​take​ ​you​ ​two​ ​or​ ​even​ ​three 
  sessions.​ ​More​ ​than​ ​eight​ ​or​ ​nine,​ ​and​ ​you​ ​might​ ​have​ ​to​ ​save​ ​some​ ​of​ ​those​ ​questions​ ​for​ ​the 
  next​ ​scenario,​ ​but​ ​that’s​ ​not​ ​a​ ​bad​ ​thing​ ​at​ ​all. 
   
  It​ ​is​ ​recommended​ ​asking​ ​story​ ​questions​ ​as​ ​yes/no​ ​questions,​ ​in​ ​the​ ​general​ ​format​ ​of, 
  “Can/Will​ ​(character)​ ​accomplish​ ​(goal)?”​ ​You​ ​don’t​ ​have​ ​to​ ​follow​ ​that​ ​phrasing​ ​exactly,​ ​and 
  you​ ​can​ ​embellish​ ​on​ ​the​ ​basic​ ​question​ ​format​ ​in​ ​a​ ​number​ ​of​ ​ways,​ ​which​ ​will​ ​be 
  demonstrated​ ​in​ ​a​ ​moment. 
   
  Every​ ​problem​ ​you​ ​come​ ​up​ ​with​ ​is​ ​going​ ​to​ ​have​ ​one​ ​very​ ​obvious​ ​story​ ​question:​ ​“Can​ ​the 
  PC(s)​ ​resolve​ ​the​ ​problem?”​ ​You​ ​do​ ​need​ ​to​ ​know​ ​that​ ​eventually,​ ​but​ ​you​ ​don’t​ ​want​ ​to​ ​skip 
  straight​ ​to​ ​that—it’s​ ​your​ ​finale​ ​for​ ​the​ ​scenario,​ ​after​ ​all.​ ​Put​ ​other​ ​questions​ ​before​ ​that​ ​one​ ​to 
  add​ ​nuance​ ​and​ ​complexity​ ​to​ ​the​ ​scenario​ ​and​ ​build​ ​up​ ​to​ ​that​ ​final​ ​question.​ ​Figure​ ​out​ ​what 
  makes​ ​the​ ​problem​ ​difficult​ ​to​ ​solve. 
   
  To​ ​come​ ​up​ ​with​ ​story​ ​questions,​ ​you’re​ ​probably​ ​going​ ​to​ ​have​ ​to​ ​embellish​ ​on​ ​the​ ​problem​ ​that 
  you​ ​came​ ​up​ ​with​ ​just​ ​a​ ​bit,​ ​and​ ​figure​ ​out​ ​some​ ​of​ ​the​ ​W-How​ ​(who,​ ​what,​ ​when,​ ​where,​ ​why, 
  how)​ ​details.​ ​That’s​ ​also​ ​fine,​ ​and​ ​part​ ​of​ ​what​ ​the​ ​process​ ​is​ ​for. 
   
  An​ ​Arcane​ ​Conspiracy:​ ​Problem​ ​and​ ​Story​ ​Questions 
   
  Cynere​ ​is​ ​Tempted​ ​by​ ​Shiny​ ​Things,​ ​and​ ​Zird​ ​has​ ​Rivals​ ​in​ ​the​ ​Collegia​ ​Arcana,​ ​which​ ​implies 
  that​ ​the​ ​Collegia’s​ ​wealth​ ​might​ ​end​ ​up​ ​on​ ​Cynere’s​ ​radar​ ​at​ ​an​ ​inconvenient​ ​time​ ​for​ ​Zird. 
  Therefore,​ ​Cynere​ ​getting​ ​a​ ​lucrative​ ​contract​ ​to​ ​steal​ ​one​ ​of​ ​the​ ​Collegia’s​ ​sacred​ ​treasures​ ​at 
  the​ ​same​ ​time​ ​that​ ​Zird’s​ ​rivals​ ​try​ ​to​ ​put​ ​him​ ​on​ ​trial​ ​for​ ​crimes​ ​against​ ​creation​ ​would​ ​probably 
  be​ ​a​ ​big​ ​problem​ ​for​ ​both​ ​of​ ​them. 
   
  Two​ ​obvious​ ​story​ ​questions​ ​spring​ ​to​ ​mind​ ​already:​ ​Will​ ​Cynere​ ​get​ ​the​ ​treasure?Will​ ​Zird​ ​win 
  his​ ​trial?​ ​But​ ​Amanda​ ​wants​ ​to​ ​save​ ​those​ ​answers​ ​for​ ​the​ ​end,​ ​so​ ​she​ ​brainstorms​ ​some​ ​other 
  questions. 
   
  First​ ​of​ ​all,​ ​she​ ​doesn’t​ ​know​ ​if​ ​they’re​ ​even​ ​going​ ​to​ ​go​ ​willingly​ ​into​ ​this​ ​situation,​ ​so​ ​she​ ​starts 
  there:​ ​Will​ ​Cynere​ ​take​ ​the​ ​contract?​ ​Will​ ​Zird​ ​allow​ ​the​ ​Collegia​ ​to​ ​arrest​ ​him,​ ​or​ ​will​ ​he​ ​resist? 
  Then,​ ​she​ ​needs​ ​to​ ​figure​ ​out​ ​why​ ​they​ ​can’t​ ​just​ ​go​ ​straight​ ​to​ ​the​ ​problem.​ ​She​ ​decides 
  Cynere​ ​has​ ​an​ ​anonymous​ ​rival​ ​for​ ​the​ ​treasure​ ​(let’s​ ​call​ ​it​ ​the​ ​Jewel​ ​of​ ​Aetheria,​ ​that​ ​sounds 
  nice),​ ​and​ ​her​ ​mysterious​ ​employer​ ​would​ ​be​ ​most​ ​displeased​ ​if​ ​the​ ​rival​ ​beat​ ​her​ ​to​ ​the​ ​punch. 
  159 
  
   
  Zird,​ ​in​ ​the​ ​meantime,​ ​has​ ​to​ ​secure​ ​a​ ​legal​ ​defense​ ​that​ ​isn’t​ ​a​ ​part​ ​of​ ​the​ ​conspiracy​ ​against 
  him,​ ​and​ ​will​ ​probably​ ​want​ ​to​ ​find​ ​out​ ​precisely​ ​who​ ​has​ ​it​ ​in​ ​for​ ​him​ ​this​ ​time. 
   
  So,​ ​that​ ​gives​ ​her​ ​three​ ​more​ ​questions:​ ​Can​ ​Cynere​ ​sniff​ ​out​ ​her​ ​competitor​ ​before​ ​her 
  competitor​ ​does​ ​the​ ​same​ ​to​ ​her?​ ​Can​ ​Zird​ ​find​ ​an​ ​ally​ ​to​ ​defend​ ​him​ ​among​ ​the​ ​Collegia’s 
  ranks?​ ​Can​ ​Zird​ ​discover​ ​the​ ​architects​ ​of​ ​the​ ​conspiracy​ ​without​ ​suffering​ ​further 
  consequences? 
   
  Then,​ ​because​ ​she​ ​wants​ ​some​ ​tension​ ​between​ ​these​ ​two,​ ​one​ ​that​ ​relates​ ​to​ ​their 
  relationship:​ ​Will​ ​Cynere​ ​turn​ ​her​ ​back​ ​on​ ​Zird​ ​for​ ​the​ ​sake​ ​of​ ​her​ ​own​ ​goals? 
   
  Notice​ ​that​ ​each​ ​of​ ​these​ ​questions​ ​has​ ​the​ ​potential​ ​to​ ​significantly​ ​shape​ ​the​ ​scenario’s​ ​plot. 
  Right​ ​off​ ​the​ ​bat,​ ​if​ ​Zird​ ​decides​ ​not​ ​to​ ​go​ ​quietly,​ ​you​ ​have​ ​a​ ​very​ ​different​ ​situation​ ​than​ ​if​ ​he 
  chooses​ ​to​ ​submit​ ​to​ ​custody.​ ​If​ ​Zird’s​ ​investigations​ ​get​ ​him​ ​arrested,​ ​then​ ​the​ ​trial​ ​might​ ​end 
  up​ ​being​ ​a​ ​moot​ ​point.​ ​If​ ​Cynere​ ​decides​ ​to​ ​help​ ​Zird​ ​rather​ ​than​ ​pursuing​ ​the​ ​Jewel,​ ​then 
  they’re​ ​going​ ​to​ ​have​ ​another​ ​source​ ​of​ ​trouble​ ​in​ ​the​ ​form​ ​of​ ​Cynere’s​ ​employer. 
   
  Also​ ​notice​ ​that​ ​a​ ​few​ ​of​ ​the​ ​story​ ​questions​ ​have​ ​something​ ​else​ ​that​ ​modifies​ ​the​ ​basic​ ​“Can​ ​X 
  accomplish​ ​Y?”​ ​format.​ ​The​ ​reason​ ​why​ ​you​ ​want​ ​to​ ​do​ ​this​ ​is​ ​the​ ​same​ ​reason​ ​you​ ​want​ ​to 
  avoid​ ​rolling​ ​dice​ ​sometimes—black​ ​and​ ​white​ ​success/failure​ ​isn’t​ ​always​ ​interesting,​ ​especially 
  on​ ​the​ ​failure​ ​side. 
   
  Look​ ​at​ ​one​ ​of​ ​the​ ​questions​ ​for​ ​Cynere:​ ​“Will​ ​Cynere​ ​discover​ ​the​ ​identity​ ​of​ ​her​ ​chief 
  competitor​ ​for​ ​the​ ​Jewel​ ​before​ ​the​ ​competitor​ ​discovers​ ​hers?”​ ​Without​ ​the​ ​emphasized​ ​part, 
  it’d​ ​be​ ​kind​ ​of​ ​boring—if​ ​she​ ​fails​ ​to​ ​discover​ ​her​ ​opponent’s​ ​identity,​ ​then​ ​we’ve​ ​pretty​ ​much 
  dropped​ ​that​ ​plot​ ​thread,​ ​and​ ​part​ ​of​ ​the​ ​game​ ​stalls​ ​out.​ ​No​ ​good. 
   
  The​ ​way​ ​it​ ​is​ ​phrased​ ​it,​ ​though,​ ​you​ ​have​ ​somewhere​ ​to​ ​go​ ​if​ ​she​ ​doesn’t​ ​do​ ​well​ ​in​ ​this​ ​part​ ​of 
  the​ ​scenario—she​ ​may​ ​not​ ​know​ ​who​ ​her​ ​rival​ ​is,​ ​but​ ​her​ ​rival​ ​knows​ ​her​ ​now.​ ​Whatever 
  happens​ ​with​ ​the​ ​Jewel,​ ​that​ ​rival​ ​can​ ​come​ ​back​ ​to​ ​haunt​ ​her​ ​in​ ​a​ ​future​ ​scenario.​ ​Or,​ ​we​ ​take 
  it​ ​as​ ​a​ ​given​ ​that​ ​we’re​ ​going​ ​to​ ​reveal​ ​the​ ​rival’s​ ​identity​ ​to​ ​Cynere​ ​eventually,​ ​but​ ​we​ ​can​ ​still 
  have​ ​a​ ​tense​ ​set​ ​of​ ​conflicts​ ​or​ ​contests​ ​leading​ ​up​ ​to​ ​that​ ​reveal​ ​as​ ​they​ ​suss​ ​out​ ​each​ ​other’s 
  abilities. 
   
  There’s​ ​also​ ​some​ ​room​ ​to​ ​extend​ ​material​ ​from​ ​this​ ​scenario​ ​into​ ​the​ ​future.​ ​Maybe​ ​the​ ​identity 
  of​ ​Cynere’s​ ​opponent​ ​doesn’t​ ​get​ ​answered​ ​this​ ​session​ ​at​ ​all—that’s​ ​okay,​ ​because​ ​it’s​ ​a​ ​detail 
  Amanda​ ​can​ ​always​ ​bring​ ​back​ ​in​ ​a​ ​later​ ​session. 
   
  If​ ​you​ ​end​ ​up​ ​with​ ​a​ ​really​ ​large​ ​number​ ​of​ ​story​ ​questions​ ​(like​ ​eight​ ​or​ ​more),​ ​keep​ ​in​ ​mind​ ​that 
  you​ ​don’t​ ​necessarily​ ​have​ ​to​ ​answer​ ​them​ ​all​ ​in​ ​one​ ​scenario—you​ ​can​ ​bring​ ​up​ ​the​ ​questions 
  you​ ​don’t​ ​answer,​ ​either​ ​as​ ​foreshadowing​ ​or​ ​to​ ​set​ ​up​ ​stuff​ ​you’re​ ​going​ ​to​ ​do​ ​in​ ​the​ ​following 
  scenario.​ ​In​ ​fact,​ ​that’s​ ​exactly​ ​how​ ​you​ ​make​ ​strong​ ​arcs​—you​ ​have​ ​a​ ​pile​ ​of​ ​related​ ​story 
  160 
  
  questions,​ ​and​ ​you​ ​take​ ​two​ ​or​ ​three​ ​scenarios​ ​to​ ​answer​ ​them​ ​all. 
   
  Establish​ ​the​ ​Opposition 
  You​ ​might​ ​have​ ​already​ ​come​ ​up​ ​with​ ​an​ ​NPC​ ​or​ ​group​ ​of​ ​NPCs​ ​who​ ​is/are​ ​responsible​ ​for 
  what’s​ ​going​ ​on​ ​when​ ​you​ ​made​ ​up​ ​your​ ​problem,​ ​but​ ​if​ ​you​ ​haven’t,​ ​you​ ​need​ ​to​ ​start​ ​putting 
  together​ ​the​ ​cast​ ​of​ ​characters​ ​who​ ​are​ ​the​ ​key​ ​to​ ​answering​ ​your​ ​story​ ​questions.​ ​You​ ​also 
  need​ ​to​ ​nail​ ​down​ ​their​ ​motivations​ ​and​ ​goals,​ ​why​ ​they’re​ ​standing​ ​in​ ​opposition​ ​to​ ​the​ ​PCs’ 
  goals,​ ​and​ ​what​ ​they’re​ ​after. 
   
  At​ ​the​ ​very​ ​least,​ ​you​ ​should​ ​be​ ​able​ ​to​ ​answer​ ​the​ ​following​ ​questions​ ​for​ ​each​ ​named​ ​NPC​ ​in 
  your​ ​scenario: 
  ●
  What​ ​does​ ​that​ ​NPC​ ​need?​ ​How​ ​can​ ​the​ ​PCs​ ​help​ ​her​ ​get​ ​that,​ ​or​ ​how​ ​are​ ​the​ ​PCs​ ​in 
  the​ ​way? 
  ●
  Why​ ​can’t​ ​the​ ​NPC​ ​get​ ​what​ ​she​ ​needs​ ​through​ ​legitimate​ ​means?​ ​(In​ ​other​ ​words,​ ​why 
  is​ ​this​ ​need​ ​contributing​ ​to​ ​a​ ​problem?) 
  ●
  Why​ ​can’t​ ​she​ ​be​ ​ignored? 
  Wherever​ ​you​ ​can,​ ​try​ ​and​ ​consolidate​ ​NPCs​ ​so​ ​that​ ​you​ ​don’t​ ​have​ ​too​ ​many​ ​characters​ ​to 
  keep​ ​track​ ​of.​ ​If​ ​one​ ​of​ ​your​ ​opposition​ ​NPCs​ ​is​ ​serving​ ​only​ ​one​ ​purpose​ ​in​ ​your​ ​scenario, 
  consider​ ​getting​ ​rid​ ​of​ ​him​ ​and​ ​folding​ ​his​ ​role​ ​together​ ​with​ ​another​ ​NPC.​ ​This​ ​not​ ​only​ ​reduces 
  your​ ​workload,​ ​but​ ​it​ ​also​ ​allows​ ​you​ ​to​ ​develop​ ​each​ ​NPC’s​ ​personality​ ​a​ ​bit​ ​more,​ ​making​ ​him 
  more​ ​multi-dimensional​ ​as​ ​you​ ​reconcile​ ​his​ ​whole​ ​set​ ​of​ ​motives. 
   
  For​ ​each​ ​NPC​ ​that​ ​you​ ​have,​ ​decide​ ​whether​ ​you​ ​need​ ​to​ ​make​ ​them​ ​a​ ​supporting​ ​or​ ​main.​ ​Stat 
  them​ ​up​ ​according​ ​to​ ​the​ ​guidelines​ ​given​ ​in​​ ​Running​ ​the​ ​Game​. 
   
  An​ ​Arcane​ ​Conspiracy:​ ​Opposition 
   
  Amanda​ ​looks​ ​over​ ​the​ ​story​ ​questions​ ​and​ ​thinks​ ​of​ ​NPCs​ ​she’ll​ ​need​ ​in​ ​order​ ​to​ ​answer​ ​them. 
  She​ ​makes​ ​a​ ​list​ ​of​ ​the​ ​obvious​ ​suspects. 
  ●
  Cynere’s​ ​mysterious​ ​employer​ ​(not​ ​appearing) 
  ●
  The​ ​chief​ ​arbiter​ ​for​ ​the​ ​Collegia​ ​Arcana​ ​(supporting) 
  ●
  Cynere’s​ ​competitor​ ​for​ ​the​ ​Jewel​ ​(supporting) 
  ●
  A​ ​barrister​ ​who​ ​isn’t​ ​part​ ​of​ ​the​ ​conspiracy​ ​(supporting) 
  ●
  A​ ​corrupt​ ​barrister,​ ​and​ ​the​ ​one​ ​that​ ​Zird’s​ ​rivals​ ​want​ ​to​ ​set​ ​him​ ​up​ ​with​ ​(supporting) 
  ●
  The​ ​Collegia​ ​wizard​ ​who​ ​engineered​ ​the​ ​conspiracy​ ​to​ ​bring​ ​Zird​ ​down​ ​(main) 
  That’s​ ​six​ ​NPCs,​ ​four​ ​supporting,​ ​one​ ​main,​ ​and​ ​one​ ​that​ ​isn’t​ ​going​ ​to​ ​be​ ​in​ ​the​ ​scenario—she 
  really​ ​doesn’t​ ​want​ ​to​ ​drop​ ​any​ ​details​ ​on​ ​who’s​ ​hiring​ ​Cynere​ ​yet.​ ​She​ ​also​ ​doesn’t​ ​really​ ​want 
  to​ ​keep​ ​track​ ​of​ ​five​ ​NPCs,​ ​so​ ​she​ ​starts​ ​looking​ ​for​ ​opportunities​ ​to​ ​consolidate. 
   
  One​ ​pairing​ ​that​ ​immediately​ ​strikes​ ​her​ ​is​ ​making​ ​Cynere’s​ ​competitor​ ​and​ ​the​ ​neutral​ ​barrister 
  into​ ​the​ ​same​ ​person,​ ​whom​ ​she​ ​names​ ​Anna.​ ​Anna​ ​might​ ​not​ ​be​ ​involved​ ​in​ ​this​ ​conspiracy, 
  161 
  
  but​ ​clearly,​ ​there’s​ ​a​ ​more​ ​complicated​ ​motive​ ​at​ ​work.​ ​What’s​ ​going​ ​on​ ​with​ ​her?​ ​Amanda 
  ultimately​ ​decides​ ​that​ ​Anna’s​ ​motives​ ​are​ ​beneficent;​ ​she’s​ ​secreting​ ​the​ ​Jewel​ ​away​ ​to​ ​keep​ ​it 
  out​ ​of​ ​the​ ​hands​ ​of​ ​more​ ​corrupt​ ​elements​ ​in​ ​the​ ​Collegia’s​ ​infrastructure.​ ​She​ ​doesn’t​ ​know 
  anything​ ​about​ ​Cynere​ ​and​ ​will​ ​mistake​ ​her​ ​for​ ​an​ ​agent​ ​of​ ​those​ ​corrupt​ ​elements​ ​until​ ​they 
  clear​ ​the​ ​air. 
  Then​ ​she​ ​decides​ ​that​ ​the​ ​chief​ ​arbiter​ ​and​ ​the​ ​architect​ ​of​ ​the​ ​conspiracy​ ​are​ ​the​ ​same—he 
  didn’t​ ​trust​ ​anyone​ ​else​ ​to​ ​stick​ ​the​ ​final​ ​nail​ ​in​ ​Zird’s​ ​coffin,​ ​so​ ​he​ ​made​ ​sure​ ​he’d​ ​be​ ​appointed 
  arbiter​ ​over​ ​the​ ​trial.​ ​Amanda​ ​likes​ ​this​ ​because​ ​his​ ​political​ ​power​ ​makes​ ​him​ ​a​ ​formidable 
  opponent​ ​to​ ​investigate​ ​and​ ​gives​ ​him​ ​a​ ​powerful​ ​lackey​ ​in​ ​the​ ​form​ ​of​ ​the​ ​corrupt​ ​barrister.​ ​But 
  why​ ​does​ ​he​ ​have​ ​it​ ​in​ ​for​ ​Zird​ ​in​ ​the​ ​first​ ​place? 
   
  She​ ​further​ ​decides​ ​that​ ​his​ ​motives​ ​aren’t​ ​personal,​ ​but​ ​he’s​ ​getting​ ​ready​ ​to​ ​do​ ​some​ ​stuff​ ​that 
  will​ ​rock​ ​the​ ​foundations​ ​of​ ​the​ ​Collegia,​ ​and​ ​he​ ​knows​ ​that​ ​as​ ​a​ ​misfit​ ​in​ ​that​ ​organization,​ ​Zird 
  is​ ​one​ ​of​ ​the​ ​most​ ​likely​ ​candidates​ ​to​ ​resist​ ​him.​ ​So​ ​it’s​ ​basically​ ​a​ ​preemptive​ ​strike. 
   
  As​ ​for​ ​the​ ​corrupt​ ​barrister,​ ​the​ ​first​ ​thing​ ​that​ ​comes​ ​to​ ​mind​ ​is​ ​a​ ​pathetic,​ ​sniveling​ ​toady​ ​who​ ​is 
  totally​ ​in​ ​the​ ​arbiter’s​ ​pocket.​ ​But​ ​she​ ​wants​ ​to​ ​add​ ​a​ ​measure​ ​of​ ​depth​ ​to​ ​him,​ ​so​ ​she​ ​also 
  decides​ ​that​ ​the​ ​arbiter​ ​has​ ​blackmail​ ​material​ ​on​ ​him,​ ​which​ ​helps​ ​to​ ​ensure​ ​his​ ​loyalty.​ ​She 
  doesn’t​ ​know​ ​what​ ​that​ ​info​ ​is​ ​yet,​ ​but​ ​she’s​ ​hoping​ ​that​ ​nosy​ ​PCs​ ​will​ ​help​ ​her​ ​figure​ ​it​ ​out 
  through​ ​a​ ​story​ ​detail​ ​later. 
   
  She​ ​names​ ​the​ ​arbiter​ ​Lanthus,​ ​and​ ​the​ ​corrupt​ ​barrister​ ​Pight.​ ​Now​ ​she​ ​has​ ​her​ ​NPCs,​ ​and​ ​she 
  goes​ ​about​ ​making​ ​their​ ​sheets. 
  Advantages​ ​Can​ ​Save​ ​You​ ​Work 
  When​ ​you’re​ ​establishing​ ​your​ ​NPCs​ ​for​ ​your​ ​scenario,​ ​you​ ​don’t​ ​have​ ​to​ ​have​ ​everything​ ​set​ ​in 
  stone​ ​when​ ​you​ ​get​ ​to​ ​the​ ​table—whatever​ ​you​ ​don’t​ ​know,​ ​you​ ​can​ ​always​ ​establish​ ​by​ ​letting 
  the​ ​advantages​ ​the​ ​players​ ​create​ ​become​ ​the​ ​NPCs’​ ​aspects. 
   
  Set​ ​Up​ ​The​ ​First​ ​Scene 
  Contents 
  ●
  Powerful​ ​Session-Starting​ ​Ninja​ ​GM​ ​Trick 
  Start​ ​things​ ​off​ ​by​ ​being​ ​as​ ​unsubtle​ ​as​ ​possible—take​ ​one​ ​of​ ​your​ ​story​ ​questions,​ ​come​ ​up 
  with​ ​something​ ​that​ ​will​ ​bring​ ​the​ ​question​ ​into​ ​sharp​ ​relief,​ ​and​ ​hit​ ​your​ ​players​ ​over​ ​the​ ​head 
  with​ ​it​ ​as​ ​hard​ ​as​ ​you​ ​can.​ ​You​ ​don’t​ ​have​ ​to​ ​answer​ ​it​ ​right​ ​off​ ​the​ ​bat​ ​(though​ ​there’s​ ​nothing 
  wrong​ ​with​ ​that,​ ​either),​ ​but​ ​you​ ​should​ ​show​ ​the​ ​players​ ​that​ ​the​ ​question​ ​demands​ ​an​ ​answer. 
  That​ ​way,​ ​you’re​ ​setting​ ​an​ ​example​ ​for​ ​the​ ​rest​ ​of​ ​the​ ​session​ ​and​ ​getting​ ​the​ ​momentum 
  going,​ ​ensuring​ ​the​ ​players​ ​won’t​ ​dither​ ​around.​ ​Remember,​ ​they’re​ ​supposed​ ​to​ ​be​ ​proactive, 
  competent​ ​people—give​ ​them​ ​something​ ​to​ ​be​ ​proactive​ ​and​ ​competent​ ​about​ ​right​ ​from​ ​the 
  162 
  
  get-go. 
   
  If​ ​you’re​ ​in​ ​an​ ​ongoing​ ​campaign,​ ​you​ ​might​ ​need​ ​the​ ​first​ ​scenes​ ​of​ ​a​ ​session​ ​to​ ​resolve​ ​loose 
  ends​ ​that​ ​were​ ​left​ ​hanging​ ​from​ ​a​ ​previous​ ​session.​ ​It’s​ ​okay​ ​to​ ​spend​ ​time​ ​on​ ​that,​ ​because​ ​it 
  helps​ ​keep​ ​the​ ​sense​ ​of​ ​continuity​ ​going​ ​from​ ​session​ ​to​ ​session.​ ​As​ ​soon​ ​as​ ​there’s​ ​a​ ​lull​ ​in 
  momentum,​ ​though,​ ​hit​ ​them​ ​with​ ​your​ ​opening​ ​scene​ ​fast​ ​and​ ​hard. 
   
  An​ ​Arcane​ ​Conspiracy:​ ​The​ ​Opening​ ​Scene 
   
  Amanda​ ​mulls​ ​over​ ​her​ ​questions​ ​and​ ​thinks​ ​about​ ​what​ ​she​ ​wants​ ​as​ ​her​ ​opening​ ​scene.​ ​A 
  couple​ ​of​ ​obvious​ ​suggestions​ ​come​ ​to​ ​mind: 
  ●
  Enforcers​ ​from​ ​the​ ​Collegia​ ​show​ ​up​ ​at​ ​Zird’s​ ​door​ ​and​ ​serve​ ​him​ ​papers,​ ​demanding​ ​he 
  come​ ​with​ ​them. 
  ●
  Cynere​ ​receives​ ​the​ ​contract​ ​and​ ​job​ ​details​ ​from​ ​a​ ​mysterious​ ​employer,​ ​and​ ​must 
  decide​ ​whether​ ​or​ ​not​ ​to​ ​sign. 
  She​ ​decides​ ​to​ ​go​ ​with​ ​the​ ​latter​ ​scene,​ ​because​ ​she​ ​figures​ ​that​ ​if​ ​Cynere​ ​rebuffs​ ​the​ ​contract 
  and​ ​then​ ​finds​ ​out​ ​that​ ​Zird’s​ ​going​ ​to​ ​the​ ​Collegia​ ​anyway,​ ​it​ ​might​ ​create​ ​a​ ​fun​ ​scene​ ​where 
  she​ ​tries​ ​to​ ​get​ ​the​ ​mysterious​ ​employer​ ​to​ ​reconsider.​ ​And​ ​even​ ​if​ ​she​ ​sticks​ ​to​ ​her​ ​guns,​ ​it’ll 
  establish​ ​whether​ ​or​ ​not​ ​they’ll​ ​have​ ​to​ ​deal​ ​with​ ​any​ ​drama​ ​on​ ​the​ ​way​ ​there,​ ​as​ ​the​ ​mysterious 
  employer’s​ ​lackeys​ ​harass​ ​them​ ​on​ ​the​ ​way. 
   
  That​ ​doesn’t​ ​mean​ ​she’s​ ​going​ ​to​ ​just​ ​toss​ ​the​ ​scene​ ​with​ ​Zird​ ​aside—she’s​ ​just​ ​going​ ​to​ ​save​ ​it 
  for​ ​a​ ​follow-up​ ​to​ ​the​ ​first​ ​scene. 
  Powerful​ ​Session-Starting​ ​Ninja​ ​GM​ ​Trick 
  Asking​ ​the​ ​players​ ​to​ ​contribute​ ​something​ ​to​ ​the​ ​beginning​ ​of​ ​your​ ​first​ ​scene​ ​is​ ​a​ ​great​ ​way​ ​to 
  help​ ​get​ ​them​ ​invested​ ​in​ ​what’s​ ​going​ ​on​ ​right​ ​off​ ​the​ ​bat.​ ​If​ ​there’s​ ​anything​ ​that’s​ ​flexible 
  about​ ​your​ ​opening​ ​prompt,​ ​ask​ ​your​ ​players​ ​to​ ​fill​ ​in​ ​the​ ​blanks​ ​for​ ​you​ ​when​ ​you​ ​start​ ​the 
  scene.​ ​Clever​ ​players​ ​may​ ​try​ ​to​ ​use​ ​it​ ​as​ ​an​ ​opportunity​ ​to​ ​push​ ​for​ ​a​ ​compel​ ​and​ ​get​ ​extra 
  Karma​ ​right​ ​off​ ​the​ ​bat—we​ ​like​ ​to​ ​call​ ​this​ ​sort​ ​of​ ​play​ ​“awesome.” 
   
  Let’s​ ​look​ ​at​ ​our​ ​example​ ​scenes​ ​above.​ ​The​ ​prompts​ ​don’t​ ​specify​ ​where​ ​the​ ​PCs​ ​are​ ​when 
  they​ ​get​ ​confronted​ ​with​ ​their​ ​first​ ​choices.​ ​So,​ ​Amanda​ ​might​ ​start​ ​the​ ​session​ ​by​ ​asking​ ​Ryan, 
  “Where​ ​exactly​ ​isZird​ ​when​ ​the​ ​brute​ ​squad​ ​from​ ​the​ ​Collegia​ ​comes​ ​looking​ ​for​ ​him?” 
   
  Now,​ ​even​ ​if​ ​Ryan​ ​just​ ​replies​ ​with​ ​“in​ ​his​ ​sanctuary,”​ ​you’ve​ ​solicited​ ​his​ ​participation​ ​and 
  helped​ ​him​ ​set​ ​the​ ​scene.​ ​But​ ​Ryan​ ​is​ ​awesome,​ ​so​ ​what​ ​he​ ​says​ ​instead​ ​is,​ ​“Oh,​ ​probably​ ​at 
  the​ ​public​ ​baths,​ ​soaking​ ​after​ ​a​ ​long​ ​day​ ​of​ ​research.” 
   
  “Perfect!”​ ​says​ ​Amanda,​ ​and​ ​holds​ ​out​ ​Karma.​ ​“So,​ ​it’d​ ​make​ ​sense​ ​that​ ​your​ ​Rivals​ ​in​ ​the 
  Collegia​ ​Arcana​ ​would​ ​have​ ​divined​ ​precisely​ ​the​ ​right​ ​time​ ​to​ ​catch​ ​you​ ​away​ ​from​ ​all​ ​your 
  magical​ ​implements​ ​and​ ​gear,​ ​right?” 
  163 
  
   
  Ryan​ ​grins​ ​and​ ​takes​ ​the​ ​Karma.​ ​“Yeah,​ ​that​ ​sounds​ ​about​ ​right.” 
   
  Of​ ​course,​ ​you​ ​can​ ​also​ ​just​ ​have​ ​your​ ​opening​ ​scenario​ ​hooks​ ​count​ ​as​ ​“pre-loaded”​ ​compels, 
  and​ ​hand​ ​out​ ​some​ ​Karma​ ​at​ ​the​ ​start​ ​of​ ​a​ ​session​ ​to​ ​start​ ​the​ ​PCs​ ​off​ ​with​ ​a​ ​spot​ ​of​ ​trouble 
  they​ ​have​ ​to​ ​deal​ ​with​ ​immediately.​ ​This​ ​helps​ ​low-refresh​ ​players​ ​out​ ​and​ ​can​ ​kickstart​ ​the 
  spending​ ​of​ ​fate​ ​points​ ​right​ ​off​ ​the​ ​bat.​ ​Make​ ​sure​ ​your​ ​group​ ​is​ ​okay​ ​with​ ​giving​ ​you​ ​carte 
  blanche​ ​authority​ ​to​ ​narrate​ ​them​ ​into​ ​a​ ​situation,​ ​though—some​ ​players​ ​find​ ​the​ ​loss​ ​of​ ​control 
  problematic. 
   
  Amanda​ ​wants​ ​to​ ​start​ ​the​ ​players​ ​off​ ​with​ ​a​ ​number​ ​of​ ​Karma​ ​off​ ​the​ ​bat,​ ​so​ ​at​ ​the​ ​beginning​ ​of 
  the​ ​session,​ ​she​ ​says​ ​to​ ​the​ ​players: 
  “Zird,​ ​it’s​ ​bad​ ​enough​ ​when​ ​your​ ​Rivals​ ​in​ ​the​ ​Collegia​ ​Arcana​ ​give​ ​you​ ​trouble,​ ​but​ ​when​ ​they 
  pretend​ ​to​ ​be​ ​peasants​ ​in​ ​the​ ​local​ ​watering​ ​hole,​ ​get​ ​you​ ​drunk,​ ​and​ ​start​ ​a​ ​bar​ ​fight​ ​so​ ​they 
  can​ ​haul​ ​you​ ​somewhere​ ​secluded,​ ​it’s​ ​even​ ​worse.​ ​You​ ​wake​ ​up​ ​with​ ​a​ ​five-alarm​ ​hangover 
  and​ ​a​ ​black​ ​eye—someone​ ​punched​ ​you​ ​in​ ​the​ ​face!”​ ​(2​ ​Karma,​ ​for​ ​Rivals​ ​and​ ​Not​ ​the​ ​Face!) 
   
  “Landon,​ ​I​ ​know​ ​Smashing​ ​is​ ​Always​ ​an​ ​Option,​ ​but​ ​how​ ​are​ ​you​ ​going​ ​to​ ​explain​ ​what 
  happened​ ​when​ ​you​ ​tried​ ​to​ ​fix​ ​the​ ​wagon​ ​while​ ​everyone​ ​else​ ​was​ ​away?”​ ​(1​ ​Karma​ ​for 
  Smashing.) 
   
  “Cynere,​ ​whoever​ ​decided​ ​to​ ​make​ ​you​ ​this​ ​contract​ ​offer​ ​knows​ ​you​ ​pretty​ ​well.​ ​They’ve 
  included​ ​several​ ​large​ ​gems​ ​along​ ​with​ ​the​ ​contract.​ ​Problem​ ​is,​ ​you​ ​also​ ​know​ ​what​ ​noble 
  house​ ​they​ ​were​ ​stolen​ ​from,​ ​and​ ​there’s​ ​no​ ​doubt​ ​you’ll​ ​be​ ​a​ ​wanted​ ​woman​ ​if​ ​you​ ​don’t 
  sign—and​ ​you’re​ ​infamous​ ​enough​ ​that​ ​you​ ​know​ ​no​ ​one’s​ ​going​ ​to​ ​believe​ ​how​ ​you​ ​came​ ​by 
  them.”​ ​(2​ ​Karma​ ​for​ ​Infamous​ ​Girl​ ​with​ ​Sword​ ​and​ ​Tempted​ ​by​ ​Shiny​ ​Things.) 
   
  Defining​ ​Scenes 
  Contents 
  ●
  Starting​ ​Scenes 
  ●
  Ending​ ​Scenes 
  ●
  Using​ ​the​ ​Pillars​ ​(Competence,​ ​Proactivity,​ ​Drama) 
  ●
  Hit​ ​Their​ ​Aspects 
  A​ ​scene​ ​is​ ​a​ ​unit​ ​of​ ​game​ ​time​ ​lasting​ ​anywhere​ ​from​ ​a​ ​few​ ​minutes​ ​to​ ​a​ ​half​ ​hour​ ​or​ ​more, 
  during​ ​which​ ​the​ ​players​ ​try​ ​to​ ​achieve​ ​a​ ​goal​ ​or​ ​otherwise​ ​accomplish​ ​something​ ​significant​ ​in​ ​a 
  scenario.​ ​Taken​ ​together,​ ​the​ ​collection​ ​of​ ​scenes​ ​you​ ​play​ ​through​ ​make​ ​up​ ​a​ ​whole​ ​session​ ​of 
  play,​ ​and​ ​by​ ​extension,​ ​also​ ​make​ ​up​ ​your​ ​scenarios,​ ​arcs,​ ​and​ ​campaigns. 
  So​ ​you​ ​can​ ​look​ ​at​ ​it​ ​as​ ​the​ ​foundational​ ​unit​ ​of​ ​game​ ​time,​ ​and​ ​you​ ​probably​ ​already​ ​have​ ​a 
  good​ ​idea​ ​of​ ​what​ ​one​ ​looks​ ​like.​ ​It’s​ ​not​ ​all​ ​that​ ​different​ ​from​ ​a​ ​scene​ ​in​ ​a​ ​movie,​ ​a​ ​television 
  show,​ ​or​ ​a​ ​novel—the​ ​main​ ​characters​ ​are​ ​doing​ ​stuff​ ​in​ ​continuous​ ​time,​ ​usually​ ​all​ ​in​ ​the​ ​same 
  164 
  
  space.​ ​Once​ ​the​ ​action​ ​shifts​ ​to​ ​a​ ​new​ ​goal,​ ​moves​ ​to​ ​a​ ​new​ ​place​ ​related​ ​to​ ​that​ ​goal,​ ​or​ ​jumps 
  in​ ​time,​ ​you’re​ ​in​ ​the​ ​next​ ​scene. 
   
  As​ ​a​ ​GM,​ ​one​ ​of​ ​your​ ​most​ ​important​ ​jobs​ ​is​ ​to​ ​manage​ ​the​ ​starting​ ​and​ ​ending​ ​of​ ​scenes.​ ​The 
  best​ ​way​ ​to​ ​control​ ​the​ ​pacing​ ​of​ ​what​ ​happens​ ​in​ ​your​ ​session​ ​is​ ​to​ ​keep​ ​a​ ​tight​ ​rein​ ​on​ ​when 
  scenes​ ​start​ ​and​ ​end—let​ ​things​ ​continue​ ​as​ ​long​ ​as​ ​the​ ​players​ ​are​ ​all​ ​invested​ ​and​ ​enjoying 
  themselves,​ ​but​ ​as​ ​soon​ ​as​ ​the​ ​momentum​ ​starts​ ​to​ ​flag,​ ​move​ ​on​ ​to​ ​the​ ​next​ ​thing.​ ​In​ ​that 
  sense,​ ​you​ ​can​ ​look​ ​at​ ​it​ ​as​ ​being​ ​similar​ ​to​ ​what​ ​a​ ​good​ ​film​ ​editor​ ​does—you​ ​“cut”​ ​a​ ​scene​ ​and 
  start​ ​a​ ​new​ ​one​ ​to​ ​make​ ​sure​ ​the​ ​story​ ​continues​ ​to​ ​flow​ ​smoothly. 
  Starting​ ​Scenes 
  When​ ​you’re​ ​starting​ ​a​ ​scene,​ ​establish​ ​the​ ​following​ ​two​ ​things​ ​as​ ​clearly​ ​as​ ​you​ ​can: 
  ●
  What’s​ ​the​ ​purpose​ ​of​ ​the​ ​scene? 
  ●
  What​ ​interesting​ ​thing​ ​is​ ​just​ ​about​ ​to​ ​happen? 
  Answering​ ​the​ ​first​ ​question​ ​is​ ​super-important,​ ​because​ ​the​ ​more​ ​specific​ ​your​ ​scene’s 
  purpose,​ ​the​ ​easier​ ​it​ ​is​ ​to​ ​know​ ​when​ ​the​ ​scene’s​ ​over.​ ​A​ ​good​ ​scene​ ​revolves​ ​around 
  resolving​ ​a​ ​specific​ ​conflict​ ​or​ ​achieving​ ​a​ ​specific​ ​goal—once​ ​the​ ​PCs​ ​have​ ​succeeded​ ​or​ ​failed 
  at​ ​doing​ ​whatever​ ​they​ ​are​ ​trying​ ​to​ ​do,​ ​the​ ​scene’s​ ​over.​ ​If​ ​your​ ​scene​ ​doesn’t​ ​have​ ​a​ ​clear 
  purpose,​ ​you​ ​run​ ​the​ ​risk​ ​of​ ​letting​ ​it​ ​drag​ ​on​ ​longer​ ​than​ ​you​ ​intended​ ​and​ ​slow​ ​the​ ​pace​ ​of​ ​your 
  session​ ​down. 
  Most​ ​of​ ​the​ ​time,​ ​the​ ​players​ ​are​ ​going​ ​to​ ​tell​ ​you​ ​what​ ​the​ ​purpose​ ​of​ ​the​ ​scene​ ​is,​ ​because 
  they’re​ ​always​ ​going​ ​to​ ​be​ ​telling​ ​you​ ​what​ ​they​ ​want​ ​to​ ​do​ ​next​ ​as​ ​a​ ​matter​ ​of​ ​course.​ ​So​ ​if​ ​they 
  say,​ ​“Well,​ ​we’re​ ​going​ ​to​ ​the​ ​thief’s​ ​safehouse​ ​to​ ​see​ ​if​ ​we​ ​can​ ​get​ ​some​ ​dirt​ ​on​ ​him,”​ ​then​ ​you 
  know​ ​the​ ​purpose​ ​of​ ​the​ ​scene—it’s​ ​over​ ​when​ ​the​ ​PCs​ ​either​ ​get​ ​the​ ​dirt,​ ​or​ ​get​ ​into​ ​a​ ​situation 
  where​ ​it’s​ ​impossible​ ​to​ ​get​ ​the​ ​dirt. 
   
  Sometimes,​ ​though,​ ​they’re​ ​going​ ​to​ ​be​ ​pretty​ ​vague​ ​about​ ​it.​ ​If​ ​you​ ​don’t​ ​have​ ​an​ ​intuitive 
  understanding​ ​of​ ​their​ ​goals​ ​in​ ​context,​ ​ask​ ​questions​ ​until​ ​they​ ​state​ ​things​ ​directly.​ ​So​ ​if​ ​a 
  player​ ​says,​ ​“Okay,​ ​I’m​ ​going​ ​to​ ​the​ ​tavern​ ​to​ ​meet​ ​with​ ​my​ ​contact,”​ ​that​ ​might​ ​be​ ​a​ ​little 
  vague—you​ ​know​ ​there’s​ ​a​ ​meeting,​ ​but​ ​you​ ​don’t​ ​know​ ​what​ ​it’s​ ​for.​ ​You​ ​might​ ​ask,​ ​“What​ ​are 
  you​ ​interested​ ​in​ ​finding​ ​out?​ ​Have​ ​you​ ​negotiated​ ​a​ ​price​ ​for​ ​the​ ​information​ ​yet?”​ ​or​ ​another 
  question​ ​that’ll​ ​help​ ​get​ ​the​ ​player​ ​to​ ​nail​ ​down​ ​what​ ​he’s​ ​after. 
   
  Also,​ ​sometimes​ ​you’ll​ ​have​ ​to​ ​come​ ​up​ ​with​ ​a​ ​scene’s​ ​purpose​ ​all​ ​on​ ​your​ ​own,​ ​such​ ​as​ ​the 
  beginning​ ​of​ ​a​ ​new​ ​scenario,​ ​or​ ​the​ ​next​ ​scene​ ​following​ ​a​ ​cliffhanger.​ ​Whenever​ ​you​ ​have​ ​to​ ​do 
  that,​ ​try​ ​going​ ​back​ ​to​ ​the​ ​story​ ​questions​ ​you​ ​came​ ​up​ ​with​ ​earlier​ ​and​ ​introducing​ ​a​ ​situation 
  that’s​ ​going​ ​to​ ​directly​ ​contribute​ ​to​ ​answering​ ​them.​ ​That​ ​way,​ ​whenever​ ​it’s​ ​your​ ​job​ ​to​ ​start​ ​a 
  scene,​ ​you’re​ ​always​ ​moving​ ​the​ ​story​ ​along. 
   
  Amanda​ ​ended​ ​the​ ​previous​ ​session​ ​of​ ​the​ ​group’s​ ​story​ ​with​ ​a​ ​cliffhanger:​ ​the​ ​revelation​ ​that 
  Cynere’s​ ​mysterious​ ​employer​ ​is​ ​an​ ​agent​ ​of​ ​the​ ​Cult​ ​of​ ​Tranquility,​ ​and​ ​that​ ​the​ ​Jewel​ ​is​ ​an 
  important​ ​component​ ​in​ ​a​ ​mysterious​ ​ritual.​ ​On​ ​top​ ​of​ ​that,​ ​Zird’s​ ​in​ ​the​ ​middle​ ​of​ ​the​ ​most 
  165 
  
  important​ ​trial​ ​of​ ​his​ ​life,​ ​and​ ​the​ ​Collegia’s​ ​discovered​ ​that​ ​the​ ​Jewel​ ​is​ ​missing. 
   
  Now​ ​Amanda’s​ ​thinking​ ​about​ ​how​ ​to​ ​start​ ​things​ ​off​ ​next​ ​time.​ ​The​ ​whole​ ​situation​ ​seems​ ​to 
  have​ ​really​ ​freaked​ ​the​ ​players​ ​out,​ ​so​ ​she​ ​definitely​ ​wants​ ​to​ ​capitalize​ ​on​ ​that.​ ​She​ ​figures 
  Anna​ ​should​ ​return,​ ​initially​ ​confused​ ​about​ ​Cynere’s​ ​role​ ​in​ ​the​ ​theft​ ​and​ ​ready​ ​to​ ​fight.​ ​The 
  scene​ ​will​ ​be​ ​about​ ​coming​ ​to​ ​an​ ​accord​ ​with​ ​Anna​ ​and​ ​realizing​ ​that​ ​they’re​ ​both​ ​on​ ​the​ ​same 
  side,​ ​as​ ​it​ ​were. 
   
  The​ ​second​ ​question​ ​is​ ​just​ ​as​ ​important—you​ ​want​ ​to​ ​start​ ​a​ ​scene​ ​just​ ​beforesomething 
  interesting​ ​is​ ​going​ ​to​ ​take​ ​place.​ ​TV​ ​and​ ​movies​ ​are​ ​especially​ ​good​ ​at​ ​this—usually,​ ​you’re​ ​not 
  watching​ ​a​ ​particular​ ​scene​ ​for​ ​more​ ​than​ ​thirty​ ​seconds​ ​before​ ​something​ ​happens​ ​to​ ​change 
  the​ ​situation​ ​or​ ​shake​ ​things​ ​up. 
   
  “Cutting​ ​in”​ ​just​ ​before​ ​some​ ​new​ ​action​ ​starts​ ​helps​ ​keep​ ​the​ ​pace​ ​of​ ​your​ ​session​ ​brisk​ ​and 
  helps​ ​hold​ ​the​ ​players’​ ​attention.​ ​You​ ​don’t​ ​want​ ​to​ ​chronicle​ ​every​ ​moment​ ​of​ ​the​ ​PCs​ ​leaving 
  their​ ​room​ ​at​ ​the​ ​inn​ ​to​ ​take​ ​a​ ​twenty-minute​ ​walk​ ​across​ ​town​ ​to​ ​the​ ​thief’s​ ​safehouse—that’s​ ​a 
  lot​ ​of​ ​play​ ​time​ ​where​ ​nothing​ ​interesting​ ​happens.​ ​Instead,​ ​you​ ​want​ ​to​ ​start​ ​the​ ​scene​ ​when 
  they’re​ ​at​ ​the​ ​safehouse​ ​and​ ​staring​ ​at​ ​the​ ​horrifically​ ​intricate​ ​series​ ​of​ ​locks​ ​he’s​ ​set​ ​up​ ​on​ ​his 
  door,​ ​cursing​ ​their​ ​luck. 
   
  If​ ​you​ ​get​ ​stumped​ ​by​ ​this​ ​question,​ ​just​ ​think​ ​of​ ​something​ ​that​ ​might​ ​complicate​ ​whatever​ ​the 
  purpose​ ​is​ ​or​ ​make​ ​it​ ​problematic.​ ​You​ ​can​ ​also​ ​use​ ​the​​ ​ninja​ ​trick​mentioned​ ​earlier​ ​and​ ​ask​ ​the 
  players​ ​leading​ ​questions​ ​to​ ​help​ ​you​ ​figure​ ​out​ ​the​ ​interesting​ ​thing​ ​that’s​ ​about​ ​to​ ​happen. 
  Amanda​ ​starts​ ​the​ ​scene​ ​with​ ​Cynere​ ​and​ ​Landon​ ​walking​ ​back​ ​to​ ​their​ ​lodgings​ ​late​ ​at​ ​night, 
  engrossed​ ​in​ ​conversation​ ​about​ ​recent​ ​events.​ ​Lenny​ ​suggests​ ​they’re​ ​not​ ​staying​ ​at​ ​an​ ​inn 
  anymore—not​ ​after​ ​the​ ​theft.​ ​He​ ​figures​ ​everyone​ ​from​ ​the​ ​Collegia​ ​wizards​ ​to​ ​the​ ​Cult​ ​of 
  Tranquility​ ​will​ ​be​ ​looking​ ​for​ ​Cynere,​ ​so​ ​they’re​ ​holed​ ​up​ ​somewhere​ ​safe. 
   
  So​ ​they’re​ ​understandably​ ​surprised​ ​by​ ​the​ ​three​ ​armed​ ​strangers​ ​who​ ​ambush​ ​them​ ​as​ ​soon 
  as​ ​they​ ​walk​ ​in​ ​the​ ​door. 
   
  “Whoa!”​ ​Lily​ ​says.​ ​“How’d​ ​they​ ​know​ ​we​ ​were​ ​going​ ​to​ ​be​ ​here?” 
   
  “Tough​ ​to​ ​say,”​ ​Amanda​ ​counters,​ ​and​ ​tosses​ ​her​ ​and​ ​Lenny​ ​each​ ​Karma.​ ​“But​ ​this​ ​is​ ​a​ ​Hub​ ​of 
  Trade,​ ​Hive​ ​of​ ​Villainy.” 
   
  “Fair​ ​enough,”​ ​Lenny​ ​says,​ ​and​ ​they​ ​both​ ​accept​ ​the​ ​compel. 
   
  “Cynere,​ ​no​ ​sooner​ ​have​ ​you​ ​entered​ ​your​ ​safehouse​ ​than​ ​a​ ​hooded​ ​figure​ ​has​ ​a​ ​sword​ ​at​ ​your 
  throat.​ ​The​ ​hood​ ​comes​ ​off—it’s​ ​Anna!​ ​And​ ​she’s​ ​pissed.​ ​‘Where’s​ ​the​ ​Jewel,​ ​you​ ​cultist 
  scum?’” 
   
  If​ ​you​ ​have​ ​a​ ​clear​ ​purpose​ ​going​ ​into​ ​every​ ​scene​ ​and​ ​you​ ​start​ ​just​ ​before​ ​some​ ​significant 
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  piece​ ​of​ ​action,​ ​it’s​ ​hard​ ​to​ ​go​ ​wrong. 
  Ending​ ​Scenes 
  You​ ​can​ ​end​ ​scenes​ ​the​ ​way​ ​you​ ​start​ ​them,​ ​but​ ​in​ ​reverse:​ ​as​ ​soon​ ​as​ ​you’ve​ ​wrapped​ ​up 
  whatever​ ​your​ ​scene’s​ ​purpose​ ​was,​ ​move​ ​on,​ ​and​ ​shoot​ ​for​ ​ending​ ​the​ ​scene​ ​immediately​ ​after 
  the​ ​interesting​ ​action​ ​concludes. 
   
  This​ ​is​ ​an​ ​effective​ ​approach​ ​mainly​ ​because​ ​it​ ​helps​ ​you​ ​sustain​ ​interest​ ​for​ ​the​ ​next​ ​scene. 
  Again,​ ​you​ ​see​ ​this​ ​all​ ​the​ ​time​ ​in​ ​good​ ​movies—a​ ​scene​ ​will​ ​usually​ ​end​ ​with​ ​a​ ​certain​ ​piece​ ​of 
  action​ ​resolved,​ ​but​ ​also​ ​with​ ​a​ ​lingering​ ​bit​ ​of​ ​business​ ​that’s​ ​left​ ​unresolved,​ ​and​ ​that’s​ ​where 
  they​ ​cut​ ​to​ ​next. 
   
  A​ ​lot​ ​of​ ​your​ ​scenes​ ​are​ ​going​ ​to​ ​end​ ​up​ ​the​ ​same​ ​way.​ ​The​ ​PCs​ ​might​ ​win​ ​a​ ​conflict​ ​or​ ​achieve 
  a​ ​goal,​ ​but​ ​there’s​ ​likely​ ​something​ ​else​ ​they’re​ ​going​ ​to​ ​want​ ​to​ ​do​ ​after—talk​ ​about​ ​the 
  outcome,​ ​figure​ ​out​ ​what​ ​they’re​ ​going​ ​to​ ​do​ ​next,​ ​etc. 
   
  Instead​ ​of​ ​lingering​ ​at​ ​that​ ​scene,​ ​though,​ ​suggest​ ​that​ ​they​ ​move​ ​on​ ​to​ ​a​ ​new​ ​one,​ ​which​ ​helps 
  answer​ ​one​ ​of​ ​the​ ​unresolved​ ​questions​ ​from​ ​the​ ​current​ ​scene.​ ​Try​ ​to​ ​get​ ​them​ ​to​ ​state​ ​what 
  they​ ​want​ ​to​ ​do​ ​next,​ ​and​ ​then​ ​go​ ​back​ ​to​ ​the​ ​two​ ​questions​ ​for​ ​starting​ ​scenes​ ​above—what’s 
  the​ ​purpose​ ​of​ ​the​ ​next​ ​scene,​ ​and​ ​what’s​ ​the​ ​next​ ​bit​ ​of​ ​interesting​ ​action​ ​to​ ​come?​ ​Then​ ​dive 
  right​ ​into​ ​that. 
   
  The​ ​one​ ​time​ ​you​ ​should​ ​exhibit​ ​restraint​ ​is​ ​if​ ​it’s​ ​clear​ ​that​ ​the​ ​players​ ​are​ ​really,​ ​really​ ​enjoying 
  their​ ​interactions.​ ​Sometimes​ ​people​ ​just​ ​want​ ​to​ ​yammer​ ​and​ ​jaw​ ​in​ ​character,​ ​and​ ​that’s​ ​okay 
  as​ ​long​ ​as​ ​they’re​ ​really​ ​into​ ​it.​ ​If​ ​you​ ​see​ ​interest​ ​starting​ ​to​ ​flag,​ ​though,​ ​take​ ​that​ ​opportunity​ ​to 
  insert​ ​yourself​ ​and​ ​ask​ ​about​ ​the​ ​next​ ​scene. 
  Using​ ​the​ ​Pillars​ ​(Competence,​ ​Proactivity,​ ​Drama) 
  Whenever​ ​you’re​ ​trying​ ​to​ ​come​ ​up​ ​with​ ​ideas​ ​for​ ​what​ ​should​ ​happen​ ​in​ ​a​ ​scene,​ ​you​ ​should 
  think​ ​about​ ​the​ ​basic​ ​ideas​ ​of​ ​Fate​ ​that​ ​were​ ​talked​ ​about​ ​in​​ ​The​ ​Basics​—competence, 
  proactivity,​ ​and​ ​drama. 
  In​ ​other​ ​words,​ ​ask​ ​yourself​ ​if​ ​your​ ​scene​ ​is​ ​doing​ ​at​ ​least​ ​one​ ​of​ ​the​ ​following​ ​things: 
  ●
  Giving​ ​your​ ​PCs​ ​the​ ​chance​ ​to​ ​show​ ​off​ ​what​ ​they’re​ ​good​ ​at,​ ​whether​ ​by​ ​going​ ​up 
  against​ ​people​ ​who​ ​don’t​ ​hold​ ​a​ ​candle​ ​to​ ​them​ ​or​ ​by​ ​holding​ ​their​ ​own​ ​against​ ​worthy 
  opponents. 
  ●
  Giving​ ​your​ ​PCs​ ​the​ ​chance​ ​to​ ​do​ ​something​ ​you​ ​can​ ​describe​ ​with​ ​a​ ​simple​ ​action​ ​verb. 
  “Trying​ ​to​ ​find​ ​out​ ​information”​ ​is​ ​too​ ​muddy,​ ​for​ ​example.​ ​“Breaking​ ​into​ ​the​ ​mayor’s 
  office”​ ​is​ ​actionable​ ​and​ ​specific.​ ​Not​ ​that​ ​it​ ​has​ ​to​ ​be​ ​physical—“convince​ ​the​ ​snitch​ ​to 
  talk”​ ​is​ ​also​ ​a​ ​clear​ ​action. 
  ●
  Creating​ ​some​ ​kind​ ​of​ ​difficult​ ​choice​ ​or​ ​complication​ ​for​ ​the​ ​PCs.​ ​Your​ ​best​ ​tool​ ​to​ ​do 
  this​ ​with​ ​is​ ​a​ ​compel,​ ​but​ ​if​ ​the​ ​situation​ ​is​ ​problematic​ ​enough,​ ​you​ ​might​ ​not​ ​need​ ​one. 
  167 
  
  Cynere’s​ ​first​ ​impulse​ ​is​ ​to​ ​find​ ​out​ ​what​ ​Anna’s​ ​talking​ ​about—but​ ​Amanda​ ​knows​ ​Landon’s 
  impulses​ ​are...​ ​a​ ​little​ ​more​ ​violent. 
   
  “Enough​ ​talk!”​ ​Lenny​ ​shouts. 
   
  “But...​ ​we​ ​just​ ​started​ ​talking,”​ ​Lily​ ​says. 
   
  “Even​ ​still!​ ​Why​ ​talk​ ​when​ ​Smashing​ ​Is​ ​Always​ ​an​ ​Option?”​ ​Lenny​ ​holds​ ​out​ ​his​ ​hand,​ ​and 
  Amanda​ ​hands​ ​him​ ​Karma​ ​for​ ​the​ ​compel. 
  Hit​ ​Their​ ​Aspects 
  Another​ ​good​ ​way​ ​to​ ​figure​ ​out​ ​the​ ​interesting​ ​action​ ​for​ ​a​ ​scene​ ​is​ ​to​ ​turn​ ​to​ ​the​ ​PCs’​ ​aspects, 
  and​ ​create​ ​a​ ​complication​ ​or​ ​an​ ​event-based​ ​compel​ ​based​ ​on​ ​them.​ ​This​ ​is​ ​especially​ ​good​ ​to 
  do​ ​for​ ​those​ ​PCs​ ​whose​ ​aspects​ ​did​ ​not​ ​come​ ​into​ ​play​ ​when​ ​you​ ​made​ ​up​ ​your​ ​scenario 
  problem,​ ​because​ ​it​ ​allows​ ​them​ ​to​ ​have​ ​some​ ​of​ ​the​ ​spotlight​ ​despite​ ​the​ ​fact​ ​that​ ​the​ ​overall 
  story​ ​does​ ​not​ ​focus​ ​on​ ​them​ ​as​ ​much. 
   
  The​ ​scene​ ​opens​ ​on​ ​the​ ​big​ ​trial.​ ​Zird​ ​stands​ ​before​ ​a​ ​panel​ ​of​ ​wizards​ ​in​ ​the​ ​Great​ ​Hall​ ​of​ ​the 
  Collegia​ ​Arcana.​ ​While​ ​they​ ​pepper​ ​him​ ​with​ ​questions,​ ​every​ ​now​ ​and​ ​then​ ​a​ ​wizard​ ​in​ ​the 
  gallery​ ​throws​ ​out​ ​a​ ​follow-up,​ ​an​ ​insult,​ ​or​ ​a​ ​word​ ​of​ ​discouragement.​ ​The​ ​whole​ ​thing’s​ ​like​ ​a 
  lively​ ​session​ ​of​ ​the​ ​British​ ​Parliament.​ ​Cynere​ ​and​ ​Landon​ ​stand​ ​in​ ​the​ ​gallery,​ ​following​ ​the 
  proceedings​ ​as​ ​best​ ​they​ ​can. 
   
  Amanda​ ​turns​ ​to​ ​Lily.​ ​“You​ ​going​ ​to​ ​let​ ​them​ ​get​ ​away​ ​with​ ​treating​ ​your​ ​friend​ ​that?” 
   
  “You’re​ ​right!​ ​I​ ​can’t​ ​take​ ​it​ ​anymore!”​ ​Lily​ ​says.​ ​“I’ve​ ​Got​ ​Zird’s​ ​Back!” 
   
  Cynere​ ​stands​ ​up​ ​and​ ​shouts​ ​at​ ​the​ ​Arbiter,​ ​“Hey,​ ​you​ ​want​ ​to​ ​put​ ​someone​ ​on​ ​trial​ ​for​ ​crimes 
  against​ ​creation?​ ​How​ ​about​ ​we​ ​start​ ​with​ ​your​ ​mom,​ ​ugly!” 
   
  Amanda​ ​tosses​ ​Lily​ ​Karma.​ ​“Nice.” 
   
   
  The​ ​Scenario​ ​In​ ​Play 
  Contents 
  ●
  Resolving​ ​the​ ​Scenario 
  So,​ ​now​ ​you​ ​should​ ​be​ ​ready​ ​to​ ​begin:​ ​you​ ​have​ ​a​ ​problem​ ​that​ ​can’t​ ​be​ ​ignored,​ ​a​ ​variety​ ​of 
  story​ ​questions​ ​that​ ​will​ ​lead​ ​to​ ​resolving​ ​that​ ​problem​ ​one​ ​way​ ​or​ ​another,​ ​a​ ​core​ ​group​ ​of 
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  NPCs​ ​and​ ​their​ ​motivations,​ ​and​ ​a​ ​really​ ​dynamic​ ​first​ ​scene​ ​that​ ​will​ ​get​ ​things​ ​cooking. 
  Everything​ ​should​ ​be​ ​smooth​ ​sailing​ ​from​ ​here,​ ​right?​ ​You​ ​present​ ​the​ ​questions,​ ​the​ ​players 
  gradually​ ​answer​ ​them,​ ​and​ ​your​ ​story​ ​rolls​ ​into​ ​a​ ​nice,​ ​neat​ ​conclusion. 
  Yeah...​ ​trust​ ​us,​ ​it’ll​ ​never​ ​happen​ ​that​ ​way. 
   
  The​ ​most​ ​important​ ​thing​ ​to​ ​remember​ ​when​ ​you​ ​actually​ ​get​ ​the​ ​scenario​ ​off​ ​the​ ​ground​ ​is​ ​this: 
  whatever​ ​happens​ ​will​ ​always​ ​be​ ​different​ ​from​ ​what​ ​you​ ​expect.​ ​The​ ​PCs​ ​will​ ​hate​ ​an​ ​NPC​ ​you 
  intended​ ​them​ ​to​ ​befriend,​ ​have​ ​wild​ ​successes​ ​that​ ​give​ ​away​ ​a​ ​bad​ ​guy’s​ ​secrets​ ​very​ ​early, 
  suffer​ ​unexpected​ ​setbacks​ ​that​ ​change​ ​the​ ​course​ ​of​ ​their​ ​actions,​ ​or​ ​any​ ​one​ ​of​ ​another 
  hundred​ ​different​ ​things​ ​that​ ​just​ ​don’t​ ​end​ ​up​ ​the​ ​way​ ​you​ ​think​ ​they​ ​should. 
   
  Notice​ ​that​ ​we​ ​don’t​ ​recommend​ ​predetermining​ ​what​ ​scenes​ ​and​ ​locations​ ​are​ ​going​ ​to​ ​be 
  involved​ ​in​ ​your​ ​scenario—that’s​ ​because​ ​we​ ​find​ ​that​ ​most​ ​of​ ​the​ ​time,​ ​you’re​ ​going​ ​to​ ​throw 
  out​ ​most​ ​of​ ​that​ ​material​ ​anyway,​ ​in​ ​the​ ​face​ ​of​ ​a​ ​dynamic​ ​group​ ​of​ ​players​ ​and​ ​their​ ​choices. 
   
  Not​ ​all​ ​is​ ​lost,​ ​however—the​ ​stuff​ ​you​ ​have​ ​prepared​ ​should​ ​help​ ​you​ ​tremendously​ ​when 
  players​ ​do​ ​something​ ​unexpected.​ ​Your​ ​story​ ​questions​ ​are​ ​vague​ ​enough​ ​that​ ​there​ ​are​ ​going 
  to​ ​be​ ​multiple​ ​ways​ ​to​ ​answer​ ​each​ ​one,​ ​and​ ​you​ ​can​ ​very​ ​quickly​ ​axe​ ​one​ ​that​ ​isn’t​ ​going​ ​to​ ​be 
  relevant​ ​and​ ​replace​ ​it​ ​with​ ​something​ ​else​ ​on​ ​the​ ​fly​ ​without​ ​having​ ​to​ ​toss​ ​the​ ​rest​ ​of​ ​your 
  work. 
  Amanda​ ​had​ ​expected​ ​that​ ​the​ ​scene​ ​with​ ​Landon,​ ​Cynere,​ ​and​ ​Anna​ ​would​ ​result​ ​in​ ​a​ ​briefly 
  violent​ ​reaction,​ ​thanks​ ​to​ ​Landon,​ ​followed​ ​by​ ​the​ ​PCs​ ​explaining​ ​that​ ​they’re​ ​not​ ​with​ ​the​ ​Cult 
  of​ ​Tranquility​ ​and​ ​everyone​ ​realizing​ ​that​ ​they’re​ ​all​ ​on​ ​the​ ​same​ ​side. 
   
  Right?​ ​No. 
   
  The​ ​first​ ​swing​ ​of​ ​Landon’s​ ​sword​ ​fells​ ​Anna​ ​where​ ​she​ ​stands,​ ​killing​ ​what​ ​would’ve​ ​been​ ​their 
  first​ ​contact​ ​with​ ​the​ ​Sun​ ​and​ ​Moon​ ​Society,​ ​an​ ​important​ ​secret​ ​organization​ ​opposing​ ​the​ ​cult. 
  Plus,​ ​Anna’s​ ​companions​ ​are​ ​now​ ​convinced​ ​that​ ​he​ ​and​ ​Cynere​ ​are​ ​indeed​ ​cultists. 
  So...slight​ ​detour.​ ​Amanda​ ​sees​ ​a​ ​few​ ​ways​ ​to​ ​go​ ​from​ ​here: 
  ●
  The​ ​warriors​ ​throw​ ​caution​ ​to​ ​the​ ​wind,​ ​cry​ ​“Revenge!”​ ​and​ ​fight​ ​to​ ​the​ ​death. 
  ●
  One​ ​of​ ​the​ ​warriors​ ​assumes​ ​Anna’s​ ​role​ ​in​ ​the​ ​scene​ ​and​ ​continues​ ​the​ ​conversation. 
  ●
  The​ ​warriors​ ​flee​ ​(making​ ​a​ ​concession)​ ​and​ ​report​ ​the​ ​killing​ ​to​ ​their​ ​superiors​ ​in​ ​the 
  secret​ ​society,​ ​leaving​ ​Anna’s​ ​body​ ​behind. 
  She​ ​decides​ ​to​ ​go​ ​with​ ​the​ ​third​ ​option.​ ​These​ ​two​ ​may​ ​be​ ​good​ ​guys,​ ​but​ ​they’re​ ​not​ ​heroes, 
  and​ ​neither​ ​one​ ​of​ ​them​ ​is​ ​up​ ​for​ ​taking​ ​on​ ​Landon​ ​after​ ​that​ ​opener.​ ​And​ ​the​ ​odds​ ​of​ ​them 
  wanting​ ​to​ ​have​ ​a​ ​little​ ​chat​ ​with​ ​Anna’s​ ​corpse​ ​at​ ​their​ ​feet​ ​are,​ ​at​ ​best,​ ​slim. 
   
  Plus,​ ​Amanda​ ​figures​ ​Lily​ ​and​ ​Lenny​ ​will​ ​want​ ​to​ ​search​ ​the​ ​body,​ ​which​ ​would​ ​present​ ​a​ ​good 
  opportunity​ ​to​ ​feed​ ​them​ ​information​ ​about​ ​the​ ​Sun​ ​and​ ​Moon​ ​Society.​ ​It’s​ ​also​ ​a​ ​way​ ​to​ ​bring 
  Zird​ ​in​ ​on​ ​the​ ​action—maybe​ ​he​ ​knows​ ​something​ ​about​ ​the​ ​Sun​ ​and​ ​Moon​ ​Society​ ​already, 
  and​ ​can​ ​make​ ​contact​ ​with​ ​them. 
  Also,​ ​knowing​ ​your​ ​NPCs’​ ​motivations​ ​and​ ​goals​ ​allows​ ​you​ ​to​ ​adjust​ ​their​ ​behavior​ ​more​ ​easily 
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  than​ ​if​ ​you’d​ ​just​ ​placed​ ​them​ ​in​ ​a​ ​static​ ​scene​ ​waiting​ ​for​ ​the​ ​PCs​ ​to​ ​show​ ​up.​ ​When​ ​the​ ​players 
  throw​ ​you​ ​a​ ​curveball,​ ​make​ ​the​ ​NPCs​ ​as​ ​dynamic​ ​and​ ​reactive​ ​as​ ​they​ ​are,​ ​by​ ​having​ ​them 
  take​ ​sudden,​ ​surprising​ ​action​ ​in​ ​pursuit​ ​of​ ​their​ ​goals. 
   
  Amanda’s​ ​still​ ​stuck​ ​on​ ​Anna’s​ ​unexpected​ ​demise.​ ​She’d​ ​planned​ ​on​ ​making​ ​her​ ​an​ ​entry​ ​point 
  for​ ​a​ ​whole​ ​story​ ​arc—maybe​ ​not​ ​a​ ​powerful​ ​NPC,​ ​but​ ​a​ ​pretty​ ​important​ ​one​ ​nonetheless.​ ​So​ ​if 
  Anna’s​ ​not​ ​going​ ​to​ ​be​ ​around​ ​anymore,​ ​Amanda​ ​at​ ​least​ ​wants​ ​to​ ​make​ ​something​ ​out​ ​of​ ​her 
  death. 
   
  She​ ​decides​ ​that,​ ​while​ ​the​ ​death​ ​of​ ​a​ ​member​ ​of​ ​the​ ​Sun​ ​and​ ​Moon​ ​Society​ ​would​ ​go 
  unnoticed​ ​by​ ​most​ ​of​ ​Riverton,​ ​a​ ​guy​ ​like​ ​Hugo​ ​the​ ​Charitable​ ​would​ ​certainly​ ​hear​ ​about​ ​it.​ ​He’d 
  already​ ​taken​ ​notice​ ​of​ ​Landon​ ​after​ ​he​ ​fought​ ​off​ ​a​ ​few​ ​Scar​ ​Triad​ ​goons.​ ​And​ ​now​ ​this.​ ​This 
  newcomer​ ​is​ ​clearly​ ​dangerous,​ ​potentially​ ​a​ ​threat.​ ​Worst,​ ​he​ ​doesn’t​ ​seem​ ​to​ ​be​ ​working​ ​for 
  anyone. 
  Given​ ​Hugo’s​ ​high​ ​concept​ ​aspect​ ​of​ ​Everyone​ ​in​ ​Riverton​ ​Fears​ ​Me,​ ​he​ ​sees​ ​Landon​ ​as​ ​a 
  potential​ ​asset​ ​for​ ​the​ ​Scar​ ​Triad.​ ​If​ ​you​ ​can’t​ ​beat​ ​‘em,​ ​recruit​ ​‘em. 
  Resolving​ ​the​ ​Scenario 
  A​ ​scenario​ ​ends​ ​when​ ​you’ve​ ​run​ ​enough​ ​scenes​ ​to​ ​definitively​ ​answer​ ​most​ ​of​ ​the​ ​story 
  questions​ ​you​ ​came​ ​up​ ​with​ ​when​ ​you​ ​were​ ​preparing​ ​your​ ​scenario.​ ​Sometimes​ ​you’ll​ ​be​ ​able 
  to​ ​do​ ​that​ ​in​ ​a​ ​single​ ​session​ ​if​ ​you​ ​have​ ​a​ ​lot​ ​of​ ​time​ ​or​ ​only​ ​a​ ​few​ ​questions.​ ​If​ ​you​ ​have​ ​a​ ​lot​ ​of 
  questions,​ ​it’ll​ ​probably​ ​take​ ​you​ ​two​ ​or​ ​three​ ​sessions​ ​to​ ​get​ ​through​ ​them​ ​all. 
   
  Don’t​ ​feel​ ​the​ ​need​ ​to​ ​answer​ ​every​ ​story​ ​question​ ​if​ ​you’ve​ ​brought​ ​things​ ​to​ ​a​ ​satisfying 
  conclusion—you​ ​can​ ​either​ ​use​ ​unresolved​ ​story​ ​questions​ ​for​ ​future​ ​scenarios​ ​or​ ​let​ ​them​ ​lie​ ​if 
  they​ ​didn’t​ ​get​ ​a​ ​whole​ ​lot​ ​of​ ​traction​ ​with​ ​the​ ​players. 
   
  The​ ​end​ ​of​ ​a​ ​scenario​ ​usually​ ​triggers​ ​a​ ​significant​ ​milestone.​ ​When​ ​this​ ​happens,​ ​you​ ​should 
  also​ ​see​ ​if​ ​the​ ​game​ ​world​ ​needs​ ​advancing​ ​too. 
   
  The​ ​Long​ ​Game 
  Contents 
  ●
  Defining​ ​Arcs 
  ●
  Defining​ ​Campaigns 
  Defining​ ​Arcs 
  When​ ​you​ ​sit​ ​down​ ​to​ ​play​ ​Fate,​ ​you​ ​might​ ​just​ ​play​ ​a​ ​single​ ​session.​ ​That’s​ ​a​ ​viable​ ​way​ ​to​ ​play 
  170 
  
  the​ ​game,​ ​but​ ​let’s​ ​assume​ ​that​ ​you​ ​want​ ​it​ ​to​ ​go​ ​a​ ​bit​ ​longer.​ ​What​ ​you​ ​need,​ ​then,​ ​is​ ​an​ ​arc. 
  An​ ​arc​ ​is​ ​a​ ​complete​ ​storyline​ ​with​ ​its​ ​own​ ​themes,​ ​situations,​ ​antagonists,​ ​innocent​ ​bystanders, 
  and​ ​endgame,​ ​told​ ​in​ ​the​ ​span​ ​of​ ​a​ ​few​ ​sessions​ ​(somewhere​ ​between​ ​two​ ​and​ ​five,​ ​usually). 
  You​ ​don’t​ ​need​ ​to​ ​have​ ​everything​ ​planned​ ​out​ ​(in​ ​fact,​ ​you​ ​probably​ ​shouldn’t,​ ​given​ ​that​ ​no 
  meticulously​ ​planned​ ​story​ ​ever​ ​survives​ ​contact​ ​with​ ​the​ ​players),​ ​but​ ​you​ ​need​ ​to​ ​have​ ​an​ ​idea 
  of​ ​where​ ​things​ ​begin​ ​and​ ​end,​ ​and​ ​what​ ​might​ ​happen​ ​in​ ​the​ ​middle. 
   
  To​ ​make​ ​a​ ​fictional​ ​analogy,​ ​an​ ​arc​ ​is​ ​a​ ​lot​ ​like​ ​a​ ​single​ ​book.​ ​It​ ​tells​ ​its​ ​own​ ​story​ ​and​ ​ends 
  when​ ​it’s​ ​done;​ ​you​ ​provide​ ​some​ ​form​ ​of​ ​closure​ ​and​ ​move​ ​on.​ ​Sometimes​ ​you​ ​move​ ​on​ ​to 
  another​ ​story,​ ​and​ ​sometimes​ ​your​ ​book​ ​is​ ​just​ ​the​ ​first​ ​in​ ​a​ ​series​ ​of​ ​books.​ ​That’s​ ​when​ ​you 
  have​ ​a​ ​campaign. 
  Defining​ ​Campaigns 
  When​ ​you​ ​have​ ​multiple​ ​arcs​ ​that​ ​are​ ​connected​ ​and​ ​told​ ​in​ ​a​ ​sequence,​ ​and​ ​that​ ​have​ ​an 
  overarching​ ​story​ ​or​ ​theme​ ​that​ ​runs​ ​through​ ​all​ ​of​ ​them,​ ​you​ ​have​ ​a​ ​campaign.​​ ​Campaigns​ ​are 
  long,​ ​taking​ ​months​ ​or​ ​even​ ​years​ ​to​ ​complete​​ ​(if​ ​you​ ​ever​ ​do). 
   
  Of​ ​course,​ ​that​ ​doesn’t​ ​need​ ​to​ ​be​ ​as​ ​scary​ ​as​ ​it​ ​might​ ​sound.​ ​Yes,​ ​a​ ​campaign​ ​is​ ​long​ ​and​ ​large 
  and​ ​complex.​ ​You​ ​don’t,​ ​however,​ ​need​ ​to​ ​come​ ​up​ ​with​ ​the​ ​whole​ ​thing​ ​at​ ​once.​ ​As​ ​with​ ​an​ ​arc, 
  you​ ​may​ ​have​ ​an​ ​idea​ ​where​ ​it​ ​begins​ ​and​ ​ends​ ​(and​ ​that​ ​can​ ​be​ ​helpful),​ ​but​ ​you​ ​really​ ​only 
  need​ ​to​ ​plan​ ​an​ ​arc​ ​at​ ​a​ ​time. 
   
  See,​ ​the​ ​players​ ​are​ ​so​ ​prone​ ​to​ ​shaking​ ​things​ ​up​ ​and​ ​changing​ ​things​ ​on​ ​you​ ​that​ ​planning 
  more​ ​than​ ​one​ ​arc​ ​at​ ​a​ ​time​ ​is​ ​often​ ​frustrating​ ​and​ ​futile.​ ​Planning​ ​the​ ​second​ ​arc​ ​of​ ​a 
  campaign​ ​based​ ​on​ ​the​ ​events​ ​of​ ​the​ ​first​ ​arc,​ ​how​ ​it​ ​turned​ ​out,​ ​and​ ​what​ ​your​ ​players​ ​did, 
  though...well,​ ​that​ ​can​ ​make​ ​for​ ​very​ ​satisfying​ ​play. 
   
  Building​ ​An​ ​Arc 
  The​ ​easiest​ ​way​ ​to​ ​build​ ​an​ ​arc​ ​is​ ​not​ ​to​ ​build​ ​one,​ ​and​ ​it​ ​was​ ​suggested​ ​that​ ​if​ ​you​ ​have​ ​a​ ​lot​ ​of 
  story​ ​questions​ ​in​ ​one​ ​of​ ​your​ ​scenarios,​ ​you​ ​can​ ​reserve​ ​some​ ​of​ ​them​ ​for​ ​the​ ​next​ ​scenario. 
  Then,​ ​in​ ​your​ ​next​ ​scenario,​ ​add​ ​some​ ​new​ ​questions​ ​to​ ​go​ ​with​ ​the​ ​unanswered​ ​ones.​ ​Lather, 
  rinse,​ ​repeat,​ ​and​ ​you’ll​ ​have​ ​material​ ​for​ ​three​ ​or​ ​four​ ​scenarios​ ​without​ ​doing​ ​that​ ​much 
  additional​ ​work.​ ​In​ ​addition,​ ​that​ ​lets​ ​you​ ​incorporate​ ​changes​ ​to​ ​the​ ​characters’​ ​aspects 
  organically,​ ​rather​ ​than​ ​making​ ​a​ ​plan​ ​and​ ​having​ ​it​ ​disrupted. 
   
  That​ ​said,​ ​some​ ​GMs​ ​want​ ​to​ ​have​ ​a​ ​greater​ ​sense​ ​of​ ​structure​ ​for​ ​the​ ​long​ ​run.​ ​It​ ​is 
  recommended​ ​using​ ​the​ ​same​ ​method​ ​for​ ​building​ ​scenarios​ ​in​ ​the​ ​previous​ ​chapter​ ​to​ ​build 
  arcs,​ ​but​ ​changing​ ​the​ ​scope​ ​of​ ​the​ ​story​ ​questions​ ​you​ ​come​ ​up​ ​with.​ ​Instead​ ​of​ ​focusing​ ​on 
  immediate​ ​problems​ ​for​ ​the​ ​PCs​ ​to​ ​solve,​ ​come​ ​up​ ​with​ ​a​ ​more​ ​general​ ​problem,​ ​where​ ​the​ ​PCs 
  are​ ​going​ ​to​ ​have​ ​to​ ​solve​ ​smaller​ ​problems​ ​first​ ​in​ ​order​ ​to​ ​have​ ​a​ ​chance​ ​at​ ​resolving​ ​the 
  171 
  
  larger​ ​one. 
  The​ ​best​ ​places​ ​to​ ​look​ ​for​ ​arc-sized​ ​problems​ ​are​ ​the​ ​current​ ​or​ ​impending​ ​issues​ ​of​ ​places​ ​or 
  organizations​ ​that​ ​you​ ​came​ ​up​ ​with​ ​during​ ​game​ ​creation.​ ​If​ ​you​ ​haven’t​ ​made​ ​any​ ​up​ ​yet​ ​for​ ​a 
  particular​ ​place​ ​or​ ​group,​ ​now​ ​might​ ​be​ ​a​ ​good​ ​time​ ​to​ ​do​ ​that,​ ​so​ ​you​ ​have​ ​material​ ​for​ ​the​ ​arc. 
  Amanda​ ​decides​ ​she​ ​wants​ ​to​ ​do​ ​one​ ​major​ ​arc​ ​for​ ​each​ ​PC. 
   
  For​ ​Zird,​ ​his​ ​Rivals​ ​in​ ​the​ ​Collegia​ ​Arcana​ ​makes​ ​it​ ​pretty​ ​easy—she​ ​decides​ ​that​ ​perhaps 
  there’s​ ​something​ ​more​ ​sinister​ ​behind​ ​these​ ​rivalries,​ ​such​ ​as​ ​an​ ​attempt​ ​by​ ​a​ ​dark​ ​cult 
  operating​ ​from​ ​within​ ​to​ ​take​ ​over​ ​the​ ​Collegia​ ​and​ ​turn​ ​it​ ​to​ ​nefarious​ ​purposes. 
   
  She​ ​needs​ ​to​ ​focus​ ​on​ ​story​ ​questions​ ​that​ ​are​ ​more​ ​general​ ​and​ ​will​ ​take​ ​some​ ​time​ ​to​ ​resolve. 
  After​ ​thinking​ ​about​ ​it​ ​for​ ​a​ ​while,​ ​she​ ​chooses: 
  ●
  Can​ ​Zird​ ​uncover​ ​the​ ​identity​ ​of​ ​the​ ​cult’s​ ​leader​ ​before​ ​the​ ​takeover​ ​occurs?​ ​(This​ ​lets 
  her​ ​do​ ​individual​ ​scenarios​ ​about​ ​the​ ​attempted​ ​takeover.) 
  ●
  Will​ ​Zird’s​ ​rivals​ ​ally​ ​with​ ​the​ ​cult?​ ​(This​ ​lets​ ​her​ ​do​ ​individual​ ​scenarios​ ​about​ ​each​ ​of 
  Zird’s​ ​key​ ​rivals.) 
  ●
  Can​ ​Zird​ ​reconcile,​ ​at​ ​long​ ​last,​ ​with​ ​his​ ​rivals? 
  ●
  Will​ ​the​ ​cult​ ​succeed​ ​and​ ​transform​ ​the​ ​Collegia​ ​forever?​ ​(Answering​ ​this​ ​question​ ​ends 
  the​ ​arc.) 
  Then​ ​go​ ​through​ ​the​ ​same​ ​process​ ​of​ ​picking​ ​opposing​ ​NPCs,​ ​keeping​ ​in​ ​mind​ ​that​ ​their 
  influence​ ​is​ ​supposed​ ​to​ ​be​ ​more​ ​far-reaching​ ​in​ ​an​ ​arc​ ​than​ ​in​ ​a​ ​single​ ​scenario. 
   
  Building​ ​A​ ​Campaign 
  Again,​ ​the​ ​easiest​ ​way​ ​to​ ​do​ ​this​ ​is​ ​not​ ​to​ ​bother—just​ ​let​ ​your​ ​scenarios​ ​and​ ​arcs​ ​emergently 
  create​ ​a​ ​story​ ​for​ ​the​ ​campaign.​ ​Human​ ​beings​ ​are​ ​pattern-making​ ​machines,​ ​and​ ​it’s​ ​very​ ​likely 
  that​ ​you’ll​ ​naturally​ ​pick​ ​up​ ​on​ ​what​ ​the​ ​long-term​ ​plot​ ​devices​ ​of​ ​your​ ​campaign​ ​need​ ​to​ ​be​ ​by 
  keying​ ​into​ ​unanswered​ ​questions​ ​from​ ​the​ ​arcs​ ​and​ ​scenarios. 
   
  However,​ ​if​ ​you​ ​want​ ​to​ ​do​ ​a​ ​little​ ​bit​ ​of​ ​focused​ ​planning,​ ​the​ ​advice​ ​is​ ​the​ ​same​ ​as​ ​for​ ​arcs, 
  except​ ​you’re​ ​generalizing​ ​even​ ​more.​ ​Pick​ ​one​ ​story​ ​question​ ​to​ ​answer,​ ​which​ ​the​ ​PCs​ ​will 
  spend​ ​their​ ​scenarios​ ​and​ ​arcs​ ​building​ ​to.​ ​Then,​ ​jot​ ​down​ ​some​ ​notes​ ​on​ ​what​ ​steps​ ​will​ ​lead​ ​to 
  answering​ ​that​ ​question,​ ​so​ ​you​ ​have​ ​material​ ​for​ ​arcs​ ​and​ ​scenarios. 
   
  The​ ​very​ ​best​ ​aspects​ ​to​ ​look​ ​at​ ​for​ ​a​ ​campaign-level​ ​problem​ ​are​ ​your​ ​setting’s​ ​current​ ​or 
  impending​ ​issues,​ ​because​ ​of​ ​their​ ​scope. 
   
  Amanda​ ​knows​ ​that​ ​her​ ​campaign​ ​will​ ​hinge​ ​on​ ​resolving​ ​The​ ​Doom​ ​that​ ​Is​ ​to​ ​Come.​ ​So​ ​the 
  story​ ​question​ ​following​ ​from​ ​that​ ​is​ ​pretty​ ​obvious.​ ​“Can​ ​the​ ​PCs​ ​avert,​ ​prevent,​ ​or​ ​mitigate​ ​the 
  prophesied​ ​doom?” 
   
  She​ ​knows​ ​that​ ​to​ ​do​ ​that,​ ​they’re​ ​first​ ​going​ ​to​ ​need​ ​to​ ​figure​ ​out​ ​which​ ​of​ ​the​ ​Cult​ ​of 
  172 
  
  Tranquility’s​ ​factions​ ​is​ ​right​ ​about​ ​the​ ​prophecy​ ​(if​ ​either).​ ​They’ll​ ​also​ ​need​ ​to​ ​make​ ​sure​ ​that 
  none​ ​of​ ​their​ ​personal​ ​enemies​ ​or​ ​The​ ​Scar​ ​Triad​ ​can​ ​interfere​ ​with​ ​whatever​ ​they​ ​need​ ​to​ ​do​ ​in 
  order​ ​to​ ​stop​ ​the​ ​doom.​ ​That​ ​gives​ ​her​ ​a​ ​good​ ​idea​ ​of​ ​what​ ​arcs​ ​are​ ​going​ ​to​ ​make​ ​up​ ​the 
  campaign. 
   
  Advancement​ ​&​ ​Change 
  Contents 
  ●
  Defining​ ​Milestones 
  ●
  Significant​ ​Milestones 
  ●
  Major​ ​Milestones 
  Your​ ​characters​ ​aren’t​ ​going​ ​to​ ​remain​ ​static​ ​through​ ​the​ ​entire​ ​campaign.​ ​As​ ​their​ ​stories​ ​play 
  out,​ ​they’ll​ ​have​ ​the​ ​chance​ ​to​ ​grow​ ​and​ ​change​ ​in​ ​response​ ​to​ ​the​ ​events​ ​that​ ​happen​ ​in​ ​play. 
  The​ ​conflicts​ ​they​ ​face​ ​and​ ​the​ ​complications​ ​they​ ​overcome​ ​will​ ​alter​ ​your​ ​sense​ ​of​ ​who​ ​they 
  are​ ​and​ ​push​ ​them​ ​toward​ ​new​ ​challenges. 
  In​ ​addition​ ​to​ ​your​ ​characters,​ ​the​ ​game​ ​world​ ​will​ ​change​ ​also.​ ​You’ll​ ​resolve​ ​threats​ ​as​ ​you 
  play,​ ​or​ ​change​ ​the​ ​face​ ​of​ ​a​ ​location,​ ​or​ ​make​ ​such​ ​an​ ​impact​ ​on​ ​the​ ​world​ ​that​ ​one​ ​of​ ​the 
  issues​ ​may​ ​need​ ​to​ ​change. 
  Character​ ​advancement​ ​in​ ​Fate​ ​comes​ ​in​ ​one​ ​of​ ​two​ ​flavors:​ ​either​ ​you​ ​can​ ​change​ ​something 
  on​ ​your​ ​sheet​ ​to​ ​something​ ​else​ ​that’s​ ​equivalent,​ ​or​ ​you​ ​can​ ​add​ ​new​ ​things​ ​to​ ​your​ ​sheet.​ ​The 
  opportunities​ ​you​ ​get​ ​to​ ​do​ ​this​ ​are​ ​collectively​ ​called​ ​milestones. 
  Defining​ ​Milestones 
  A​ ​milestone​ ​is​ ​a​ ​moment​ ​during​ ​the​ ​game​ ​where​ ​you​ ​have​ ​the​ ​chance​ ​to​ ​change​ ​or​ ​advance 
  your​ ​character.​ ​They​ ​are​ ​called​ ​milestones​ ​because​ ​they​ ​usually​ ​happen​ ​at​ ​significant​ ​“break 
  points”​ ​in​ ​the​ ​action​ ​of​ ​a​ ​game—​the​ ​end​ ​of​ ​a​ ​session,​ ​the​ ​end​ ​of​ ​a​ ​scenario,​ ​and​ ​the​ ​end​ ​of​ ​a 
  story​ ​arc​,​ ​respectively. 
   
  Usually,​ ​those​ ​break​ ​points​ ​immediately​ ​follow​ ​some​ ​significant​ ​event​ ​in​ ​the​ ​story​ ​that​ ​justifies 
  your​ ​character​ ​changing​ ​in​ ​response​ ​to​ ​events.​ ​You​ ​might​ ​reveal​ ​a​ ​significant​ ​plot​ ​detail​ ​or​ ​have 
  a​ ​cliffhanger​ ​at​ ​the​ ​end​ ​of​ ​a​ ​session.​ ​You​ ​might​ ​defeat​ ​a​ ​major​ ​villain​ ​or​ ​resolve​ ​a​ ​plotline​ ​at​ ​the 
  end​ ​of​ ​a​ ​scenario.​ ​You​ ​might​ ​resolve​ ​a​ ​major​ ​storyline​ ​that​ ​shakes​ ​up​ ​the​ ​campaign​ ​world​ ​at​ ​the 
  end​ ​of​ ​an​ ​arc. 
   
  Obviously,​ ​things​ ​won’t​ ​always​ ​line​ ​up​ ​that​ ​nicely,​ ​so​ ​GMs,​ ​you​ ​have​ ​some​ ​discretion​ ​in​ ​deciding 
  when​ ​a​ ​certain​ ​level​ ​of​ ​milestone​ ​occurs.​ ​If​ ​it​ ​seems​ ​satisfying​ ​to​ ​give​ ​out​ ​a​ ​milestone​ ​in​ ​the 
  middle​ ​of​ ​a​ ​session,​ ​go​ ​ahead,​ ​but​ ​stick​ ​to​ ​the​ ​guidelines​ ​here​ ​to​ ​keep​ ​from​ ​handing​ ​out​ ​too 
  many​ ​advancement​ ​opportunities​ ​too​ ​often. 
   
  173 
  
  Milestones​ ​come​ ​in​ ​three​ ​levels​ ​of​ ​importance:​ ​minor,​ ​significant,​ ​and​ ​major. 
  Minor​ ​Milestones 
  Minor​ ​milestones​ ​usually​ ​occur​ ​at​ ​the​ ​end​ ​of​ ​a​ ​session​ ​of​ ​play,​ ​or​ ​when​ ​one​ ​piece​ ​of​ ​a​ ​story​ ​has 
  been​ ​resolved.​ ​These​ ​kinds​ ​of​ ​milestones​ ​are​ ​more​ ​about​ ​changing​ ​your​ ​character​ ​rather​ ​than 
  making​ ​him​ ​or​ ​her​ ​more​ ​powerful,​ ​about​ ​adjusting​ ​in​ ​response​ ​to​ ​whatever’s​ ​going​ ​on​ ​in​ ​the 
  story​ ​if​ ​you​ ​need​ ​to.​ ​Sometimes​ ​it​ ​won’t​ ​really​ ​make​ ​sense​ ​to​ ​take​ ​advantage​ ​of​ ​a​ ​minor 
  milestone,​ ​but​ ​you​ ​always​ ​have​ ​the​ ​opportunity​ ​if​ ​you​ ​should​ ​need​ ​to. 
   
  During​ ​a​ ​minor​ ​milestone,​ ​you​ ​can​ ​choose​ ​to​ ​do​ ​one​ ​(and​ ​only​ ​one)​ ​of​ ​the​ ​following: 
  ●
  Switch​ ​the​ ​rank​ ​values​ ​of​ ​any​ ​two​ ​skills,​ ​or​ ​replace​ ​one​ ​Good​ ​(+1)​ ​skill​ ​with​ ​one​ ​that​ ​isn’t 
  on​ ​your​ ​sheet. 
  ●
  Change​ ​any​ ​single​ ​stunt​ ​for​ ​another​ ​stunt. 
  ●
  Purchase​ ​a​ ​new​ ​stunt,​ ​provided​ ​you​ ​have​ ​the​ ​refresh​ ​to​ ​do​ ​so.​ ​(Remember,​ ​you​ ​can’t​ ​go 
  below​ ​1​ ​refresh.) 
  ●
  Rename​ ​one​ ​character​ ​aspect​ ​that​ ​isn’t​ ​your​ ​high​ ​concept. 
  In​ ​addition,​ ​you​ ​can​ ​also​ ​rename​ ​any​ ​moderate​ ​consequences​​ ​you​ ​have,​ ​so​ ​that​ ​you​ ​can​ ​start 
  them​ ​on​ ​the​ ​road​ ​to​ ​recovery,​ ​presuming​ ​you​ ​have​ ​not​ ​already​ ​done​ ​so. 
   
  This​ ​is​ ​a​ ​good​ ​way​ ​to​ ​make​ ​slight​ ​character​ ​adjustments,​ ​if​ ​it​ ​seems​ ​like​ ​something​ ​on​ ​your 
  character​ ​isn’t​ ​quite​ ​right—you​ ​don’t​ ​end​ ​up​ ​using​ ​that​ ​stunt​ ​as​ ​often​ ​as​ ​you​ ​thought,​ ​or​ ​you 
  resolved​ ​the​ ​Blood​ ​Feud​ ​with​ ​Edmund​ ​that​ ​you​ ​had​ ​and​ ​thus​ ​it’s​ ​no​ ​longer​ ​appropriate,​ ​or​ ​any​ ​of 
  those​ ​changes​ ​that​ ​keep​ ​your​ ​character​ ​consistent​ ​with​ ​the​ ​events​ ​of​ ​play. 
   
  In​ ​fact,​ ​you​ ​should​ ​almost​ ​always​ ​be​ ​able​ ​to​ ​justify​ ​the​ ​change​ ​you’re​ ​making​ ​in​ ​terms​ ​of​ ​the 
  game’s​ ​story.​ ​You​ ​shouldn’t​ ​be​ ​able​ ​to​ ​change​ ​Hot​ ​Temper​ ​to​ ​Staunch​ ​Pacifist​,​ ​for​ ​example, 
  unless​ ​something​ ​happened​ ​in​ ​the​ ​story​ ​to​ ​inspire​ ​a​ ​serious​ ​change​ ​of​ ​heart—you​ ​met​ ​a​ ​holy 
  man,​ ​or​ ​had​ ​a​ ​traumatic​ ​experience​ ​that​ ​made​ ​you​ ​want​ ​to​ ​give​ ​up​ ​the​ ​sword,​ ​or​ ​whatever. 
  GMs,​ ​you’re​ ​the​ ​final​ ​arbiter​ ​on​ ​this,​ ​but​ ​don’t​ ​be​ ​so​ ​much​ ​of​ ​a​ ​stickler​ ​that​ ​you​ ​sacrifice​ ​a 
  player’s​ ​fun​ ​for​ ​consistency. 
   
  Cynere​ ​gets​ ​a​ ​minor​ ​milestone.​ ​Lily​ ​looks​ ​over​ ​her​ ​character​ ​sheet,​ ​to​ ​see​ ​if​ ​there’s​ ​anything 
  she​ ​wants​ ​to​ ​change.​ ​One​ ​thing​ ​that​ ​sticks​ ​out​ ​to​ ​her​ ​is​ ​that​ ​during​ ​the​ ​last​ ​session,​ ​Zird​ ​has 
  been​ ​scheming​ ​behind​ ​her​ ​back​ ​a​ ​lot​ ​and​ ​putting​ ​her​ ​in​ ​a​ ​bad​ ​position. 
   
  She​ ​looks​ ​over​ ​at​ ​Ryan​ ​and​ ​says,​ ​“You​ ​know​ ​what?​ ​I​ ​have​ ​this​ ​aspect,​ ​I’ve​ ​Got​ ​Zird’s​ ​Back.​ ​I 
  think​ ​I​ ​need​ ​to​ ​change​ ​that​ ​in​ ​light​ ​of​ ​current​ ​circumstances,​ ​and​ ​call​ ​it,​ ​I​ ​Know​ ​Zird​ ​is​ ​Up​ ​to 
  Something.” 
   
  Ryan​ ​says,​ ​“Seriously?​ ​I​ ​mean,​ ​it’s​ ​not​ ​like​ ​he​ ​does​ ​it​ ​all​ ​the​ ​time.” 
   
  Lily​ ​grins.​ ​“Well,​ ​when​ ​he​ ​stops,​ ​I​ ​can​ ​change​ ​it​ ​back.” 
  174 
  
   
  Amanda​ ​approves​ ​the​ ​change,​ ​and​ ​Lily​ ​rewrites​ ​one​ ​of​ ​Cynere’s​ ​aspects. 
   
  Meanwhile,​ ​Landon​ ​also​ ​gets​ ​a​ ​minor​ ​milestone.​ ​Lenny​ ​looks​ ​over​ ​his​ ​sheet,​ ​and​ ​notices​ ​that​ ​he 
  spends​ ​a​ ​lot​ ​more​ ​time​ ​lying​ ​to​ ​people​ ​than​ ​he​ ​does​ ​trying​ ​to​ ​make​ ​friends​ ​with​ ​them.​ ​He​ ​asks 
  Amanda​ ​if​ ​he​ ​can​ ​swap​ ​the​ ​ranks​ ​of​ ​his​ ​Deceive​ ​and​ ​his​ ​Popularity​ ​skill,​ ​giving​ ​him​ ​Remarkable 
  (+3)​ ​Deceive​ ​and​ ​Fair​ ​(+2)​ ​Popularity.​ ​She​ ​agrees,​ ​and​ ​he​ ​notes​ ​the​ ​new​ ​skill​ ​totals​ ​on​ ​his 
  character​ ​sheet. 
  Significant​ ​Milestones 
  Significant​ ​milestones​ ​usually​ ​occur​ ​at​ ​the​ ​end​ ​of​ ​a​ ​scenario​ ​or​ ​the​ ​conclusion​ ​of​ ​a​ ​big​ ​plot​ ​event 
  (or,​ ​when​ ​in​ ​doubt,​ ​at​ ​the​ ​end​ ​of​ ​every​ ​two​ ​or​ ​three​ ​sessions).​ ​Unlike​ ​minor​ ​milestones,​ ​which 
  are​ ​primarily​ ​about​ ​change,​ ​significant​ ​milestones​ ​are​ ​about​ ​learning​ ​new​ ​things—dealing​ ​with 
  problems​ ​and​ ​challenges​ ​has​ ​made​ ​your​ ​character​ ​generally​ ​more​ ​capable​ ​at​ ​what​ ​they​ ​do. 
  In​ ​addition​ ​to​ ​the​ ​benefit​ ​of​ ​a​ ​minor​ ​milestone,​ ​you​ ​also​ ​gain​ ​both​ ​of​ ​the​ ​following: 
  ●
  One​ ​additional​ ​skill​ ​point,​ ​which​ ​you​ ​can​ ​spend​ ​to​ ​buy​ ​a​ ​new​ ​skill​ ​at​ ​Good​ ​(+1)​ ​or 
  increase​ ​an​ ​existing​ ​skill​ ​by​ ​one​ ​rank. 
  ●
  If​ ​you​ ​have​ ​any​ ​severe​ ​consequences,​ ​you​ ​can​ ​rename​ ​them​ ​to​ ​begin​ ​the​ ​recovery 
  process,​ ​if​ ​you​ ​haven’t​ ​already. 
  When​ ​you​ ​spend​ ​your​ ​skill​ ​point,​ ​it’s​ ​worth​ ​one​ ​step​ ​on​ ​the​ ​ladder.​ ​You​ ​can​ ​use​ ​it​ ​to​ ​buy​ ​a​ ​new 
  skill​ ​at​ ​Good​ ​(+1),​ ​or​ ​you​ ​can​ ​use​ ​it​ ​to​ ​increase​ ​an​ ​existing​ ​skill​ ​by​ ​one​ ​step​ ​on​ ​the​ ​ladder—say, 
  from​ ​Remarkable​ ​(+3)​ ​to​ ​Incredible​ ​(+4). 
   
  Major​ ​Milestones 
  A​ ​major​ ​milestone​ ​should​ ​only​ ​occur​ ​when​ ​something​ ​happens​ ​in​ ​the​ ​campaign​ ​that​ ​shakes​ ​it 
  up​ ​a​ ​lot—the​ ​end​ ​of​ ​a​ ​story​ ​arc​ ​(or​ ​around​ ​three​ ​scenarios),​ ​the​ ​death​ ​of​ ​a​ ​main​ ​NPC​ ​villain,​ ​or 
  any​ ​other​ ​large-scale​ ​change​ ​that​ ​reverberates​ ​around​ ​your​ ​game​ ​world. 
   
  These​ ​milestones​ ​are​ ​about​ ​gaining​ ​more​ ​power.​ ​The​ ​challenges​ ​of​ ​yesterday​ ​simply​ ​aren’t 
  sufficient​ ​to​ ​threaten​ ​these​ ​characters​ ​anymore,​ ​and​ ​the​ ​threats​ ​of​ ​tomorrow​ ​will​ ​need​ ​to​ ​be 
  more​ ​adept,​ ​organized,​ ​and​ ​determined​ ​to​ ​stand​ ​against​ ​them​ ​in​ ​the​ ​future. 
   
  Achieving​ ​a​ ​major​ ​milestone​ ​confers​ ​the​ ​benefits​ ​of​ ​a​ ​significant​ ​milestone​ ​and​ ​a​ ​minor 
  milestone,​ ​and​ ​all​ ​of​ ​the​ ​following​ ​additional​ ​options: 
  ●
  If​ ​you​ ​have​ ​an​ ​extreme​ ​consequence,​ ​rename​ ​it​ ​to​ ​reflect​ ​that​ ​you’ve​ ​moved​ ​past​ ​its 
  most​ ​debilitating​ ​effects.​ ​This​ ​allows​ ​you​ ​to​ ​take​ ​another​ ​extreme​ ​consequence​ ​in​ ​the 
  future,​ ​if​ ​you​ ​desire. 
  ●
  Take​ ​an​ ​additional​ ​point​ ​of​ ​refresh,​ ​which​ ​allows​ ​you​ ​to​ ​immediately​ ​buy​ ​a​ ​new​ ​stunt​ ​or 
  keep​ ​it​ ​in​ ​order​ ​to​ ​give​ ​yourself​ ​more​ ​Karma​ ​at​ ​the​ ​beginning​ ​of​ ​a​ ​session. 
  ●
  Rename​ ​your​ ​character’s​ ​high​ ​concept​ ​if​ ​you​ ​desire. 
  175 
  
  Reaching​ ​a​ ​major​ ​milestone​ ​is​ ​a​ ​pretty​ ​big​ ​deal.​ ​Characters​ ​with​ ​more​ ​stunts​ ​are​ ​going​ ​to​ ​have 
  a​ ​diverse​ ​range​ ​of​ ​bonuses,​ ​making​ ​their​ ​skills​ ​much​ ​more​ ​effective​ ​by​ ​default.​ ​Characters​ ​with 
  higher​ ​refresh​ ​will​ ​have​ ​a​ ​much​ ​larger​ ​fountain​ ​of​ ​fate​ ​points​ ​to​ ​work​ ​with​ ​when​ ​sessions​ ​begin, 
  which​ ​means​ ​they’ll​ ​be​ ​less​ ​reliant​ ​on​ ​compels​ ​for​ ​a​ ​while. 
   
  GMs,​ ​when​ ​the​ ​player​ ​characters​ ​improve,​ ​it​ ​will​ ​necessarily​ ​change​ ​the​ ​way​​ ​you​ ​make 
  opposition​ ​NPCs​,​ ​because​ ​you’re​ ​going​ ​to​ ​need​ ​foes​ ​who​ ​can​ ​match​ ​the​ ​PCs​ ​in​ ​terms​ ​of​ ​base 
  competence​ ​so​ ​as​ ​to​ ​provide​ ​a​ ​worthy​ ​challenge.​ ​It​ ​won’t​ ​happen​ ​all​ ​at​ ​once,​ ​which​ ​will​ ​give​ ​you 
  the​ ​chance​ ​to​ ​introduce​ ​more​ ​powerful​ ​enemies​ ​gradually,​ ​but​ ​if​ ​you​ ​play​ ​long​ ​enough, 
  eventually​ ​you’re​ ​going​ ​to​ ​have​ ​PCs​ ​who​ ​have​ ​Unearthly​ ​and​ ​Shift​ ​X​ ​skill​ ​ratings—that​ ​alone 
  should​ ​give​ ​you​ ​a​ ​sense​ ​of​ ​what​ ​kind​ ​of​ ​villains​ ​you’ll​ ​need​ ​to​ ​bring​ ​to​ ​get​ ​in​ ​their​ ​way. 
   
  Most​ ​of​ ​all,​ ​a​ ​major​ ​milestone​ ​should​ ​signal​ ​that​ ​lots​ ​of​ ​things​ ​in​ ​the​ ​world​ ​of​ ​your​ ​game​ ​have 
  changed.​ ​Some​ ​of​ ​that​ ​will​ ​probably​ ​be​ ​reflected​ ​in​ ​world​ ​advancement,​ ​but​ ​given​ ​the​ ​number​ ​of 
  chances​ ​the​ ​PCs​ ​have​ ​had​ ​to​ ​revise​ ​their​ ​aspects​ ​in​ ​response​ ​to​ ​the​ ​story,​ ​you​ ​could​ ​be​ ​looking 
  at​ ​a​ ​group​ ​with​ ​a​ ​much​ ​different​ ​set​ ​of​ ​priorities​ ​and​ ​concerns​ ​than​ ​they​ ​had​ ​when​ ​they​ ​started. 
  Cynere​ ​reaches​ ​the​ ​end​ ​of​ ​a​ ​long​ ​story​ ​arc​ ​and​ ​is​ ​awarded​ ​a​ ​major​ ​milestone.​ ​In​ ​the​ ​game,​ ​the 
  PCs​ ​have​ ​just​ ​accomplished​ ​the​ ​overthrow​ ​of​ ​Barathar,​ ​Smuggler​ ​Queen​ ​of​ ​the​ ​Sindral​ ​Reach, 
  which​ ​leaves​ ​an​ ​enormous​ ​power​ ​vacuum​ ​in​ ​the​ ​game​ ​world. 
   
  Lily​ ​looks​ ​at​ ​her​ ​character​ ​sheet.​ ​She​ ​took​ ​an​ ​extreme​ ​consequence​ ​in​ ​the​ ​past​ ​arc​ ​of 
  scenarios,​ ​and​ ​allowed​ ​one​ ​of​ ​her​ ​aspects​ ​to​ ​get​ ​replaced​ ​with​ ​the​ ​aspect​ ​Soul-Burned​ ​by​ ​the 
  Demon​ ​Arc’yeth.​ ​She​ ​now​ ​has​ ​the​ ​opportunity​ ​to​ ​rename​ ​that​ ​aspect​ ​again,​ ​and​ ​she​ ​decides​ ​to 
  call​ ​it​ ​I​ ​Must​ ​Kill​ ​Arc’yeth’s​ ​Kind—she​ ​hasn’t​ ​quite​ ​escaped​ ​the​ ​scars​ ​of​ ​the​ ​experience,​ ​but​ ​it’s 
  better​ ​than​ ​where​ ​she​ ​was,​ ​given​ ​that​ ​her​ ​aims​ ​are​ ​now​ ​proactive. 
   
  She​ ​also​ ​gets​ ​an​ ​additional​ ​point​ ​of​ ​refresh.​ ​She​ ​asks​ ​Amanda​ ​whether​ ​or​ ​not​ ​she​ ​can​ ​turn​ ​her 
  experience​ ​with​ ​Arc’yeth​ ​into​ ​something​ ​that​ ​will​ ​allow​ ​her​ ​to​ ​fight​ ​demons​ ​in​ ​the​ ​future.​ ​Amanda 
  sees​ ​no​ ​reason​ ​to​ ​object,​ ​and​ ​Lily​ ​decides​ ​to​ ​buy​ ​a​ ​stunt​ ​on​ ​the​ ​spot. 
  “Demon-Slayer:​ ​+2​ ​to​ ​the​ ​use​ ​of​ ​the​ ​Warmaster​ ​stunt,​ ​when​ ​she​ ​chooses​ ​to​ ​use​ ​it​ ​against​ ​any 
  demon​ ​or​ ​any​ ​demonic​ ​servitor.” 
   
  Lily​ ​records​ ​the​ ​new​ ​stunt​ ​on​ ​Cynere’s​ ​character​ ​sheet,​ ​and​ ​rewrites​ ​the​ ​appropriate​ ​aspect. 
  Zird​ ​the​ ​Arcane​ ​also​ ​gets​ ​a​ ​major​ ​milestone.​ ​Ryan​ ​looks​ ​over​ ​his​ ​character​ ​sheet,​ ​and​ ​realizes 
  that​ ​he’s​ ​in​ ​a​ ​position​ ​to​ ​advance​ ​his​ ​peak​ ​skill,​ ​Reason,​ ​to​ ​Amazing​ ​(+5).​ ​He​ ​does​ ​so,​ ​and 
  Amanda​ ​makes​ ​a​ ​note​ ​that​ ​she​ ​needs​ ​to​ ​make​ ​any​ ​wizardly​ ​enemies​ ​Zird​ ​might​ ​encounter​ ​that 
  much​ ​more​ ​powerful,​ ​just​ ​to​ ​get​ ​his​ ​attention. 
   
  Finally,​ ​Landon​ ​also​ ​reaches​ ​a​ ​major​ ​milestone.​ ​Recently​ ​in​ ​the​ ​plot,​ ​Landon​ ​discovered​ ​that 
  the​ ​Ivory​ ​Shroud​ ​was​ ​much​ ​more​ ​than​ ​a​ ​martial​ ​arts​ ​society—they’ve​ ​been​ ​secret​ ​political 
  movers​ ​and​ ​shakers​ ​for​ ​a​ ​long​ ​time,​ ​and​ ​recently​ ​supported​ ​Barathar​ ​in​ ​her​ ​efforts​ ​to​ ​control​ ​the 
  Reach. 
  In​ ​response​ ​to​ ​this,​ ​Lenny​ ​decides​ ​to​ ​alter​ ​his​ ​high​ ​concept​ ​slightly​ ​to​ ​Former​ ​Ivory​ ​Shroud 
  176 
  
  Disciple,​ ​indicating​ ​his​ ​desire​ ​to​ ​distance​ ​himself​ ​from​ ​the​ ​order.​ ​Amanda​ ​tells​ ​him​ ​that​ ​the 
  Shroud​ ​isn’t​ ​going​ ​to​ ​take​ ​his​ ​defection​ ​well. 
  So​ ​we​ ​have​ ​Cynere​ ​with​ ​a​ ​new​ ​appetite​ ​for​ ​killing​ ​demons,​ ​Zird​ ​reaching​ ​a​ ​heretofore​ ​unseen 
  level​ ​of​ ​power,​ ​and​ ​Landon​ ​questioning​ ​his​ ​loyalty​ ​to​ ​his​ ​only​ ​real​ ​source​ ​of​ ​discipline.​ ​Amanda 
  makes​ ​a​ ​lot​ ​of​ ​notes​ ​about​ ​what​ ​this​ ​means​ ​for​ ​the​ ​next​ ​few​ ​scenarios. 
  Back​ ​to​ ​Character​ ​Creation 
  One​ ​way​ ​of​ ​looking​ ​at​ ​a​ ​major​ ​milestone​ ​is​ ​that​ ​it’s​ ​the​ ​equivalent​ ​of​ ​a​ ​season​ ​finale​ ​in​ ​a 
  television​ ​show.​ ​Once​ ​you​ ​start​ ​the​ ​next​ ​session,​ ​a​ ​lot​ ​of​ ​things​ ​have​ ​the​ ​potential​ ​to​ ​be 
  fundamentally​ ​different​ ​about​ ​your​ ​game—you​ ​might​ ​be​ ​focused​ ​on​ ​new​ ​problems,​ ​several 
  characters​ ​will​ ​have​ ​aspects​ ​changed,​ ​there​ ​will​ ​be​ ​new​ ​threats​ ​in​ ​the​ ​setting,​ ​and​ ​so​ ​on. 
   
  When​ ​that​ ​happens,​ ​you​ ​might​ ​decide​ ​that​ ​it’s​ ​a​ ​worthwhile​ ​endeavor​ ​to​ ​take​ ​a​ ​session​ ​to​ ​sit 
  down​ ​like​ ​you​ ​did​ ​at​ ​character​ ​creation​ ​and​ ​review​ ​all​ ​the​ ​PCs​ ​again,​ ​altering​ ​or​ ​adjusting 
  anything​ ​that​ ​seems​ ​like​ ​it​ ​might​ ​need​ ​revision—new​ ​skill​ ​configurations,​ ​a​ ​new​ ​set​ ​of​ ​stunts, 
  more​ ​changes​ ​to​ ​aspects,​ ​etc.​ ​You​ ​may​ ​also​ ​want​ ​to​ ​examine​ ​the​ ​issues​ ​in​ ​your​ ​game​ ​and 
  make​ ​sure​ ​they’re​ ​still​ ​appropriate,​ ​revise​ ​location​ ​aspects,​ ​or​ ​anything​ ​else​ ​that​ ​seems 
  necessary​ ​to​ ​move​ ​your​ ​game​ ​forward. 
   
  So​ ​long​ ​as​ ​you​ ​keep​ ​them​ ​at​ ​the​ ​same​ ​level​ ​of​ ​refresh​ ​and​ ​skill​ ​points​ ​they​ ​had,​ ​reconvening 
  like​ ​this​ ​might​ ​be​ ​exactly​ ​what​ ​you​ ​need​ ​to​ ​make​ ​sure​ ​everyone’s​ ​still​ ​on​ ​the​ ​same​ ​page​ ​about 
  the​ ​game.​ ​And​ ​GMs,​ ​remember—the​ ​more​ ​you​ ​give​ ​the​ ​players​ ​a​ ​chance​ ​to​ ​actively​ ​invest​ ​in 
  the​ ​game​ ​world,​ ​the​ ​more​ ​it’ll​ ​pay​ ​off​ ​for​ ​you​ ​when​ ​you’re​ ​running​ ​the​ ​game. 
   
  World​ ​Advancement 
  The​ ​characters​ ​are​ ​not​ ​the​ ​only​ ​ones​ ​who​ ​change​ ​in​ ​response​ ​to​ ​events​ ​in​ ​the​ ​game.​ ​Player 
  characters​ ​leave​ ​their​ ​mark​ ​on​ ​locations​ ​(and​ ​their​ ​faces)​ ​with​ ​their​ ​passing.​ ​Things​ ​that​ ​were 
  crises​ ​and​ ​major​ ​issues​ ​at​ ​the​ ​start​ ​of​ ​a​ ​game​ ​get​ ​addressed,​ ​resolved,​ ​or​ ​changed.​ ​Things​ ​that 
  weren’t​ ​major​ ​problems​ ​before​ ​suddenly​ ​blossom​ ​with​ ​new​ ​severity​ ​and​ ​life.​ ​Old​ ​adversaries​ ​fall 
  to​ ​the​ ​wayside​ ​and​ ​new​ ​ones​ ​rise. 
   
  GMs,​ ​when​ ​the​ ​players​ ​are​ ​changing​ ​their​ ​characters​ ​through​ ​milestones,​ ​you​ ​should​ ​also​ ​be 
  looking​ ​at​ ​whether​ ​or​ ​not​ ​the​ ​aspects​ ​you​ ​originally​ ​placed​ ​on​ ​the​ ​game​ ​during​ ​game​ ​creation 
  need​ ​to​ ​change​ ​in​ ​response​ ​to​ ​what​ ​they’ve​ ​done,​ ​or​ ​simply​ ​because​ ​of​ ​lack​ ​of​ ​use. 
   
  Here​ ​are​ ​some​ ​guidelines​ ​regarding​ ​each​ ​milestone. 
  For​ ​Minor​ ​Milestones 
  ●
  Do​ ​you​ ​need​ ​to​ ​add​ ​a​ ​new​ ​location​ ​to​ ​the​ ​game,​ ​based​ ​on​ ​what​ ​the​ ​PCs​ ​have​ ​done?​ ​If 
  177 
  
  so,​ ​come​ ​up​ ​with​ ​some​ ​NPCs​ ​to​ ​help​ ​give​ ​more​ ​personality​ ​to​ ​the​ ​location​ ​and​ ​add​ ​an 
  issue​ ​to​ ​the​ ​place. 
  ●
  Have​ ​the​ ​PCs​ ​resolved​ ​an​ ​issue​ ​in​ ​a​ ​location?​ ​Get​ ​rid​ ​of​ ​the​ ​aspect,​ ​or​ ​maybe​ ​change​ ​it 
  to​ ​represent​ ​how​ ​the​ ​issue​ ​was​ ​resolved​ ​(​In​ ​the​ ​Shadow​ ​of​ ​the​ ​Necromancer​ ​becomes 
  Memories​ ​of​ ​Tyranny​,​ ​for​ ​example). 
  The​ ​group​ ​reaches​ ​a​ ​minor​ ​milestone​ ​because​ ​they​ ​rescued​ ​the​ ​Lord​ ​of​ ​Varendep’s​ ​son​ ​from 
  some​ ​of​ ​the​ ​Smuggler​ ​Queen​ ​Barathar’s​ ​minions.​ ​It​ ​was​ ​a​ ​small​ ​victory​ ​that​ ​could​ ​pay​ ​some 
  pretty​ ​nice​ ​dividends​ ​because​ ​they​ ​now​ ​have​ ​an​ ​ally​ ​in​ ​Lord​ ​Bornhold​ ​of​ ​Varendep. 
   
  Amanda​ ​thinks​ ​about​ ​what​ ​might​ ​change​ ​as​ ​a​ ​result​ ​of​ ​the​ ​group’s​ ​victory.​ ​She​ ​doesn’t​ ​need​ ​to 
  add​ ​a​ ​new​ ​location,​ ​but​ ​she​ ​thinks​ ​that​ ​Barathar​ ​might​ ​have​ ​a​ ​grudge​ ​against​ ​Varendep​ ​for 
  getting​ ​out​ ​from​ ​under​ ​her​ ​thumb​ ​now​ ​that​ ​their​ ​Lord’s​ ​son​ ​has​ ​been​ ​rescued.​ ​She​ ​decides​ ​to 
  change​ ​Varendep’s​ ​issue​ ​of​ ​Secret​ ​Fealty​ ​to​ ​the​ ​Smuggler​ ​Queen​​ ​to​ ​At​ ​War​ ​with​ ​Barathar​​ ​to 
  represent​ ​the​ ​shifting​ ​power​ ​dynamic,​ ​as​ ​well​ ​as​ ​Lord​ ​Bornhold’s​ ​willingness​ ​to​ ​stand​ ​up​ ​to​ ​her 
  now. 
  For​ ​Significant​ ​Milestones 
  ●
  Did​ ​the​ ​PCs​ ​resolve​ ​an​ ​issue​ ​that​ ​was​ ​on​ ​the​ ​whole​ ​game​ ​world?​ ​If​ ​so,​ ​remove​ ​(or​ ​alter) 
  the​ ​aspect. 
  ●
  Did​ ​the​ ​PCs​ ​create​ ​permanent​ ​change​ ​in​ ​a​ ​location?​ ​If​ ​so,​ ​create​ ​a​ ​new​ ​issue​ ​to​ ​reflect 
  this,​ ​for​ ​better​ ​or​ ​for​ ​worse. 
  Later,​ ​the​ ​group​ ​drives​ ​Barathar’s​ ​lieutenant,​ ​Hollister,​ ​back​ ​out​ ​of​ ​the​ ​Sindral​ ​Reach.​ ​Barathar 
  is​ ​still​ ​a​ ​threat,​ ​but​ ​her​ ​power​ ​is​ ​significantly​ ​diminished;​ ​this​ ​is​ ​a​ ​major​ ​victory​ ​for​ ​the​ ​party. 
  Cynere​ ​skewered​ ​Hollister​ ​in​ ​single​ ​combat,​ ​so​ ​he’s​ ​no​ ​longer​ ​a​ ​threat​ ​at​ ​all;​ ​this​ ​resolves​ ​a 
  world-wide​ ​issue,​ ​Everybody​ ​Fears​ ​Hollister,​ ​so​ ​Amanda​ ​crosses​ ​it​ ​off.​ ​She’s​ ​not​ ​quite​ ​sure 
  what​ ​to​ ​replace​ ​it​ ​with​ ​yet,​ ​so​ ​she’ll​ ​think​ ​about​ ​it​ ​for​ ​a​ ​bit. 
   
  They​ ​also​ ​created​ ​permanent​ ​change​ ​in​ ​the​ ​Sindral​ ​Reach;​ ​that​ ​area​ ​of​ ​the​ ​world​ ​is​ ​no​ ​longer 
  under​ ​Barathar’s​ ​sway.​ ​Most​ ​of​ ​the​ ​people​ ​are​ ​grateful,​ ​but​ ​a​ ​few​ ​of​ ​Barathar’s​ ​thugs​ ​remain​ ​to 
  make​ ​trouble​ ​for​ ​the​ ​party.​ ​Amanda​ ​replaces​ ​the​ ​issue​ ​Seat​ ​of​ ​Barathar’s​ ​Power​ ​with​ ​a​ ​different 
  one,​ ​Smiles​ ​in​ ​the​ ​Open,​ ​Knives​ ​in​ ​the​ ​Dark​ ​to​ ​represent​ ​how​ ​things​ ​have​ ​changed. 
  For​ ​Major​ ​Milestones 
  ●
  Did​ ​the​ ​PCs​ ​create​ ​permanent​ ​change​ ​in​ ​the​ ​game​ ​world?​ ​If​ ​so,​ ​give​ ​it​ ​a​ ​new​ ​issue​ ​to 
  reflect​ ​this,​ ​for​ ​better​ ​or​ ​for​ ​worse. 
  Finally,​ ​the​ ​heroes​ ​confront​ ​and​ ​defeat​ ​Barathar​ ​in​ ​an​ ​epic​ ​confrontation.​ ​Barathar​ ​held​ ​a​ ​lot​ ​of 
  power​ ​in​ ​the​ ​underground​ ​throughout​ ​the​ ​world​ ​and​ ​her​ ​defeat​ ​will​ ​cause​ ​ripples.​ ​Someone’s 
  going​ ​to​ ​want​ ​to​ ​step​ ​in​ ​and​ ​take​ ​her​ ​place​ ​(probably​ ​a​ ​lot​ ​of​ ​someones),​ ​so​ ​Amanda​ ​creates 
  the​ ​issue​ ​Underworld​ ​Power​ ​Vacuum​ ​to​ ​reflect​ ​this. 
   
  You​ ​don’t​ ​need​ ​to​ ​make​ ​these​ ​changes​ ​as​ ​precisely​ ​or​ ​as​ ​regularly​ ​as​ ​the​ ​players​ ​do—if 
  178 
  
  anything,​ ​you​ ​should​ ​be​ ​as​ ​reactive​ ​as​ ​you​ ​can.​ ​In​ ​other​ ​words,​ ​focus​ ​on​ ​changing​ ​those 
  aspects​ ​that​ ​the​ ​player​ ​characters​ ​have​ ​directly​ ​interacted​ ​with​ ​and​ ​caused​ ​the​ ​most​ ​change​ ​to. 
  If​ ​you​ ​have​ ​aspects​ ​you​ ​haven’t​ ​really​ ​explored​ ​yet,​ ​keep​ ​them​ ​around​ ​if​ ​you​ ​think​ ​they’re​ ​just 
  waiting​ ​their​ ​turn.​ ​However,​ ​you​ ​can​ ​also​ ​change​ ​them​ ​in​ ​order​ ​to​ ​make​ ​them​ ​more​ ​relevant​ ​to 
  what’s​ ​going​ ​on​ ​in​ ​the​ ​moment,​ ​or​ ​simply​ ​to​ ​give​ ​the​ ​PCs​ ​more​ ​of​ ​a​ ​sense​ ​of​ ​being​ ​in​ ​an 
  evolving​ ​world. 
   
  Barathar​ ​wasn’t​ ​the​ ​only​ ​game​ ​in​ ​town.​ ​The​ ​Skull-King​ ​lurks​ ​in​ ​the​ ​north,​ ​and​ ​Lord​ ​Wynthrep​ ​is 
  stirring​ ​up​ ​war​ ​in​ ​the​ ​east.​ ​Amanda​ ​likes​ ​the​ ​idea​ ​of​ ​the​ ​PCs​ ​facing​ ​down​ ​a​ ​powerful 
  necromancer​ ​in​ ​the​ ​near​ ​future,​ ​so​ ​she​ ​decides​ ​to​ ​keep​ ​the​ ​issue​ ​Darkness​ ​Creeps​ ​from​ ​the 
  North​ ​in​ ​place. 
   
  The​ ​other​ ​issue,​ ​Saber-Rattling​ ​in​ ​the​ ​East​ ​is​ ​also​ ​interesting,​ ​but​ ​she​ ​thinks​ ​that​ ​all​ ​this 
  confrontation​ ​with​ ​the​ ​Smuggler​ ​Queen​ ​probably​ ​gave​ ​Lord​ ​Wynthrep​ ​the​ ​opportunity​ ​he 
  needed​ ​to​ ​escalate​ ​things.​ ​She​ ​changes​ ​Saber-Rattling​ ​in​ ​the​ ​East​ ​to​ ​The​ ​East​ ​at​ ​War!​.​ ​That 
  should​ ​give​ ​the​ ​PCs​ ​an​ ​interesting​ ​decision​ ​to​ ​make. 
   
  Also,​ ​keep​ ​in​ ​mind​ ​that​ ​if​ ​the​ ​PCs​ ​remove​ ​an​ ​impending​ ​issue,​ ​another​ ​one​ ​must​ ​arise​ ​to​ ​take 
  its​ ​place.​ ​Don’t​ ​worry​ ​about​ ​this​ ​immediately—you​ ​need​ ​to​ ​give​ ​your​ ​players​ ​a​ ​sense​ ​of​ ​enacting 
  permanent​ ​change​ ​in​ ​the​ ​game​ ​world.​ ​But​ ​after​ ​a​ ​while,​ ​if​ ​you​ ​notice​ ​that​ ​you’re​ ​low​ ​on 
  impending​ ​issues,​ ​it’s​ ​probably​ ​a​ ​good​ ​time​ ​to​ ​introduce​ ​a​ ​new​ ​one,​ ​whether​ ​on​ ​the​ ​game​ ​world 
  as​ ​a​ ​whole​ ​or​ ​on​ ​a​ ​specific​ ​location. 
  Dealing​ ​with​ ​NPCs 
  Remember,​ ​GMs,​ ​when​ ​you​ ​add​ ​a​ ​new​ ​location​ ​to​ ​the​ ​game​ ​world,​ ​you​ ​want​ ​to​ ​add​ ​at​ ​least​ ​one 
  new​ ​NPC​ ​to​ ​go​ ​with​ ​it.​ ​Sometimes,​ ​that​ ​might​ ​mean​ ​moving​ ​a​ ​person​ ​from​ ​a​ ​location​ ​you’re​ ​not 
  going​ ​to​ ​use​ ​anymore. 
   
  Likewise,​ ​when​ ​there’s​ ​a​ ​significant​ ​change​ ​in​ ​an​ ​issue​ ​for​ ​a​ ​location​ ​or​ ​the​ ​game​ ​world,​ ​you 
  need​ ​to​ ​evaluate​ ​if​ ​the​ ​current​ ​NPCs​ ​are​ ​sufficient​ ​to​ ​express​ ​that​ ​change.​ ​If​ ​not,​ ​you​ ​might 
  need​ ​to​ ​add​ ​one,​ ​or​ ​alter​ ​an​ ​NPC​ ​you​ ​have​ ​in​ ​a​ ​significant​ ​way—add​ ​more​ ​aspects​ ​or​ ​revise 
  existing​ ​aspects​ ​to​ ​keep​ ​that​ ​character​ ​relevant​ ​to​ ​the​ ​issue​ ​at​ ​hand. 
   
  Most​ ​of​ ​the​ ​time,​ ​it​ ​should​ ​be​ ​pretty​ ​obvious​ ​when​ ​you​ ​need​ ​a​ ​new​ ​face​ ​for​ ​a​ ​location—when​ ​the 
  old​ ​one​ ​dies​ ​or​ ​is​ ​somehow​ ​permanently​ ​removed​ ​from​ ​the​ ​game,​ ​or​ ​is​ ​boring​ ​now,​ ​it’s​ ​probably 
  time​ ​to​ ​change​ ​things​ ​up. 
   
  When​ ​the​ ​heroes​ ​rescued​ ​Lord​ ​Bornhold’s​ ​son,​ ​Carris,​ ​from​ ​the​ ​Smuggler​ ​Queen,​ ​Lord 
  Bornhold​ ​became​ ​indebted​ ​to​ ​them.​ ​To​ ​reflect​ ​this,​ ​Amanda​ ​changed​ ​a​ ​few​ ​of​ ​his​ ​aspects​ ​to 
  make​ ​him​ ​more​ ​friendly​ ​to​ ​the​ ​PCs​ ​and​ ​less​ ​subservient​ ​to​ ​Barathar. 
   
  When​ ​Barathar​ ​was​ ​defeated,​ ​Amanda​ ​figured​ ​she​ ​needed​ ​someone​ ​to​ ​step​ ​in​ ​and​ ​take​ ​over 
  179 
  
  the​ ​underworld.​ ​Carris​ ​and​ ​Barathar​ ​had​ ​become​ ​lovers​ ​during​ ​Carris’s​ ​captivity,​ ​and​ ​he’s​ ​not 
  happy​ ​about​ ​her​ ​death.​ ​He’s​ ​so​ ​unhappy,​ ​in​ ​fact,​ ​that​ ​he​ ​decides​ ​to​ ​take​ ​her​ ​place​ ​and​ ​become 
  the​ ​Smuggler​ ​King​ ​of​ ​the​ ​Sindral​ ​Reach.​ ​Because​ ​he’s​ ​vowed​ ​to​ ​retake​ ​the​ ​underworld​ ​in 
  Barathar’s​ ​name​ ​(and​ ​because​ ​Amanda​ ​didn’t​ ​have​ ​any​ ​stats​ ​prepared​ ​for​ ​Carris),​ ​Amanda 
  writes​ ​up​ ​new​ ​NPC​ ​stats​ ​for​ ​Carris​ ​and​ ​turns​ ​him​ ​into​ ​a​ ​brand​ ​new​ ​villain​ ​for​ ​the​ ​PCs​ ​to 
  confront.​ ​This​ ​one​ ​could​ ​get​ ​a​ ​bit​ ​sticky! 
  Recurring​ ​NPCs 
  There​ ​are​ ​essentially​ ​two​ ​ways​ ​to​ ​reuse​ ​NPCs.​ ​You​ ​can​ ​either​ ​use​ ​them​ ​to​ ​show​ ​how​ ​the​ ​PCs 
  have​ ​grown​ ​since​ ​they​ ​started,​ ​or​ ​use​ ​them​ ​to​ ​show​ ​how​ ​the​ ​world​ ​is​ ​responding​ ​to​ ​their​ ​growth. 
  With​ ​the​ ​former,​ ​you​ ​don’t​ ​change​ ​the​ ​NPC,​ ​because​ ​that’s​ ​the​ ​point—the​ ​next​ ​time​ ​the​ ​PCs 
  meet​ ​them,​ ​they’ve​ ​outclassed​ ​them,​ ​or​ ​they​ ​have​ ​new​ ​worries,​ ​or​ ​they’ve​ ​somehow​ ​grown​ ​past 
  that​ ​NPC,​ ​who​ ​remains​ ​static.​ ​Maybe​ ​you​ ​even​ ​change​ ​the​ ​category​ ​they’re​ ​in—where​ ​they 
  were​ ​once​ ​a​ ​main​ ​NPC,​ ​now​ ​they’re​ ​a​ ​supporting​ ​NPC​ ​because​ ​of​ ​how​ ​the​ ​PCs​ ​have​ ​grown. 
   
  With​ ​the​ ​latter,​ ​you​ ​allow​ ​the​ ​NPC​ ​to​ ​advance​ ​like​ ​the​ ​PCs​ ​have—you​ ​add​ ​new​ ​skills,​ ​change 
  their​ ​aspects​ ​around,​ ​give​ ​them​ ​a​ ​stunt​ ​or​ ​two,​ ​and​ ​otherwise​ ​do​ ​whatever​ ​is​ ​necessary​ ​to​ ​keep 
  them​ ​relevant​ ​to​ ​the​ ​PCs’​ ​endeavors.​ ​This​ ​kind​ ​of​ ​NPC​ ​might​ ​be​ ​able​ ​to​ ​hang​ ​around​ ​as​ ​a 
  nemesis​ ​for​ ​several​ ​story​ ​arcs,​ ​or​ ​at​ ​least​ ​provide​ ​some​ ​sense​ ​of​ ​continuity​ ​as​ ​the​ ​PCs​ ​become 
  more​ ​powerful​ ​and​ ​influential. 
   
  Barathar​ ​advanced​ ​right​ ​along​ ​with​ ​the​ ​PCs.​ ​She​ ​was​ ​a​ ​main​ ​villain​ ​and​ ​Amanda​ ​wanted​ ​to 
  keep​ ​her​ ​relevant​ ​and​ ​challenging​ ​right​ ​up​ ​until​ ​they​ ​defeated​ ​her,​ ​so​ ​every​ ​time​ ​the​ ​PCs​ ​got​ ​a 
  milestone,​ ​she​ ​applied​ ​the​ ​same​ ​effects​ ​to​ ​Barathar.​ ​She​ ​also​ ​made​ ​minor​ ​tweaks​ ​here​ ​and 
  there​ ​(changing​ ​aspects,​ ​swapping​ ​skills)​ ​to​ ​react​ ​to​ ​what​ ​the​ ​PCs​ ​did​ ​in​ ​the​ ​world​ ​throughout 
  their​ ​adventures. 
   
  Sir​ ​Hanley,​ ​the​ ​knight​ ​who​ ​tried​ ​to​ ​prevent​ ​them​ ​from​ ​entering​ ​Varendep​ ​when​ ​they​ ​first​ ​got 
  there,​ ​was​ ​pretty​ ​challenging​ ​when​ ​they​ ​first​ ​confronted​ ​him.​ ​He​ ​was​ ​a​ ​major​ ​NPC,​ ​and​ ​the​ ​fight 
  was​ ​meant​ ​to​ ​be​ ​the​ ​culmination​ ​of​ ​an​ ​entire​ ​session.​ ​They​ ​got​ ​past​ ​him,​ ​convincing​ ​him​ ​to​ ​let 
  them​ ​in,​ ​so​ ​he​ ​became​ ​less​ ​relevant​ ​after​ ​that.​ ​He​ ​was​ ​resentful​ ​and​ ​got​ ​in​ ​their​ ​way​ ​a​ ​few 
  times,​ ​but​ ​he​ ​didn’t​ ​advance​ ​as​ ​they​ ​did​ ​so​ ​the​ ​PCs​ ​quickly​ ​outclassed​ ​him.​ ​The​ ​last​ ​time​ ​they 
  had​ ​a​ ​run-in​ ​with​ ​Sir​ ​Hanley,​ ​they​ ​spanked​ ​him​ ​pretty​ ​hard​ ​and​ ​sent​ ​him​ ​running​ ​off​ ​to​ ​lick​ ​his 
  wounds 
   
  Extras 
  Contents 
  ●
  Defining​ ​Extras 
  180 
  
  ●
  The​ ​Bronze​ ​Rule,​ ​aka​ ​The​ ​Fate​ ​Fractal 
  Defining​ ​Extras 
  An​ ​extra​ ​in​ ​Fate​ ​is​ ​a​ ​pretty​ ​broad​ ​term.​ ​It​ ​is​ ​used​ ​to​ ​describe​ ​anything​ ​that’s​ ​technically​ ​part​ ​of​ ​a 
  character​ ​or​ ​controlled​ ​by​ ​a​ ​character,​ ​but​ ​gets​ ​special​ ​treatment​ ​in​ ​the​ ​rules.​ ​If​ ​your​ ​Fate​ ​game 
  were​ ​a​ ​movie,​ ​this​ ​is​ ​where​ ​the​ ​special​ ​effects​ ​budget​ ​would​ ​go. 
  Some​ ​examples​ ​of​ ​extras​ ​include: 
  ●
  Magic​ ​and​ ​supernatural​ ​powers 
  ●
  Specialized​ ​gear​ ​or​ ​equipment,​ ​like​ ​enchanted​ ​arms​ ​and​ ​armor​ ​in​ ​a​ ​fantasy​ ​game​ ​or 
  hyper-tech​ ​in​ ​a​ ​sci-fi​ ​game 
  ●
  Vehicles​ ​owned​ ​by​ ​the​ ​characters 
  ●
  Organizations​ ​or​ ​locations​ ​that​ ​the​ ​characters​ ​rule​ ​or​ ​have​ ​a​ ​lot​ ​of​ ​influence​ ​over 
  The​ ​tools​ ​in​ ​here​ ​will​ ​let​ ​you​ ​tailor​ ​extras​ ​to​ ​fit​ ​your​ ​game​ ​or​ ​provide​ ​material​ ​to​ ​steal​ ​right​ ​off​ ​the 
  page.​ ​It’s​ ​okay,​ ​steal​ ​away. 
   
  Extras​ ​are​ ​considered​ ​to​ ​be​ ​an​ ​extension​ ​of​ ​the​ ​character​ ​sheet,​ ​so​ ​whoever​ ​controls​ ​the 
  character​ ​to​ ​whom​ ​the​ ​extra​ ​belongs​ ​also​ ​controls​ ​that​ ​extra.​ ​Most​ ​of​ ​the​ ​time,​ ​that’ll​ ​be​ ​the 
  players,​ ​but​ ​NPCs​ ​may​ ​also​ ​have​ ​extras​ ​controlled​ ​by​ ​the​ ​GM. 
  Extras​ ​require​ ​a​ ​permission​ ​or​ ​cost​ ​to​ ​own.​ ​ ​For​ ​example,​ ​powers​ ​in​ ​character​ ​creation. 
  The​ ​Bronze​ ​Rule,​ ​aka​ ​The​ ​Fate​ ​Fractal 
  Before​ ​going​ ​any​ ​further,​ ​here’s​ ​something​ ​important: 
  In​ ​Fate,​ ​you​ ​can​ ​treat​ ​anything​ ​in​ ​the​ ​game​ ​world​ ​like​ ​it’s​ ​a​ ​character.​ ​Anything​ ​can​ ​have 
  aspects,​ ​skills,​ ​stunts,​ ​stress​ ​tracks,​ ​and​ ​consequences​ ​if​ ​you​ ​need​ ​it​ ​to. 
  This​ ​is​ ​called​ ​this​ ​the​ ​Bronze​ ​Rule,​ ​but​ ​you​ ​may​ ​also​ ​have​ ​heard​ ​of​ ​it​ ​as​ ​the​ ​Fate​ ​Fractal​ ​if​ ​you 
  pay​ ​attention​ ​to​ ​the​ ​Internet.​ ​You’ve​ ​already​ ​seen​ ​some​ ​examples​ ​of​ ​this​ ​in​ ​other​ ​places​ ​on​ ​the 
  site;​ ​you​ ​give​ ​your​ ​game​ ​its​ ​own​ ​aspects​ ​during​ ​creation,​ ​you​ ​place​ ​situation​ ​aspects​ ​on​ ​the 
  environment​ ​as​ ​well​ ​as​ ​on​ ​characters,​ ​and​ ​the​ ​GM​ ​can​ ​let​ ​environmental​ ​hazards​ ​attack​ ​as​ ​if 
  they​ ​had​ ​skills. 
   
  Extras​ ​extend​ ​the​ ​Bronze​ ​rule​ ​even​ ​further. 
   
  Creating​ ​An​ ​Extra 
  Contents 
  ●
  Setting​ ​Elements 
  ●
  What​ ​Extras​ ​Do 
  ●
  Assigning​ ​Character​ ​Elements 
  181 
  
  ●
  Permissions​ ​and​ ​Costs 
  ●
  The​ ​Writeup 
  ●
  Extras​ ​and​ ​Advancement 
  Making​ ​an​ ​extra​ ​starts​ ​with​ ​a​ ​conversation.​ ​This​ ​should​ ​happen​ ​during​ ​game​ ​creation​ ​or 
  character​ ​creation. 
   
  Your​ ​group​ ​needs​ ​to​ ​decide​ ​on​ ​the​ ​following: 
  ●
  What​ ​elements​ ​of​ ​your​ ​setting​ ​are​ ​appropriate​ ​for​ ​extras? 
  ●
  What​ ​do​ ​you​ ​want​ ​the​ ​extra​ ​to​ ​do? 
  ●
  What​ ​character​ ​elements​ ​do​ ​you​ ​need​ ​to​ ​fully​ ​express​ ​the​ ​extra’s​ ​capabilities? 
  ●
  What​ ​are​ ​the​ ​costs​ ​or​ ​permissions​ ​to​ ​have​ ​extras? 
  Once​ ​you’ve​ ​figured​ ​all​ ​that​ ​out,​ ​look​ ​to​ ​the​ ​examples​ ​in​ ​this​ ​book​ ​to​ ​help​ ​you​ ​nail​ ​down​ ​the 
  specifics​ ​and​ ​create​ ​a​ ​write​ ​up​ ​similar​ ​to​ ​what​ ​can​ ​be​ ​found​ ​here.​ ​Then​ ​you’re​ ​done! 
  Setting​ ​Elements 
  Chances​ ​are​ ​that​ ​you​ ​already​ ​have​ ​some​ ​ideas​ ​for​ ​extras​ ​in​ ​mind​ ​after​ ​your​ ​work​ ​in​ ​game 
  creation;​ ​pretty​ ​much​ ​every​ ​fantasy​ ​game​ ​has​ ​some​ ​kind​ ​of​ ​magic​ ​system​ ​in​ ​it​ ​while​ ​a​ ​game 
  about​ ​superheroes​ ​needs​ ​powers.​ ​If​ ​the​ ​action​ ​revolves​ ​around​ ​some​ ​important​ ​location—like 
  the​ ​characters’​ ​starship,​ ​a​ ​home​ ​base,​ ​or​ ​a​ ​favorite​ ​tavern—consider​ ​defining​ ​that​ ​as​ ​an​ ​extra. 
  By​ ​nature,​ ​extras​ ​tend​ ​to​ ​steal​ ​a​ ​lot​ ​of​ ​focus​ ​when​ ​they’re​ ​introduced—gamers​ ​have​ ​an 
  inveterate​ ​attraction​ ​to​ ​whiz-bang​ ​cool​ ​options,​ ​so​ ​you​ ​should​ ​expect​ ​them​ ​to​ ​get​ ​a​ ​lot​ ​of 
  attention​ ​by​ ​default.​ ​When​ ​you’re​ ​talking​ ​out​ ​options​ ​for​ ​extras,​ ​make​ ​sure​ ​you’re​ ​prepared​ ​for 
  the​ ​elements​ ​you​ ​choose​ ​to​ ​become​ ​a​ ​major​ ​focus​ ​in​ ​your​ ​game. 
   
  Amanda​ ​and​ ​company​ ​talk​ ​about​ ​extras​ ​for​ ​Hearts​ ​of​ ​Steel. 
   
  Zird’s​ ​magic​ ​(and​ ​the​ ​magic​ ​of​ ​the​ ​Collegia​ ​Arcana)​ ​comes​ ​up​ ​as​ ​an​ ​obvious​ ​first​ ​choice,​ ​as​ ​do 
  Landon’s​ ​martial​ ​arts.​ ​Lenny​ ​and​ ​Ryan​ ​both​ ​note​ ​that​ ​they’re​ ​not​ ​interested​ ​in​ ​lengthy​ ​lists​ ​of 
  spells​ ​or​ ​combat​ ​moves.​ ​Also,​ ​because​ ​it’s​ ​a​ ​fantasy​ ​game​ ​and​ ​magic​ ​exists,​ ​they​ ​agree​ ​that 
  enchanted​ ​items​ ​need​ ​consideration. 
   
  Going​ ​over​ ​the​ ​game’s​ ​issues​ ​and​ ​locations,​ ​they​ ​decide​ ​not​ ​to​ ​worry​ ​about​ ​making​ ​any​ ​of​ ​those 
  into​ ​extras—they’re​ ​supposed​ ​to​ ​be​ ​traveling​ ​from​ ​place​ ​to​ ​place​ ​anyway,​ ​and​ ​the​ ​characters 
  don’t​ ​have​ ​enough​ ​of​ ​a​ ​stake​ ​in​ ​any​ ​of​ ​the​ ​organizations​ ​to​ ​make​ ​it​ ​worthwhile. 
  What​ ​Extras​ ​Do 
  In​ ​broad​ ​terms,​ ​sketch​ ​out​ ​what​ ​you​ ​want​ ​the​ ​extras​ ​to​ ​be​ ​able​ ​to​ ​do,​ ​compared​ ​to​ ​what​ ​your 
  skills,​ ​stunts,​ ​and​ ​aspects​ ​can​ ​already​ ​do​ ​by​ ​default.​ ​Also,​ ​think​ ​about​ ​what​ ​the​ ​extra​ ​looks​ ​like 
  “on​ ​camera.”​ ​What​ ​do​ ​people​ ​see​ ​when​ ​you​ ​use​ ​it?​ ​What’s​ ​the​ ​look​ ​and​ ​feel​ ​of​ ​it? 
  In​ ​particular,​ ​consider​ ​these​ ​points: 
  ●
  Does​ ​the​ ​extra​ ​influence​ ​the​ ​story,​ ​and​ ​if​ ​so,​ ​how? 
  182 
  
  ●
  Does​ ​the​ ​extra​ ​let​ ​you​ ​do​ ​things​ ​that​ ​no​ ​other​ ​skill​ ​lets​ ​you​ ​do? 
  ●
  Does​ ​the​ ​extra​ ​make​ ​your​ ​existing​ ​skills​ ​more​ ​useful​ ​or​ ​powerful? 
  ●
  How​ ​would​ ​you​ ​describe​ ​the​ ​use​ ​of​ ​the​ ​extra? 
  This​ ​is​ ​an​ ​important​ ​step​ ​because​ ​it​ ​may​ ​reveal​ ​that​ ​the​ ​proposed​ ​extra​ ​doesn’t​ ​actually 
  contribute​ ​as​ ​much​ ​as​ ​you​ ​thought,​ ​which​ ​allows​ ​you​ ​to​ ​either​ ​add​ ​more​ ​stuff​ ​or​ ​remove​ ​it​ ​from 
  consideration. 
   
  For​ ​Zird’s​ ​magic,​ ​the​ ​group​ ​decides​ ​that​ ​they​ ​want​ ​to​ ​keep​ ​things​ ​pretty​ ​low-key​ ​and 
  abstract—it’s​ ​just​ ​another​ ​method​ ​of​ ​solving​ ​problems,​ ​like​ ​Landon’s​ ​martial​ ​arts​ ​or​ ​Cynere’s 
  swordthiefery​ ​(which​ ​Lily​ ​insists​ ​is​ ​a​ ​technical​ ​term)—a​ ​highly​ ​trained​ ​wizard​ ​is​ ​to​ ​be​ ​feared​ ​as 
  much​ ​as​ ​a​ ​highly​ ​trained​ ​swordsman,​ ​but​ ​no​ ​more. 
   
  They​ ​agree​ ​that​ ​it​ ​influences​ ​the​ ​story​ ​for​ ​several​ ​reasons.​ ​They​ ​imagine​ ​vistas​ ​full​ ​of 
  unknowable​ ​magical​ ​effects​ ​and​ ​plot​ ​devices​ ​for​ ​Zird​ ​to​ ​stick​ ​his​ ​nose​ ​in,​ ​as​ ​well​ ​as​ ​the 
  Collegia’s​ ​territorial​ ​desire​ ​over​ ​the​ ​lore. 
   
  They​ ​decide​ ​that​ ​Zird’s​ ​magic​ ​will​ ​let​ ​someone​ ​interact​ ​with​ ​the​ ​supernatural​ ​in​ ​a​ ​way​ ​that​ ​other 
  people​ ​simply​ ​can’t​ ​do,​ ​and​ ​can​ ​affect​ ​and​ ​harm​ ​people,​ ​but​ ​again,​ ​they​ ​stress​ ​that​ ​it​ ​shouldn’t 
  be​ ​more​ ​powerful​ ​than​ ​other​ ​skills.​ ​Basic​ ​effects​ ​would​ ​just​ ​use​ ​the​ ​normal​ ​four​ ​actions,​ ​and 
  rituals​ ​will​ ​use​ ​challenges,​ ​contests,​ ​or​ ​conflicts​ ​as​ ​appropriate. 
   
  Specifically,​ ​they​ ​rule​ ​out​ ​the​ ​presence​ ​of​ ​world-altering​ ​“high”​ ​magic,​ ​creating​ ​things​ ​out​ ​of​ ​thin 
  air,​ ​firebombing​ ​whole​ ​cities,​ ​and​ ​so​ ​forth.​ ​If​ ​those​ ​things​ ​exist,​ ​it’s​ ​a​ ​thread​ ​for​ ​a​ ​scenario,​ ​and 
  the​ ​product​ ​of​ ​several​ ​people​ ​making​ ​huge​ ​sacrifices. 
   
  The​ ​group​ ​doesn’t​ ​see​ ​magic​ ​influencing​ ​other​ ​skills​ ​much,​ ​which​ ​helps​ ​it​ ​keep​ ​its 
  compartmentalized​ ​nature. 
   
  Using​ ​Zird’s​ ​magic​ ​is​ ​all​ ​about​ ​the​ ​weird.​ ​Ryan​ ​imagines​ ​making​ ​up​ ​odd​ ​lists​ ​of​ ​requirements 
  and​ ​ingredients​ ​that​ ​don’t​ ​really​ ​follow​ ​a​ ​consistent​ ​pattern—some​ ​things​ ​he​ ​can​ ​do​ ​quickly, 
  others​ ​he​ ​can’t,​ ​and​ ​it’s​ ​all​ ​about​ ​dramatic​ ​interest​ ​in​ ​the​ ​moment​ ​to​ ​determine​ ​which​ ​is​ ​when. 
  The​ ​group​ ​is​ ​comfortable​ ​with​ ​this​ ​looseness,​ ​so​ ​they​ ​assent. 
  Assigning​ ​Character​ ​Elements 
  Once​ ​you​ ​have​ ​the​ ​general​ ​idea​ ​down,​ ​figure​ ​out​ ​what​ ​parts​ ​of​ ​a​ ​character​ ​you​ ​need​ ​to​ ​make​ ​up 
  the​ ​extra. 
  ●
  If​ ​the​ ​extra​ ​influences​ ​the​ ​story,​ ​then​ ​it​ ​should​ ​use​ ​aspects. 
  ●
  If​ ​the​ ​extra​ ​creates​ ​a​ ​new​ ​context​ ​for​ ​action,​ ​then​ ​it​ ​should​ ​use​ ​skills. 
  ●
  If​ ​the​ ​extra​ ​makes​ ​skills​ ​more​ ​awesome,​ ​then​ ​it​ ​should​ ​use​ ​stunts. 
  ●
  If​ ​the​ ​extra​ ​can​ ​suffer​ ​harm​ ​or​ ​be​ ​used​ ​up​ ​somehow,​ ​then​ ​it​ ​should​ ​take​ ​stress​ ​and 
  consequences. 
  An​ ​extra​ ​might​ ​use​ ​an​ ​aspect​ ​as​ ​a​ ​permission​—requiring​ ​a​ ​certain​ ​character​ ​aspect​ ​in​ ​order​ ​to 
  183 
  
  use​ ​the​ ​other​ ​abilities​ ​of​ ​the​ ​aspect.​ ​Your​ ​character​ ​might​ ​need​ ​to​ ​be​ ​born​ ​with​ ​some​ ​trait​ ​or 
  have​ ​obtained​ ​some​ ​level​ ​of​ ​status​ ​to​ ​make​ ​use​ ​of​ ​the​ ​aspect.​ ​Or​ ​the​ ​extra​ ​might​ ​provide​ ​a​ ​new 
  aspect​ ​that​ ​the​ ​character​ ​has​ ​access​ ​to,​ ​if​ ​it’s​ ​the​ ​extra​ ​itself​ ​that​ ​is​ ​important​ ​to​ ​the​ ​story. 
  There​ ​are​ ​a​ ​few​ ​ways​ ​an​ ​extra​ ​can​ ​use​ ​skills.​ ​The​ ​extra​ ​might​ ​be​ ​a​ ​new​ ​skill,​ ​not​ ​on​ ​the​ ​default 
  skill​ ​list.​ ​It​ ​could​ ​re-write​ ​an​ ​existing​ ​skill,​ ​adding​ ​new​ ​functions​ ​to​ ​the​ ​skill’s​ ​four​ ​actions.​ ​The 
  extra​ ​might​ ​cost​ ​a​ ​skill​ ​slot​ ​during​ ​character​ ​creation​ ​or​ ​advancement​ ​in​ ​order​ ​to​ ​be​ ​obtained. 
  It’s​ ​possible​ ​that​ ​an​ ​extra​ ​might​ ​include​ ​one​ ​or​ ​more​ ​existing​ ​skills​ ​that​ ​the​ ​character​ ​has​ ​access 
  to​ ​while​ ​controlling​ ​the​ ​extra. 
   
  Writing​ ​up​ ​an​ ​extra​ ​as​ ​a​ ​stunt​ ​works​ ​just​ ​like​​ ​building​ ​a​ ​new​ ​stunt​.​ ​One​ ​extra​ ​could​ ​have​ ​a​ ​few 
  stunts​ ​attached​ ​to​ ​it—it​ ​may​ ​even​ ​include​ ​the​ ​skills​ ​those​ ​stunt​ ​modify.​ ​Extras​ ​that​ ​include​ ​stunts 
  often​ ​cost​ ​refresh​ ​points,​ ​just​ ​as​ ​stunts​ ​do. 
   
  An​ ​extra​ ​that​ ​describes​ ​some​ ​integral​ ​ability​ ​of​ ​a​ ​character​ ​might​ ​grant​ ​a​ ​new​ ​stress 
  track—beyond​ ​physical​ ​and​ ​mental​ ​health—directly​ ​to​ ​that​ ​character.​ ​An​ ​extra​ ​that​ ​is​ ​a​ ​separate 
  entity​ ​from​ ​the​ ​character—such​ ​as​ ​a​ ​location​ ​or​ ​a​ ​vehicle—might​ ​have​ ​a​ ​physical​ ​health​ ​track​ ​of 
  its​ ​own.​ ​You​ ​might​ ​also​ ​designate​ ​a​ ​skill​ ​that​ ​influences​ ​that​ ​health​ ​track—just​ ​as​ ​Physique 
  provides​ ​extra​ ​stress​ ​boxes​ ​and​ ​consequence​ ​slots​ ​for​ ​physicalhealth. 
   
  With​ ​a​ ​firm​ ​grasp​ ​of​ ​what​ ​the​ ​extra​ ​does,​ ​you’ll​ ​choose​ ​which​ ​character​ ​elements​ ​best​ ​reinforce 
  those​ ​ideas​ ​in​ ​play​ ​and​ ​how​ ​you’ll​ ​use​ ​them. 
   
  For​ ​Zird’s​ ​magic,​ ​the​ ​group​ ​decides​ ​that​ ​it​ ​should​ ​use​ ​aspects​ ​and​ ​skills​ ​for​ ​sure—there’s​ ​a​ ​clear 
  story​ ​influence,​ ​and​ ​magic​ ​creates​ ​a​ ​new​ ​avenue​ ​of​ ​dealing​ ​with​ ​problems.​ ​They​ ​don’t​ ​want​ ​it​ ​to 
  enhance​ ​other​ ​skills,​ ​but​ ​rather​ ​stand​ ​alone,​ ​so​ ​it​ ​doesn’t​ ​use​ ​stunts.​ ​They​ ​don’t​ ​envision​ ​any 
  kind​ ​of​ ​“mana​ ​pool”​ ​or​ ​other​ ​resource​ ​associated​ ​with​ ​it,​ ​so​ ​it​ ​doesn’t​ ​use​ ​health​ ​or 
  consequences. 
  Permissions​ ​and​ ​Costs 
  A​ ​permission​ ​is​ ​the​ ​narrative​ ​justification​ ​that​ ​allows​ ​you​ ​to​ ​take​ ​an​ ​extra​ ​in​ ​the​ ​first​ ​place.​ ​For 
  the​ ​most​ ​part,​ ​you​ ​establish​ ​permission​ ​to​ ​take​ ​an​ ​extra​ ​with​ ​one​ ​of​ ​your​ ​character’s​ ​aspects, 
  which​ ​describes​ ​what​ ​makes​ ​your​ ​character​ ​qualified​ ​or​ ​able​ ​to​ ​have​ ​it.​ ​You​ ​can​ ​also​ ​just​ ​agree 
  it​ ​makes​ ​sense​ ​for​ ​someone​ ​to​ ​have​ ​an​ ​extra​ ​and​ ​call​ ​it​ ​good. 
   
  A​ ​cost​ ​is​ ​how​ ​you​ ​pay​ ​for​ ​the​ ​extra,​ ​and​ ​it​ ​comes​ ​out​ ​of​ ​the​ ​resources​ ​available​ ​on​ ​your 
  character​ ​sheet,​ ​whether​ ​that’s​ ​a​ ​skill​ ​point,​ ​a​ ​refresh​ ​point,​ ​a​ ​stunt​ ​slot,​ ​or​ ​an​ ​aspect​ ​slot. 
  Fortunately,​ ​because​ ​extras​ ​use​ ​character​ ​elements​ ​that​ ​are​ ​already​ ​familiar​ ​to​ ​you,​ ​dealing 
  with​ ​costs​ ​is​ ​fairly​ ​simple—you​ ​just​ ​pay​ ​what​ ​you’d​ ​normally​ ​pay​ ​from​ ​the​ ​slots​ ​available​ ​to​ ​you 
  at​ ​character​ ​creation.​ ​If​ ​the​ ​extra​ ​is​ ​a​ ​new​ ​skill,​ ​you​ ​just​ ​put​ ​it​ ​into​ ​your​ ​pyramid​ ​like​ ​normal.​ ​If​ ​it’s 
  an​ ​aspect,​ ​you​ ​choose​ ​one​ ​of​ ​your​ ​five​ ​aspects​ ​as​ ​the​ ​one​ ​you​ ​need.​ ​If​ ​it’s​ ​a​ ​stunt,​ ​you​ ​pay​ ​a 
  refresh​ ​point​ ​(or​ ​more)​ ​to​ ​have​ ​it. 
   
  184 
  
  GMs,​ ​if​ ​you​ ​don’t​ ​want​ ​players​ ​to​ ​choose​ ​between​ ​having​ ​extras​ ​and​ ​having​ ​the​ ​normal​ ​stuff 
  available​ ​to​ ​a​ ​starting​ ​character,​ ​feel​ ​free​ ​to​ ​raise​ ​the​ ​number​ ​of​ ​slots​ ​all​ ​PCs​ ​get​ ​at​ ​character 
  creation​ ​to​ ​accommodate​ ​extras—just​ ​make​ ​sure​ ​that​ ​each​ ​PC​ ​gets​ ​the​ ​same​ ​amount​ ​of 
  additional​ ​slots. 
   
  Amanda​ ​establishes​ ​that​ ​Zird​ ​should​ ​have​ ​an​ ​aspect​ ​reflecting​ ​that​ ​he’s​ ​been​ ​trained​ ​in​ ​the 
  Collegia’s​ ​magic,​ ​as​ ​a​ ​permission.​ ​Zird​ ​already​ ​does,​ ​so​ ​that’s​ ​a​ ​non-issue. 
   
  As​ ​for​ ​cost,​ ​because​ ​his​ ​magic​ ​is​ ​going​ ​to​ ​be​ ​primarily​ ​skill-based,​ ​she’s​ ​just​ ​going​ ​to​ ​make​ ​him 
  take​ ​the​ ​magic-using​ ​skill​ ​and​ ​put​ ​it​ ​in​ ​his​ ​skill​ ​pyramid.​ ​Further,​ ​in​ ​order​ ​to​ ​save​ ​effort,​ ​she 
  decides​ ​that​ ​the​ ​skill​ ​in​ ​question​ ​is​ ​going​ ​to​ ​be​ ​just​ ​plain​ ​old​ ​Lore,​ ​and​ ​suggests​ ​that​ ​anyone​ ​with 
  the​ ​appropriate​ ​training​ ​and​ ​a​ ​high​ ​Lore​ ​skill​ ​could​ ​call​ ​on​ ​magic,​ ​rather​ ​than​ ​it​ ​being​ ​an​ ​issue​ ​of 
  genetics​ ​or​ ​birthright.​ ​Ryan​ ​likes​ ​this,​ ​because​ ​it’s​ ​simple​ ​and​ ​down​ ​to​ ​earth,​ ​and​ ​agrees. 
  The​ ​Writeup 
  Once​ ​you’ve​ ​got​ ​all​ ​the​ ​elements​ ​together,​ ​you​ ​can​ ​make​ ​a​ ​writeup​ ​for​ ​your​ ​extra.​ ​Congrats! 
  Extra:​ ​Collegia​ ​Arcana​ ​Magic 
  Permissions​:​ ​One​ ​aspect​ ​reflecting​ ​that​ ​you’ve​ ​been​ ​trained​ ​by​ ​the​ ​Collegia 
  Costs​:​ ​Skill​ ​ranks,​ ​specifically​ ​those​ ​invested​ ​in​ ​the​ ​Reason​ ​skill​ ​(Normally,​ ​you’d​ ​probably​ ​also 
  charge​ ​points​ ​of​ ​refresh,​ ​because​ ​you’re​ ​adding​ ​new​ ​actions​ ​to​ ​a​ ​skill,​ ​but​ ​Amanda’s​ ​group​ ​is 
  lazy​ ​and​ ​is​ ​handwaving​ ​it​ ​in​ ​favor​ ​of​ ​group​ ​consensus.) 
  People​ ​who​ ​are​ ​trained​ ​in​ ​Collegia​ ​magic​ ​are​ ​able​ ​to​ ​use​ ​their​ ​knowledge​ ​to​ ​perform 
  supernatural​ ​effects,​ ​adding​ ​the​ ​following​ ​actions​ ​to​ ​the​ ​Lore​ ​skill: 
  Overcome​:​ ​Use​ ​Reason​ ​to​ ​prepare​ ​and​ ​perform​ ​magical​ ​rituals​ ​successfully,​ ​or​ ​to​ ​answer 
  questions​ ​about​ ​arcane​ ​phenomena. 
  Create​ ​an​ ​Advantage​:​ ​Use​ ​Reason​ ​to​ ​alter​ ​the​ ​environment​ ​with​ ​magic​ ​or​ ​place​ ​mental​ ​and 
  physical​ ​impediments​ ​on​ ​a​ ​target,​ ​such​ ​as​ ​Slowed​ ​Movement​ ​or​ ​A​ ​Foggy​ ​Head​.​ ​Characters​ ​can 
  defend​ ​against​ ​this​ ​with​ ​Psyche. 
  Attack​:​ ​Use​ ​Reason​ ​to​ ​directly​ ​harm​ ​someone​ ​with​ ​magic,​ ​whether​ ​through​ ​conjuring​ ​of 
  elements​ ​or​ ​mental​ ​assault.​ ​Targets​ ​can​ ​defend​ ​against​ ​this​ ​with​ ​Athletics​ ​or​ ​Will​ ​depending​ ​on 
  the​ ​nature​ ​of​ ​the​ ​attack,​ ​or​ ​Lore​ ​if​ ​the​ ​target​ ​also​ ​has​ ​magical​ ​training. 
  Defend​:​ ​Use​ ​Reason​ ​to​ ​defend​ ​against​ ​hostile​ ​magics​ ​or​ ​other​ ​supernatural​ ​effects. 
  Extras​ ​and​ ​Advancement 
  Extras​ ​advance​ ​a​ ​lot​ ​like​ ​their​ ​base​ ​elements​ ​do,​ ​according​ ​to​ ​the​​ ​milestones​ ​in​ ​The​ ​Long 
  Game.​ ​That​ ​gives​ ​us​ ​a​ ​set​ ​of​ ​base​ ​guidelines: 
  ●
  An​ ​extra’s​ ​aspect​ ​can​ ​change​ ​at​ ​any​ ​minor​ ​milestone,​ ​or​ ​at​ ​a​ ​major​ ​milestone​ ​if​ ​it’s​ ​tied 
  into​ ​your​ ​high​ ​concept. 
  ●
  An​ ​extra’s​ ​skill​ ​may​ ​advance​ ​at​ ​any​ ​significant​ ​or​ ​major​ ​milestone,​ ​provided​ ​the​ ​move​ ​is 
  legal,​ ​and​ ​you​ ​can​ ​get​ ​new​ ​ones​ ​at​ ​those​ ​milestones​ ​as​ ​well.​ ​You​ ​can​ ​also​ ​swap​ ​skill 
  185 
  
  ranks​ ​between​ ​another​ ​skill​ ​and​ ​your​ ​extra​ ​at​ ​a​ ​minor​ ​milestone,​ ​like​ ​any​ ​other​ ​skill. 
  ●
  An​ ​extra’s​ ​stunt​ ​may​ ​advance​ ​at​ ​a​ ​major​ ​milestone​ ​when​ ​you​ ​get​ ​a​ ​refresh​ ​point.​ ​This 
  might​ ​mean​ ​you​ ​add​ ​a​ ​new​ ​stunt​ ​effect​ ​to​ ​an​ ​existing​ ​extra​ ​or​ ​buy​ ​a​ ​new​ ​stunt-based 
  extra.​ ​You​ ​can​ ​also​ ​change​ ​out​ ​a​ ​stunt-based​ ​extra​ ​at​ ​a​ ​minor​ ​milestone,​ ​like​ ​you​ ​can 
  with​ ​any​ ​other​ ​stunt. 
  Of​ ​course​ ​many​ ​extras​ ​use​ ​more​ ​than​ ​one​ ​element.​ ​It​ ​is​ ​recommended​ ​that​ ​you​ ​allow​ ​the 
  players​ ​in​ ​your​ ​game​ ​to​ ​develop​ ​the​ ​separate​ ​pieces​ ​of​ ​such​ ​an​ ​extra​ ​at​ ​different​ ​milestones,​ ​in 
  order​ ​to​ ​minimize​ ​confusion​ ​during​ ​play. 
   
   
   
   
  Skill​ ​Modelling 
   
   
  Fighting 
  Description 
  Examples 
  Feeble 
  Useless 
   
  Poor 
  Standard​ ​person 
   
  Typical 
  A​ ​little​ ​training 
   
  Good 
  Some​ ​training 
   
  Excellent 
  Extensive​ ​training 
   
  Remarkable 
  Good​ ​natural​ ​talent 
   
  Incredible 
  Great​ ​talent​ ​with​ ​training 
   
  Amazing 
  Human​ ​limit 
   
  Monstrous 
  Untrained​ ​Super​ ​Limit 
   
  Unearthly 
  Trained​ ​Super​ ​Limit 
   
   
   
  Agility 
  Description 
  Examples 
  Feeble 
  Useless 
   
  Poor 
  Awkward 
   
  Typical 
  Standard​ ​person 
   
  186 
  
  Good 
  Some​ ​training 
   
  Excellent 
  Extensive​ ​training 
   
  Remarkable 
  Athlete 
   
  Incredible 
  Gymnast 
   
  Amazing 
  Super 
   
  Monstrous 
  Advanced​ ​Super 
   
  Unearthly 
  React​ ​in​ ​a​ ​Flash 
   
   
   
   
  Strength 
  Description 
  Examples 
  Feeble 
  Up​ ​to​ ​20​ ​kilograms 
   
  Poor 
  Up​ ​to​ ​50​ ​kilograms 
   
  Typical 
  Up​ ​to​ ​100​ ​kilograms 
   
  Good 
  Up​ ​to​ ​200​ ​kilograms 
   
  Excellent 
  Human​ ​Limit​ ​(400​ ​kilograms) 
   
  Remarkable 
  Up​ ​to​ ​1​ ​tonne 
   
  Incredible 
  Up​ ​to​ ​10​ ​tonnes 
   
  Amazing 
  Up​ ​to​ ​50​ ​tonnes 
   
  Monstrous 
  Up​ ​to​ ​100​ ​tonnes 
   
  Unearthly 
  Up​ ​to​ ​200​ ​tonnes 
   
   
   
  Endurance 
  Description 
  Examples 
  Feeble 
  Useless 
   
  Poor 
  Couch​ ​potato 
   
  Typical 
  Occasional​ ​exercise 
   
  Good 
  Some​ ​exercise 
   
  187 
  
  Excellent 
  Extensive​ ​exercise 
   
  Remarkable 
  Human​ ​Limit​ ​(intensive) 
   
  Incredible 
  Super 
   
  Amazing 
  Trained​ ​Super 
   
  Monstrous 
  Only​ ​occasionally​ ​tires 
   
  Unearthly 
  Untiring 
   
   
   
  Reason 
  Description 
  Examples 
  Feeble 
  Dumber​ ​than​ ​a​ ​box​ ​of​ ​rocks 
   
  Poor 
  Below​ ​average 
   
  Typical 
  Standard​ ​person 
   
  Good 
  Understand​ ​some​ ​complex 
   
  Excellent 
  Design​ ​complex 
   
  Remarkable 
  Advanced​ ​understanding 
   
  Incredible 
  Alien​ ​understanding 
   
  Amazing 
  Create​ ​alien​ ​level 
   
  Monstrous 
  Improve​ ​alien​ ​level 
   
  Unearthly 
  Understand​ ​everything 
   
   
   
  Intuition 
  Description 
  Examples 
  Feeble 
  Oblivious 
   
  Poor 
  Slow 
   
  Typical 
  Standard​ ​person 
   
  Good 
  Some​ ​skill 
   
  Excellent 
  Advanced​ ​skill 
   
  188 
  
  Remarkable 
  Advanced​ ​trained​ ​skill 
   
  Incredible 
  Strong​ ​skill 
   
  Amazing 
  Super​ ​skill 
   
  Monstrous 
  Super​ ​senses 
   
  Unearthly 
  Always​ ​aware 
   
   
   
  Psyche 
  Description 
  Examples 
  Feeble 
  Useless 
   
  Poor 
  Immature 
   
  Typical 
  Standard​ ​person 
   
  Good 
  Some​ ​training 
   
  Excellent 
  Extensive​ ​training 
   
  Remarkable 
  Advanced​ ​training 
   
  Incredible 
  Natural​ ​talent 
   
  Amazing 
  Super 
   
  Monstrous 
  Advanced​ ​Super 
   
  Unearthly 
  Cannot​ ​be​ ​controlled 
   
   
   
  Resources 
  Description 
  Examples 
  Feeble 
  Broke 
   
  Poor 
  Like​ ​it​ ​says 
   
  Typical 
  Standard​ ​person 
   
  Good 
  Professional​ ​level 
   
  Excellent 
  Some​ ​wealth,​ ​business 
   
  Remarkable 
  Large​ ​business,​ ​wealthy 
   
  189 
  
  Incredible 
  Company 
   
  Amazing 
  Large​ ​Co.,​ ​Small​ ​Country 
  New​ ​Zealand 
  Monstrous 
  Multinational,​ ​Government 
  Australia 
  Unearthly 
  Megacorp,​ ​Large​ ​Country 
  USA 
   
   
  Difficulty​ ​Guidelines 
   
   
  Fighting​ ​Difficulty 
  Description 
  Remarkable 
  Attack​ ​two​ ​separate​ ​targets​ ​at​ ​once 
  Amazing 
  Attack​ ​three​ ​separate​ ​targets​ ​at​ ​once 
  Unearthly 
  Attack​ ​multiple​ ​separate​ ​targets​ ​at​ ​once 
   
   
  Agility​ ​Difficulty 
  Description 
  Feeble 
  Catch​ ​falling​ ​object 
  Poor 
  Catch​ ​ball 
  Typical 
  Ride​ ​bike 
  Good 
  Walk​ ​a​ ​narrow​ ​log 
  Excellent 
  Dodge​ ​bullets,​ ​catch​ ​thrown​ ​weapons 
  Remarkable 
  Walk​ ​a​ ​rope 
  Incredible 
  Dodge​ ​automatic​ ​weapons 
  Amazing 
  Catch​ ​arrows 
  Monstrous 
  Dodge​ ​lasers 
  Unearthly 
  Catch​ ​Bullets 
   
   
  Agility​ ​Difficulty 
  Description 
  190 
  
  Feeble 
  Catch​ ​falling​ ​object 
  Poor 
  Catch​ ​ball 
  Typical 
  Ride​ ​bike 
  Good 
  Walk​ ​a​ ​thin​ ​rail 
  Excellent 
  Dodge​ ​bullets,​ ​catch​ ​thrown​ ​weapons 
  Remarkable 
  Walk​ ​a​ ​rope 
  Incredible 
  Dodge​ ​automatic​ ​weapons 
  Amazing 
  Catch​ ​arrows 
  Monstrous 
  Dodge​ ​lasers 
  Unearthly 
  Catch​ ​Bullets​ ​unharmed 
   
   
  Strength​ ​Difficulty 
  Description 
  Feeble 
  Up​ ​to​ ​20​ ​kilograms 
  Poor 
  Up​ ​to​ ​50​ ​kilograms 
  Typical 
  Up​ ​to​ ​100​ ​kilograms 
  Good 
  Up​ ​to​ ​200​ ​kilograms 
  Excellent 
  Human​ ​Limit​ ​(400​ ​kilograms) 
  Remarkable 
  Up​ ​to​ ​1​ ​tonne 
  Incredible 
  Up​ ​to​ ​10​ ​tonnes 
  Amazing 
  Up​ ​to​ ​50​ ​tonnes 
  Monstrous 
  Up​ ​to​ ​100​ ​tonnes 
  Unearthly 
  Up​ ​to​ ​200​ ​tonnes 
   
   
  Endurance​ ​Difficulty 
  Description 
  Feeble 
  Air​ ​pollution 
  191 
  
  Poor 
  Heavy​ ​air​ ​pollution 
  Typical 
  Tear​ ​gas 
  Good 
  Snake​ ​poison 
  Excellent 
  Deadly​ ​snake​ ​poison 
  Remarkable 
   
  Incredible 
   
  Amazing 
   
  Monstrous 
   
  Unearthly 
  Vacuum​ ​of​ ​space 
   
   
  Intuition​ ​Difficulty 
  Description 
  Feeble 
  The​ ​obvious 
  Poor 
  Little​ ​less​ ​than​ ​obvious 
  Typical 
  Mook​ ​followers 
  Good 
  Professional​ ​followers 
  Excellent 
  Detect​ ​detail,​ ​secret​ ​doors,​ ​traps 
  Remarkable 
   
  Incredible 
  Nebulous​ ​danger​ ​or​ ​badness 
  Amazing 
   
  Monstrous 
  Well​ ​hidden​ ​dangers,​ ​invisible​ ​or​ ​astral 
  Unearthly 
  The​ ​undetectable 
   
   
   
  Reason​ ​Difficulty 
  Description 
  Feeble 
  Cope​ ​with​ ​wheels​ ​and​ ​levers 
  Poor 
  Common​ ​technology 
  192 
  
  Typical 
  Know​ ​what​ ​computing​ ​does 
  Good 
  Complex​ ​technology 
  Excellent 
  Advanced​ ​technology 
  Remarkable 
  Engineer​ ​technology 
  Incredible 
  Engineer​ ​advanced​ ​technology 
  Amazing 
  Starflight,​ ​time​ ​travel 
  Monstrous 
  Teleportation,​ ​quantum 
  Unearthly 
  Understand​ ​the​ ​most​ ​advanced​ ​anywhere 
   
   
   
  Psyche​ ​Difficulty 
  Description 
  Feeble 
  Get​ ​told​ ​what​ ​to​ ​do 
  Poor 
  Weak​ ​willed 
  Typical 
  Standard​ ​person 
  Good 
  Resist​ ​Hypnosis 
  Excellent 
  Resist​ ​Interrogation 
  Remarkable 
  Resist​ ​Mind​ ​Control 
  Incredible 
  Resist​ ​Magic 
  Amazing 
  Resist​ ​Extradimensional​ ​Magic 
  Monstrous 
  Almost​ ​always​ ​uncontrollable 
  Unearthly 
  Uncontrollable 
   
   
   
  On​ ​Fire​ ​Intensity 
  Description 
  Feeble 
  Match 
  Poor 
  Barbequeue 
  193 
  
  Typical 
  Room​ ​On​ ​Fire 
  Good 
  House​ ​On​ ​Fire 
  Excellent 
  Building​ ​On​ ​Fire 
  Remarkable 
  Large​ ​Building​ ​On​ ​Fire 
  Incredible 
  Chemical​ ​Fire 
  Amazing 
  Giant​ ​Furnace 
  Monstrous 
  Explosive​ ​Chemical​ ​Fire 
  Unearthly 
  Volcano 
  Cosmic​ ​1 
  Star 
   
   
   
  Disease​ ​Intensity 
  Description 
  Feeble 
  Cold 
  Poor 
  Flu 
  Typical 
  Stomach​ ​Virus 
  Good 
  Pneumonia 
  Excellent 
  Crossover​ ​epidemics 
  Remarkable 
   
  Incredible 
   
  Amazing 
   
  Monstrous 
  Alien​ ​Plague 
  Unearthly 
  Advanced​ ​Alien​ ​Plague 
   
   
  Disease​ ​Intensity 
  Description 
  Feeble 
  Cold 
  Poor 
  Flu 
  194 
  
  Typical 
  Stomach​ ​Virus 
  Good 
  Pneumonia 
  Excellent 
  Crossover​ ​epidemics 
  Remarkable 
  Creeping​ ​horror​ ​infection 
  Incredible 
  Vampirism 
  Amazing 
  Lyncanthropy 
  Monstrous 
  Alien​ ​Plague 
  Unearthly 
  Advanced​ ​Alien​ ​Plague 
   
   
   
  Radiation​ ​Intensity 
  Description 
  Feeble 
  Ancient​ ​Half-Life 
  Poor 
  Cold​ ​climate​ ​sun 
  Typical 
  Warm​ ​climate​ ​sun 
  Good 
  Desert​ ​sun 
  Excellent 
  Recent​ ​Half-Life 
  Remarkable 
  Uranium 
  Incredible 
  Plutonium 
  Amazing 
  Nuclear​ ​reactor 
  Monstrous 
  Atomic​ ​weapon 
  Unearthly 
  Alien​ ​weapons 
   
   
   
  Friction​ ​Intensity 
  Description 
  Feeble 
  Brick 
  Poor 
  Steel 
  195 
  
  Typical 
  Glass 
  Good 
  Polished​ ​metal 
  Excellent 
  Icy 
  Remarkable 
  Oily 
  Incredible 
  Anti-stick 
  Amazing 
  Frictionless 
  Monstrous 
  Advanced​ ​technology 
  Unearthly 
  Alien​ ​technology 
   
  Increase​ ​the​ ​difficulty​ ​one​ ​level​ ​if​ ​wet. 
   
  Weather​ ​Intensity 
  Description 
  Feeble 
  Intermittent​ ​minor​ ​weather 
  Poor 
  Light​ ​rain,​ ​wind 
  Typical 
  Fog,​ ​Windy 
  Good 
  Standard​ ​rain 
  Excellent 
  Heavy​ ​rain,​ ​winds 
  Remarkable 
  Storms 
  Incredible 
  Worst​ ​Storms 
  Amazing 
  Tornado 
  Monstrous 
  Hurricane,​ ​Giant​ ​Tornado 
  Unearthly 
  Maximum​ ​cyclone/hurricane 
   
   
  Light​ ​Intensity 
  Description 
  Feeble 
  Gloomy 
  Poor 
  Twilight 
  Typical 
  Night 
  196 
  
  Good 
  Dark​ ​Night 
  Excellent 
  Very​ ​dark​ ​night 
  Remarkable 
  Super​ ​darkness 
  Incredible 
  Advanced​ ​Super​ ​darkness 
  Amazing 
  Alien​ ​darkness 
  Monstrous 
  Supernatural​ ​darkness 
  Unearthly 
  Colour​ ​out​ ​of​ ​space 
   
  Heat​ ​Intensity 
  Description 
  Feeble 
  26​ ​celsius 
  Poor 
  28​ ​celsius 
  Typical 
  30​ ​celsius 
  Good 
  32​ ​celsius 
  Excellent 
  45​ ​celsius 
  Remarkable 
  65​ ​celsius 
  Incredible 
  Boiling 
  Amazing 
  Frying 
  Monstrous 
  1000​ ​celsius 
  Unearthly 
  Volcano​ ​Heart 
   
   
  Cold​ ​Intensity 
  Description 
  Feeble 
  4​ ​Celsius 
  Poor 
  8​ ​Celsius 
  Typical 
  12​ ​Celsius 
  Good 
  0​ ​Celsius 
  Excellent 
  -10​ ​Celsius 
  197 
  
  Remarkable 
  -20​ ​Celsius 
  Incredible 
  -50​ ​Celsius 
  Amazing 
  -100​ ​Celsius 
  Monstrous 
  Interplanetary​ ​Space 
  Unearthly 
  Interstellar​ ​Space 
   
   
  Acid​ ​Intensity 
  Description 
  Feeble 
  Traces 
  Poor 
  Diluted​ ​Weak 
  Typical 
  Weak 
  Good 
  Mild 
  Excellent 
  Standard 
  Remarkable 
  Concentrated 
  Incredible 
  Advanced 
  Amazing 
  Super​ ​Advanced 
  Monstrous 
  Alien 
  Unearthly 
  Advanced​ ​Alien 
   
   
  Electrical​ ​Intensity 
  Description 
  Feeble 
  Battery 
  Poor 
   
  Typical 
  Strong​ ​battery 
  Good 
  Very​ ​strong​ ​battery,​ ​farm​ ​electric​ ​fence 
  Excellent 
  Household 
  Remarkable 
  Security​ ​fence 
  198 
  
  Incredible 
  Lightning​ ​bolt 
  Amazing 
  High​ ​voltage​ ​facility 
  Monstrous 
  Alien 
  Unearthly 
  Advanced​ ​Alien 
   
   
  Difficulty​ ​Modifier​ ​Suggestions 
   
   
  Attack​ ​Situation 
  Modifier 
  Fast​ ​moving​ ​target 
  +2 
  Very​ ​fast​ ​moving​ ​target 
  +4 
  Insect​ ​sized 
  +3 
  Smaller​ ​than​ ​insect​ ​sized 
  +4 
  Shoot​ ​through​ ​an​ ​object​ ​if​ ​possible 
  +2 
  Underwater 
  +1 
  Agility​ ​attack​ ​in​ ​rain,​ ​night,​ ​fog 
  +1 
  Charging​ ​1-3​ ​zones 
  +1​ ​to​ ​+3​ ​to​ ​Damage 
  Large​ ​target 
  -1 
  Very​ ​large​ ​target 
  -2 
  Huge​ ​target 
  -3 
  Appropriate​ ​Shooting/Fighting​ ​Specialisation 
  -1 
  Weapon​ ​Specialist 
  -2 
  Fighting​ ​-​ ​Martial​ ​Arts​ ​B 
  -1 
  Strength​ ​-​ ​Martial​ ​Arts​ ​C,​ ​Wrestling 
  -1 
  Point​ ​Blank 
  -3 
  Flying​ ​diving​ ​character​ ​straight​ ​at​ ​you 
  -4 
  Damage​ ​Situation 
  Modifier 
  199 
  
  Fire​ ​two​ ​zones​ ​away 
  -6​ ​to​ ​Fire​ ​Intensity 
  Fire​ ​one​ ​zone​ ​away 
  -4​ ​to​ ​Fire​ ​Intensity 
  Very​ ​cold 
  -1 
  Material​ ​strength​ ​greater​ ​than​ ​character’s 
  +1 
  Attack​ ​Enhanced​ ​Sense​ ​specifically 
  +1 
  General​ ​Situation 
  Modifier 
  Dark 
  +2 
  Hot 
  +1 
  Cold 
  +1 
   
   
   
  PEOPLE​ ​AND​ ​CREATURES 
   
  Animals 
   
  Sp​ ​=​ ​speed​ ​rank​ ​in​ ​usual​ ​terrain,​ ​relative​ ​to​ ​humans. 
  BA​ ​=​ ​Body​ ​Armour​ ​rank 
  T​ ​=​ ​Type​ ​of​ ​Damage:​ ​E​ ​=​ ​Edged,​ ​B=​ ​Blunt,​ ​S​ ​=​ ​Shooting,​ ​H​ ​=​ ​Advanced​ ​Technology,​ ​2​ ​=​ ​Blunt 
  and​ ​Edged,​ ​W​ ​=​ ​S​ ​and​ ​2 
   
  Animal 
  F 
  A 
  S 
  E 
  R 
  I 
  P 
  P
  H 
  M
  H 
  Sp 
  BA 
  T 
  Crocodile 
  Pr 
  Gd 
  Rm 
  Ex 
  Fb 
  Fb 
  Fb 
  3 
  1 
  Gd 
   
  E 
  Chimp 
  Ty 
  Ty 
  Gd 
  Ex 
  Fb 
  Ty 
  Pr 
  2 
  1 
   
   
  B 
  Gorilla 
  Ty 
  Ty 
  Ex 
  Ex 
  Fb 
  Ty 
  Pr 
  2 
  1 
   
   
  B 
  Armadillo 
  Fb 
  Fb 
  Fb 
  Fb 
  Aw 
  Fb 
  Fb 
  0 
  0 
  Fb 
  Fb 
  B 
  Bat 
  Fb 
  Pr 
  Fb 
  Fb 
  Aw 
  Pr 
  Fb 
  0 
  0 
  Ex 
   
   
  Bat​ ​Flock 
  Gd 
  Pr 
  Fb 
  Gd 
  Fb 
  Pr 
  Fb 
  1 
  1 
  Ex 
   
  E 
  Bear 
  Gd 
  Ty 
  Rm 
  Rm 
  Fb 
  Pr 
  Fb 
  3 
  1 
  Gd 
   
  2 
  Giant​ ​Monster 
  Am 
  Ty 
  Un 
  Un 
  Pr 
  Pr 
  Pr 
  6 
  2 
   
  Am 
  B 
  200 
  
  Bird 
  Fb 
  Fb 
  Fb 
  Fb 
  Fb 
  Fb 
  Fb 
  0 
  1 
  Rm 
   
   
  Bird​ ​Flock 
  Gd 
  Ty 
  Fb 
  Ty 
  Fb 
  Pr 
  Fb 
  1 
  1 
  Rm 
   
  E 
  Cat 
  Fb 
  Gd 
  Fb 
  Gd 
  Fb 
  Ty 
  Fb 
  1 
  1 
  Gd 
   
  E 
  Cattle​ ​/​ ​Herd​ ​Animals 
  Pr 
  Ty 
  Gd 
  Ex 
  Fb 
  Fb 
  Fb 
  2 
  1 
   
   
  B 
  Dinosaur,​ ​Giant​ ​Herbivore 
  Gd 
  Pr 
  Am 
  Un 
  Fb 
  Fb 
  Fb 
  5 
  1 
   
   
  B 
  Dinosaur,​ ​Giant​ ​Carnivore 
  Rm 
  Gd 
  In 
  Un 
  Fb 
  Fb 
  Fb 
  4 
  1 
  Gd 
   
  E 
  Dinosaur,​ ​Giant​ ​Armoured 
  In 
  Ty 
  Am 
  Mn 
  Fb 
  Fb 
  Fb 
  4 
  1 
   
   
  2 
  Kaiju,​ ​Giant​ ​Radioactive 
  Rm 
  Rm 
  Un 
  Un 
  Pr 
  Pr 
  Pr 
  5 
  2 
   
  Am 
  2 
  Guard​ ​Dog 
  Gd 
  Ty 
  Gd 
  Gd 
  Fb 
  Gd 
  Fb 
  2 
  2 
   
   
  E 
  Dolphin 
  Gd 
  Ex 
  Gd 
  Gd 
  Ty 
  Gd 
  Ty 
  2 
  2 
   
  Ex 
  B 
  Bird​ ​of​ ​Prey 
  Gd 
  Gd 
  Pr 
  Ex 
  Fb 
  Ty 
  Fb 
  2 
  1 
   
  Rm 
  E 
  Elephant 
  Gd 
  Gd 
  In 
  Am 
  Fb 
  Pr 
  Fb 
  3 
  1 
   
   
  2 
  Fish 
  Fb 
  Fb 
  Fb 
  Fb 
  Aw 
  Fb 
  Fb 
  0 
  0 
   
   
   
  Horse 
  Ty 
  Gd 
  Rm 
  Rm 
  Pr 
  Ty 
  Pr 
  2 
  1 
   
  Ex 
  B 
  Insect​ ​Swarm 
  Ex 
  Fb 
  Fb 
  Ex 
  Aw 
  Fb 
  Fb 
  2 
  0 
   
   
  E 
  Killer​ ​Whale 
  Rm 
  Ty 
  In 
  Mn 
  Pr 
  Gd 
  Ty 
  3 
  2 
   
  Ex 
  E 
  Big​ ​Cat 
  Ex 
  Gd 
  Gd 
  Ex 
  Fb 
  Fb 
  Fb 
  3 
  1 
   
  Gd 
  E 
  Monkey 
  Gd 
  Ty 
  Pr 
  Gd 
  Fb 
  Ty 
  Pr 
  2 
  1 
   
   
  E 
  Giant​ ​Cephalopod 
  Ex 
  Rm 
  Gd 
  Rm 
  Fb 
  Fb 
  Fb 
  3 
  1 
   
   
  B 
  Rat 
  Fb 
  Fb 
  Fb 
  Fb 
  Fb 
  Fb 
  Fb 
  0 
  0 
   
   
   
  Rat​ ​Pack 
  Ex 
  Ty 
  Fb 
  Ex 
  Fb 
  Fb 
  Fb 
  2 
  1 
   
   
  E 
  Shark 
  Gd 
  Gd 
  Rm 
  In 
  Fb 
  Fb 
  Fb 
  3 
  1 
   
   
  E 
  Snake,​ ​Python 
  Ty 
  Ty 
  Ex 
  Ex 
  Fb 
  Fb 
  Fb 
  2 
  1 
   
   
  B 
  Snake,​ ​Poisonous 
  Gd 
  Pr 
  Fb 
  Pr 
  Fb 
  Fb 
  Fb 
  1 
  1 
   
   
  E 
  Wolf 
  Ex 
  Gd 
  Gd 
  Gd 
  Fb 
  Fb 
  Fb 
  2 
  1 
   
   
  E 
  People 
  F 
  A 
  S 
  E 
  R 
  I 
  P 
  P
  M
  Sp 
  BA 
  T 
  201 
  
  H H 
  Thug 
  Gd 
  Ty 
  Ty 
  Ty 
  Pr 
  Pr 
  Pr 
  2 
  1 
   
   
   
  Henchman 
  Gd 
  Ty 
  Ty 
  Gd 
  Pr 
  Ty 
  Pr 
  2 
  1 
   
   
  W 
  Young​ ​Tough 
  Ty 
  Gd 
  Ty 
  Ty 
  Pr 
  Pr 
  Pr 
  1 
  1 
   
   
  2 
  Enforcer 
  Gd 
  Ty 
  Gd 
  Ty 
  Ty 
  Ty 
  Ty 
  1 
  1 
   
   
  W 
  Assassin 
  Ty 
  Gd 
  Ty 
  Gd 
  Ty 
  Ty 
  Ty 
  1 
  1 
   
   
  S 
  Police 
  Gd 
  Gd 
  Ty 
  Gd 
  Ty 
  Ty 
  Ty 
  1 
  1 
  Gd 
   
  S 
  TRG​ ​Police 
  Ex 
  Gd 
  Gd 
  Ty 
  Ty 
  Ty 
  Gd 
  2 
  1 
  Ex 
   
  S 
  Soldier 
  Ex 
  Gd 
  Ty 
  Gd 
  Ty 
  Ty 
  Pr 
  2 
  1 
  Gd 
   
  W 
  Mercenary 
  Ex 
  Gd 
  Gd 
  Gd 
  Ty 
  Ty 
  Pr 
  2 
  1 
  Ex 
   
  W 
  Fire-Fighter 
  Ty 
  Gd 
  Ty 
  Ex 
  Ty 
  Gd 
  Ty 
  2 
  1 
  Gd 
   
  W 
  Paramedic 
  Pr 
  Ty 
  Ty 
  Gd 
  Gd 
  Ty 
  Ty 
  1 
  1 
   
   
   
  Doctor 
  Pr 
  Gd 
  Ty 
  Gd 
  Gd 
  Gd 
  Gd 
  1 
  2 
   
   
   
  Scientist 
  Pr 
  Ty 
  Pr 
  Ty 
  Ex 
  Gd 
  Ty 
  1 
  2 
   
   
   
  Lawyer 
  Pr 
  Ty 
  Ty 
  Ty 
  Ty 
  Gd 
  Ty 
  1 
  1 
   
   
   
  Businessman 
  Pr 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
  1 
  1 
   
   
   
  Feds​ ​and​ ​Spies 
  Gd 
  Ex 
  Gd 
  Gd 
  Gd 
  Gd 
  Gd 
  2 
  2 
   
   
  W 
  Plumber 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
  1 
  1 
   
   
   
  Lumberjack 
  Ty 
  Ty 
  Gd 
  Gd 
  Pr 
  Ty 
  Ty 
  2 
  1 
   
   
  E 
  Aliens 
  F 
  A 
  S 
  E 
  R 
  I 
  P 
  P
  H 
  M
  H 
  Sp 
  BA 
  T 
  Norse​ ​Myth 
  Rm 
  Gd 
  In 
  In 
  Gd 
  Gd 
  Ex 
  4 
   
  Gd 
   
  2 
  Atlantean 
  Gd 
  Ty 
  Rm 
  Rm 
  Ty 
  Ty 
  Ty 
   
   
  Gd 
   
  2 
  Mystic​ ​Dimension​ ​Citizen 
  Ty 
  Gd 
  Ty 
  Ty 
  Ty 
  Gd 
  Gd 
  1 
  2 
   
   
   
  Cosmic​ ​Warped​ ​Mutant 
  Gd 
  Ty 
  Ty 
  Gd 
  Ty 
  Pr 
  Pr 
  2 
  1 
   
   
   
  Cosmic​ ​Immortal 
  Gd 
  Ex 
  In 
  Am 
  Ex 
  Rm 
  Rm 
  3 
  3 
  Un 
   
   
  202 
  
  Moon​ ​Mist​ ​People 
  Gd 
  Ex 
  Ex 
  Rm 
  Gd 
  Gd 
  Gd 
  3 
  3 
   
   
   
  Blue​ ​Space​ ​Warrior 
  Gd 
  Ty 
  Ex 
  Ex 
  Gd 
  Gd 
  Ty 
  3 
  3 
   
   
  H 
  Serpent​ ​People 
  Gd 
  Ty 
  Ex 
  Rm 
  Ty 
  Ty 
  Gd 
  3 
  2 
  Gd 
   
   
  Mutant​ ​Animal​ ​People 
  * 
  * 
  * 
  * 
  Gd 
  Gd 
  Gd 
  * 
  3 
  * 
  * 
  * 
  Greek​ ​Myth 
  Gd 
  Ex 
  In 
  Am 
  Ty 
  Ty 
  Rm 
  4 
  3 
   
  Ex 
   
  Bird​ ​Space​ ​Warrior 
  Gd 
  Gd 
  Rm 
  Gd 
  Gd 
  Gd 
  Gd 
  3 
  2 
   
   
  H 
  Space​ ​Shapeshifter 
  Gd 
  Ty 
  Ty 
  Ty 
  Gd 
  Ty 
  Ty 
  2 
  2 
   
   
  H 
  Green​ ​Martian 
  Gd 
  Ty 
  Gd 
  Gd 
   
   
   
   
   
   
   
   
  Red​ ​Martian 
  Gd 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
  Ty 
   
   
   
   
   
  CircleHead​ ​Scientist 
  Fb 
  Pr 
  Pr 
  Ty 
  Ex 
  Ty 
  Gd 
  1 
  3 
   
   
  H 
  KnobblyHead​ ​Warrior 
  Gd 
  Ty 
  Ty 
  Gd 
  Pr 
  Ty 
  Gd 
  3 
  2 
   
   
  H 
  PointyEar​ ​Logician 
  Ty 
  Ty 
  Gd 
  Gd 
  Gd 
  Pr 
  Gd 
  2 
  3 
   
   
  H 
  Hway 
  Pr 
  Ty 
  Gd 
  Gd 
  Gd 
  Pr 
  Gd 
  2 
  2 
   
  Fb 
  H 
   
   
  Animals​ ​with​ ​0​ ​in​ ​Health​ ​or​ ​Blank​ ​damage​ ​cannot​ ​harm​ ​humans​ ​as​ ​usual​ ​individuals.​ ​ ​Flocks 
  and​ ​swarms​ ​may,​ ​however,​ ​by​ ​weight​ ​of​ ​numbers. 
  Giant​ ​Cephalopods​ ​have​ ​Excellent​ ​rank​ ​inky​ ​Darkness. 
  Kaiju​ ​have​ ​Unearthly​ ​rank​ ​radioactive​ ​Energy​ ​breath. 
  Snakes​ ​that​ ​are​ ​Poisonous​ ​have​ ​a​ ​Good​ ​Power​ ​Rank​ ​in​ ​poison. 
   
  People 
   
  For​ ​generic​ ​people​ ​the​ ​Health​ ​is​ ​not​ ​boxes,​ ​just​ ​a​ ​number.​ ​So​ ​a​ ​2​ ​means​ ​they​ ​have​ ​two 
  Physical​ ​Health,​ ​total. 
   
  The​ ​carry​ ​the​ ​appropriate​ ​gear​ ​for​ ​their​ ​profession​ ​and​ ​usually​ ​have​ ​the​ ​appropriate 
  Professional​ ​Skill​ ​or​ ​Scientific​ ​Skill​ ​at​ ​the​ ​same​ ​rank​ ​as​ ​their​ ​Reason​ ​unless​ ​a​ ​Named​ ​or​ ​more 
  important​ ​NPC,​ ​then​ ​give​ ​them​ ​a​ ​+1.​ ​ ​Fighting​ ​or​ ​Weapon​ ​Skills​ ​appropriate​ ​to​ ​jobs​ ​like​ ​police 
  and​ ​the​ ​military​ ​will​ ​be​ ​at​ ​the​ ​Fighting​ ​or​ ​Agility​ ​rank​ ​similarly,​ ​with​ ​a​ ​+1​ ​if​ ​Named​ ​NPCs. 
  Burglary​ ​or​ ​similar​ ​for​ ​criminals. 
   
  Aliens 
   
  203 
  
  Norse​ ​Myth​ ​Body​ ​Armour​ ​works​ ​on​ ​Physical​ ​and​ ​Energy​ ​type​ ​damage. 
   
  Atlanteans​ ​have​ ​Swimming,​ ​Water​ ​Breathing​ ​and​ ​Resistance​ ​to​ ​Cold​ ​-​ ​Excellent​ ​+2 
   
  Cosmic​ ​Immortals​ ​can​ ​Fly,​ ​have​ ​Invulnerability​ ​to​ ​Heat,​ ​Cold,​ ​Energy,​ ​Electricity,​ ​Radiation, 
  Toxin​ ​and​ ​Disease​ ​and​ ​do​ ​not​ ​age.​ ​Also​ ​Cosmic​ ​Energy​ ​Manipulation​ ​which​ ​can​ ​be​ ​used​ ​for 
  Force​ ​Bolts​ ​and​ ​many​ ​other​ ​power​ ​duplicating​ ​Power​ ​Stunts​ ​like​ ​Teleportation,​ ​Shape-Shifting 
  and​ ​Matter​ ​Manipulation. 
   
  Moon​ ​Mist​ ​Mutants​ ​should​ ​all​ ​be​ ​rolled​ ​as​ ​random​ ​Altered​ ​Humans​ ​for​ ​powers​ ​when​ ​they​ ​have 
  become​ ​adults. 
   
  Blue​ ​Space​ ​Warriors​ ​have​ ​access​ ​to​ ​interstellar​ ​technology. 
   
  Serpent​ ​people​ ​have​ ​Mystic​ ​Origin​ ​plus​ ​share​ ​the​ ​same​ ​powers​ ​as​ ​Atlanteans. 
   
  Mutant​ ​Animal​ ​People​ ​get​ ​the​ ​FASE​ ​Skills​ ​of​ ​their​ ​original​ ​animal. 
   
  Greek​ ​Myths​ ​have​ ​Excellent​ ​normal​ ​Body​ ​Armour​ ​and​ ​also​ ​Immortality. 
   
  Space​ ​Shapeshifters​ ​have​ ​both​ ​Shape-Shifting​ ​and​ ​Imitation​ ​at​ ​the​ ​Amazing​ ​Power​ ​Rank​ ​as 
  well​ ​as​ ​access​ ​to​ ​Alien​ ​Advanced​ ​Technology. 
   
  Green​ ​Martians​ ​are​ ​tall​ ​barbarians​ ​with​ ​four​ ​arms. 
   
  CircleHead​ ​Scientists​ ​rule​ ​a​ ​race​ ​of​ ​dominating​ ​spacefarers​ ​who​ ​breed​ ​specialists​ ​castes​ ​from 
  their​ ​own​ ​genetic​ ​material​ ​to​ ​serve​ ​specific​ ​niches​ ​like​ ​combat,​ ​worker,​ ​etc. 
   
  KnobblyHead​ ​Warriors​ ​are​ ​aggressive​ ​spacefarers​ ​bent​ ​on​ ​battle​ ​and​ ​have​ ​been​ ​described​ ​as 
  looking​ ​like​ ​humans​ ​with​ ​bad​ ​prosthetic​ ​head​ ​makeup. 
   
  PointyEar​ ​Logicians​ ​are​ ​unemotional​ ​reason-loving​ ​explorers​ ​and​ ​scientists​ ​who​ ​have​ ​lengthy 
  periods​ ​of​ ​frustration. 
   
  Hway​ ​are​ ​generally​ ​religious​ ​cultists​ ​that​ ​use​ ​Lovecraftian​ ​warp​ ​entities​ ​to​ ​powers​ ​their 
  spaceflight​ ​and​ ​advanced​ ​technology. 
   
   
   
   
   
  FATE​ ​ACCELERATED​ ​VERSION 
   
  204 
  
  Remove​ ​all​ ​Skills​ ​and​ ​use​ ​these​ ​Approaches 
   
  +3​ ​=​ ​2 
  +2​ ​=​ ​3 
  +1​ ​=​ ​3 
  +0​ ​=​ ​1 
   
  Fighting 
  Agility 
  Strength 
  Endurance 
  Reason 
  Intuition 
  Psyche 
  Resources 
  Popularity 
   
   
  CHARACTER​ ​ROSTER 
   
  A​ ​work​ ​in​ ​progress 
   
  https://docs.google.com/document/d/1Gi5a4zQxj5dDqu_b7yY0IzzFTf_Koj3kYfSnv8ks0Xw/edit# 
   
  Heroes 
   
  Groups 
   
  Justice​ ​Squadron 
   
  Comet 
  Daemon 
  Emu 
  Gargantua 
  The​ ​Great​ ​Elasto 
  Imperator 
  Nightblack 
  Pistol​ ​Shrimp 
  Spirit​ ​Dingo 
   
  Walkover 
   
  Hummingbird 
  205 
  
  Astrella 
  Mr​ ​Absorbo 
   
  The​ ​Band 
   
  Mentor 
  Titan 
   
  Light​ ​Squadron 
   
  Fade 
  Light​ ​Knight 
  Sandstorm 
  Yowie 
   
  These​ ​may​ ​be​ ​familiar​ ​enough​ ​you​ ​could​ ​look​ ​them​ ​up​ ​elsewhere… 
   
  Sentinels​ ​of​ ​the​ ​Stars 
   
  Cricket 
  Frax 
  Komet​ ​Koala 
  Gum 
  Jacko 
  Space​ ​Dog 
  Space​ ​Senator 
   
   
  A-Men 
   
  Angela 
  Beastie 
  Defrocked 
  Steelrope 
  Russian​ ​Rhodes 
  Cyclope 
  Faterip​ ​Boy 
  Icewoman 
  Brimstoney 
  Southern​ ​Bellestealer 
  Gloomkitty 
  Stormoff 
  Tazdevil 
  206 
  
   
  Spacejaunters 
   
  Catgirl 
  Chunda 
  Pirate 
  Razer 
   
  Payback 
   
  Ant​ ​Woman 
  Armour​ ​Woman 
  Black​ ​Camel 
  Captain​ ​Australia 
  GreenAngry 
  Hercules 
  Mr​ ​Faterip 
  Orb​ ​Spider​ ​Woman 
  Peregrine 
  Stingers 
  Thor 
   
  More​ ​Than​ ​Four 
   
  Flaming​ ​Hell 
  Invisible​ ​Man 
  Mrs​ ​Remarkable 
  He-GreenAngry 
  Thingo 
  Francine 
   
  Teenagers​ ​From​ ​the​ ​Future 
   
  Computer 
  Chameleon 
  Chlorophyll 
  Colossal 
  Cosmic 
  Dawn 
  Dream 
  Multiple 
  Fire 
  Portal 
  207 
  
  Feather 
  Lightning 
  En-Zed 
  Dronette 
  Night 
  Phantom 
  Projector 
  Saturn 
  Shadow 
  Star 
  Stone 
  Australiaboy 
  Australiagirl 
  Terra 
  Thylacine 
  Ozsploitation 
  Sun 
  Ultra 
  Wild 
   
  National​ ​Team 
   
  Beachwoman 
  Black​ ​Budgie 
  The​ ​Fruit​ ​Bat 
  Green​ ​Dolphin 
  Eaglewoman 
  Barsoom​ ​Bountyhunter 
  Element​ ​Woman 
  Polyethylene​ ​Woman 
  Australiawoman 
  Fairdinkum 
  Zantana 
   
  Digital​ ​Watchmen 
   
  Satin​ ​Band 
  Doctor​ ​Duoquartz 
  Night​ ​Dial 
  LCDface 
  LEDian 
   
  Sword​ ​and​ ​Sorcery 
  208 
  
   
  Conan 
  Valeria 
  Kull 
  Elak 
   
  Sword​ ​and​ ​Planet 
   
  John​ ​Carter 
  Dejah​ ​Thoris 
  Tars​ ​Tarkas 
  Kantos​ ​Kan 
  Llana​ ​of​ ​Gathol 
  Eric​ ​John​ ​Stark 
  Almuric 
  Outlaw​ ​of​ ​Mars 
   
  Famous​ ​Characters 
   
  Tarzan 
  Sherlock​ ​Holmes 
  Captain​ ​Nemo 
  Mina​ ​Harker 
  Dr​ ​Jekyll 
   
  The​ ​Mummy 
  Dracula 
  The​ ​Wolfman 
   
  Villains 
   
   
   
   
   
   
   
  OPTIONAL​ ​RULES 
   
  Scale​ ​and​ ​Super​ ​Abilities/Skills 
   
  A​ ​limited​ ​power​ ​option. 
   
  209 
  
  For​ ​any​ ​skill,​ ​the​ ​scale​ ​number​ ​is​ ​the​ ​automatic​ ​successes​ ​done​ ​when​ ​rolling.​ ​ ​So​ ​Spider-Man​ ​is 
  4dF+2​ ​when​ ​attempting​ ​a​ ​roll​ ​involving​ ​his​ ​Strength. 
   
  For​ ​superhuman​ ​abilities​ ​some​ ​simple​ ​tables. 
   
   
  FIGHTING 
   
  Above​ ​Amazing​ ​is​ ​superhuman,​ ​so​ ​Thor​ ​and​ ​Hercules​ ​roll​ ​4dF+2​ ​involving​ ​Fighting. 
   
  +08​ ​C5 
  +07​ ​C3 
  +06​ ​C1 
  +05​ ​SZ 
  +04​ ​SY 
  +03​ ​SX 
  +02​ ​Un​ ​Thor,​ ​Hercules 
  +01​ ​Mn​ ​Mephisto 
   
  AGILITY 
   
  Above​ ​Incredible​ ​is​ ​superhuman​ ​so​ ​Odin​ ​rolls​ ​4dF+3​ ​for​ ​Agility. 
   
  +09​ ​C5 
  +08​ ​C3 
  +07​ ​C1 
  +06​ ​SZ 
  +05​ ​SY 
  +04​ ​SX 
  +03​ ​Un​ ​Odin 
  +02​ ​Mn​ ​Arachnid 
  +01​ ​Am​ ​Webslinger,​ ​Bamfer 
   
  STRENGTH 
   
  Above​ ​Excellent​ ​is​ ​superhuman​ ​so​ ​Spider-Man​ ​rolls​ ​4dF+2​ ​for​ ​Strength. 
   
  +11​ ​C5​ ​20^15​ ​tonnes 
  +10​ ​C3​ ​20^13​ ​tonnes​ ​ ​Pre-Crisis​ ​Australia​ ​Woman 
  +09​ ​C1​ ​20^10​ ​tonnes 
  +08​ ​SZ​ ​200000​ ​tonnes​ ​ ​Post-Crisis​ ​Australia​ ​Woman,​ ​Arena​ ​Leader 
  +07​ ​SY​ ​20000​ ​tonnes 
  +06​ ​SX​ ​2000​ ​tonnes 
  210 
  
  +05​ ​Un​ ​200​ ​tonnes​ ​Green​ ​Angry,​ ​Thor 
  +04​ ​Mn​ ​100​ ​tonnes​ ​Rockyfour,​ ​Green​ ​Angry​ ​Woman,​ ​Atlantean​ ​Avenger 
  +03​ ​Am​ ​50​ ​tonnes​ ​ ​Southern​ ​Bellestealer 
  +02​ ​In​ ​10​ ​tonnes​ ​Webslinger,​ ​Armour​ ​Man 
  +01​ ​Rm​ ​1​ ​tonne​ ​Bluefur 
   
  ENDURANCE 
   
  Above​ ​Remarkable​ ​is​ ​superhuman​ ​so​ ​She-Hulk​ ​rolls​ ​4dF+2​ ​for​ ​Endurance. 
   
  +10​ ​C5 
  +09​ ​C3 
  +08​ ​C1 
  +07​ ​SZ 
  +06​ ​SY 
  +05​ ​SX 
  +04​ ​Un​ ​Shining​ ​Space​ ​Herald,​ ​Thor 
  +03​ ​Mn​ ​Green​ ​Angry,​ ​Rockyfour 
  +02​ ​Am​ ​Green​ ​Angry​ ​Woman,​ ​Loki 
  +01​ ​In​ ​Webcrawler 
   
  REASON 
   
  Above​ ​Remarkable​ ​is​ ​superhuman,​ ​so​ ​StretchyFour​ ​rolls​ ​4dF+2​ ​for​ ​Reason. 
   
  +10​ ​C5 
  +09​ ​C3 
  +08​ ​C1 
  +07​ ​SZ 
  +06​ ​SY 
  +05​ ​SX 
  +04​ ​Un​ ​Space​ ​Baldy 
  +03​ ​Mn​ ​Mephisto 
  +02​ ​Am​ ​StretchyFour,​ ​Medical​ ​Miseryguts 
  +01​ ​In​ ​Armour​ ​Man,​ ​Telepathist​ ​PHD 
   
  INTUITION 
   
  Above​ ​Remarkable​ ​is​ ​superhuman,​ ​so​ ​TazDevil​ ​rolls​ ​4dF+3​ ​for​ ​Intuition. 
   
  +10​ ​C5 
  +09​ ​C3 
  +08​ ​C1 
  211 
  
  +07​ ​SZ 
  +06​ ​SY 
  +05​ ​SX 
  +04​ ​Un​ ​Space​ ​Baldy 
  +03​ ​Mn​ ​BlindJustice,​ ​TaxDevil 
  +02​ ​Am​ ​Telepathist​ ​PHD 
  +01​ ​In​ ​Captain​ ​Australia 
   
  PSYCHE 
   
  Above​ ​Incredible​ ​is​ ​superhuman​ ​so​ ​Doctor​ ​Djira​ ​rolls​ ​4dF+3​ ​for​ ​Psyche. 
   
  +09​ ​C5 
  +08​ ​C3 
  +07​ ​C1 
  +06​ ​SZ 
  +05​ ​SY 
  +04​ ​SX 
  +03​ ​Un​ ​Doctor​ ​Djira 
  +02​ ​Mn​ ​Telepathist​ ​PHD 
  +01​ ​Am​ ​Monkeybrain​ ​Girl 
   
  MOVEMENT 
   
  Super​ ​movement​ ​Zones​ ​per​ ​turn​ ​capability 
   
  Warp​ ​Speed​ ​+13​ ​Cosmic​ ​5​ ​(Class​ ​5000) 
  Lightspeed​ ​+12​ ​Cosmic​ ​3​ ​(Class​ ​3000) 
  Solar​ ​System​ ​+11​ ​Cosmic​ ​1​ ​(Class​ ​1000) 
  10000​ ​+10​ ​Legendary​ ​Z​ ​(Shift​ ​Z) 
  1000​ ​+9​ ​ ​Legendary​ ​Y​ ​(Shift​ ​Y) 
  100​ ​+8​ ​ ​ ​ ​Legendary​ ​X​ ​(Shift​ ​X) 
  50​ ​+7​ ​ ​ ​ ​Unearthly​ ​(Epic) 
  30​ ​+6​ ​ ​ ​ ​Monstrous​ ​(Fantastic) 
  25​ ​+5​ ​ ​ ​ ​Amazing​ ​(Superb) 
  20​ ​+4​ ​ ​ ​ ​Incredible​ ​(Great) 
  15​ ​+3​ ​ ​ ​ ​Remarkable​ ​(Good) 
  10​ ​+2​ ​ ​ ​ ​Excellent​ ​(Fair) 
  08​ ​+1​ ​ ​ ​ ​Good​ ​(Average) 
  06​ ​+0​ ​ ​ ​ ​Typical​ ​(Mediocre) 
  04​ ​-1​ ​ ​ ​ ​Poor 
  02​ ​-2​ ​ ​ ​ ​Feeble​ ​(Terrible) 
  01​ ​-3​ ​ ​ ​ ​Awful​ ​0​ ​(Shift​ ​0) 
  212 
  
  00​ ​-4​ ​ ​ ​ ​Abysmal 
   
   
  CONVERSIONS​ ​TO​ ​OTHER​ ​SYSTEMS 
   
   
   
   
  DCA  
  Icons 
  V&V 
  AD&D 
  Traveller 
  FATERIP 
  Worse 
  Worse 
  0 
  1-2 
  0 
  Terrible 
  -6 
  0 
  1 
  3-4 
  1 
  Awful 
  -4 
  1 
  3-5 
  5-6 
  2-3 
  Feeble 
  -2 
  2 
  6-8 
  7-9 
  4-5 
  Poor 
  0 
  3 
  9-11 
  10-11 
  6-8 
  Typical 
  2 
  4 
  12-14 
  12-14 
  9-0 
  Good 
  4 
  5 
  15-17 
  15-17 
  A-B 
  Excellent 
  6 
  6 
  18-23 
  18 
  C-D 
  Remarkable 
  8 
  7 
  24-29 
  19-20 
  E-F 
  Incredible 
  10 
  8 
  30-49 
  23 
   
  Amazing 
  12 
  9 
  50-59 
  24 
   
  Monstrous 
  14 
  10 
  60-69 
  25 
   
  Unearthly 
  16 
   
  70-79 
   
   
  Shift​ ​X 
  18 
   
  80-89 
   
   
  Shift​ ​Y 
  20 
   
  90+ 
   
   
  Shift​ ​Z 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  213 
  
   
   
   
   
   
   
   
   
   
   
   
   
  FURTHER​ ​USEFUL​ ​GAME​ ​INFORMATION 
   
  Classic​ ​Marvel​ ​Forever​ ​-​ ​everything​ ​TSR​ ​Marvel​ ​Super​ ​Heroes​ ​you​ ​could​ ​want 
  http://www.classicmarvelforever.com/ 
   
  Icons:​ ​MSH​ ​and​ ​Fate​ ​combined​ ​RPG​ ​by​ ​Steve​ ​Kenson 
  http://www.rpgnow.com/product/81475/ICONS-Superpowered-Roleplaying 
   
  The​ ​4CS​ ​(4​ ​Colour)​ ​-​ ​public​ ​domain​ ​retroclone​ ​thanks​ ​to​ ​Phil​ ​Reed​ ​and​ ​even​ ​me 
  http://rpg.drivethrustuff.com/product/50837/Four-Color-System-(Core-Rules) 
   
  Marvelous​ ​Superheroes:​ ​A​ ​Fudge​ ​and​ ​MSH​ ​mashup​ ​by​ ​Eddy​ ​Webb 
  http://eddyfate.com/tag/marvelous-superheroes/ 
   
  Fate​ ​Core​ ​rules,​ ​free​ ​downloads,​ ​hacks​ ​and​ ​more 
  http://evilhat.wikidot.com/community-fate-core-extensions 
   
  Marvel​ ​Super​ ​Heroes​ ​vs​ ​Cthulhu​ ​-​ ​A​ ​scenario/adventure​ ​by​ ​me 
  https://docs.google.com/document/d/1TkeB1T1DXSd3cL5osgzkaxfuk8WhF73HcbdT6zvtLek/edi
  t?usp=sharing 
   
  Licensing 
   
  This​ ​work​ ​is​ ​based​ ​on​ ​Fate​ ​Core​ ​System​ ​and​ ​Fate​ ​Accelerated​ ​Edition​ ​(found​ ​at 
  http://www.faterpg.com/),​ ​products​ ​of​ ​Evil​ ​Hat​ ​Productions,​ ​LLC,​ ​developed,​ ​authored,​ ​and 
  edited​ ​by​ ​Leonard​ ​Balsera,​ ​Brian​ ​Engard,​ ​Jeremy​ ​Keller,​ ​Ryan​ ​Macklin,​ ​Mike​ ​Olson,​ ​Clark 
  Valentine,​ ​Amanda​ ​Valentine,​ ​Fred​ ​Hicks,​ ​and​ ​Rob​ ​Donoghue,​ ​and​ ​licensed​ ​for​ ​our​ ​use​ ​under 
  the​ ​Creative​ ​Commons​ ​Attribution​ ​3.0​ ​Unported​ ​license 
  (​http://creativecommons.org/licenses/by/3.0/​). 
   
  See​ ​http://www.faterpg.com/licensing/​ ​for​ ​details​ ​and​ ​the​ ​very​ ​nice​ ​Fate​ ​Core​ ​SRD​ ​at 
  http://fate-srd.com/ 
   
   
  Thanks 
  214 
  
   
  To​ ​Jeff​ ​Grubb​ ​http://grubbstreet.blogspot.com.au/​ ​and​ ​ ​the​ ​other​ ​writers​ ​at​ ​TSR​ ​and​ ​company 
  for​ ​the​ ​Marvel​ ​Super​ ​Heroes​ ​game 
  To​ ​Evil​ ​Hat​ ​http://www.evilhat.com​ ​for​ ​the​ ​awesomeness​ ​of​ ​the​ ​Fate​ ​Core​ ​Kickstarter​ ​and 
  products 
  To​ ​Google+​ ​https://plus.google.com​ ​for​ ​facilitating​ ​lots​ ​of​ ​great​ ​RPG​ ​discussion 
  To​ ​Mike​ ​Lindsey​ ​https://plus.google.com/u/0/115867807559691127885​ ​for​ ​first​ ​coining 
  tFATERIP 
   
   
   
   
  215 
  
SOURCE: textdata/thevault/FATE (fudge) [multi]/Fate Hacks & Homebrews/FATERIP_ Classic Marvel Super Heroes FASERIP Rules.pdf