TEXT: A WORLD OF 
  ADVENTURE FOR
  Pete Woodworth
  EAGLE EYES
  EAGLE EYES
  
  This adventure was made awesome thanks to our Patreon patrons at patreon.com/evilhat—thanks guys!
   
  INSIDERS
  Alan Bartholet
  Alexander Keane
  Alexander R. 
  Corbett
  Amethyst Lynx
  Andrew Sier
  Anne-Sylvie Betsch
  Antero Garcia
  Arlo B Evans
  Brandon Burger
  Brett Abbott
  Brian Allred
  Brian Chase
  C. J. Hunter
  C.K. Lee
  Cerity 
  Charlton Wilbur
  Chirag 
  Christian 
  Christopher 
  Gunning
  Dan Moody
  Daniel 
  Daniel Gallant
  Daniel Linder 
  Krauklis
  David 
  David Dorward
  David E Ferrell
  David Ellis
  David L Kinney
  David Reed
  Demian Buckle
  Dustin Evermore
  Edgardo A Montes 
  Rosa 
  Edward MacGregor
  Eneko Zarauz
  Eric Bontz
  Eric Willisson
  Frank 
  Frédéri POCHARD
  Garrett Rooney
  Gavran 
  Geoffrey 
  Glenn Mochon
  Graham 
  Graham Wills
  Griffin Mitchell
  Haakon 
  Thunestvedt
  Harry Lewis
  James F Thunberg
  Jamie Smith
  Jason 
  Jason Blalock
  Jason Cotton
  Jason F Broadley
  Jason Tocci
  Jeff Craig
  Jeff Xilon
  Jere Krischel
  Jeremiah McCoy
  Jeremy DeVore
  Jeremy Tidwell
  Jim Nicholson
  Jin Shei
  Joakim 
  Johannes K. 
  Rasmussen
  John Beattie
  John Black
  John Rogers
  John Rudd
  John Wyatt
  Jon 
  Jon-Pierre Gentil
  Jordan Dennis
  Joshua Reubens
  Juanma 
  Barranquero
  Katie Ramsey
  Keith Stanley
  Ken 
  Ken Ditto
  Kenji Ikiryo
  Kevin Li
  LeSquide 
  Leif Erik Furmyr
  LilFluff 
  MAINGUET Francois
  Marc Mundet
  Mark Miller
  Marshall Smith
  Marty Chodorek
  Matt Anderson
  Matt and Nykki 
  Boersma
  Matthew  Orwig
  Matthew Broome
  Matthew Dickson
  Matthew Whiteacre
  Micah Davis
  Michael Bowman
  Michael Cambata
  Michael Dean 
  Hannah
  Michael Green
  Michael Mendoza
  Michael Pedersen
  Michael Shumate
  Morgan Ellis
  Nick 
  Nick Bate
  Nick Reale
  Nicola Urbinati
  Nicolas Marjanovic
  Noel Warford
  Osye Pritchett
  Owen Thompson
  PK 
  Pablo MartÃ nez 
  Merino
  Patrick Ewing
  Patrick Mueller-Best
  Paul Shawley
  Paulo Rafael 
  Guariglia 
  Escanhoela
  Pavel Zhukov
  Peter Burczyk 
  Peter Gates
  Peter Hatch
  Philip Nicholls
  Randy Oest
  Richard Bellingham
  Richard Ruane
  Rick 
  Rick Jakins
  Riggah 
  Robert Hanz
  Robert Kemp
  Rod Meek
  Roger Edge
  Ryan Singer
  Sanchit 
  Sarah Vakos
  Scott Hamilton
  Sean 
  Sean O’Dell
  Sean Smith
  Selene O’Rourke
  Sharif Abed
  Shervyn von Hoerl
  Stephen Rider
  Tim L Nutting
  Timothy Carroll
  Troy Ray
  Will Goring
  William J. White
  William Lee
  William McDuff
  Woodrow Jarvis Hill
  Zach 
  ADVENTURERS
  AJ 
  Adam Gutschenritter
  Aidan Grey
  Al Billings
  Alan Phillips
  Alan Timothy Rogers
  Alex Norris
  Alexander 
  Alexander Gräfe
  Alexander Permann
  Alexis Lee
  Allan Bray
  Alloyed 
  Andrew Betts
  Andrew Dacey
  Andrew Grant
  Andrew Loch
  Andy Arminio
  Angus MacDonald
  Anrey 
  Anthony 
  Anthony Popowski
  Antoine Pempie
  Arlene Medder
  ArthurDent 
  Athalbert 
  Aviv 
  B. Bredthauer
  Barac Wiley
  Bastien Daugas
  Beket 
  Ben Howard
  Benjamin Welke
  Bill 
  Björn Steffen
  Blake Hutchins
  Brad Davies
  Brad Robins
  Bradley Eng-Kohn
  Brandon Metcalf
  Brandon Wiley
  Brandt Bjornsen
  Brendan Clougherty
  Brendan Conway
  Brent Ritch
  Brett Ritter
  Brian Bentley
  Brian Creswick
  Brian Koehler
  Brian Kurtz
  Brian S. Holt
  Bruno Pereira
  Bryan 
  Bryan Gillispie
  Bryan Hilburn
  Bryce Perry
  Caleb Figgers
  Carl McLaughlin
  Carl-William 
  Carlos Martín
  Charles Chapman
  Charles Kirk
  Chip Dunning
  Chris Ballment
  Chris Caporaso
  Chris Edwards
  Chris Heilman
  Chris Kurts
  Chris Lock
  Chris Mitchell
  Chris Nolen
  Christian Lajoie
  Christoph Thill
  Christopher Allen
  Christopher Smith Adair
  Christopher W. Dolunt
  Chuck 
  Cody Marbach
  Cole Busse
  Colin 
  Colin Matter
  Craig Andera
  Craig Mason
  Craig Wright
  Curt Meyer
  Cyrano Jones
  Dain 
  Dan Behlings
  Daniel Byrne
  Daniel Chapman
  Daniel Hagglund
  Daniel Kraemer
  Daniel Ley
  Daniel M Perez
  Daniel Maberry
  Daniel Markwig
  Daniel P. Espinosa
  Daniel Taylor
  Darren Lute
  Dave 
  Dave Joria
  David 
  David Bellinger
  David Bowers
  David Buswell-Wible
  David Goodwin
  David Griffith
  David Maple
  David Millians
  David Morrison
  David Olson
  David Rezak
  David Silberstein
  David Stern
  Davide Orlandi
  Declan Feeney
  Denis Ryan
  Derek Mayne
  Devon Apple
  Dianne 
  Didier Bretin
  Dillard 
  Dirk Methner
  Don Arnold
  Doug Blakeslee
  Douglas 
  Doyce Testerman
  Drew Shiel
  Duane Cathey
  Duncan 
  Dylan Sinnott
  Earl Butler
  Eben Lindsey
  Ebenezer Arvigenius
  Edward Sturges
  Eirch Mascariatu
  Elsa S. Henry
  Elsidar Amhransidhe
  Emmanuel 
  Eric I
  Eric Poulton
  Eric Steen
  Erik 
  Erik Ingersen
  Ernie Sawyer
  Etienne Olieu
  Evan Jorgenson
  Ezekiel Norton
  Fabrice Breau
  FelTK 
  Florent Poulpy Cadio
  Florian Greß
  Frank Beaver 
  Frank G. Pitt
  Frank Jarome
  Frédérick Périgord
  Gabriel Whitehead
  Galen Pejeau
  Garrett 
  Garrett Jones
  Gary Anastasio
  Gavin 
  Genevieve 
  Geoff 
  Gian Domenico Facchini
  Glynn Stewart
  Graham Meinert
  Greg Park
  Gregg Workman
  Gregory Fisher
  Gregory Hirsch
  Gustavo Campanelli
  HFB 
  Hans Messersmith
  Heather 
  Herman Duyker
  Hillary Brannon
  Howard M Thompson
  Huston Todd
  Ian Charlton
  Ian Noble
  Ian Stanley
  Indi Latrani
  Irene Strauss
  Isaac Carroll
  Ismael 
  J. Brandon Massengill
  JF Paradis
  JP 
  Jack Gulick
  Jackson Hsieh
  Jacob 
  Jacob Moffitt
  Jaime Robertson
  Jake Linford
  James 
  James Boldock
  James Heide
  James Husum
  James Marston
  James Rouse
  James Schultz
  James Stuart
  James Winfield
  Jamie Wheeler
  Jan Stals
  Janet 
  Jared Hunt
  Jason 
  Jason Bean
  Jason Best
  Jason Lee Waltman
  Jason Mill
  Jason Pasch
  Javier Gaspoz
  Jayna Pavlin
  Jean-Christophe 
  Cubertafon
  Jean-François Robillard
  Jeffrey Boman
  Jeffrey Collyer
  Jeffrywith1e 
  Jens 
  Jens Alfke
  Jeremy 
  Jeremy Glick
  Jeremy Hamaker
  Jeremy Kear
  Jeremy Kostiew
  Jeremy Wong
  Jerry Anning
  Joanna 
  Joe 
  Joe Patterson
  Joe.D 
  Joel Beally
  Joel Beebe
  Johannes Oppermann
  John 
  John Bogart
  John Buczek
  John Clayton
  John Fiala
  John Halsey
  John Hawkins
  John Hildebrand
  John Lambert
  John Petritis
  John Portley
  John Taber
  John Tobin
  John William McDonald
  Johnathan Wright
  Jon Rosebaugh
  Jon Smejkal
  Jonas Matser
  Jonas Richter
  Jonathan 
  Jonathan Finke
  Jonathan Hobbs
  Jonathan Korman
  Jonathan Perrine
  Jonathan Rose
  Jonathan Young
  Joonas Iivonen
  Jordan Deal
  Jose A. 
  Joseph Formoso
  Josh Rensch
  Joshua 
  Joshua Ramsey
  Juan Francisco Gutierrez
  Julianna Backer
  Julien Delabre
  Justin 
  Justin Thomason
  Jürgen Rudolph
  Kaarchin 
  Karl Naylor
  Keith Byrd
  Kenny Snow
  Kent Snyen
  Kevin Flynn
  Kevin McDermott
  Kevin Payne
  Kevin Veale
  Kieren Martin
  Kris Vanhoyland
  Krista 
  Krzysztof Chyla
  Kurt Zdanio
  Kyle 
  Larry Hollis
  Leonardo Paixao
  Lester Ward
  Link Hughes
  Lisa Hartjes
  Lisa M
  Lobo 
  Loren Norman
  Lowell Francis
  Luca Agosto
  Lucas Bell
  Lukar 
  M Kenny
  M. Alan Thomas II
  M.H. 
  Manfred 
  Marc 
  Marc Kevin Hall
  Marcel Lotz
  Marcel Wittram
  Marcus 
  Mario Dongu
  Marius 
  Mark 
  Mark A. Schmidt
  Mark Gedak
  Mark Harris
  Mark Mealman
  Mark Widner
  Markus Haberstock
  Markus Schoenlau
  Marley Griffin
  Martin Cumming
  Martin Deppe
  Martin Terrier
  Mason 
  Masque Raccoon
  Mathias Exner
  Matt Clay
  Matthew Miller
  Matthew Price
  Matthew Whalley 
  Matti Rintala
  Maurice Strubel
  Max 
  Max Kaehn
  Michael 
  Michael Barrett
  Michael Bradford
  Michael D. Blanchard
  Michael D. Ranalli Jr.
  Michael Hill
  Michael Hopcroft
  Michael McCully
  Michael Thompson
  Mighty Meep
  Mike Vermont
  Mike de Jong
  Misdirected Mark 
  Productions
  Mitch Christov
  Mitchell Smallman
  Naomi McArthur
  Nathan Barnes
  Nathan Reed
  Neal Dalton
  NekoIncardine 
  Nessalantha 
  Nicholas Pilon
  Nicholas Sokeland
  Nick Proud
  Nick Townsend
  Nikke 
  Olav Müller
  Oliver Scholes
  Olivier Nisole
  Owen Duffy
  Pablo Palacios
  Paolo Castelli
  Patrice Hédé
  Patrice Mermoud
  Paul Arezina
  Paul Martz
  Paul Olson
  Paul Stefko
  Paul Yurgin
  Pavel Panchekha
  Pete 
  Pete Figtree
  Peter Griffith
  Peter Kahle
  Peter Woodworth
  Phil Groff
  Philipp Pötz
  Philippe Marichal
  Philippe Saner
  Phillip Webb
  Porter Williams
  R R Clark
  R. Brian Scott
  Rachael Hixon
  Ralf Wagner
  Randall Orndorff
  Raun Sedlock
  Raymond Toghill
  Red Dice Diaries
  Remy Sanchez
  Renzo Crispieri
  Ricardo Gesuatto
  Richard Greene
  Richard Lock
  Richard Warren
  Rishi 
  Rob Voss
  Robb Neumann
  Robert Biskin
  Robert Daines
  Robert Rees
  Robert Rydlo
  Robert Zasso
  Rocco Pier Luigi
  Rodrigo 
  Roger Carbol
  Roland 
  Ron Blessing
  Ron Müller
  RoninKelt 
  Roy 
  Roy LaValley
  Ryan Burpee
  Ryan D. Kruse
  Ryan Gigliotti
  Ryan Lee
  Ryan Olson
  Samuel Steinbock-Pratt
  Samwise Crider
  Sarah Williams
  Schubacca 
  Scot Ryder
  Scott Acker
  Scott Dexter
  Scott Diehl
  Scott Greenleaf
  Scott Martin
  Scott Puckett
  Scott Thede
  Scott Underwood
  Scott Wachter
  Sean M. Dunstan
  Sean Smith
  Sergio Le Roux
  Seth Clayton
  Seth Hartley
  SeÃ¡n Harnett
  Shadowmyre Kalyn
  Shai Laric
  Shawn Lockard
  Simon Browne
  Simon Brunning
  Simon White
  Simon Withers
  Sion Rodriguez y 
  Gibson
  Sophie Lagace
  Spencer Williams
  Stefan Feltmann
  Stefan Livingstone 
  Shirley
  Stephan 
  Stephan A. Terre
  Stephanie Bryant
  Stephen Holder
  Stephen Hood
  Stephen Waugh
  Steve Ela
  Steve Gilman
  Steve Kunec
  Steve Radabaugh
  Steven Code
  Steven D Warble
  Steven K. Watkins
  Steven Markley
  Steven desJardins
  Steven sims
  Svend Andersen
  Sławomir Wrzesień
  Tabletop Audio
  Teresa Oswald
  Terry Willitts
  Tevel Drinkwater
  The Roach
  Thom Terrific
  Thomas 
  Thomas Balls-Thies
  Thomas Erskine
  Thomas Maund
  Tim 
  Tim Popelier
  Timo 
  Timothy Seiger
  Todd Estabrook
  Todd Grotenhuis
  Torolf de Merriba
  Trevor Crosse
  Trevor/Mishy Stellar
  Tyler Hunt
  Tyson Monagle
  Udo Femi
  Urs Blumentritt
  Victor Allen
  Vincent Arebalo
  Vladimir Filipović
  Warren P Nelson
  Warren Wilson
  Wayne Peacock
  Wes Fournier
  William Chambers
  William Johnson
  William Keller
  Winston Crutchfield
  WinterKnight 
  Xavier 
  Aubuchon-Mendoza
  Z Esgate
  Zeb Walker
  Zed Lopez
  
  EAGLE EYES
  A WORLD OF 
  ADVENTURE FOR
  writing & adventure  
  design by 
  PETE WOODWORTH
  development by 
  BRIAN ENGARD and 
  ROB DONOGHUE
  editing by 
  JOSHUA YEARSLEY
  art direction & layout by 
  CLAUDIA CANGINI
  interior & cover  
  artwork by 
  ARTHUR ASA
  
  An Evil Hat Productions Publication
  www.evilhat.com • feedback@evilhat.com
  @EvilHatOfficial on Twitter
  facebook.com/EvilHatProductions
  Eagle Eyes
  Copyright © 2014 Evil Hat Productions, LLC and Pete Woodworth.
  All rights reserved.
  First published in 2014 by Evil Hat Productions, LLC.
  10125 Colesville Rd #318, Silver Spring, MD 20901.
  Evil Hat Productions and the Evil Hat and Fate logos are 
  trademarks owned by Evil Hat Productions, LLC. All rights reserved.
  No part of this publication may be reproduced, stored in a 
  retrieval system, or transmitted in any form or by any means, 
  electronic, mechanical, photocopying, recording, or otherwise, 
  without the prior express permission of the publisher.
  That said, if you’re doing it for personal use, knock yourself out.
  That’s not only allowed, we encourage you to do it.
  For those working at a copy shop and not at all sure if this means 
  the person standing at your counter can make copies of this thing, they can. 
  This is “express permission.” Carry on.
  This is a game where people make up stories about wonderful, 
  terrible, impossible, glorious things. All the characters and events 
  portrayed in this work are fictional. Any resemblance to real people, 
  Roman centurions, corrupt senators, or hard-bitten noir detectives 
  from 45 BC is purely coincidental, but kinda hilarious.
  
  CONTENTS
  Chapter I—Roman Noir ....................................................................4
  The Ages of Rome .......................................................................................6
  The Eagles ......................................................................................................8
  Chapter II—The Dusty Streets of Rome ........................................13
  A Walk in the Eternal City ......................................................................14
  Districts .......................................................................................................... 15
  Government .................................................................................................16
  Social Classes .............................................................................................. 17
  Religion ......................................................................................................... 23
  Crime and Punishment ...........................................................................24
  Economics ................................................................................................... 25
  Chapter III—Rules and Characters ...............................................26
  Aspects .........................................................................................................26
  Pleas ...............................................................................................................28
  Stunts ............................................................................................................30
  Social Class and Group Dynamics ......................................................30
  Conspiracies ................................................................................................. 31
  Chapter IV—Secrets, Lies, and Blood ..........................................36
  The Anatomy of a Mystery ....................................................................36
  Investigation Briefs...................................................................................42
  
  Eagle Eyes takes the themes and tropes of classic noir 
  detective stories and transplants them to the dusty streets 
  of ancient Rome. As members of the Eagles, the secret 
  investigative arm of the Senate, you’ll delve into the seedy 
  underbelly of the Eternal City, where lies and intrigue 
  keep company with murder and betrayal. The rewards for 
  service are impressive, but the risks run deep, and only 
  those with sharp eyes, steady hands, and steely hearts will 
  survive.
  2
  FATE: WORLDS OF ADVENTURE
  
  INSPIRATIONAL MATERIALS
  Many players will be at least passingly familiar with the notion of 
  ancient Rome, but for those who wish to dig a little deeper—or 
  just want to immerse themselves in some more source material 
  for the fun of it—here are some great starting points for further 
  exploration.
  Rome—HBO’s lavish historical drama begins in the very last days 
  of the Republic period. With that turmoil as a starting point, it does 
  an excellent job showing a cross-section of Roman life. Besides 
  being an excellent example of a “fictionalized history” story, it tells 
  a tale at once epic and intimate that connects the lives of various 
  patricians, soldiers, plebians, slaves, and even foreigners. Highly 
  recommended for historical flavor, a sense of everyday life in the 
  city, and plenty of bloody Roman intrigues. Imagine Pullo, Vorenus, 
  Posca, Timon, and young Octavian as a team of Eagles, and think 
  about what they’d be able to accomplish together. 
  Daily Life of the Ancient Romans—David Matz’s book is a nice 
  overview of the everyday life habits of the period, informative 
  without being too dense. Excellent material for getting a sense of 
  what it was like to walk the streets of Rome. Highly recommended 
  for groups looking to start a regular game of Eagle Eyes—it will 
  bring a lot of solid, evocative, authentic stories to the table. 
  Gladiator—History buffs have plenty to pick apart regarding this 
  movie’s timeline and historical continuity, but it remains a stirring 
  evocation of the feel of the period, and it’s a great example of a 
  classic revenge tale. Maximus has the makings of a superb Eagle, 
  too, not just in fighting skill but in patience and dedication to ac-
  complishing a task at all costs. 
  Bulfinch’s Mythology I: The Age of Fable—An excellent if a bit 
  dry compendium of Greek and Roman myths. Not only a good 
  source for understanding the cultural context behind a lot of 
  Roman thought, but also excellent fodder for stories about mys-
  tery cults and superstitions. 
  The Eagle series—Fans of Roman military history will enjoy 
  Simon Scarrow’s earthy and accurate series of novels about a sea-
  soned Roman centurion and his tough optio. Detailed, vivid, and 
  painstakingly realistic, the books capture daily life in the legions 
  as they fight wars and have all manner of adventures a very long 
  way from home. 
  Meditations—Marcus Aurelius was an emperor whose time came 
  almost two centuries after the default setting of Eagle Eyes, but his 
  philosophy is an excellent window into the Roman mindset, and 
  his words are thought-provoking and endlessly quotable besides.
  3
  EAGLE EYES
  
  CHAPTER I—ROMAN NOIR
  Running an Eagle Eyes game is about balancing the two chief elements of the 
  setting: Roman history and the dramatic principles of noir storytelling. Let’s 
  examine them each in turn. 
  Rome
  Eagle Eyes takes place in the late Republic period of Roman civilization. Chapter 
  II—The Dusty Streets of Rome includes a very brief primer on life during this time 
  to provide some context on life in the world of the Eagles, but fortunately those 
  groups looking to add more detail won’t have to go very far. Film and television 
  both show at least a passing glance of what Rome was like, and for those seeking 
  more detailed or historically accurate experiences, classical Rome is one of the 
  most closely studied ancient civilizations in the world. 
  While we’ve worked to provide enough historical detail in Eagle Eyes to con-
  struct a vivid and viable frame for gameplay, it isn’t a comprehensive study of 
  Roman life and history. Aside from the not-insignificant fact that the Eagles are 
  a fictitious group, we employ a great number of historical compromises, confla-
  tions, and creative adjustments for the sake of convenience and playability.
  When dealing with games set in historical settings, it’s important to consider 
  the concept of satis—Latin for “close enough”—when constructing your stories. 
  Even if a detail isn’t historically accurate, so long as it feels right to the table, then 
  use it. Sure, maybe gladiator bouts didn’t actually work the way you have them 
  in your story, or perhaps the particular mystery cult to which the antagonists 
  belong didn’t exist until a hundred years after the game is set—but is that really 
  important? If it’s dramatic and the table is enjoying it, then it’s fine. That is satis.
  This is not to say you can’t enrich your Eagle Eyes experience with more 
  research if you like, taking inspiration from historical records or even crafting a 
  story framework around real events in Roman history. Authenticity has a power 
  all its own, and knowing you’re playing a shadow version of a true story can add 
  a powerful thrill to the experience. GMs, if you have true Roman history buffs 
  at the table, use their expertise to aid the game! A player with a grasp of Roman 
  philosophy, military history, or arts can add a lot to a story just by contributing 
  extra details.
  In the end, though, keep in mind the concept of satis. If historical accuracy is 
  colliding with fun, defer to fun every time.
  4
  FATE: WORLDS OF ADVENTURE
  
  Noir
  Noir storytelling is less familiar to many players than Roman history, so it 
  deserves a bit of an introduction. In brief, noir stories feature settings rife with 
  corruption, brutality, sin, and injustice, where monolithic institutions crush 
  ordinary people without a second thought. Genuine idealism is in short supply, 
  and even “good” characters tend to have a hard edge to them, tempered by past 
  failings or run-ins with the darker elements of the world. Life isn’t hopeless, but 
  hope’s closely guarded or else easily crushed. 
  Characters in noir stories often find themselves inexorably drawn into conflict 
  with the forces that drive their society; no matter how much abuse it earns them, 
  they simply cannot sit by and do nothing. This works well with the Eagles—
  those who won’t take risks and challenge the powerful aren’t much good to the 
  organization, after all. 
  What’s more, one’s willingness to take on this sort of world typically stems 
  from a deep-seated passion or traumatic personal experience. Noir characters 
  rarely do what they do simply for fun, but rather because they feel they have no 
  other choice. Whether they work patiently to take revenge for their brother’s 
  murder at the hands of a powerful senator, stoke a religious zeal to remove those 
  who harm the Republic, or even just know they’ll do whatever it takes to make 
  enough money to retire to a quiet life in the country, noir characters have a per-
  sonal stake in the world around them, grim as it might be at times. 
  Unlike the plots of most conventional roleplaying games, noir isn’t about 
  changing the world so much as surviving in it. At best, noir protagonists remove 
  a particular evil, but society at large remains corrupt and unjust. In some cases 
  they must even contend with knowing that removing one evil has in some way 
  benefited the plans of another, bolstered only by the sample hope that, in the 
  end, the good will outweigh the bad. 
  None of this means a noir story shouldn’t be fun to play, GMs. It can be too 
  easy to slide from putting the PCs in bleak and brutal situations to making 
  the players feel as though nothing they’re doing can succeed or even matters. A 
  certain amount of cynical humor comes with the territory, as do rare moments 
  of genuine warmth or idealism—if only to serve as contrast—and both can be 
  necessary interludes to ensure the mood isn’t always excessively paranoid and 
  oppressive. 
  Remember that doomed heroism, persevering in the face of seemingly impos-
  sible odds, and fighting a corrupt social order just to make the world slightly 
  better than before are all the stuff of highly entertaining stories. It’s just good for 
  the players to understand that the tone of the story will be a bit different than 
  what they might be used to in other, perhaps more lighthearted games. 
  5
  EAGLE EYES
  
  The Ages of Rome
  Roman history is generally divided into three periods, characterized by the 
  ruling form of government: the Monarchy, the Republic, and the Empire. By 
  default, Eagle Eyes is set in the late hours of the Republic, perhaps even as events 
  unfold that will see Gaius Julius Caesar take his place as the first of the new 
  Roman emperors. This period is the focus because it is a great time for the sort 
  of intrigue this scenario thrives on. While some people certainly hold eminent 
  positions in society—a few even close to emperors in all but name—it is still a 
  time when even the most powerful must tread carefully and cloak their actions 
  in some semblance of populism.
  By the late Republic period, Rome is well established as a great power. It spans 
  much of the known world and even takes pride in its own origin mythology. 
  Many of the great works of Rome are complete, and the systematic conquest 
  and assimilation of Rome’s enemies seems an eventual surety. Romans take great 
  pride in their invincible nation, and to be a citizen of the Republic is an honor 
  sought after throughout the known world. Civilization is flourishing, and with 
  Rome as its standard-bearers, it looks as though it will continue until even the 
  farthest corners of the world are under the eagle. 
  And yet, like any seemingly monolithic power, there are cracks spreading in 
  the foundations of the greatest nation on Earth. Tensions between some of the 
  Republic’s most powerful politicians and military leaders are reaching a boiling 
  point. The resulting power plays and intrigues frequently spill into the streets 
  and back alleys of Rome, where they’re settled by whispered promises from soft 
  lips or bloody blades in the hands of hard men. The Senate, long considered a 
  model of fair and representative government, divides along strict factional lines, 
  as senators gather around like-minded colleagues to block the advances of their 
  rivals and expand their personal power bases. 
  Without the Eagles rooting out the worst offenders and stopping up the big-
  gest scandals, chances are good that the rival factions—senators, merchants, 
  military leaders, even plebian firebrands—would have descended to open con-
  flict, tipping the Republic right over the edge and into chaos, perhaps even 
  prompting the return of tyranny. As it is, even the most idealistic Eagles can feel 
  the change coming, so they ready themselves for the worst even as they wade 
  into the latest sin, the latest intrigue, the latest killing. 
  Nobody said keeping the Republic on its feet would be easy. 
  6
  FATE: WORLDS OF ADVENTURE
  
  7
  EAGLE EYES
  ALTERNATE TIMELINES
  It is certainly possible to set a game of Eagle Eyes in the later Imperial 
  period if the group desires. In this case the Eagles are probably either 
  the personal agents of the Emperor, some kind of spy network, trouble-
  shooters, and secret police all rolled into one. Be advised that such a 
  move does shift the style of play a bit more toward an espionage thriller 
  than a noir detective story. With the authority of an Emperor behind the 
  Eagles, however covertly, their nature changes in important ways. If that 
  suits the group’s interests, though, have at it!
  Of course, the Eagles can still serve as agents of the Senate during the 
  Imperial period; though in theory the power of the Senate diminishes 
  sharply under Imperial rule, in truth it actually varies considerably from 
  one emperor to another. Strong emperors do their best to craft a pliant 
  and obedient Senate, of course, while weak or mad emperors create 
  opportunities for the Senate to take back some of its power—or even to 
  make a play for the crown. There’s a lot of fertile ground for stories of 
  corruption, conspiracy, and murder.
  A more historically ambitious group could also go back to the days 
  of the Monarchy or the very early Republic period. Roman society was 
  a bit more primitive during those times than the comparatively sophis-
  ticated political colossus it would become, which might necessitate a 
  bit of research to adjust certain setting elements. If the doomed ambi-
  tions of the early kings and the machinations surrounding the creation 
  of the Senate aren’t excellent hunting grounds for Eagles, though, then 
  no such grounds exist.
  
  The Eagles
  The binding element that brings the characters together is membership in the 
  Eagles, a select group of private investigators and troubleshooters for the Senate. 
  The Eagles are not an officially recognized organizations, but arose over the years 
  as a cabal of necessity, allowing the Senate to conduct discreet investigations, 
  head off scandals, and even punish transgressions in ways that shield the worst 
  state secrets from the public light. 
  The Eagles serve a group of three senators known as the Sinistram (“Left 
  Hand”), chosen to represent three key elements of Roman society: the plebes, 
  the patricians, and the spirit of the Republic itself. Disputes among the Sinistram 
  triumvirate conclude with a simple vote, with the representative of the spirit of 
  the Republic breaking any ties. The selection criteria for the Sinistram is a closely 
  guarded secret, but whispers say that the representative of the plebians selects 
  the next patrician representative and vice versa, and the Republic representative 
  ascends by unanimous agreement of the other two members. 
  The group’s unofficial status serves the Eagles and their masters well in many 
  ways. It offers discretion, for one—the public is always hungry for scandal and 
  outrage, especially when it comes to the rich and powerful. Having a covert 
  organization handle matters ensures that they do not reach the public eye or that, 
  when they do, it is on the Senate’s terms. While vigorously denied in public, the 
  existence of the Eagles is something of an open secret in the Senate, the better to 
  ensure that senators give proper respect when agents come calling. 
  It also offers a measure of deniability, should something go truly wrong during 
  the course of an investigation, but a wise Eagle knows this also means they are 
  ultimately expendable. While the Sinistram has been known to go to impressive 
  lengths to aid its agents in difficulty, in a contest between the organization and 
  its members, everyone knows who will come out on top. 
  Of course, as with any agency involved in politics—and perhaps especially 
  a covert one—there is certainly potential for abuse. While there are no official 
  records kept of the Eagles’ actions, stories passed down from one generation of 
  members to the next talk of times when the Eagles walked the streets as weapons 
  wielded against political opponents, business rivals, or even other members of 
  the Sinistram. 
  That final possibility, while the most vigorously denied, is undeniably true. 
  Perhaps the Eagles were once a more idealistic group with purer motives, but in 
  the time of the late Republic, agents learn quickly that loyalties are as important 
  within the group as they are to the group. There are the Golds, who side with the 
  patricians; the Coppers, who side with the plebes; and the Laurels, who officially 
  claim no part in the squabbles between baseborn and highborn, but are some-
  thing of a mystery cult themselves, worshipping the Republic with fanatical zeal.
  These distinctions are not cut across class lines either—there are plebians and 
  foreigners among the Golds, most often attempting to curry favor and secure 
  advancement, and there are patricians and highborn legionnaires among the 
  Coppers, either rebelling against their station or hoping to sow seeds of popular 
  support for future endeavors. The Laurels are the most unpredictable, on several 
  8
  FATE: WORLDS OF ADVENTURE
  
  levels, and appear to recruit without criteria other than fanaticism. While tem-
  porary alliances come and go, the factions don’t trust each other, so most Eagles 
  live in a world of shifting allegiances, where one misstep can easily spell disaster. 
  Recruitment
  One is far more likely to be approached by the Eagles than the reverse, though 
  an enterprising individual who can pick up their trail and clever enough to keep 
  the secret may also receive an invitation. Membership in the Eagles is only ever 
  offered once, though, no matter who you are—if you turn it down, they will 
  not come calling again. There is one exception to that rule: if you turn down 
  an invitation and start talking about it to the wrong people, the Eagles will 
  most assuredly visit you a second time, but for a much shorter, far less friendly 
  conversation. 
  Unlike many other areas in Roman society, the Eagles don’t consider social 
  class to be a ruling factor when selecting new members—they may be patricians, 
  plebians, soldiers, resident foreigners, even slaves. Nor is gender a concern; while 
  Roman society as a whole has many strict notions about gender roles, which may 
  complicate certain matters in the field, ultimately the Eagles care about personal 
  ability and initiative above all else. Indeed, the Sinistram values having a wide 
  variety of agents at its disposal, and so considers candidates from all walks of life; 
  at times, agents with uncommon skills or connections may find themselves rela-
  tively indispensable. The factions themselves also push for diverse and aggressive 
  recruiting so that no one group has the only agents versed in a particular region 
  or culture. 
  Often the recruiting offer that finds a potential Eagle also includes an appeal 
  to join one of the subgroups of the Eagles: the Golds, the Coppers, or the 
  Laurels. If the new recruit agrees to join the Eagles but turns down or misses 
  the ulterior offer, they will still be admitted but start off with enemies already 
  watching them. 
  9
  EAGLE EYES
  
  Organization
  While the Eagles rarely recruit whole teams all at once, and their members are 
  perfectly capable of working solo or with a partner, in practice they often orga-
  nize into small teams known as “hands” when assigned particularly involved or 
  dangerous tasks. Hands are composed of several agents with complementary 
  talents or specialties, as suits the anticipated needs of the job. A hand on a 
  particularly involved or uncertain mission might have a skilled liar and petty 
  criminal, a burly former gladiator, a wealthy socialite, and a crippled former 
  legionary with a keen tactical mind. 
  Hands that prove competent frequently reassemble for subsequent assign-
  ments, so long as it suits the interests of the factions backing them. Often a 
  hand has members of two or even all three factions, as that ensures the outcome 
  of the mission escapes none of them. Though rare, a hand composed entirely 
  of a single faction is known as a “fist”—a reflection of the group’s cohesion and 
  propensity for brutal resolutions in pursuit of their goal.
  In the field, a hand is led by the first among equals, or simply the first. If a first 
  isn’t designated by the Sinistram, the Eagles sort it out as they see fit. Being the 
  first can be a rather thankless task: if the mission fails, they bear a heavier weight 
  of responsibility, but they rarely receive a larger share of the glory if it succeeds. 
  And if a hand has Eagles belonging to different factions, one Eagle—first or 
  not—might complete a task only for a fellow agent to steal the credit right out 
  from under them. While they might let it slide now and then if it favors their fac-
  tion, the firsts of hands with mixed loyalties know that they can’t let it be known 
  that they are too biased, or their effectiveness may be questioned, which is rarely 
  a good thing in a secret society. As such, firsts have a well-deserved reputation 
  for being hard-nosed, demanding, and more paranoid than their compatriots. 
  Mandate
  The Eagles are not an official law enforcement organization and have no standing 
  in Roman law beyond what any Roman of their class and origin might possess. 
  This nature is generally advantageous to them, however, as it means they do not 
  need to respect laws or social niceties in the course of their duties—except, of 
  course, when doing so gets them ahead. This frees them up to use just about any 
  means they deem necessary to accomplish a goal, so long as those means don’t 
  bring any undue public scrutiny or outcry back on the Eagles.
  The primary task of the Eagles is investigation. Even if the Sinistram generally 
  know what transpired and what they want done about it, they rarely send agents 
  to take direct action without first doing at least a bit of field investigation, the 
  nature of which varies by the task and the agents assigned to it. For example, 
  piecing together an alleyway knifing of a prominent senator might first require 
  bribes and beatings to wring information from the local criminal element, only 
  to be followed by polite conversation and political maneuvering over a lavish 
  feast in a Palatine estate. Most Eagles learn early to be flexible and always at the 
  ready. 
  10
  FATE: WORLDS OF ADVENTURE
  
  After investigation, the next most common task for the Eagles is obfuscation. 
  Concealing the truth, or at least critical parts of it, from anyone the Sinistram 
  deems unworthy is a key component of what the Eagles do. Roman justice is 
  highly public, and presenting the right information can shift a verdict from 
  guilty to innocent or vice versa. Obfuscation can also involve redirecting infor-
  mation in exchange for favors or leverage—or, as it’s more commonly known, 
  blackmail. The Sinistram is not above putting useful individuals in its pocket, 
  and so long as the Eagles achieve the Senate’s goals in the process, not too many 
  complain about it. Or if they do, they do so in whispers. 
  Of course, not every offender the Eagles track down faces conventional justice. 
  Retribution is the first option: making sure the offender suffers commensurate 
  punishment, whether at the hands of the legal system or other, more discrete 
  means. If that fails, or if the offense is so serious that nothing less will do, there is 
  removal. While removal missions are rare, they do occur, particularly for targets 
  that have proven resistant to other forms of justice or persuasion. Eagles must 
  be particularly careful on these assignments, not only because they are likely to 
  encounter stiff resistance if they tip their hand, but failure could also expose the 
  organization, which is bad for everyone—very bad. 
  Because of these high stakes, Eagles on a removal mission have a free hand 
  in how they accomplish it as well as access to whatever tools they might need. 
  But each and every one knows that failure means taking the full weight of their 
  actions. Compromised Eagles who try to offer up the secrets—or worse yet, the 
  services—of their agency in order to save their own skins can look forward to 
  short, painful lives when their offer comes to light. Because, rest assured, it will. 
  Retirement
  With such dangerous work and the myriad chances to make powerful enemies 
  and learn deadly secrets, it might seem a wonder that anyone would accept an 
  offer to join the Eagles. Especially when most Eagles serve for five years, mini-
  mum, and many as much as a decade or more. The answer lies in a deceptively 
  simple practice: the petitio videtur.
  When an Eagle joins the organization, they present a petitio videtur (“unseen 
  request”), a single boon required of the Sinistram. This request can be for almost 
  anything, in theory, short of the outright supernatural. Common requests 
  include land, titles, or sums of money, though it is not uncommon for mar-
  riages to be arranged, educations provided, criminals pardoned, exiled relatives 
  returned, or prosperous businesses founded. 
  Provided the Eagle serves loyally and well, the request is honored and the 
  agent released at such time the Sinistram feels it has been earned. Arrangements 
  are made, alliances sealed, documents provided (or forged), funds transferred, 
  lands claimed—and if anyone questions the legitimacy of the deal, one can be 
  sure more Eagles will come to convince the doubter of the error of their objec-
  tions. Over the years, the Sinistram has learned that allowing Eagles to name 
  their price for service ensures a dedicated, motivated cadre of individuals willing 
  to do most anything to succeed. 
  11
  EAGLE EYES
  
  Given the reach of the Sinistram in Roman society, the power of the petitio 
  videtur is great indeed, but a prospective Eagle must consider their request care-
  fully, as it determines in part the length of their service to the agency: the more 
  difficult, demanding, or complex the request, the longer the Eagle must serve to 
  earn their reward. An Eagle need not present their petitio upon joining, but they 
  are encouraged to do so before a year is out at the latest. Should an Eagle change 
  their request, it is customary to expect at least another year of service, even if the 
  new one is much more humble and obtainable than the first. 
  It is extremely rare for the Sinistram to fulfill an agent’s petitio videtur in 
  advance of service—the Eagles are not fools, after all, and know their hold is 
  much weaker on an agent who already has what they desire—but there have 
  been exceptions in the past. Typically these involve matters of great urgency, 
  such as saving a relative from execution, where delay would render the request 
  irrelevant. When the Sinistram agrees to such a request, the Eagle is often 
  assigned the harshest, most dangerous duties until the debt is worked off, and 
  watched carefully for signs of desertion or disloyalty. 
  After a petitio videtur has been granted, the Eagle in question is not required 
  to leave the organization unless the terms of their request make it impossible to 
  continue. An Eagle whose first term is up may attempt to “re-enlist” by offering 
  the Sinistram a petitio secundo (“second request”). If the Sinistram agrees, the 
  Eagle continues their service as before. At the end of each term of service, they 
  may continue offering a new petitio until the Sinistram declines their offer, in 
  effect retiring them.
  Should an Eagle die before their petitio can be fulfilled, the Sinistram often 
  elects to honor the request posthumously, assuming there remains a potential 
  beneficiary. If the Eagle wanted a farm in the country, for instance, the Sinistram 
  might grant it to the bereaved family. To do otherwise would invite great unrest 
  among the ranks of the Eagles—or even promote talk of eliminating Eagles 
  simply to avoid fulfilling their requests. However, if an Eagle dies well before 
  meeting their petitio burden, the Sinistram may elect to pass, unless other Eagles 
  take up the burden. While doing so adds months or potentially even years of 
  service, it is one way of honoring a fallen comrade. Taking on this burden is 
  considered a mark of great loyalty and integrity, though more cynical Eagles 
  scorn it as a sucker’s play.
  Sharing the terms of one’s petitio with fellow Eagles is acceptable, though 
  it is extremely poor form to ask about it—if it is not offered, it is best not to 
  inquire. Rumors abound that this courtesy comes from what is known as the 
  petitio mortem (“death request”)—when an Eagle requests a death or even mul-
  tiple killings as the price of their service. Officially, the Sinistram denies that 
  such requests are honored, but off the record such requests supposedly can be 
  granted—if the Eagle is willing to wield the dagger. 
  12
  FATE: WORLDS OF ADVENTURE
  
  CHAPTER II—THE DUSTY STREETS OF ROME
  While a comprehensive guide to a society spanning hundreds of years and thou-
  sands of miles is well beyond the scope of this book, this chapter covers a few 
  basic aspects of Roman society needed for a game to function. We’ve taken quite 
  a few historical liberties to condense this information into playable form; if 
  you’re inclined, though, go forth and research the periods and topics that inter-
  est you! A little extra authenticity can add tremendous flavor to a scenario. 
  13
  EAGLE EYES
  
  A Walk in the Eternal City
  Most views of ancient Rome are colored by the lens of antiquity, informed as 
  they are by later civilizations that either idealized Rome as a paragon of culture 
  and learning or vilified it as a grasping, bloody-handed colossus. Both perspec-
  tives have some truth, naturally. Historians have made great strides, particularly 
  in recent years, in understanding what daily life was like in ancient Rome, and 
  it can be a bit different from what people expect. Before the game begins, then, 
  consider stopping for a moment so you can gain a detailed, immersive sense of 
  what it was like to live long ago in the Eternal City.
  Close your eyes, and take a walk.
  One of the first things to strike a visitor is the scale of the place. In a time 
  when the vast majority of the world’s population lived in tiny villages or farms, 
  Rome must have seemed like the work of the gods. Massive stone temples and 
  palaces loom like mountains, and even simple homes are packed high and deep, 
  condensing the populations of whole rural villages into a single block of hous-
  ing. Though natives walk the city with ease, visitors can find the sheer size of 
  the place difficult to navigate, so much sometimes that they hire guides. Perched 
  on its seven hills and connected by a network of cobbled streets and dirt alleys, 
  Rome seems greater than any person, any one nation really—an impression that 
  its officials are only too happy to use when treating with foreign dignitaries. 
  Then there are the sights. While the modern world inherited pristine white 
  marble, Rome was actually a blaze of colors. Fabric dye is big business, for one, 
  with the more exotic colors fetching impressive prices. Brightly colored paints 
  cover everything from temples to statues to the layers of graffiti covering the city 
  walls. Banners and pennants snap and wave in the breeze, while people of every 
  hue and origin walk the streets in glittering jewelry and flashy fabrics. Even the 
  most humble Romans are fastidious about their appearance by the standards 
  of antiquity, and the wealthiest have ornate hair and complex makeup that is 
  simply astounding. 
  The city is alive with sounds as well. In the markets the merchants tout their 
  wares, engaging in lively games of insults and boasts with their rivals as they 
  attempt to win customers to their stalls. Servants clear paths for their patrician 
  masters, whether afoot, borne in a litter, or on horseback, shouting noble names 
  and hurling abuse to clear the street for their betters. Heralds proclaim the latest 
  14
  FATE: WORLDS OF ADVENTURE
  
  news from the Senate floor to the far reaches of the Republic, pipe and drum 
  music spills out of tavern doors, prayers echo out from the temples, and the roar-
  ing crowd from the arena signals the rise of a new champion.
  Sight, sound, and scale are all good starts, but they don’t engage the mind in 
  the immediate way that some other senses do. Rome is thickly layered in scents, 
  and not just the pungent ones you’d imagine—especially since aqueducts gave 
  many citizens incredible plumbing for the time. Cooking fires bring the scents of 
  dozens of foods to every quarter, while perfumed patricians waft past the sweat-
  ing laborers toiling in the market. The wealthy keep lavish gardens not just as a 
  treat for the eyes, but also as an olfactory refuge, particularly during the warm 
  summer months. The smells of baking bread and cooking oats are common, a 
  side effect of the grain dole to the common folk, and naturally the scents of 
  horse, oxen, and other livestock mark a city with a bustling marketplace. 
  Then, feel the relentless heat of summer, oft dry apart from the summer 
  storms. Combined with the dust and smoke, it can be stifling, especially in the 
  close-packed neighborhoods of the poorer citizens. Gardens are not just visual 
  and olfactory delights; they also represent the wealth required to have space to 
  use just as, well, space. In winter, the smoke of hearths and cooking fires hangs 
  heavy over the city, and citizens fight the bitter chill with layers of heavy fabric. 
  Districts
  Though famed as the city of seven hills and organized in various ways through-
  out its history, for Eagle Eyes the city of Rome divides into four principal 
  districts, known colloquially as the quarters. Each quarter is further divided into 
  neighborhoods, or vicii, which have small governments of their own and elect 
  positions such as magistrates and tax collectors. Pride in one’s neighborhood 
  runs strong, and many are quite close-knit, with generations of families living 
  on the same streets. 
  The Palatine: Considered the heart of the city, the Palatine is the site of Rome’s 
  legendary founding as well as such prominent landmarks as the Forum and the 
  Circus Maximus. It is a place of public business, religious observance, and spec-
  tacle, as well as home of kings and emperors. 
  The Aventine: A working-class quarter known for its many tradesmen and com-
  munities of freedmen and foreigners, the Aventine is also a hub for much of 
  Rome’s criminal activity. Its locals are well aware of which collegia organizations 
  run which neighborhoods. 
  The Capitoline: A place of massive temples and buildings considered old even 
  by Roman standards, the Capitoline holds great religious and prophetic signifi-
  cance, making it familiar to many of the most devout citizens.
  The Caelian: A residential district for many of the city’s patricians and some of 
  the more ostentatiously wealthy plebians, the Caelian is home to lavish parties 
  and displays of wealth, all neatly tucked away behind high walls and locked 
  gates, of course. 
  15
  EAGLE EYES
  
  Government
  During the Republic period, the nation’s ultimate governing body is the Senate, 
  a gathering of wealthy and influential patricians. Membership in the Senate is 
  limited to some of the oldest and wealthiest families of Rome, each contributing 
  a single man to the governing body, though it’s possible for new families to be 
  added to the Senate rolls, particularly if old lines die out or get removed for high 
  treason or other terrible crimes. In very rare cases, senatorial status is bestowed 
  as a reward for extraordinary merit. 
  Senators accept some limitations in their role; they are unpaid, for one, and 
  they are forbidden from conducting many forms of trade. Of course, nothing 
  prevents a senator from using shell companies and cronies to earn a healthy 
  living in trade, but officially speaking this ban on trade and banking is thought 
  to make them more impartial. Senators could not leave the environs of Rome 
  without permission from the Senate, though it is rarely denied. Catching a sena-
  tor breaking these restrictions is quite a boon to the Eagles, as it gives them a 
  great deal of leverage.
  The power of the Senate is vast and far-reaching. While daily administration 
  and law enforcement in the territories falls to regional governors and local mag-
  istrates, the Senate can issue sweeping legal decrees and direct military actions. 
  And if all else fails, it holds paramount control over the national treasury, letting 
  them “starve out” territories and measures of which they disapprove simply by 
  withholding necessary funds. Senators can raise issues themselves, or magistrates 
  can summon the Senate to hear a petition, and matters are decided by simple 
  vote. The Senate can even declare a dictator in times when a single executive 
  decision-maker would be beneficial, but doing so has grown rarer over time 
  because of the great potential to create a tyrant or self-styled king. 
  By the late Republic period, the powers of the Senate had some checks, chiefly 
  the consuls and the tribunes. Consuls, elected in pairs from the ranks of the 
  patrician military, held military powers and could veto certain decrees that con-
  flicted with their authority, as well as the decrees of other consuls. Representing 
  the plebians were ten tribunes, who could veto Senate decrees that affected 
  the plebian class. They also had the power to call plebian assemblies, which 
  passed laws affecting the plebians alone—the patricians were subject only to 
  the Senate. Exactly how willing the consuls and tribunes were to use their veto 
  power depended heavily on their influence and standing, of course, as they were 
  subject to the same pressures, temptations, and coercions as any other men. 
  While reforms very late in the Republic period would change the membership 
  of the Senate somewhat, it remained a patrician organization to the core. They 
  did not concern themselves with the affairs of plebians and foreigners, much less 
  slaves, unless it happened to concern the patricians as well. The Senate liked to 
  see itself as the guiding hand of the Republic, and took the long view of affairs, 
  setting policy with an eye toward expanding and stabilizing the nation. This 
  attitude is exploited by clever Eagles—it’s remarkably easy to justify something 
  if it’s presented as being in service of the greater good, after all. 
  16
  FATE: WORLDS OF ADVENTURE
  
  Social Classes
  Social class is a complicated factor in Roman society, and centers most on two 
  things: wealth and citizenship. Citizens of the Republic enjoy many more rights 
  and privileges than resident aliens or other outsiders; even the poorest, dirtiest 
  plebe can take some comfort in the knowledge that he enjoys more freedoms 
  and protections than the comparatively pampered slave of a wealthy patrician. 
  Harming a slave is a purely civil matter, for example, treated like destruction of 
  property and usually punished with a fine, while attacking a citizen is a crimi-
  nal offense with potentially dire ramifications. Citizens are exempt from certain 
  punishments and indignities—torture, for example—and citizens cannot be 
  executed for any crime other than treason. 
  Of course, citizenship wasn’t everything. Money went a long way in ancient 
  Rome; a wealthy foreigner might not have much recourse under the law if you 
  cheated him in a business deal, but he could certainly hire some knifemen to 
  pay you a visit and show you the error of your ways. And if you swore a com-
  plaint against him, his friends in the Senate—their own fortunes entwined with 
  his business dealings—would certainly do their best to quash it. Specialized 
  slaves, such as tutors and trained bodyguards, who belonged to wealthy Romans 
  enjoyed a level of de facto protection and social freedom that many ordinary 
  plebians did not—after all, who wants to make an enemy of a powerful patrician 
  by insulting or injuring their prize possession? 
  Historically speaking there were several different classes of citizenship, each 
  conveying distinct legal rights and protections, but in Eagle Eyes characters 
  are simply citizens or non-citizens. Citizens are represented by the Senate and 
  enjoy the full range of legal rights and protections of Rome; they can vote in 
  assemblies, hold public office, marry, inherit, create binding contracts, and bring 
  complaints both civil and criminal to court. Non-citizens have no say in govern-
  ment, hold very limited capacity to appeal to the law for help, and are subject 
  to any punishments and indignities the law can imagine. Think about playing 
  up the divide, GMs; it was very real in Roman society, and can serve as fodder 
  for any number of stories about injustice, persecution, ambition, and of course 
  revenge. 
  These descriptions of social classes don’t differentiate by gender roles; while 
  this isn’t quite in keeping with Roman history, we wish to give players the most 
  options for character inspiration. A woman from the legion social class might 
  not be a soldier—unless you want to be even more liberal with history, that 
  is—but rather someone who learned from her soldier father as she grew up. 
  Or perhaps she was a servant or a camp follower who traveled with the legions. 
  Likewise, while male and female patricians traditionally received very different 
  educations, whether that matters is something for the group to decide. 
  17
  EAGLE EYES
  
  Patrician: Those born into privilege, a 
  member of Rome’s ruling elite. Some 
  patrician families can trace their ances-
  tries back to the founding of the Republic, 
  while others are of more recent creation, 
  having clawed their way up through exem-
  plary service, shrewd marriages, booming 
  businesses, and more than a little intrigue. 
  Patricians are educated as a matter of 
  course, often by slave tutors, with a mix-
  ture of classical history, philosophy, and 
  oratory, as well as literacy and mathemat-
  ics. Patricians are taught to think in the 
  long term and hold the family name above 
  their own, to manage their fortunes and 
  holdings with an eye toward future gen-
  erations. Of course, this didn’t stop them 
  from indulging in the sort of decadent 
  lifestyle that made Rome famous, not to 
  mention intrigues and feuds aplenty. And 
  when you’re so close to top, it only means 
  you can fall farther than anyone else… 
  Patricians tend to see themselves as the 
  keepers of the Republic, shepherds of the 
  plebian masses who would otherwise let 
  the great nation fall apart. This sense of 
  civic responsibility doesn’t always produce 
  the best results on a personal level—after 
  all, if you see yourself as a savior of civi-
  lization, it’s easy to justify all manner of 
  sins to get what you want—but it is still 
  a key part of understanding the patrician 
  mindset. Even if only to uphold their own 
  holdings and lifestyle, they fight to keep 
  the Republic together and functioning in 
  the long term.
  18
  FATE: WORLDS OF ADVENTURE
  
  Legion: Those members of a legion, one 
  of many forming the army of the Republic. 
  Both patricians and plebians serve in the 
  legions, the plebians comprising the infan-
  try and the patricians typically serving as 
  officers and cavalry forces. Though a term 
  in a legion is long, lasting six years for con-
  scripts and up to sixteen for volunteers, a 
  career of exemplary military service is one 
  way for an enterprising individual of oth-
  erwise limited means to gain notice and 
  get ahead in Roman society. Serving a full 
  term might also give a foreigner a chance 
  at citizenship. Legionnaires receive exten-
  sive physical and martial training, march 
  great distances, and learn how to work and 
  fight as a unit, including how to construct 
  and assault fortified positions. Even after 
  leaving the military, many former soldiers 
  proudly wear signs of their service, which 
  often grant them an extra measure of 
  respect. 
  Being part of the Roman military was 
  different from virtually every other mili-
  tary in the world at the time, and worth 
  noting because of it. While training varied 
  somewhat by rank and region, the intense 
  discipline of the Roman military was fairly 
  uniform and left a lasting impression, for 
  better or worse. Many soldiers traveled vast 
  distances by the standards of the day, and 
  came into contact with a number of exotic 
  places and peoples—even if it was some-
  times through combat. This often made 
  veterans surprisingly cosmopolitan, partic-
  ularly those drawn from the lower classes, 
  who might have not otherwise seen more 
  than a sliver of the world in their lifetime. 
  19
  EAGLE EYES
  
  Plebian: Those born into the common 
  folk of the Republic, making up the vast 
  majority of its population. Plebians are 
  true citizens of the Republic, a fact which 
  most plebians take extreme pride in, as it 
  separates them from slaves and foreign-
  ers—it gives even the poor Roman plebe 
  a way to feel superior to the wealthy 
  foreign merchant he passes on the street. 
  Though some plebians are quite wealthy, 
  most live humble lives as laborers, farmers, 
  and craftsmen, providing the raw mate-
  rials and basic goods of the Republic’s 
  economy. Many plebes receive a basic 
  education sufficient to recognize impor-
  tant words or symbols and handle simple 
  sums, but beyond that they learn only 
  what they pick up by their trade and their 
  own curiosity. 
  One thing known to canny Eagles, 
  priests, and politicians alike is that the 
  plebians are far and away the most dan-
  gerous force in the Republic, and not just 
  because of their sheer numbers. Given 
  the weight of popularity and the power of 
  social stigma in the Republic, the will of 
  the masses is a very real thing, and astute 
  generals, senators and patricians recognize 
  this and play to the plebes whenever pos-
  sible. Certain prominent plebes recognize 
  this as well, of course, and are only too 
  happy to make their influence available—
  for the right price, of course.
  20
  FATE: WORLDS OF ADVENTURE
  
  Foreigner: A blanket term for anyone 
  residing in Rome who is not a slave or 
  a citizen. During the Republic period, 
  Rome was a fairly cosmopolitan place, and 
  visitors from North Africa, the Middle 
  East, Northern Europe, and the British 
  isles could all be spotted on its streets. 
  Foreigners occupy a curious position in 
  Roman society: they frequently encounter 
  open prejudice for their strange customs, 
  exotic religions, or even their looks; they 
  enjoy far fewer legal protections than the 
  average citizen; and they have almost no 
  voice in the government. Yet they are vital 
  to the Republic’s economy, so they are tol-
  erated, even encouraged, to provide goods 
  and services that Romans consider neces-
  sary but too distasteful or exotic to easily 
  produce themselves. 
  Foreigners enjoy a certain amount of 
  minor celebrity in their dealings with 
  most Romans, who find foreign customs 
  curious and don’t shy away from asking 
  foreigners about their manner of dress 
  or their religious beliefs. Foreigners must 
  deal with ever-present condescension from 
  the Romans, even the most well-mean-
  ing—their assumption of superiority is 
  so ingrained that most aren’t even aware 
  of it, or wouldn’t care if they were—but 
  this behavior does allow foreigners a cer-
  tain latitude in their behavior, as Romans 
  expect them to act a bit odd. 
  21
  EAGLE EYES
  
  Slave: Slaves are an everyday necessity in 
  many Roman households, and not just the 
  wealthiest ones. The city features a brisk 
  slave trade, with “stock” coming in from 
  across the Republic, and most Romans 
  regard it purely as a business matter, little 
  different than other livestock auctions. 
  While many slaves are destined for a life 
  of hard manual labor or menial domestic 
  servitude, those with specialized training 
  or talents are in high demand and fetch 
  equally high prices. Educated Greeks are 
  prized as tutors to the children of the 
  wealthy, for example, and strong Franks, 
  Gauls, and other men from far-off lands 
  provide exotic fodder for the arenas. 
  Roman slaves have few rights, as expected, 
  but also enjoy a certain social invisibility—
  they can easily blend into the background, 
  gaining access to a surprising number of 
  locations, so long as they are ostensibly on 
  their master’s business. 
  While slaves can purchase or be given 
  their freedom—and the latter outcome is 
  a not-uncommon reward for faithful ser-
  vice, either during their owner’s lifetime or 
  as a provision in the owner’s will—being 
  freed does not automatically grant citi-
  zenship. Freed slaves are essentially native 
  foreigners in terms of their rights under 
  Roman law; while some are subjected to 
  a certain amount of residual contempt 
  for their former standing, this is far from 
  universal. Indeed, a Roman might hold 
  a certain grudging respect for the former 
  slave—they must either have worked 
  industriously to buy their freedom, or 
  must have done something right in order 
  to have it granted.
  22
  FATE: WORLDS OF ADVENTURE
  
  Religion
  Religious belief was a critical part of Roman life and important to understanding 
  their society and worldview. Rome itself claims divine origins, and the successes 
  of the nation’s military and diplomatic expansion were seen as signs that the 
  Roman gods were powerful and favored their mighty nation. This assumption 
  of divine favor goes a long way toward explaining the superior attitude of many 
  Romans when encountering other cultures—after all, they reasoned, if they 
  were not the most beloved of the most powerful gods, how could they possibly 
  have forged such a mighty Republic? 
  The traditional Roman pantheon is well known—Jupiter, Juno, Minerva, 
  Pluto, and the like—but by no means encompasses the deities that Romans 
  recognized. Roman religious observance was a complicated thing, and part of 
  daily life on many levels. Many citizens began their day with devotions to their 
  household god, a spirit that oversaw the health and prosperity of the family, 
  often supplemented by honoring famous and beloved ancestors. Worship of the 
  Republic itself even became popular during the Republic period; the very nation 
  was a divinity of sorts, and obedience to it a form of religious observance. 
  Indeed, Roman adherence to religious ritual encompassed almost every aspect 
  of daily life, and even those who might privately doubt the efficacy of such 
  devotions still took pains to observe the proper rites in public. Blessings were 
  invoked to open and close businesses, as well as to seal important deals and com-
  memorate rites of passage. Military leaders and politicians consulted auguries 
  to determine whether their actions would enjoy the favor of the gods. Even a 
  declaration of war would await auspicious signs, and acting against bad omens 
  was considered the height of hubris and liable to cost tremendous popular sup-
  port. Of course, those augurs were as human as any other citizen, and some were 
  not above taking a bribe to rig their predictions in favor of their benefactor’s 
  wishes—something clever Eagles might exploit. 
  Also of particular interest to the Eagles are the many mystery cults thriving 
  throughout the Republic. Some are tiny, just a handful of followers, while others 
  are vast, with dozens of cults in cities across the nation. Some are packed with 
  zealous true believers, while others are essentially social organizations; some are 
  open secrets while others are closely guarded cabals. Mystery cults vary widely 
  in purpose and dogma, but are subjects of endless rumor and speculation. The 
  Eagles have investigated quite a few in the past, if only to make sure they were 
  not breeding grounds for dissidence and zealotry. These assignments are some 
  of the most dangerous known to the Eagles; because the mystery cults diverge 
  from established dogma, it can be very difficult to predict how their followers 
  will react to strangers in their midst. 
  23
  EAGLE EYES
  
  Crime and Punishment
  Though much of what the Eagles do necessarily avoids the ordinary Roman jus-
  tice system, there are times when a target may be sent up to face the law—after 
  the Eagles get what they need first, of course, or only after they get framed for 
  a crime. Still, having a working knowledge of legal basics is useful for any Eagle 
  who wants to use the system as leverage—or avoid falling victim to it.
  In short, most everyday offenses are what modern courts would call civil mat-
  ters, which are handled by a local magistrate, an elected official responsible for 
  overseeing a particular neighborhood. The magistrate would hear testimony 
  from both parties and anyone else they thought had relevant input. Then they 
  would issue a summary judgment, typically involving financial compensation 
  and perhaps a limited physical punishment to deter future offenses. 
  It’s worth noting that, during the Republic period, the corruption of magis-
  trates is proverbial—while ostensibly impartial, as elected officials they are not 
  above making decisions based on who backed their campaign. Often, an early 
  step of an Eagle’s investigation will be learning a magistrate’s proclivities and 
  prejudices, especially in the poorer districts of the city. 
  For more serious offenses, the accused are tried in a public court. They are 
  allowed counsel—lawyers waited outside the courts to sell their services as 
  needed—and, absent a specific plaintiff to bring charges, the counsel represents 
  the people of Rome instead. The public nature of trials is an essential part of the 
  process—public shame and persistent stigma being key elements of the Roman 
  legal system—and secret proceedings are frowned upon. In the trial itself, the 
  lawyers exchange arguments, moderated by a judge, with each side attempting 
  to simultaneously refute the opposition and advance their own case. 
  Herein lies one of the main obstacles—or surest strengths—facing the Eagles. 
  In an age well before recognized forensic science, definitive physical evidence is 
  often in short supply, so cases are typically decided in favor of the side with the 
  most persuasive counsel. Indeed, popular lawyers attracted followings at their 
  public trials; some even had their most effective arguments recorded for posterity. 
  Reputation and popular opinion factor heavily as well, so even known crimi-
  nals often walked free if they commanded enough love—or fear. Conversely, a 
  clever group of Eagles can virtually guarantee conviction if they can sway public 
  opinion, suborn the arguing attorney, or otherwise influence the perception of 
  important parties. 
  24
  FATE: WORLDS OF ADVENTURE
  
  Economics
  The Roman economy can be challenging to adapt, but as so much of noir 
  revolves around money—especially bribery, hush money, and all manner of ill-
  gotten gains—it’s important to understand something about how Romans were 
  paid. By the Republic period, Rome circulated huge amounts of standardized 
  coins, and Roman currency was accepted not just within the nation but also 
  by a number of allied powers, vassal states, and trading partners. The values 
  and inflation of Roman currency varied throughout their history, but a quick 
  online search can provide any number of currency tables, even the costs of some 
  common items at various times. 
  However, while currency was widely used, especially in urban centers, it 
  was by no means the only way to conduct business. Many Romans still made 
  good use of the barter system, exchanging goods or raw materials for what they 
  desired; while bartering was more common in more remote regions and among 
  the poorer classes, even the patricians bartered when it suited them. There was 
  something simple and efficient about it that appealed to the practical Roman 
  spirit; after all, coins alone won’t build a house, stop a knife, or fill an empty 
  belly.
  In addition, many Roman salaries—a word, incidentally, believed to origi-
  nate from the practice of compensating Roman soldiers with measures of salt 
  as part of their pay—included trade goods in addition to or entirely in place 
  of monetary payments. Salt is perhaps the most famous commodity, but other 
  professions received payment in grain as well, and rations of produce or even 
  meat were not unheard of. As part of their income, many laborers in service to 
  master tradesmen would receive a small amount of their employer’s trade goods 
  or services. 
  If sorting currency tables and calculating barter rates proves cumbersome, get-
  ting in the way of play, you can always declare the simple expedient that one 
  denarius equals one modern dollar, fix sums at modern price and salary equiva-
  lents, and eliminate most forms of barter (or tag them with cash values). Doing 
  so gives up a certain level of authenticity, but can make it easier for players to 
  intuit how much they should offer to bribe the warehouse guard, or just how 
  much of a fortune they stumbled across in the chest hidden under the dead 
  senator’s bed. 
  25
  EAGLE EYES
  
  CHAPTER III—RULES AND CHARACTERS
  Eagle Eyes is designed to be run using Fate Accelerated in order to capture the fast-
  moving nature of Roman intrigue. Unless otherwise noted in this chapter, follow 
  the rules and character creation presented in Fate Accelerated. 
  Aspects
  Characters in Eagle Eyes have five aspects: a high concept, a trouble, an ideal, a 
  petitio videtur, and a virtus. Each one differs slightly from the aspects in Fate 
  Accelerated. 
  26
  FATE: WORLDS OF ADVENTURE
  
  High Concept
  Due to the prominence of social class in ancient Rome, a character’s high 
  concept must include their social class in some fashion: Battle-Scarred 
  Legionnaire Troublemaker, Ingenious Household Slave, Ambitious Wife of 
  a Fallen Patrician, and so on. The actual name of the social class doesn’t need 
  to be included in the aspect, so long as it demonstrates which class the character 
  belongs to. 
  Trouble
  An Eagle’s trouble should cover some difficulty that might arise during the 
  course of an investigation, or that would complicate their involvement with the 
  agency: A Coin in the Hand Is Worth Two in the Future, Injustice Makes Me 
  Sick, Haunted by My Father’s Mistakes, and so on. Make the trouble aspect 
  potentially relevant to your Eagle’s work, otherwise it won’t come up often 
  enough during play. 
  Ideal
  Despite—or perhaps because of—their cynical surroundings, many noir charac-
  ters stand by certain ideals, higher notions that give them some sense of stability 
  and purpose. Make this aspect reflect some deeply held belief, a fundamental 
  notion that guides much of your Eagle’s behavior: All Men Should Be Free, 
  Speak Truth to Power, I Am Apollo’s Chosen, and so on. Even a more prag-
  matic Eagle might have a deeply held belief such as Never Trust an Honest Man 
  or Anything for the Right Price to reflect their cynical nature. 
  Petitio Videtur
  The petitio videtur is another powerful motivation, one that can keep an Eagle 
  going despite terrible odds. It is the price they asked in return for their service in 
  the Eagles, so it’s unlikely to be something they arrived at lightly. Knowing what 
  an Eagle is working toward can be a wonderful way to understand what they’re 
  looking forward to—and what they’re willing to do to get it. My Son Deserves 
  a Better Life is the sort of motivation that can drive a person to do almost any-
  thing, after all, and even more selfish ones like One Day Soon He’ll Be Mine 
  Forever or When I’m Rich I Can Afford to Be a Better Person can provide a lot 
  of interesting ground for stories, not to mention compels.
  Virtus
  From the Latin for “excellence,” this aspect describes a talent or quality that 
  makes the Eagle stand out, often why the recruiter sought them out in the 
  first place. While it should not be supernatural, it can represent truly excep-
  tional abilities or advantages, particularly those related to a specific field or talent. 
  Sudden Death with a Blade in My Hand marks an Eagle as a dangerous enemy 
  in a fight, for example, while Talk a Cat Off a Fish Cart represents a less lethal 
  but no less useful talent for talking people into almost anything, and A Friend 
  Around Every Corner means that the Eagle has a network of allies and infor-
  mants, no matter the place. Regardless of the nature of the virtus, don’t be shy 
  with it—this is the place to make an impressive declaration of ability. 
  27
  EAGLE EYES
  
  Pleas
  Eagle Eyes uses approaches from Fate Accelerated. However, in keeping with the 
  spirit of the setting, they are presented as pleas to six particularly appropri-
  ate Roman deities, whose blessings make various undertakings possible—and 
  whose wrath brings ruin on a cursed endeavor. Players, use pleas to indicate your 
  approach while adding a little color and avoiding game terminology. Naturally, 
  you can put some spin on these pleas as suits your Eagle and the story. 
  Minerva (Clever)
  Daughter of Jupiter, Minerva is the goddess of wisdom, and especially its 
  expression through the arts, business, and strategic victory. That might seem a 
  problematic diversity for a single goddess, but Romans see no conflict—such 
  affairs have common roots in a sharp mind and a knack for learning. Minerva 
  can become quite taken with especially brilliant individuals, and she is not shy 
  about heaping favor upon them, though never to the point where they stop 
  using their wits entirely. Fittingly enough, she serves as the patron goddess of 
  Clever actions. 
  Plea: “With Minerva’s voice, I…”
  Mercury (Quick)
  Messenger of the gods, Mercury is often an intermediary in the affairs of gods 
  and mortals, bringing messages and edicts down to earth and appearing to heroes 
  with divine blessings in hand. Though famed as the god of travelers and couriers, 
  Mercury is also a god of magic and medicine, and always acts swiftly to find the 
  fastest, simplest route to resolving seemingly complex problems. Mercury values 
  the quick-witted and quick-footed, making him the patron of Quick actions.
  Plea: “On Mercury’s wings, I…”
  Juno (Careful)
  Wife of Jupiter and protector of Roman women, Juno is a complex figure. While 
  her husband is well known for his rages, infidelity, and legendary outbursts of 
  temper, Juno is far more reserved, but those who mistake her quiet maneuvering 
  for weakness always suffer for it in the end. She is a figure of martial prowess 
  and marital fidelity, invoked for defense and to honor vows, and while her wrath 
  is not as immediately terrible as her husband’s, it is grim, long-lasting, and ter-
  ribly thorough. Her endless planning and reserved aspect make her the patron 
  of Careful actions. 
  Plea: “Juno shield me as I…”
  28
  FATE: WORLDS OF ADVENTURE
  
  Pluto (Sneaky)
  Lord of the Underworld and brother of Jupiter, Pluto is one of the mightiest of 
  the gods. He is not seen as a figure of evil, but respected as ruler of the realm 
  where all men ultimately reside. A jealous god of a dread domain, Pluto is rarely 
  invoked directly by the living for fear of being drawn into his realm. Naturally, 
  this forbidden nature makes Pluto a prominent feature in many mystery cults 
  and other secretive sects. Pluto’s tremendous yet rarely invoked power associates 
  him with Sneaky actions—the darkest words and deeds often involve his realm. 
  Plea: “Eyes of Dis, watch as I…” (This refers to Dis Pater, an early god of the dead 
  that eventually merged with Pluto. “Dis” was used to refer to Pluto indirectly.)
  Jupiter (Flashy)
  King of the gods and ruler of the skies, Jupiter is a being whose immense pas-
  sions are rivaled only by his colossal power. His sacred eagle is emblazoned on 
  countless Roman structures, and to invoke his name is to swear the most solemn 
  oath. Jupiter can be extremely generous and affectionate when appeased, but 
  his mood shifts swiftly when slighted, and his wrath rains down as thunder-
  bolts. His rages and his blessings alike are rarely subtle, which lends him to favor 
  Flashy courses of action. 
  Plea: “By Jupiter’s stone, I…”
  Mars (Forceful)
  Though Mars is renowned as a god of war, the Romans also believe him to be an 
  agricultural deity and a protector of the people. While some of Mars’ character-
  istics are adapted from the Greek god Ares, the Romans typically view Mars with 
  a great deal more respect; he is seen as more of a sacred guardian and warrior 
  than the coarse brute of Greek myth. With his aggressive spirit and sheer virility, 
  he embodies Forceful action.
  Pleas: “Look here Mars, I…” 
  Using Pleas
  These are not actual magical charms in the game, but simply ways to phrase 
  game actions so they add to the atmosphere—rather than saying “I’m drawing 
  my sword and using a Forceful approach to intimidate them,” it’s more evocative 
  to say “I’m drawing my sword and praying that Mars smiles on me as I convince 
  them to back off.”
  29
  EAGLE EYES
  
  Stunts
  Stunts in Eagle Eyes work the same as in Fate Accelerated. GMs, if players create 
  a stunt that lets them ignore the normal rules to do something cool or say some-
  thing true, it doesn’t automatically negate the drama of the investigation. Eagle 
  Eyes is all about untangling webs of deception, and stunts are a perfect way to 
  do it. They give players a way to cut to the heart of the mystery in ways appro-
  priate to their characters. After all, noir deals in hard truths, but if the players 
  can’t reach those truths at all, they’re bound to get frustrated. So rather than 
  seeing these stunts as impediments, use them to heighten the tension by offering 
  stumped players a way out of dead ends or letting them crack puzzles no one 
  else could. 
  For example, say a player wants a stunt called I Can Read People Like a Book, 
  which lets their Eagle know, once per session, if someone is lying without roll-
  ing. In a game built around lies and deception, this might seem off-putting, but 
  remember: the Eagles are supposed to unravel these mysteries. Besides, knowing 
  once per session whether someone is lying isn’t so much to ask—in fact it can be 
  downright useful to a clever GM. Guaranteeing at least one absolute truth per 
  session can certainly help a group struggling to unravel complicated plots and 
  layered intrigues. 
  Social Class and Group Dynamics
  Given the sharp distinctions between social classes in ancient Rome, it might 
  seem difficult to outline mysteries that characters of different classes can all 
  investigate equally, but there are ways to do it while still remaining true to 
  Roman culture as presented. For one thing, those class distinctions can actu-
  ally work to the Eagles’ advantage—soldiers are naturally welcoming of other 
  soldiers, slaves can get access to most anywhere if they are about their master’s 
  business, patricians can expect hospitality from other patricians, foreigners can 
  find it easy to bond with other outsiders, and so on. So long as they stay within 
  the “context” of their class in society, an Eagle can enjoy a certain amount of 
  social invisibility and camaraderie. 
  If needed, GMs, you could also split up the group as they go about their work. 
  Say the Eagles must infiltrate a wealthy senator’s manse to look for clues. The 
  patrician in the group could create some business pretext, bringing along the for-
  eigner as his trading partner and the soldier as his bodyguard, while the plebian 
  accompanies the slave as an “overseer” as they go around back to the kitchens 
  and servants’ quarters, where they can talk to the other half of the household. 
  Splitting up the group can be a little more demanding on the GM, but it ensures 
  every character has a task to complete and time to shine, not to mention how it 
  increases the tension as the Eagles must face down dangers alone. 
  30
  FATE: WORLDS OF ADVENTURE
  
  Of course, GMs, if you’re having trouble imagining how a particular social 
  class might participate in a story, you can always disallow characters from that 
  class. While this is often a last resort, it can be better than forcing a particular 
  social class into a situation where they really don’t fit. Regardless, before an 
  investigation begins, take a few minutes to look over the group’s composition of 
  social classes and brainstorm ways that each Eagle might interact with the story. 
  As a rule of thumb, so long as there is a reasonably plausible explanation for why 
  each Eagle could be part of a scene, it’s best not to split hairs—remember the 
  concept of satis! 
  Conspiracies
  Almost by definition, those the Eagles investigate are no ordinary wrongdoers; 
  the everyday system of Roman law suffices for such miscreants. Instead, the 
  Eagles typically face off against criminals and conspirators insulated from the 
  normal corrective mechanisms of society, whether due to noble birth, great 
  wealth, ruthless reputation, the love of the public, or some other special talent or 
  quality. When investigating such untouchables, it’s often not enough to simply 
  gather evidence; you must also dismantle the network or reputation that pro-
  tects them from consequences. 
  To represent this tangled web of safeguards, misdirection, and backup plans, 
  investigations in Eagle Eyes center on the conspiracy. Each conspiracy has a 
  stress track and, possibly, some consequences. Before the target can be subject 
  to game-ending punishment, truly solving the problem, the conspiracy must 
  be taken out. So long as the conspiracy track has even one box unfilled, some 
  vestige of trouble is still out there and the Eagles still have work to do. 
  The conspiracy track does not necessarily protect against physical attack—
  though it could represent bodyguards and precautions if the story involves 
  circumventing such hazards in order to continue the investigation. In theory, 
  often very little prevents an Eagle from walking up to their target and putting a 
  knife in their ribs. In practice, though, killing rarely solves the sort of problems 
  Eagles are called on to handle; if it were that simple, the target would likely 
  already be dead. 
  In other words, killing the corrupt senator who ordered a murder on one of 
  his rivals might seem to solve the problem—but, if the conspiracy track still has 
  unfilled boxes, he might turn out to have only been a pawn, meaning the Eagles 
  just killed off a potential lead to the true mastermind. Or perhaps they find 
  that he left behind a “hit list” to be executed in the event of his untimely death, 
  and now the Eagles must scramble to find out who’s on the list and prevent his 
  knifemen from doing their bloody work. Perhaps his death even created a power 
  vacuum, producing a situation far more dangerous and unstable than whatever 
  problem he was causing. 
  31
  EAGLE EYES
  
  Conspiracy Stress, Claritas, Consequences
  Though conspiracies are not strictly characters, they can still suffer stress and 
  take consequences. Unlike a character, a conspiracy can have more than 3 stress 
  boxes. As conspiracies get more involved, they get more stress boxes and conse-
  quence slots: 
  • A simple conspiracy that can be unraveled with 2–3 scenes of solid inves-
  tigation—roughly a short gaming session—gets 2–4 stress boxes.
  • A complex conspiracy that might take 4–6 investigative scenes—a long 
  gaming session, or perhaps two short ones—gets 4–7 stress boxes and 
  maybe one consequence slot.
  • A truly labrythine conspiracy that takes three or more sessions to pick 
  apart could have 7–10 stress boxes, and it’s likely to have one or more 
  consequence slots (see below).
  The PCs can deal stress to the conspiracy like any other character. However, 
  the conspiracy cannot be attacked at just any time—it requires a situation where 
  the Eagles have a chance to further their investigation in a significant way, at the 
  GM’s discretion. These moments are called claritas (Latin for “clarity”).
  Most of the time, moments of claritas suggest themselves—dramatic confron-
  tations with antagonists, tense interrogations, and hard-earned payoffs from 
  investigative digging are all valid moments, though by no means the only ones. 
  Players, if you feel a situation is ripe with claritas, make your case! 
  Players, at a moment of claritas, you can attack the conspiracy. GMs, if the 
  PCs are facing an active antagonist, the conspiracy defends using a relevant 
  approach of that antagonist. If the Eagles are trying to wring the truth from 
  a corrupt senator, for instance, roll defend for the conspiracy using the sena-
  tor’s Pluto approach. If there is no active antagonist, set a passive opposition by 
  accounting for the successes and failures the Eagles incurred along the way. 
  Some conspiracies can suffer consequences, indicating that they are particu-
  larly difficult, resourceful, or dangerous—or can bounce back just when the 
  Eagles believe they finally have it defeated. On a mechanical level, having one or 
  more consequence slots can provide some insurance against a single lucky roll 
  signaling the endgame for a conspiracy, as it represents extra levels of planning 
  or preparation by the conspirators. 
  As with stress boxes, give the conspiracy more consequence slots as it grows 
  in complexity:
  • A single-session conspiracy gets one minor or no consequence slots.
  • A two- or three-session conspiracy could have one mild and one moder-
  ate consequence slot.
  • A truly elaborate or durable conspiracy could have one mild, moder-
  ate, and extreme consequence slot each, making them extremely hard to 
  unravel. 
  32
  FATE: WORLDS OF ADVENTURE
  
  Extrema
  When a conspiracy can suffer no more stress and has no remaining consequence 
  slots, that doesn’t always end the investigation on the spot—though it certainly 
  can, if it is appropriate to the story. However, if it doesn’t end right away, it does 
  mean that the Eagles are closing in on their goal, for better or worse, meaning 
  the next scene is the extrema, the final act. This scene marks the close of the cur-
  rent assignment, where villains are confronted and questions answered. While 
  you don’t have to neatly resolve every thread, GMs, take a moment to answer the 
  major points of the investigation.
  Don’t skimp on the revelations in the extrema, either—if the Eagles have taken 
  out the entire conspiracy, consequences and all, they’ve earned those hard truths! 
  Lay bare any remaining secrets, bring forward any malefactors waiting in the 
  wings, and give the Eagles a final showdown or moment of truth in their inves-
  tigation. As a good rule of thumb, GMs, have each player offer a question they 
  want answered in the extrema, something about the mystery that’s been nagging 
  them, and try to answer as many of them as you can within the structure of the 
  narrative. You don’t have to wrap up everything with a neat little bow, but you 
  want the players to come away satisfied, even if the answers are little comfort to 
  their characters. 
  There’s also the question of what to do if the narrative seems to have reached 
  a natural conclusion, but the conspiracy still has unfilled stress boxes or con-
  sequence slots. Naturally you could give a “false ending,” where one problem 
  is solved only to reveal more matters lurking beneath. If this does not seem 
  suitable—if prolonging the story would feel too artificial—then just ignore the 
  remaining boxes and conclude the story. Keep the extra boxes for the next con-
  spiracy, of course, as the enemies of the Eagles will surely come to exact revenge. 
  33
  EAGLE EYES
  
  34
  FATE: WORLDS OF ADVENTURE
  TAKEN OUT AHEAD OF SCHEDULE
  What happens if the conspiracy is taken out, but 
  the story has not reached a satisfactory stopping 
  point? The short answer is that, just like a character 
  who’s been taken out, the conspiracy might not be 
  dead and gone, either. 
  When a conspiracy is taken out, the Eagles have 
  made a significant advance in their efforts, one 
  leaving their opposition at least momentarily reel-
  ing. Exactly what this means depends on the scene 
  in question, but it should always be a clear gain for 
  the Eagles—this is not a time to be stingy. Reward 
  the investigators for their efforts: unmask villains, 
  eliminate obstacles, answer questions, remove 
  threats, provide assistance, whatever seems right 
  for the narrative at the time. If there is no obvious 
  benefit, put it to the table and go with the most ap-
  propriate suggestion. 
  In game terms, taking out a conspiracy has both 
  an upside and a downside. The downside is that no 
  further claritas rolls are allowed during that scene. 
  Just like a character who’s been taken out can’t be 
  targeted with more stress during the same scene, 
  neither can a conspiracy. Individual antagonists can 
  get into conflicts and take stress, but the conspir-
  acy itself can’t take more hits until the next scene.
  The upside is that the Eagles gain a mechanical 
  advantage for the rest of the scene—or, if the scene 
  is ending soon afterward, one that carries over into 
  the next. A good option is an aspect related to the 
  victory, such as Hot On the Senator’s Trail or All 
  the Aventine Saw Them Bleed, though a new stunt 
  could be appropriate as well, such as Well-Planned 
  Ambush, which grants a +2 to the Eagles’ rolls on 
  the first round of the next conflict. 
  This benefit fades at the end of the scene where 
  it applies, as the conspiracy has regained its foot-
  ing a bit, removing the Eagles’ advantage. If the 
  conspiracy is taken out again before a benefit ex-
  pires, the new benefit stacks with the old one for 
  their overlapping duration. 
  
  Using Conspiracies 
  Players might find it a little tricky to understand that finding ironclad evidence 
  of a criminal’s guilt might not be the end of the conspiracy. In noir stories, 
  having proof is never enough on its own, much less being “right”—this is a 
  world where bribery, betrayals, smear campaigns, and other dirty tricks rule the 
  day. 
  The Eagles might walk out of the first scene with all the hard evidence they’d 
  need to prove their target committed a heinous crime, in theory—and still have 
  five unfilled stress boxes left on the conspiracy track. Which means the case is 
  only getting started. Filling the rest of the conspiracy track might involve fight-
  ing off others who are out for the evidence, circumventing the corrupt judge 
  trying to derail the case, enlisting the aid of local officials to sway the public, 
  and so on. As a rule of thumb, players, assume you’ll encounter these setbacks:
  • Until the conspiracy track is filled, no one will believe you.
  • Until the conspiracy track is filled, it’s not safe to bring the evidence to 
  light. 
  • Until the conspiracy track is filled, your foes will pay off the crowd or 
  bribe the judge.
  • Until the conspiracy track is filled, there’s an accomplice, minion, or 
  hidden mastermind who is willing to carry on the criminal’s work—or 
  who was behind it all along.
  • Until the conspiracy track is filled, you might have driven your foes away 
  for now, but they’re just “summering in the country,” and if you don’t 
  finish them off, they’ll be back with a vengeance. 
  This is part of what makes the conspiracy a useful narrative tool, in fact. It 
  helps the players understand the pacing of the investigation, and also shows 
  them how much progress they’ve made toward completing the mystery. This can 
  help prevent players from feeling frustrated—when they can see the conspiracy 
  still has some stress boxes left, they know the twists and problems they’re facing 
  are part of the story, not just thrown in arbitrarily to limit them or slow them 
  down. 
  Remember, GMs, that the conspiracy is there to mark the progress of the 
  case, not to spite and punish the players. When you introduce a new twist, don’t 
  invalidate what the players have accomplished so far. Noir is bleak enough with-
  out the players feeling like every action is utterly futile—or worse yet, like they’re 
  being punished for not investigating the conspiracy the “right” way. 
  Even if you don’t think it’s a good idea for the players to kill the corrupt sena-
  tor—even if they did so against the orders of the Sinistram—they should still 
  gain something from it. It might not be as good or as much as they could have 
  gotten otherwise, and ultimately far more trouble than it’s worth, but still, they 
  accomplished something. 
  35
  EAGLE EYES
  
  CHAPTER IV—SECRETS, LIES, AND BLOOD
  Of course, neither the Eagles nor the Sinistram would be necessary if it weren’t 
  for the endless mysteries, scandals, intrigues, crimes, and other matters that 
  require their unique attention. And since the Eagles don’t handle run-of-the-mill 
  situations—though some might seem relatively ordinary at first—it’s important 
  to understand how to build stories that require their involvement. 
  The Anatomy of a Mystery
  Noir thrives on complicated plots and webs of deception, which can seem a bit 
  intimidating to set up, especially if you’re trying to put together a quick pick-up 
  game. Fortunately, you can break things down into a few simple categories, mix 
  them together, and come up with surprisingly complicated plots in just a few 
  minutes. 
  The Status Quo
  The Eagles are called in only when there’s a problem that needs solving, or per-
  haps an impending problem that they must head off before it causes trouble. 
  But before you have a problem, you need to know what’s being targeted in the 
  scenario—what is at risk or at stake—which means you need to know the situa-
  tion as it stands. Once you know this, you can piece together how it might come 
  apart without the Eagles’ intervention. 
  That’s where the Status Quo becomes important—the state of affairs that 
  either needs to be protected or restored. Here are some sample Status Quos, 
  which you might find useful as the starting points for developing your scandals. 
  Happy Home: What could be better than a loving family? Sure, every family 
  argues now and then, but overall in this family everyone loves each other and 
  gets along. 
  Political Stability: The Senate is in a period of relative calm and cooperation, 
  and the business of the Republic is conducted with as much honesty and civility 
  as one could hope. 
  Business as Usual: A particular enterprise—criminal or legitimate—is running 
  smoothly, making everyone involved money with a minimum of difficulty or 
  fuss.
  Pax Romana: The legions are not conducting any major campaigns, and there 
  are no pending enemy attacks or rebellions. Well, nothing especially notable, 
  anyway. 
  36
  FATE: WORLDS OF ADVENTURE
  
  The Break
  Now that you’ve got a basic situation, it’s time to introduce the element that 
  threatens to ruin everything: the Break. Take a look at the nice, pristine Status 
  Quo and think about how to wreck it. Is it under pressure from external forces? 
  Succumbing to decay and disorder from within? Both? What’s happening to it, 
  and why? 
  If you’re in a hurry or you’re having trouble coming up with a suitable prob-
  lem, here’s a quick list of classic noir Breaks that you can use. Just pair one up 
  with the Status Quo, and ask yourself how that Break might introduce problems 
  and chaos. If your Status Quo is Happy Home, for instance, taking Money 
  as the Break might mean a young heir is tired of waiting for their fortune, or 
  it could indicate that the family has fallen on hard times and racked up some 
  dangerous debts. A Break of Power might well indicate that the whole family 
  is ambitious and willing to do some dark deeds to expand their holdings, or it 
  could mean that they have some influence someone else wants. 
  Money: Someone stands to collect a big payday from this problem, or maybe 
  they’re just trying to scrape together enough to keep debt collectors away. Who 
  is it?
  Sex: Maybe they think it’s love, maybe they know it’s not, but things are heating 
  up in ways they shouldn’t, and this new relationship threatens to bring others 
  down. 
  Power: There’s influence to be gained by breaking up the current order and 
  replacing it with a new one. Someone’s making a play, and it’s causing a lot of 
  damage.
  Secrets: Everyone has something they’d rather others not know about. Blackmail 
  is an old weapon, but an effective one, and some people will gladly kill to keep 
  things from seeing the light. 
  Madness: Rome has a long and bloody history of insanity, especially among 
  the powerful. Lunatics are a source of great stigma and shame, not to mention 
  dangerously unpredictable enemies. 
  Revenge: Sometimes the justice allowed by law falls far short of what a perpetra-
  tor deserves, if they’re even punished at all. And not everyone is content to let it 
  lie at that. Oh, no. 
  Betrayal: Someone important is switching to the side of a former hated rival, or 
  maybe they’re just striking out on their own. Either way, it’s at the worst pos-
  sible time.
  Zealotry: Faith can be a comfort, but it can also be a weapon. Whether from 
  a mainstream faith or mystery cult, religious zealots lead inquisitions and order 
  crimes in the name of their gods. 
  37
  EAGLE EYES
  
  The Heavy
  As the antagonist of the story, the Heavy—an old slang term for villain, common 
  to classic noir—is the one behind the problems the Eagles are up against. In noir, 
  perhaps the most important question to ask when deciding on a Heavy is cui 
  bono—Latin for “who benefits?” People don’t just upset the status quo for no 
  reason, after all, especially in a risky or destructive way. A good antagonist always 
  has a solid motivation for their actions, however malevolent or insane it might 
  seem to others. Even crazy people have their reasons for doing what they do, 
  much less shrewd politicians and ruthless criminal masterminds, so if someone 
  is acting in a way that the Eagles notice, the stakes and motivation must be com-
  mensurate to the risk. 
  38
  FATE: WORLDS OF ADVENTURE
  
  The Brute: This villain simply takes anything they want, and what they lack in 
  subtlety, they make up for in sheer brute force and cruelty. What’s more, they 
  have such power that—even if you see them coming a long way off—it still 
  might not be enough to make ready for when they arrive. The Brute isn’t neces-
  sarily physically violent, though they can be—a Brute of a politician could easily 
  use the law as a blunt object to batter his enemies, just as a criminal Brute could 
  take a club to the knees of his rivals. Brutes are excellent “straight line” villains 
  for characters to show off their raw prowess, or conversely for forcing characters 
  to find new ways to solve their problems other than simple application of power. 
  The Corruptor: This antagonist doesn’t want to defeat their enemies so much as 
  convert them to their cause. Often the Corrupter appears first as an ally, offering 
  the Eagles assistance of some kind: money, information, or even simple comfort. 
  However, the longer the Corruptor keeps their claws in, the more their gifts 
  come with a cost, until the Eagle is either totally under their sway, or so com-
  promised that they have no choice but to do their new master’s bidding or be 
  destroyed. Corruptors make excellent secondary villains or great opponents for 
  socially inclined characters who might enjoy cutting through the Corruptor’s 
  webs of minions and navigating their network of promises and betrayals.
  The Mastermind: Perhaps the toughest of all antagonists to portray on the fly, 
  but also one of the most rewarding, the Mastermind is the villain of schemes. 
  Brutes threaten, Corruptors seduce, but the Mastermind simply outmaneuvers. 
  They typically employ distractions and misinformation to disguise their real pur-
  pose, and have contingency plans in effect so that foiling one scheme is merely a 
  setback. One of the keys to portraying the Mastermind is the feint—they rarely 
  go straight for their goal, but put forward a few fake leads and false starts first 
  to draw out their enemies. Masterminds are excellent antagonists for testing the 
  cleverness and perception of the Eagles, as their schemes require dedication and 
  ingenuity to unravel.
  The Weakling: An unusual sort of antagonist, the Weakling is someone the 
  Eagles need to protect or otherwise deal with for their case, but whose own fail-
  ings make the job exceedingly difficult. They don’t necessarily actively oppose 
  the Eagles, they’re simply incapable of handling themselves in some crucial way 
  that makes the investigation difficult. They might be cowardly, prone to spilling 
  their guts at the worst time, relapsing into addiction, or simply incompetent 
  when expertise is required. Weaklings test the patience and ingenuity of the 
  characters, as they present a situation where the Eagles cannot simply fight or 
  outwit their “enemy,” but instead must find a way to cope with a fundamentally 
  incompetent character. 
  39
  EAGLE EYES
  
  The Twist
  Another classic noir element is the Twist, a moment or element that takes an 
  investigation down an unexpected path or steers events in an unforeseen direc-
  tion. While not required for all investigations—indeed, if overused the Twist 
  loses all impact, as the players come to expect it—a good Twist reflects the para-
  noia and uncertainty that lie at the heart of many great noir stories. Hardly 
  anything is ever as simple, easy, or straightforward as it seems, and old friends 
  are often just those best positioned to knife you in the back. 
  A good Twist flows naturally from the situation—even if the players didn’t see 
  it coming, it should still make sense in the existing fiction. If the Eagles have 
  learned across multiple scenes that the leader of a mystery cult obsesses over cer-
  tain ancient texts and will do anything to get them, it’s not a Twist to suddenly 
  have him not care about those texts at all. It’s just an arbitrary setback, likely to 
  frustrate the players because it makes no sense in the established story. 
  The best way to ensure a Twist doesn’t feel like a punishment or some random 
  deviation is to seed it into the story ahead of time, even if only a little bit, so that 
  that the players can look back and say “It all makes sense now!” If you’re wor-
  ried about giving away too much for the characters, but still want the players to 
  know in order to build tension and avoid feeling too gimmicky, one way to do 
  this is a cut-away or another narrative technique that takes place outside of what 
  the Eagles see. For instance, if you want to set up that a friendly tavern keeper 
  is actually a member of a mystery cult the Eagles are investigating, you could 
  continue narrating after the Eagles have left, describing how the tavern keeper 
  bends over to pick up a cask of wine—exposing the cult tattoo at the base of his 
  neck previously hidden by his tunic. Now the players know but their characters 
  do not, which can really heighten the dramatic tension. 
  Of course, while some players enjoy the added tension of knowing things 
  their characters don’t, other players dislike knowing the answers before their 
  characters do, either because they feel it ruins the suspense or because they don’t 
  want to separate player knowledge from character knowledge. Particularly in a 
  mystery-oriented game, excess player knowledge or “metagaming” can be prob-
  lematic; even if players aren’t worried about “cheating” with this information, it 
  might take away some of their satisfaction at uncovering the information them-
  selves. So GMs, before you give away information in this fashion, it’s usually best 
  to ask the players first, so you can use the techniques best suited for your players. 
  40
  FATE: WORLDS OF ADVENTURE
  
  The Next Break: One simple way to introduce a Twist is to work in a new Break 
  right as the first Break is resolved. An investigation that begins with Eagles fol-
  lowing a Money trail in pursuit of a thieving senator could suddenly veer into a 
  Revenge story as they find the senator has been stealing in order to fund a mas-
  sive vendetta against a political rival he blames for his family’s deaths. 
  The Double-Cross: Perhaps the most classic noir move, where a supposed ally 
  suddenly betrays the players, usually at the least opportune moment. Done right, 
  it’s a real jaw-dropper, as the characters must rapidly re-evaluate their priori-
  ties and the landscape of their alliances. Even more debilitating than the initial 
  reverse is the paranoia that sets in afterward—if one ally can turn traitor, who 
  knows who else can be trusted? For a double-cross to work best, the characters 
  must already have some kind of relationship with the betrayer. They don’t have 
  to be best friends, but betrayal by someone who’s always been a jerk to them—or 
  hasn’t really ever spoken to them—isn’t going to have much impact. 
  The Strange Bedfellows: Also known as the “enemy of my enemy is my friend” 
  principle, this trick forces the characters to cooperate with people they would 
  normally consider enemies or else face defeat at the hands of a common foe. 
  Make sure that both groups have a compelling reason to work together: A 
  common enemy or problem is a necessary start, of course, but you can really 
  get rivals working together if they have to depend on each other—for example, 
  if the characters must bring along a rival Eagle for a crucial part of the mission 
  because they don’t have the skills necessary to complete their objectives. 
  The Double Reverse: Basically a pair of double-crosses, the double reverse finds 
  the characters betrayed by someone they trusted, only to find out someone they 
  thought was an enemy was actually their ally all along. The double reverse is dif-
  ferent from strange bedfellows because the latter implies the characters are tied 
  to their new “allies” only by necessity, while the double reverse means that the 
  former enemies are in fact definitely on the same side for the long term. Like the 
  double-cross, the double reverse requires that the characters have reason to trust 
  the person who betrays them, plus they also need to have real antipathy for the 
  enemy that turns out to be their ally. However, don’t go overboard with building 
  up their dislike for their enemy too much, or the characters won’t buy it when 
  the switch happens. 
  41
  EAGLE EYES
  
  Investigation Briefs
  What follows are seeds for some mysteries and scandals the Eagles can dive into 
  immediately. Each one establishes a basic premise, along with a developing prob-
  lem and some reasons behind it, including possible unexpected plot twists. Each 
  mystery is broken down into the elements found earlier in this chapter to dem-
  onstrate how they’re constructed and to inspire future mysteries. 
  Sons and Daughters
  The Senate asks the Eagles to visit the slave markets near the Coliseum; Senator 
  Cornelius’ personal valet has been showing an unusual amount of interest in 
  finding a particular lot of slaves coming from Gaul, and it’s starting to attract 
  attention. With an important vote on the disbursement of the treasury due in a 
  few days, it’s important to ensure that nothing underhanded is afoot. Of course, 
  when two of those of slave children turn out to bear a striking resemblance 
  to that Senator’s chief rival, Senator Pontius, you can bet things are about to 
  get very complicated indeed. Pontius will want his bastard children covered up, 
  Cornelius will want them exposed for his gain, and the Eagles must keep both 
  sides from igniting civil unrest in the city. 
  Status Quo: Political Stability (slave markets) 
  Break: Secrets (Senator Pontius’ illegitimate children, Albus and Fabia)
  Heavy: Mastermind (Senator Pontius’ wife, Aggripina)
  Possible Twists: Next Break of Zealotry (A mystery cult wants the children 
  because they believe the children fulfill a prophecy of some kind); Double 
  Reverse (Aggripina is actually trying to keep the children safe from her abusive 
  husband’s hands, while Senator Cornelius tries to kill the Eagles for interfering 
  in his own scheme to use the children for his benefit)
  42
  FATE: WORLDS OF ADVENTURE
  
  Blood and Wine 
  In the middle of a lavish feast attended by many of Rome’s most powerful and 
  decadent elite, a murder. Senator Titus Avitus’ young daughter is dead, throat 
  slashed, and the Eagles are tasked with keeping the incident quiet and the party 
  contained while figuring out who committed the horrible crime—and what 
  must be done for the sake of justice. (Or if it turns out it might help incriminate 
  a rival senator, you know, blackmail.) Early signs point to a ruthless underworld 
  figure, but why would such a man choose to draw the wrath of a powerful sena-
  tor? What could possibly warrant such a brutal killing in such a high-profile 
  location? 
  Status Quo: Happy Home (Senator Titus)
  Break: Money (Senator Titus owes tremendous gambling debts)
  Heavy: Brute (Crassus, local crimelord and holder of those debts)
  Possible Twists: Next Break of Revenge (Crassus and Titus used to be allies and 
  Titus betrayed him, leaving him to wrongfully rot in jail); Strange Bedfellows 
  (Titus attempts to have the Eagles and the criminals wipe each other out to 
  remove any evidence of his past misdeeds, forcing an alliance between the Eagles 
  and Crassus to survive)
  Just Following Orders 
  The Senate has reason to believe that a popular general is considering an act of 
  high treason—unlawfully seizing a governorship, maybe, or perhaps even oust-
  ing the Emperor. In his house in the city, his villa in the countryside, or even his 
  legion’s camp itself—it’s your job to find evidence of his treachery. And if there 
  isn’t any? Manufacture some. The Senate won’t be happy with anything less. The 
  Eagles must work with an especially light touch, though; not only is the general 
  amply supplied with loyal military might, but he is also beloved by the plebians. 
  A clumsy attempt at slander will only rile them and further his cause. And then 
  there’s the matter of what happens if some of the Eagles just might agree with 
  some of his populist ideas…
  Status Quo: Pax Romana (General Flavius Africanus, popular military leader)
  Break: Power (the Senate is wary of the General’s growing influence)
  Heavy: Corruptor (General Africanus is in fact gathering power, and will try to 
  convert the Eagles)
  Possible Twists: Next Break of Sex (Flavius’ lover Petronia is the daughter of 
  a member of the Sinistram, who decrees she must be stolen back from him); 
  Double Cross (Lucio, the friendly soldier sent to guide them, turns out to be 
  Flavius’ loyal man all along)
  43
  EAGLE EYES
  
  ID
  ASPECTS
  CONSEQUENCES
  STUNTS
  APPROACHES
  STRESS
  Name
  High Concept
  JUNO (CAREFUL)
  Trouble
  MINERVA (CLEVER)
  Ideal
  JUPITER (FLASHY)
  Petitio Videtur
  MARS (FORCEFUL)
  Virtus
  MERCURY (QUICK)
  PLUTO (SNEAKY)
  Description
  Refresh
  Current  
  Fate Points
  I
  III
  II
  Mild
  Moderate
  Severe
  Eagle Eyes Character Sheet ©2014 Evil 
  Hat Productions, LLC. May be printed 
  and photocopied for personal use.
  EAGLE EYES
  II
  IV
  VI
  
SOURCE: textdata/thevault/Kid Friendly/7. RPGs/Ages 8-10 (Attention span of 2 hours +, Proficient in basic math, Starting to read or reading chapter books)/FATE Accelerated (FAE)/FATE - WOA 07 - Eagle Eyes.pdf