· 6 years ago · Mar 15, 2019, 08:58 PM
1
2
3Fate Accelerated Edition
4========================
5
6This work is based on Fate Core System and Fate Accelerated Edition
7found at <http://www.faterpg.com/>, products of Evil Hat Productions,
8LLC, developed, authored, and edited by Leonard Balsera, Brian Engard,
9Jeremy Keller, Ryan Macklin, Mike Olson, Clark Valentine, Amanda
10Valentine, Fred Hicks, and Rob Donoghue, and licensed for our use under
11the Creative Commons Attribution 3.0 Unported license
12<http://creativecommons.org/licenses/by/3.0/>.
13
14
15
16- [Telling Stories Together](#telling-stories-together)
17 - [What Do You Mean, "Tell
18 Stories"?](#what-do-you-mean-tell-stories)
19 - [So How Do We Do It?](#so-how-do-we-do-it)
20 - [Telling Stories "Together"? What Do You
21 Mean?](#telling-stories-together-what-do-you-mean)
22- [Who Do You Want To Be?](#who-do-you-want-to-be)
23 - [What Kind of Characters Can I
24 Play?](#what-kind-of-characters-can-i-play)
25 - [How Do I Make the Character?](#how-do-i-make-the-character)
26 - [Aspects in a Nutshell](#aspects-in-a-nutshell)
27 - [High Concept](#high-concept)
28 - [Trouble](#trouble)
29 - [Another Aspect](#another-aspect)
30 - [Optional: One or Two Additional
31 Aspects](#optional-one-or-two-additional-aspects)
32 - [Name and Appearance](#name-and-appearance)
33 - [CREATING CHARACTERS: THE 30-SECOND
34 VERSION](#creating-characters-the-30-second-version)
35 - [Approaches](#approaches)
36 - [THE LADDER](#the-ladder)
37 - [Stunts and Refresh](#stunts-and-refresh)
38 - [HOW MANY STUNTS?](#how-many-stunts)
39- [How To Do Stuff: Outcomes, Actions, and
40 Approaches](#how-to-do-stuff-outcomes-actions-and-approaches)
41 - [Dice or Cards](#dice-or-cards)
42 - [Outcomes](#outcomes)
43 - [Actions](#actions)
44 - [Create an Advantage](#create-an-advantage)
45 - [Overcome](#overcome)
46 - [Attack](#attack)
47 - [Defend](#defend)
48 - [Getting Help](#getting-help)
49 - [Choose Your Approach](#choose-your-approach)
50 - [Roll the Dice, Add Your Bonus](#roll-the-dice-add-your-bonus)
51 - [Decide Whether to Modify the
52 Roll](#decide-whether-to-modify-the-roll)
53- [Challenges, Contests, and
54 Conflicts](#challenges-contests-and-conflicts)
55 - [Challenges](#challenges)
56 - [Contests](#contests)
57 - [Conflicts](#conflicts)
58 - [CONFLICTS: THE 30-SECOND
59 VERSION](#conflicts-the-30-second-version)
60 - [Setting the Scene](#setting-the-scene)
61 - [Determine Turn Order](#determine-turn-order)
62 - [Exchanges](#exchanges)
63- [Ouch! Damage, Stress, and
64 Consequences](#ouch-damage-stress-and-consequences)
65 - [STRESS & CONSEQUENCES: THE 30-SECOND
66 VERSION](#stress-consequences-the-30-second-version)
67 - [What Is Stress?](#what-is-stress)
68 - [What Are Consequences?](#what-are-consequences)
69 - [What Happens When I Get Taken
70 Out?](#what-happens-when-i-get-taken-out)
71 - [Giving In](#giving-in)
72 - [Getting Better---Recovering from Stress and
73 Consequences](#getting-betterrecovering-from-stress-and-consequences)
74 - [RENAMING MODERATE AND SEVERE
75 CONSEQUENCES](#renaming-moderate-and-severe-consequences)
76- [Aspects and Fate Points](#aspects-and-fate-points)
77 - [What Kinds of Aspects Are
78 There?](#what-kinds-of-aspects-are-there)
79 - [What Do You Do With Aspects?](#what-do-you-do-with-aspects)
80 - [Invoking Aspects](#invoking-aspects)
81 - [Compelling Aspects](#compelling-aspects)
82 - [Establishing Facts](#establishing-facts)
83 - [Composing Good Aspects](#composing-good-aspects)
84 - [Stunts](#stunts)
85- [Getting Better at Doing Stuff: Character
86 Advancement](#getting-better-at-doing-stuff-character-advancement)
87 - [Milestones](#milestones)
88 - [Minor Milestones](#minor-milestones)
89 - [Significant Milestones](#significant-milestones)
90 - [Major Milestones](#major-milestones)
91- [Being the GM](#being-the-gm)
92 - [Help Build Campaigns](#help-build-campaigns)
93 - [LEARNING HOW TO BE A GM](#learning-how-to-be-a-gm)
94 - [Build Scenarios and Run Game
95 Sessions](#build-scenarios-and-run-game-sessions)
96 - [Scenarios](#scenarios)
97 - [Running Game Sessions](#running-game-sessions)
98 - [Setting Difficulty Levels](#setting-difficulty-levels)
99 - [Rules of Thumb:](#rules-of-thumb)
100 - [Bad Guys](#bad-guys)
101 - [CYCLOPS HOUSE BULLY](#cyclops-house-bully)
102 - [STEEL ASSASSIN](#steel-assassin)
103 - [SKY SHARK](#sky-shark)
104 - [GANG OF THUGS](#gang-of-thugs)
105- [Example Characters](#example-characters)
106 - [Reth of the Andrali
107 Resistance](#reth-of-the-andrali-resistance)
108 - [Voltaire](#voltaire)
109 - [Abigail Zhao](#abigail-zhao)
110 - [Bethesda Flushing, PhD](#bethesda-flushing-phd)
111
112
113
114
115
116Get Started!
117============
118
119Remember those books where the teenage wizards struggle against the Dark
120Lord of Evil? That movie where the dwarves fight to recapture their
121mountain home from a dragon? That animated TV show about mystical
122knights and their army of clones righting wrongs across the galaxy?
123
124Aren't those *awesome*?
125
126Here's your chance to put yourself in the heroes' shoes in stories like
127those.
128
129*Fate Accelerated Edition* is a tabletop roleplaying game, where you and
130your friends gather around and tell stories full of danger, excitement,
131and adventure. You might have played games similar to this
132before---*Dungeons & Dragons* is a very popular one---but don't worry if
133you haven't; this booklet will guide you through it.
134
135Here's what you'll need to play:
136
137- **Three to five people.** One of you will be the **gamemaster**, the
138 others **players**. We'll talk about what those mean later.
139- **Fate Dice?**, at least four, preferably four per person. These are
140 a special kind of six-sided dice that are marked on two sides with a
141 plus symbol \[+\], two sides with a minus symbol **\[-\]**, and two
142 sides are blank \[ \]. You can get these dice from many hobby and
143 game stores, often under their original name---Fudge dice. We call
144 them Fate Dice in this book, but you can call them whatever you
145 like. Evil Hat will offer Fate Dice for sale at *www.evilhat.com*
146 later in 2013.
147
148------------------------------------------------------------------------
149
150If you don't want to use Fudge dice, you don't have to--any set of
151regular six-sided dice will work. If you're using regular dice, you read
1525 or 6 as \[+\], 1 or 2 as \[-\], and 3 or 4 as \[ \].
153
154------------------------------------------------------------------------
155
156**Deck of Fate** is an alternative to Fate Dice. It's a deck of cards
157that mimics the probability of Fate Dice, and it's designed to be used
158in the same way Fate Dice are. The Deck of Fate will be available from
159Evil Hat in 2013 or 2014.
160
161- **Character sheets**, one for each player. You can download these
162 from *www.evilhat.com*.
163- **Index cards** or **sticky notes** or similar slips of paper.
164- **Tokens for fate points**. These can be poker chips, beads,
165 pennies, or anything similar. Get a handful---about 30 or 40.
166
167Next, let's talk about how to use *Fate Accelerated* to tell stories
168together.
169
170Telling Stories Together
171========================
172
173So you've gathered your friends, your dice, and your index cards, and
174you're ready to play *Fate Accelerated Edition* (we'll call it *FAE*
175from now on). Time to tell some stories!
176
177What Do You Mean, "Tell Stories"?
178---------------------------------
179
180*FAE* is all about telling stories. You create a group of characters and
181follow them through some imaginary adventure that you all take turns
182telling little parts of.
183
184Think about a movie, video game, or TV show you like where the
185characters go on adventures---something like *The Legend of Korra* or
186*Star Wars* or *The Avengers* or the *Zelda* games or *Doctor Who* or
187*The Lord of the Rings*. Now imagine a similar sort of story, where you
188and your friends around the table make the decisions for the characters
189as they move through the story, and the story changes as you make those
190decisions.
191
192Sometimes someone makes a decision to try something and you don't know
193for sure how it would turn out; that's when you roll dice to see what
194happens next. The higher you roll, the better the chance that things
195work out the way you want them to.
196
197So How Do We Do It?
198-------------------
199
200Well, first you need to figure out what kind of story you're going to
201tell. What genre are you interested in? Fantasy? Science fiction?
202Modern-day adventure? Will you play in the world of a TV show or comic
203book or movie that you love, or will you create your own world? For some
204great advice about how to design the framework of your game, see *Game
205Creation* in *Fate Core*, available for free at *www.evilhat.com*.
206
207Next, it's time to choose who will be the players, and who will be the
208gamemaster. Of the people around the table, all but one are referred to
209as **players**. Each player takes on the role of one **player
210character** or **PC** in the story, and puts themselves in their
211character's shoes to make the decisions that their character would make.
212The remaining person is called the **gamemaster** or **GM**. The GM's
213job is to present challenges to the players and to portray all the
214characters that aren't controlled by the players (**non-player
215characters** or **NPCs**).
216
217Once you decide who the GM will be, and what the genre and framework of
218the story will be, it's time for the players to make their
219characters---that's in the **next chapter**.
220
221Telling Stories "Together"? What Do You Mean?
222---------------------------------------------
223
224All the people at the table, GM and players alike, are responsible for
225telling the story. When you make a decision for your character (or for
226one of the NPCs, if you're the GM), think about two things.
227
228First, put yourself in your character's shoes and think hard about what
229they would do---even if it's not the best idea. If you're playing a
230character that sometimes makes poor decisions, don't be afraid to make a
231poor decision for them on purpose.
232
233Second---and this is really important---think about the story that's
234being told. Think about the choice that would make that story even
235better: more interesting, more exciting, funnier. Would a certain choice
236give another player's character a chance to be awesome? Strongly
237consider making that choice.
238
239That's how you tell great stories *together*---by not being afraid for
240your character to make mistakes, and by making choices that make the
241story more interesting for everyone at the table---not just you.
242
243Who Do You Want To Be?
244======================
245
246Once you've decided what kind of story you'll be telling in your game,
247you decide who your character is---what they look like, what they're
248good at, and what they believe.
249
250What Kind of Characters Can I Play?
251-----------------------------------
252
253Think about the setting that you've decided to play in and make that
254your main guide. Are you playing in a school for young sorcerers? Play a
255young sorcerer! Are you playing space pilots fighting an evil empire?
256Play a space pilot! Make sure your character has a reason to interact
257and cooperate with the characters the other players are making.
258
259How Do I Make the Character?
260----------------------------
261
262Now it's time to start writing stuff down. Grab a pencil and a copy of
263the character sheet. Some people like to use form-fillable PDFs on a
264laptop or tablet computer. Any of that's fine, but you definitely want
265something that lets you erase and change.
266
267Aspects in a Nutshell
268---------------------
269
270An **aspect** is a word, phrase, or sentence that describes something
271centrally important to your character. It can be a motto your character
272lives by, a personality quirk, a description of a relationship you have
273with another character, an important possession or bit of equipment your
274character has, or any other part of your character that is vitally
275important.
276
277Aspects allow you to change the story in ways that tie in with your
278character's tendencies, skills, or problems. You can also use them to
279**establish facts about the setting**, such as the presence of magic or
280the existence of a useful ally, dangerous enemy, or secret organization.
281
282Your character will have a handful of aspects (between three and five),
283including a **high concept** and a **trouble**. We discuss aspects in
284detail in *Aspects and Fate Points*---but for now, this should help you
285get the idea.
286
287### High Concept
288
289First, decide on your character's **high concept**. This is a single
290phrase or sentence that neatly sums up your character, saying who you
291are, what you do, what your "deal" is. When you think about your high
292concept, try to think of two things: how this aspect could help you, and
293how it might make things harder for you. Good high concept aspects do
294both.
295
296------------------------------------------------------------------------
297
298> Examples: ***Feline Captain of Cirrus Skimmer***; ***Suncaller of the
299> Andral Desert***; ***Chief Field Agent of IGEMA***
300
301------------------------------------------------------------------------
302
303### Trouble
304
305Next, decide on the thing that always gets you into **trouble**. It
306could be a personal weakness, or a recurring enemy, or an important
307obligation---anything that makes your life complicated.
308
309------------------------------------------------------------------------
310
311> Examples: ***Steel Assassins Want Me Dead***; ***Cast Now, Ask
312> Questions Later***; ***Gotta Look Out for My Little Brother***
313
314------------------------------------------------------------------------
315
316### Another Aspect
317
318Now compose another aspect. Think of something really important or
319interesting about your character. Are they the strongest person in their
320hometown? Do they carry a mighty sword known through history? Do they
321talk too much? Are they filthy rich?
322
323### Optional: One or Two Additional Aspects
324
325If you wish, you may create one or two more aspects. These aspects might
326describe your character's relationship with other player characters or
327with an NPC. Or, like the third aspect you composed above, it might
328describe something especially interesting about your character.
329
330If you prefer, you can leave one or both of these aspects blank right
331now and fill them in later, after the game has started.
332
333Name and Appearance
334-------------------
335
336Describe your character's appearance and give them a name.
337
338------------------------------------------------------------------------
339
340### **CREATING CHARACTERS: THE 30-SECOND VERSION**
341
342- Write two **aspects**: a high concept and a trouble.
343- Write another aspect.
344- Give your character a name and describe their appearance.
345- Choose **approaches**.
346- Set your refresh to 3.
347- You may write up to two more aspects and choose a **stunt** if you
348 wish, or you may do that during play.
349
350------------------------------------------------------------------------
351
352Approaches
353----------
354
355Choose your **approaches**.
356
357Approaches are descriptions of *how* you accomplish tasks. Everyone has
358the same six approaches:
359
360- Careful
361- Clever
362- Flashy
363- Forceful
364- Quick
365- Sneaky
366
367Each approach is rated with a bonus. Choose one at Good (+3), two at
368Fair (+2), two at Average (+1), and one at Mediocre (+0). You can
369improve these later. We talk about what each **approach** means and how
370you use them in *How to Do Stuff: Outcomes, Approaches, and Actions*.
371
372------------------------------------------------------------------------
373
374#### **THE LADDER**
375
376In Fate, we use a ladder of adjectives and numbers to rate a character's
377approaches, the result of a roll, difficulty ratings for simple checks,
378etc.
379
380Here's the ladder:
381
382 | Rating | Adjective |
383 | --------|------------|
384 | +8- | Legendary |
385 | +7- | Epic |
386 | +6- | Fantastic |
387 | +5- | Superb |
388 | +4- | Great |
389 | +3- | Good |
390 | +2- | Fair |
391 | +1- | Average |
392 | 0 - | Mediocre |
393 | -1- | Poor |
394 | -2- | Terrible |
395
396
397------------------------------------------------------------------------
398
399Your approaches can say a lot about who you are. Here are some examples:
400
401- **The Brute:** Forceful +3, Careful and Flashy +2, Sneaky and Quick
402 +1, Clever +0
403- **The All-Star:** Quick +3, Forceful and Flashy +2, Clever and
404 Careful +1, Sneaky +0
405- **The Trickster:** Clever +3, Sneaky and Flashy +2, Forceful and
406 Quick +1, Careful +0
407- **The Guardian:** Careful +3, Forceful and Clever +2, Sneaky and
408 Quick +1, Flashy +0
409- **The Thief:** Sneaky +3, Careful and Quick +2, Clever and Flashy
410 +1, Forceful +0
411- **The Swashbuckler:** Flashy +3, Quick and Clever +2, Forceful and
412 Sneaky +1, Careful +0
413
414Stunts and Refresh
415------------------
416
417A **stunt** is a special trait that changes the way an approach works
418for your character. Generally, stunts give you a bonus (almost always
419+2) to a certain approach when used with a particular action under
420specific circumstances. We'll talk more about stunts in *Stunts*. Choose
421one stunt to start, or you can wait and add a stunt during the game.
422Later, when your character advances, you can choose more.
423
424Your **refresh** is the number of fate points you begin each game
425session with---unless you ended the previous session with more unspent
426fate points than your refresh, in which case you start with the number
427you had left last time. By default, your refresh starts at three and is
428reduced by one for each stunt *after* the first three you
429choose---essentially, your first three stunts are free! As your
430character advances, you'll get opportunities to add to your refresh.
431Your refresh may never go below one.
432
433------------------------------------------------------------------------
434
435### **HOW MANY STUNTS?**
436
437By default, *FAE* suggests choosing one stunt to start with.
438
439However, if this is your first time playing a Fate game, you might find
440it easier to pick your first stunt after you've had a chance to play a
441bit, to give you an idea of what a good stunt might be. Just add your
442stunt during or after your first game session.
443
444On the other hand, if you're an experienced Fate gamer, you might look
445ahead and discover that, just like in *Fate Core*, your character is
446entitled to three free stunts before it starts costing you refresh. In
447that case, let the least experienced member of your game group be your
448guide; if someone is new to the game and only takes one to start with,
449that's what everyone should do. If you're all experienced, and you want
450to start with more powerful characters, just take all three to start and
451off you go.
452
453------------------------------------------------------------------------
454
455How To Do Stuff: Outcomes, Actions, and Approaches
456==================================================
457
458Now it's time to start doing something. You need to leap from one moving
459train car to another. You need to search the entire library for that
460spell you really need. You need to distract the guard so you can sneak
461into the fortress. How do you figure out what happens?
462
463First you narrate what your character is trying to do. Your character's
464own aspects provide a good guide for what you can do. If you have an
465aspect that suggests you can perform magic, then cast that spell. If
466your aspects describe you as a swordsman, draw that blade and have at
467it. These story details don't have additional mechanical impact. You
468don't get a bonus from your magic or your sword, unless you choose to
469spend a fate point to **invoke** an appropriate **aspect**. Often, the
470ability to use an aspect to make something true in the story is bonus
471enough!
472
473How do you know if you're successful? Often, you just succeed, because
474the action isn't hard and nobody's trying to stop you. But if failure
475provides an interesting twist in the story, or if something
476unpredictable could happen, you need to break out the dice.
477
478------------------------------------------------------------------------
479
480**TAKING ACTION: THE 30-SECOND VERSION**
481
4821. Describe what you want your character to do. See if someone or
483 something can stop you.
4842. Decide what action you're taking: create an advantage, overcome,
485 attack, or defend.
4863. Decide on your approach.
4874. Roll dice and add your approach's bonus.
4885. Decide whether to modify your roll with aspects.
4896. Figure out your outcome.
490
491------------------------------------------------------------------------
492
493Dice or Cards
494-------------
495
496Part of determining your outcome is generating a random number, which is
497usually done in one of two ways: rolling four Fate Dice, or drawing a
498card from a Deck of Fate.
499
500**Fate Dice:** Fate Dice (sometimes called Fudge dice, after the game
501they were originally designed for) are one way to determine outcomes.
502You always roll Fate Dice in a set of four. Each die will come up as
503plus \[?\], blank \[?\], or minus \[?\], and you add them together to get the total of
504the roll. For example:
505
506 | Rolls |
507 |-----------|
508 | ???? = +1 |
509 | ???? = +0 |
510 | ???? = +2 |
511 | ???? = ?1 |
512
513**Deck of Fate:** The Deck of Fate is a deck of cards that copies the
514statistical spread of Fate Dice. You can choose to use them instead of
515dice---either one works great.
516
517------------------------------------------------------------------------
518
519These rules are written with the assumption that you're rolling Fate
520Dice, but use whichever one your group prefers. Anytime you're told to
521roll dice, that also means you can draw from the Deck of Fate instead.
522
523------------------------------------------------------------------------
524
525Outcomes
526--------
527
528Once you roll your dice, add your approach bonus (we'll talk about that
529in a moment) and any bonuses from aspects or stunts. Compare the total
530to a target number, which is either a fixed difficulty or the result of
531the GM's roll for an NPC. Based on that comparison, your outcome is:
532
533- You **fail** if your total is *less than* your opponent's total.
534- It's a **tie** if your total is *equal to* your opponent's total.
535- You **succeed** if your total is *greater than* your opponent's
536 total.
537- You **succeed with style** if your total is at least *three greater
538 than* your opponent's total.
539
540Now that we've covered outcomes, we can talk about actions and how the
541outcomes work with them.
542
543Actions
544-------
545
546So you've narrated what your PC is trying to do, and you've established
547that there's a chance you could fail. Next, figure out what **action**
548best describes what you're trying to do. There are four basic actions
549that cover anything you do in the game.
550
551### Create an Advantage
552
553**Creating an advantage** is anything you do to try to help yourself or
554one of your friends. Taking a moment to very carefully aim your proton
555blaster, spending several hours doing research in the school library, or
556tripping the thug who's trying to rob you---these all count as creating
557an advantage. The target of your action may get a chance to use the
558defend action to stop you. The advantage you create lets you do one of
559the following three things:
560
561- Create a new situation **aspect**.
562- Discover an existing situation **aspect** or another character's
563 aspect that you didn't know about.
564- Take advantage of an existing **aspect**.
565
566#### **If you're creating a new aspect or discovering an existing one:**
567
568- **If you fail:** Either you don't create or discover the aspect at
569 all, or you create or discover it but an*opponent* gets to invoke
570 the aspect for free. The second option works best if the aspect you
571 create or discover is something that other people could take
572 advantage of (like ***Rough Terrain***). You may have to reword the
573 aspect to show that it benefits the other character instead of
574 you---work it out in whatever way makes the most sense with the
575 player who gets the free invocation. You can still invoke the aspect
576 if you'd like, but it'll cost you a fate point.
577- **If you tie:** If you're creating a new aspect, you get a
578 **boost**. Name it and invoke it once for free---after that, the
579 boost goes away. If you're trying to discover an existing aspect,
580 treat this as a success (see below).
581- **If you succeed:** You create or discover the aspect, and you or an
582 ally may invoke it once for free. Write the aspect on an index card
583 or sticky note and place it on the table.
584- **If you succeed with style:** You create or discover the aspect,
585 and you or an ally may invoke it *twice*for free. Usually you can't
586 invoke the same aspect twice on the same roll, but this is an
587 exception; success with style gives you a BIG advantage!
588
589#### **If you're trying to take advantage of an aspect you already know about:**
590
591- **If you fail:** You don't get any additional benefit from the
592 aspect. You can still invoke it in the future if you'd like, at the
593 cost of a fate point.
594- **If you tie or succeed:** You get one free invocation on the aspect
595 for you or an ally to use later. You might want to draw a circle or
596 a box on the aspect's note card, and check it off when that
597 invocation is used.
598- **If you succeed with style:** You get *two* free invocations on the
599 aspect, which you can let an ally use, if you wish.
600
601------------------------------------------------------------------------
602
603#### **ACTIONS & OUTCOMES: THE 30-SECOND VERSION**
604
605**Create an Advantage when creating or discovering aspects:**
606
607- **Fail:** Don't create or discover, or you do but your opponent (not
608 you) gets a free invocation.
609- **Tie:** Get a **boost** if creating new, or treat as success if
610 looking for existing.
611- **Succeed:** Create or discover the aspect, get a free invocation on
612 it.
613- **Succeed with Style:** Create or discover the aspect, get two free
614 invocations on it.
615
616**Create an Advantage on an aspect you already know about:**
617
618- **Fail:** No additional benefit.
619- **Tie**: Generate one free invocation on the aspect.
620- **Succeed:** Generate one free invocation on the aspect.
621- **Succeed with Style:** Generate two free invocations on the aspect.
622
623**Overcome:**
624
625- ***Fail:*** Fail, or succeed at a serious cost.
626- ***Tie:*** Succeed at minor cost.
627- **Succeed:** You accomplish your goal.
628- **Succeed with Style:** You accomplish your goal and generate a
629 boost.
630
631**Attack:**
632
633- **Fail:** No effect.
634- ***Tie:*** Attack doesn't harm the target, but you gain a boost.
635- **Succeed:** Attack hits and causes damage.
636- ***Succeed with Style:*** Attack hits and causes damage. May reduce
637 damage by one to generate a boost.
638
639**Defend:**
640
641- **Fail:** You suffer the consequences of your opponent's success.
642- **Tie:** Look at your opponent's action to see what happens.
643- ***Succeed:*** Your opponent doesn't get what they want.
644- **Succeed with Style:** Your opponent doesn't get what they want,
645 and you get a boost.
646
647------------------------------------------------------------------------
648
649### Overcome
650
651You use the ***overcome*** action when you have to get past something
652that's between you and a particular goal---picking a lock, escaping from
653handcuffs, leaping across a chasm, flying a spaceship through an
654asteroid field. Taking some action to eliminate or change an
655inconvenient situation aspect is usually an overcome action; we'll talk
656more about that in *Aspects and Fate Points*. The target of your action
657may get a chance to use the defend action to stop you.
658
659- **If you fail:** You have a tough choice to make. You can simply
660 fail---the door is still locked, the thug still stands between you
661 and the exit, the enemy spaceship is still ***On Your Tail***. Or
662 you can succeed, but at a serious cost---maybe you drop something
663 vital you were carrying, maybe you suffer harm. The GM helps you
664 figure out an appropriate cost.
665- **If you tie:** You attain your goal, but at some minor cost. The GM
666 could introduce a complication, or present you with a tough choice
667 (you can rescue one of your friends, but not the other), or some
668 other twist. See *"Succeed at a Cost"* in *Running the Game* in
669 *Fate Core* for more ideas.
670- **If you succeed:** You accomplish what you were trying to do. The
671 lock springs open, you duck around the thug blocking the door, you
672 manage to lose the alien spaceship on your tail.
673- **If you succeed with style:** As success (above), but you also gain
674 a boost.
675
676### Attack
677
678Use an **attack** when you try to hurt someone, whether physically or
679mentally---swinging a sword, shooting a blaster rifle, or yelling a
680blistering insult with the intent to hurt your target. (We'll talk about
681this in *Ouch! Damage, Stress, and Consequences*, but the important
682thing is: If someone gets hurt too badly, they're knocked out of the
683scene.) The target of your attack gets a chance to use the defend action
684to stop you.
685
686- **If you fail:** Your attack doesn't connect. The target parries
687 your sword, your shot misses, your target laughs off your insult.
688- **If you tie:** Your attack doesn't connect strongly enough to cause
689 any harm, but you gain a boost.
690- **If you succeed:** Your attack hits and you do damage. See *Ouch!
691 Damage, Stress, and Consequences*.
692- **If you succeed with style:** You hit and do damage, plus you have
693 the option to reduce the damage your hit causes by one and gain a
694 boost.
695
696### Defend
697
698Use **defend** when you're actively trying to stop someone from doing
699any of the other three actions---you're parrying a sword strike, trying
700to stay on your feet, blocking a doorway, and the like. Usually this
701action is performed on*someone else's turn*, reacting to their attempt
702to attack, overcome, or create an advantage. You may also roll to oppose
703some non-attack actions, or to defend against an attack on someone else,
704if you can explain why you can. Usually it's fine if most people at the
705table agree that it's reasonable, but you can also point to an relevant
706situation aspect to justify it. When you do, you become the target for
707any bad results.
708
709- **If you fail:** You're on the receiving end of whatever your
710 opponent's success gives them.
711- **If you tie or succeed:** Things don't work out too badly for you;
712 look at the description of your opponent's action to see what
713 happens.
714- **If you succeed with style:** Your opponent doesn't get what they
715 want, plus you gain a boost.
716
717### Getting Help
718
719An ally can help you perform your action. When an ally helps you, they
720give up their action for the exchange and describe how they're providing
721the help; you get a +1 to your roll for each ally that helps this way.
722Usually only one or two people can help this way before they start
723getting in each other's way; the GM decides how many people can help at
724once.
725
726Choose Your Approach
727--------------------
728
729As we mentioned in *Who Do You Want to Be?*, there are six
730**approaches** that describe how you perform actions.
731
732- **Careful:** A Careful action is when you pay close attention to
733 detail and take your time to do the job right. Lining up a
734 long-range arrow shot. Attentively standing watch. Disarming a
735 bank's alarm system.
736- **Clever:** A Clever action requires that you think fast, solve
737 problems, or account for complex variables. Finding the weakness in
738 an enemy swordsman's style. Finding the weak point in a fortress
739 wall. Fixing a computer.
740- **Flashy:** A Flashy action draws attention to you; it's full of
741 style and panache. Delivering an inspiring speech to your army.
742 Embarrassing your opponent in a duel. Producing a magical fireworks
743 display.
744- **Forceful:** A Forceful action isn't subtle---it's brute strength.
745 Wrestling a bear. Staring down a thug. Casting a big, powerful magic
746 spell.
747- **Quick:** A Quick action requires that you move quickly and with
748 dexterity. Dodging an arrow. Getting in the first punch. Disarming a
749 bomb as it ticks 3... 2... 1...
750- **Sneaky:** A Sneaky action is done with an emphasis on
751 misdirection, stealth, or deceit. Talking your way out of getting
752 arrested. Picking a pocket. Feinting in a sword fight.
753
754Each character has each approach rated with a bonus from +0 to +3. Add
755the bonus to your dice roll to determine how well your PC performs the
756action you described.
757
758So your first instinct is probably to pick the action that gives you the
759greatest bonus, right? But it doesn't work like that. You have to base
760your choice of approach on the description of your action, and you can't
761describe an action that doesn't make any sense. Would you Forcefully
762creep through a dark room, hiding from the guards? No, that's being
763Sneaky. Would you Quickly push that big rock out of the way of the
764wagon? No, that's being Forceful. Circumstances constrain what approach
765you can use, so sometimes you have to go with an approach that might not
766play directly to your strengths.
767
768Roll the Dice, Add Your Bonus
769-----------------------------
770
771Time to take up dice and roll. Take the bonus associated with the
772approach you've chosen and add it to the result on the dice. If you have
773a stunt that applies, add that too. That's your total. Compare it to
774what your opponent (usually the GM) has.
775
776Decide Whether to Modify the Roll
777---------------------------------
778
779Finally, decide whether you want to alter your roll by invoking
780aspects---we'll talk about this a lot in *Aspects and Fate Points*.
781
782Challenges, Contests, and Conflicts
783===================================
784
785We've talked about the four actions (create an advantage, overcome,
786attack, and defend) and the four outcomes (fail, tie, succeed, and
787succeed with style). But in what framework do those happen?
788
789Usually, when you want to do something straightforward---swim across a
790raging river, hack someone's cell phone---all you need to do is make one
791overcome action against a difficulty level that the GM sets. You look at
792your outcome and go from there.
793
794But sometimes things are a little more complex.
795
796Challenges
797----------
798
799A **challenge** is a series of overcome and create an advantage actions
800that you use to resolve an especially complicated situation. Each
801overcome action deals with one task or part of the situation, and you
802take the individual results together to figure out how the situation
803resolves.
804
805To set up a challenge, decide what individual tasks or goals make up the
806situation, and treat each one as a separate overcome roll.
807
808Depending on the situation, one character may be required to make
809several rolls, or multiple characters may be able to participate. GMs,
810you aren't obligated to announce all the stages in the challenge ahead
811of time---adjust the steps as the challenge unfolds to keep things
812exciting.
813
814------------------------------------------------------------------------
815
816> The PCs are the crew of a ship caught in a storm. They decide to press
817> on and try to get to their destination despite the weather, and the GM
818> suggests this sounds like a challenge. Steps in resolving this
819> challenge could be calming panicky passengers, repairing damaged
820> rigging, and keeping the ship on the right heading.
821
822------------------------------------------------------------------------
823
824Contests
825--------
826
827When two or more characters are competing against one another for the
828same goal, but not directly trying to hurt each other, you have a
829**contest**. Examples include a car chase, a public debate, or an
830archery tournament.
831
832A contest proceeds in a series of exchanges. In an exchange, every
833participant takes one overcome action to determine how well they do in
834that leg of the contest. Compare your result to everyone else's.
835
836If you got the highest result, you win the exchange---you score a
837victory (which you can represent with a tally or check mark on scratch
838paper) and describe how you take the lead. If you succeed with style,
839you mark two victories.
840
841If there's a tie, no one gets a victory, and an unexpected twist occurs.
842This could mean several things, depending on the situation---the terrain
843or environment shifts somehow, the parameters of the contest change, or
844an unanticipated variable shows up and affects all the participants. The
845GM creates a new situation aspect reflecting this change and puts it
846into play.
847
848The first participant to achieve three victories wins the contest.
849
850Conflicts
851---------
852
853**Conflicts** are used to resolve situations where characters are trying
854to harm one another. It could be physical harm (a sword fight, a
855wizard's duel, a battle with laser blasters), but it could also be
856mental harm (a shouting match, a tough interrogation, a magical psychic
857assault).
858
859------------------------------------------------------------------------
860
861#### **CONFLICTS: THE 30-SECOND VERSION**
862
8631. Set the scene.
8642. Determine turn order.
8653. Start the first exchange.
8664. On your turn, take an action.
8675. On other people's turns, defend against or respond to their actions
868 as necessary.
8696. At the end of everyone's turn, start a new exchange or end the
870 conflict.
871
872------------------------------------------------------------------------
873
874### Setting the Scene
875
876Establish what's going on, where everyone is, and what the environment
877is like. Who is the opposition? The GM should write a couple of
878situation aspects on sticky notes or index cards and place them on the
879table. Players can suggest situation aspects, too.
880
881The GM also establishes **zones**, loosely defined areas that tell you
882where characters are. You determine zones based on the scene and the
883following guidelines:
884
885Generally, you can interact with other characters in the same zone---or
886in nearby zones if you can justify acting at a distance (for example, if
887you have a ranged weapon or magic spell).
888
889You can move one zone for free. An action is required to move if there's
890an obstacle along the way, such as someone trying to stop you, or if you
891want to move two or more zones. It sometimes helps to sketch a quick map
892to illustrate zones.
893
894------------------------------------------------------------------------
895
896> Thugs are attacking the characters in a house. The living room is one
897> zone, the kitchen another, the front porch another, and the yard a
898> fourth. Anyone in the same zone can easily throw punches at each
899> other. From the living room, you can throw things at people in the
900> kitchen or move into the kitchen as a free action, unless the doorway
901> is blocked. To get from the living room to the front porch or yard
902> requires an action.
903
904------------------------------------------------------------------------
905
906### Determine Turn Order
907
908Your turn order in a conflict is based on your approaches. In a physical
909conflict, compare your Quick approach to the other participants'---the
910one with the fastest reflexes goes first. In a mental conflict, compare
911your Careful approach---attention to detail will warn you of danger.
912Whoever has the highest approach gets to go first, and then everyone
913else goes in descending order. Break ties in whatever manner makes
914sense, with the GM having the last word.
915
916GMs, it's simplest if you pick your most advantageous NPC to determine
917your place in the turn order, and let all your NPCs go at that time. But
918if you have a good reason to determine turn order individually for all
919your NPCs, go right ahead.
920
921### Exchanges
922
923Next, each character takes a turn in order. On their turn, a character
924can take one of the **four actions**. Resolve the action to determine
925the outcome. The conflict is over when only one side has characters
926still in the fight.
927
928Ouch! Damage, Stress, and Consequences
929======================================
930
931When you're hit by an attack, the severity of the hit is the difference
932between the attack roll and your defense roll; we measure that in
933**shifts**. For instance, if your opponent gets +5 on their attack and
934you get a +3 on your defense, the attack deals a two shift hit (5 -- 3 =
9352).
936
937Then, one of two things happens:
938
939- You suffer **stress** and/or **consequences**, but you stay in the
940 fight.
941- You get **taken out**, which means you're out of the action for a
942 while.
943
944------------------------------------------------------------------------
945
946#### **STRESS & CONSEQUENCES: THE 30-SECOND VERSION**
947
948- Each character starts with three stress boxes.
949- Severity of hit (in shifts) = Attack Roll -- Defense Roll
950- When you take a hit, you need to account for how that hit damages
951 you. One way to absorb the damage is to take stress; you can check
952 one stress box to handle some or all of a single hit. You can absorb
953 a number of shifts equal to the number of the box you check: one for
954 Box 1, two for Box 2, three for Box 3.
955- You may also take one or more consequences to deal with the hit, by
956 marking off one or more consequence slots and writing a new aspect
957 for each one. Mild consequence = 2 shifts; moderate = 4 shifts;
958 severe = 6 shifts.
959- \[If you can't (or decide not to) handle the entire hit, you're
960 taken out. Your opponent decides what happens to you.
961- Giving in before your opponent's roll allows you to control how you
962 exit the scene. You also get one or more fate points for doing this!
963- Stress and mild consequences vanish at the end of the scene,
964 provided you get a chance to rest. Other consequences take longer.
965
966------------------------------------------------------------------------
967
968What Is Stress?
969---------------
970
971If you get hit and don't want to be taken out, you can choose to take
972stress.
973
974Stress represents you getting tired or annoyed, taking a superficial
975wound, or some other condition that goes away quickly.
976
977Your character sheet has a **stress track**, a row of three boxes. When
978you take a hit and check a stress box, the box absorbs a number of
979shifts equal to its number: one shift for Box 1, two for Box 2, or three
980for Box 3.
981
982You can only check one stress box for any single hit, but you *can*
983check a stress box and take one or more consequences at the same time.
984You can't check a stress box that already has a check mark in it!
985
986What Are Consequences?
987----------------------
988
989Consequences are new aspects that you take to reflect being seriously
990hurt in some way. Your character sheet has three slots where you can
991write consequences. Each one is labeled with a number: 2 (mild
992consequence), 4 (moderate consequence), or 6 (severe consequence). This
993represents the number of shifts of the hit the consequence absorbs. You
994can mark off as many of these as you like to handle a single hit, but
995only if that slot was blank to start with. If you already have a
996moderate consequence written down, you can't take another one until you
997do something to make the first one go away!
998
999A major downside of consequences is that each consequence is a new
1000aspect that your opponents can invoke against you. The more you take,
1001the more vulnerable you are. And just like situation aspects, the
1002character that creates it (in this case, the character that hit you)
1003gets one free invocation on that consequence. They can choose to let one
1004of their allies use the free invocation.
1005
1006------------------------------------------------------------------------
1007
1008> Let's say that you get hit really hard and take a 4-shift hit. You
1009> check Box 2 on your stress track, which leaves you with 2 shifts to
1010> deal with. If you can't, you're taken out, so it's time for a
1011> consequence. You can choose to write a new aspect in the consequence
1012> slot labeled 2---say, ***Sprained Ankle***. Those final 2 shifts are
1013> taken care of and you can keep fighting!
1014
1015------------------------------------------------------------------------
1016
1017If you're unable to absorb all of a hit's shifts---by checking a stress
1018box, taking consequences, or both---you're taken out.
1019
1020What Happens When I Get Taken Out?
1021----------------------------------
1022
1023If you get taken out, you can no longer act in the scene. Whoever takes
1024you out narrates what happens to you. It should make sense based on how
1025you got taken out---maybe you run from the room in shame, or maybe you
1026get knocked unconscious.
1027
1028Giving In
1029---------
1030
1031If things look grim for you, you can **give in** (or **concede** the
1032fight)---but you have to say that's what you're going to do *before*
1033your opponent rolls their dice.
1034
1035This is different than being taken out, because you get a say in what
1036happens to you. Your opponent gets some major concession from you---talk
1037about what makes sense in your situation---but it beats getting taken
1038out and having no say at all.
1039
1040Additionally, you get one fate point for conceding, and one fate point
1041for each consequence you took in this conflict. This is your chance to
1042say, "You win this round, but I'll get you next time!" and get a tall
1043stack of fate points to back it up.
1044
1045Getting Better---Recovering from Stress and Consequences
1046--------------------------------------------------------
1047
1048At the end of each scene, clear all of your stress boxes. Recovery from
1049a consequence is a bit more complicated; you need to explain how you
1050recover from it---whether that's an ER visit, taking a walk to calm
1051down, or whatever makes sense with the consequence. You also need to
1052wait an appropriate length of time.
1053
1054- **Mild consequence:** Clear it at the end of the scene, provided you
1055 get a chance to rest.
1056- **Moderate consequence:** Clear it at the end of the next session,
1057 provided it makes sense within the story.
1058- **Severe consequence:** Clear it at the end of the *scenario*,
1059 provided it makes sense within the story.
1060
1061------------------------------------------------------------------------
1062
1063#### **RENAMING MODERATE AND SEVERE CONSEQUENCES**
1064
1065Moderate and severe consequences stick around for a while. Therefore, at
1066some point you may want to change the name of the aspect to better fit
1067what's going on in the story. For instance, after you get some medical
1068help, ***Painful Broken Leg*** might make more sense if you change it to
1069***Hobbling on Crutches***.
1070
1071Aspects and Fate Points
1072=======================
1073
1074An **aspect** is a word or phrase that describes something special about
1075a person, place, thing, situation, or group. Almost anything you can
1076think of can have aspects. A person might be the ***Greatest Swordswoman
1077on the Cloud Sea***. A room might be ***On Fire*** after you knock over
1078an oil lamp. After a time-travel encounter with a dinosaur, you might be
1079***Terrified***. Aspects let you change the story in ways that go along
1080with your character's tendencies, skills, or problems.
1081
1082You **spend** **fate points**---which you keep track of with pennies or
1083glass beads or poker chips or some other tokens---to unlock the power of
1084aspects and make them help you. You **earn** fate points by letting a
1085character aspect be compelled against you to complicate the situation or
1086make your life harder. Be sure to keep track of the fate points you have
1087left at the end of the session---if you have more than your refresh, you
1088start the next session with the fate points you ended this session with.
1089
1090------------------------------------------------------------------------
1091
1092> You earned a lot of fate points during your game session, ending the
1093> day with five fate points. Your refresh is 2, so you'll start with
1094> five fate points the next time you play. But another player ends the
1095> same session with just one fate point. His refresh is 3, so he'll
1096> begin the next session with 3 fate points, not just the one he had
1097> left over.
1098
1099------------------------------------------------------------------------
1100
1101What Kinds of Aspects Are There?
1102--------------------------------
1103
1104There's an endless variety of aspects, but no matter what they're called
1105they all work pretty much the same way. The main difference is how long
1106they stick around before going away.
1107
1108**Character Aspects:** These aspects are on your character sheet, such
1109as your **high concept** and **trouble**. They describe personality
1110traits, important details about your past, relationships you have with
1111others, important items or titles you possess, problems you're dealing
1112with or goals you're working toward, or reputations and obligations you
1113carry. These aspects only change under very unusual circumstances; most
1114never will.
1115
1116------------------------------------------------------------------------
1117
1118> Examples: ***Captain of the Skyship Nimbus***; ***On the Run From the
1119> Knights of the Circle***;***Attention to Detail***; ***I Must Protect
1120> My Brother***
1121
1122------------------------------------------------------------------------
1123
1124**Situation Aspects:** These aspects describe the surroundings that the
1125action is taking place in. This includes aspects you create or discover
1126using the **create an advantage** action. A situation aspect usually
1127vanishes at the end of the scene it was part of, or when someone takes
1128some action that would change or get rid of it. Essentially, they last
1129only as long as the situational element they represent lasts.
1130
1131------------------------------------------------------------------------
1132
1133> Examples: ***On Fire***; ***Bright Sunlight***; ***Crowd of Angry
1134> People***; ***Knocked to the Ground***
1135
1136------------------------------------------------------------------------
1137
1138To get rid of a situation aspect, you can attempt an overcome action to
1139eliminate it, provided you can think of a way your character could
1140accomplish it---dump a bucket of water on the ***Raging Fire***, use
1141evasive maneuvers to escape the enemy fighter that's ***On Your Tail***.
1142An opponent may use a Defend action to try to preserve the aspect, if
1143they can describe how they do it.
1144
1145**Consequences:** These aspects represent injuries or other lasting
1146trauma that happen when you get hit by attacks. They go away slowly, as
1147described in *Ouch! Damage, Stress, and Consequences*.
1148
1149------------------------------------------------------------------------
1150
1151> Examples: ***Sprained Ankle***; ***Fear of Spiders***;
1152> ***Concussion***; ***Debilitating Self-Doubt***
1153
1154------------------------------------------------------------------------
1155
1156**Boosts:** A boost is a temporary aspect that you get to use once (see
1157*"What Do You Do With Aspects?"*next), then it vanishes. Unused boosts
1158vanish when the scene they were created in is over or when the advantage
1159they represent no longer exists. These represent very brief and fleeting
1160advantages you get in conflicts with others.
1161
1162------------------------------------------------------------------------
1163
1164> Examples: ***In My Sights***; ***Distracted***; ***Unstable
1165> Footing***; ***Rock in His Boot***
1166
1167------------------------------------------------------------------------
1168
1169**PVP**
1170
1171The only time that fate point might not go to the GM is when you're in
1172conflict with another player. If you are, and you invoke one of that
1173player's character aspects to help you out against them, they will get
1174the fate point instead of the GM once the scene is over.
1175
1176------------------------------------------------------------------------
1177
1178What Do You Do With Aspects?
1179----------------------------
1180
1181There are three big things you can do with aspects: **invoke** aspects,
1182**compel** aspects, and use aspects to **establish facts**.
1183
1184### Invoking Aspects
1185
1186You **invoke** an aspect to give yourself a bonus or make things a bit
1187harder for your opponent. You can invoke any aspect that you a) know
1188about, and b) can explain how you use it to your advantage---including
1189aspects on other characters or on the situation. Normally, invoking an
1190aspect costs you a fate point---hand one of your fate points to the GM.
1191To invoke an aspect, you need to describe how that aspect helps you in
1192your current situation.
1193
1194------------------------------------------------------------------------
1195
1196- I attack the zombie with my sword. I know zombies are
1197 ***Sluggish***, so that should help me.
1198- I really want to scare this guy. I've heard he's ***Scared of
1199 Mice***, so I'll release a mouse in his bedroom.
1200- Now that the guard's ***Distracted***, I should be able to sneak
1201 right by him.
1202- This spell needs to be really powerful---I'm an ***Archwizard of the
1203 Ancient Order***, and powerful spells are my bread and butter.
1204
1205------------------------------------------------------------------------
1206
1207What does invoking the aspect get you? Choose one of the following
1208effects:
1209
1210- Add a +2 bonus to your total. This costs a fate point.
1211- Reroll the dice. This option is best if you rolled really lousy
1212 (usually a ?3 or ?4 showing on the dice). This costs a fate point.
1213- Confront an opponent with the aspect. You use this option when your
1214 opponent is trying something and you think an existing aspect would
1215 make it harder for them. For instance, an alien thug wants to draw
1216 his blaster pistol, but he's ***Buried in Debris***; you spend a
1217 fate point to invoke that aspect, and now your opponent's level of
1218 difficulty is increased by +2.
1219- Help an ally with the aspect. Use this option when a friend could
1220 use some help and you think an existing aspect would make it easier
1221 for them. You spend a fate point to invoke the aspect, and now your
1222 friend gets a +2 on their roll.
1223
1224*Important:* You can only invoke any aspect once on a given dice roll;
1225you can't spend a stack of fate points on one aspect and get a huge
1226bonus from it. However, you *can* invoke several different aspects on
1227the same roll.
1228
1229If you're invoking an aspect to add a bonus or reroll your dice, wait
1230until *after* you've rolled to do it. No sense spending a fate point if
1231you don't need to!
1232
1233**Free invocations:** Sometimes you can invoke an aspect for free,
1234without paying a fate point. If you create or discover an aspect through
1235the **create an advantage** action, the first invocation on it (by you
1236or an ally) is free (if you succeeded with style, you get *two*
1237freebies). If you cause a consequence through an attack, you or an ally
1238can invoke it once for free. A **boost** is a special kind of aspect
1239that grants one free invocation, then it vanishes.
1240
1241### Compelling Aspects
1242
1243If you're in a situation where having or being around a certain aspect
1244means your character's life is more dramatic or complicated, anyone can
1245**compel** the aspect. You can even compel it on yourself---that's
1246called a self-compel. Compels are the most common way for players to
1247earn more fate points.
1248
1249#### There are two types of compels
1250
1251**Decision compels:** This sort of compel suggests the answer to a
1252decision your character has to make. If your character is ***Princess of
1253Alaria***, for example, you may need to stay to lead the defense of the
1254Royal Alarian Castle rather than fleeing to safety. Or if you have a
1255***Defiant Streak a Mile Wide***, maybe you can't help but mouth off to
1256the Dean of Discipline when he questions you.
1257
1258**Event compels:** Other times a compel reflects something happening
1259that makes life more complicated for you. If you have ***Strange
1260Luck***, of course that spell you're working on in class accidentally
1261turns the dour Potions Master's hair orange. If you ***Owe Don Valdeon a
1262Favor***, then Don Valdeon shows up and demands that you perform a
1263service for him just when it's least convenient.
1264
1265In any case, when an aspect is compelled against you, the person
1266compelling it offers you a fate point and suggests that the aspect has a
1267certain effect---that you'll make a certain decision or that a
1268particular event will occur. You can discuss it back and forth,
1269proposing tweaks or changes to the suggested compel. After a moment or
1270two, you need to decide whether to accept the compel. If you agree, you
1271take the fate point and your character makes the suggested decision or
1272the event happens. If you refuse, you must *pay* a fate point from your
1273own supply. Yes, this means that if you don't have any fate points, you
1274can't refuse a compel!
1275
1276------------------------------------------------------------------------
1277
1278**How Many Fate Points Does the GM Get?**
1279
1280As GM, you don't need to track fate points for each NPC, but that
1281doesn't mean you get an unlimited number. Start each scene with a pool
1282of one fate point per PC that's in the scene. Spend fate points from
1283this pool to invoke aspects (and consequences) against the PCs. When
1284it's empty, you can't invoke aspects against them.
1285
1286How can you increase the size of your pool? When a player compels one of
1287an NPC's aspects, add the fate point to your pool. If that compel ends
1288the scene, or when an NPC gives in, instead add those fate points to
1289your pool at the start of the next scene.
1290
1291Fate points you award for compels do NOT come from this pool. You never
1292have to worry about running out of fate points to award for compels.
1293
1294------------------------------------------------------------------------
1295
1296### Establishing Facts
1297
1298The final thing that aspects can do is **establish facts** in the game.
1299You don't have to spend any fate points, roll dice, or anything to make
1300this happen---just by virtue of having the aspect ***Ruddy Duck's
1301Pilot***, you've established that your character is a pilot and that you
1302fly a plane named the Ruddy Duck. Having the aspect ***Mortal Enemy: The
1303Red Ninjas*** establishes that the setting has an organization called
1304the Red Ninjas and that they're after you for some reason. If you take
1305the aspect ***Sorcerer of the Mysterious Circle***, you not only
1306establish that there's a group of sorcerers called the Mysterious
1307Circle, but that magic exists in the setting and that you can perform
1308it.
1309
1310When you establish facts of the setting this way, make sure you do it in
1311cooperation with other players. If most people want to play in a setting
1312without magic, you shouldn't unilaterally bring magic into it through an
1313aspect. Make sure that the facts you establish through your aspects make
1314the game fun for everyone.
1315
1316Composing Good Aspects
1317----------------------
1318
1319When you need to think of a good aspect (we're mainly talking about
1320character and situation aspects here), think about two things:
1321
1322- How the aspect might help you---when you'd invoke it.
1323- How it might hurt you---when it would be compelled against you.
1324
1325For example:
1326
1327------------------------------------------------------------------------
1328
1329> ***I'll Get You, von Stendahl!***
1330
1331- Invoke this when acting against von Stendahl to improve your
1332 chances.
1333- Get a fate point when your dislike for von Stendahl makes you do
1334 something foolish to try to get him.
1335
1336> ***Hair Trigger Nerves***
1337
1338- Invoke this when being extra vigilant and careful would help you.
1339- Get a fate point when this causes you to be jumpy and be distracted
1340 by threats that aren't really there.
1341
1342------------------------------------------------------------------------
1343
1344Obviously, your trouble aspect is supposed to cause problems---and
1345thereby make your character's life more interesting and get you fate
1346points---so it's okay if that one's a little more one-dimensional, but
1347other character and situation aspects should be double-edged.
1348
1349### Stunts
1350
1351**Stunts** are tricks, maneuvers, or techniques your character has that
1352change how an approach works for your character. Generally this means
1353you get a bonus in certain situations, but sometimes it gives you some
1354other ability or characteristic. A stunt can also reflect specialized,
1355high-quality, or exotic equipment that your character has access to that
1356gives them a frequent edge over other characters.
1357
1358There's no definitive list of stunts that you pick from; much like
1359aspects, everyone composes their own stunts. There are two basic
1360templates to guide you in composing your stunts, so you do have
1361something to work from.
1362
1363The first type of stunt gives you a +2 bonus when you use a certain
1364approach in a certain situation. Use this template:
1365
1366Because I **\[describe some way that you are exceptional, have a cool
1367bit of gear, or are otherwise awesome\]**, I get a +2 when I **\[pick
1368one: Carefully, Cleverly, Flashily, Forcefully, Quickly,
1369Sneakily\]\[pick one: attack, defend, create advantages, overcome\]**
1370when **\[describe a circumstance\]**.
1371
1372For example:
1373
1374------------------------------------------------------------------------
1375
1376- Because I **am a Smooth Talker**, I get a +2 when I **Sneakily
1377 create advantages** when **I'm in conversation with someone**.
1378- Because I **am a Lover of Puzzles**, I get a +2 when I **Cleverly
1379 overcome obstacles** when **I am presented with a puzzle, riddle, or
1380 similar conundrum**.
1381- Because I **am a World-Class Duelist**, I get a +2 when I **Flashily
1382 attack** when **engaged in a one-on-one swordfight**.
1383- Because I **have a Big Kite Shield**, I get a +2 when I **Forcefully
1384 defend** when **I use my shield in close combat**.
1385
1386------------------------------------------------------------------------
1387
1388Sometimes, if the circumstance is especially restrictive, you can apply
1389the stunt to both the create an advantage action *and* the overcome
1390action.
1391
1392The second type of stunt lets you make something true, do something
1393cool, or otherwise ignore the usual rules in some way. Use this
1394template:
1395
1396Because I **\[describe some way that you are exceptional, have a cool
1397bit of gear, or are otherwise awesome\]**, once per game session I can
1398**\[describe something cool you can do\]**.
1399
1400For example:
1401
1402------------------------------------------------------------------------
1403
1404- Because I **am Well Connected**, once per game session I can **find
1405 a helpful ally in just the right place**.
1406- Because I **am Quick on the Draw**, once per game session I can
1407 **choose to go first in a physical conflict**.
1408- Because I **can Run Circles Around a Leopard**, once per game
1409 session I can **show up anywhere I want to, provided I could run
1410 there, no matter where I started**.
1411
1412------------------------------------------------------------------------
1413
1414These templates exist to give you an idea of how stunts should be
1415constructed, but don't feel constrained to follow them exactly if you
1416have a good idea. If you'd like to read more about the construction of
1417stunts, see *Skills and Stunts* in *Fate Core*.
1418
1419Getting Better at Doing Stuff: Character Advancement
1420====================================================
1421
1422People change. Your skills sharpen as you practice them. Your life
1423experiences accumulate and shape your personality. *Fate Accelerated
1424Edition* reflects that with **character advancement**, which allows you
1425to change your aspects, add or change stunts, and raise your approach
1426bonuses. You do this when your character reaches a milestone.
1427
1428Milestones
1429----------
1430
1431Stories in TV shows, comic books, movies, and even video games usually
1432continue from episode to episode, season to season. It took Frodo three
1433big books to take the Ring to the fiery mountain. It took Aang three
1434seasons to defeat the Fire Lord. You get the idea. *FAE* can tell those
1435kinds of stories; you play many game sessions in a row using the same
1436characters---this is often called a **campaign**---and the story builds
1437on itself. But within these long stories, there are shorter story arcs,
1438like single episodes of a TV show or single issues of a comic, where
1439shorter stories are told and wrapped up. *FAE* can do that too, even
1440within a longer campaign.
1441
1442In *FAE*, we call those wrap-ups **milestones**---whether they're small
1443ones for short stories, or really big ones at the end of many sessions
1444of play. *FAE* recognizes three types of milestones, and each one allows
1445you to change your character in certain ways.
1446
1447### Minor Milestones
1448
1449A **minor milestone** usually occurs at the end of a session of play, or
1450when one piece of a story has been resolved. Rather than making your
1451character more powerful, this kind of milestone is more about changing
1452your character, about adjusting in response to whatever's going on in
1453the story if you need to. Sometimes it won't really make sense to take
1454advantage of a minor milestone, but you always have the opportunity in
1455case you need to.
1456
1457After a minor milestone, you can choose to do one (and only one) of the
1458following:
1459
1460- Switch the ratings of any two approaches.
1461- Rename one aspect that isn't your high concept.
1462- Exchange one stunt for a different stunt.
1463- Choose a new stunt (and adjust your refresh, if you already have
1464 three stunts).
1465
1466Also, if you have a moderate consequence, check to see if it's been
1467around for two sessions. If so, you can clear it.
1468
1469### Significant Milestones
1470
1471A **significant milestone** usually occurs at the end of a **scenario**
1472or the conclusion of a big plot event (or, when in doubt, at the end of
1473every two or three sessions). Unlike minor milestones, which are
1474primarily about change, significant milestones are about learning new
1475things---dealing with problems and challenges has made your character
1476generally more capable at what they do.
1477
1478In addition to the benefit of a minor milestone, you also gain *both* of
1479the following:
1480
1481- If you have a severe consequence that's been around for at least two
1482 sessions, you can clear it.
1483- Raise the bonus of one approach by one.
1484
1485------------------------------------------------------------------------
1486
1487#### **RAISING APPROACH BONUSES**
1488
1489When you raise the bonus of an approach, there's only one rule you need
1490to remember: you can't raise an approach bonus above Superb (+5).
1491
1492------------------------------------------------------------------------
1493
1494### Major Milestones
1495
1496**Major milestones** should only occur when something happens in the
1497campaign that shakes it up a lot---the end of a big story arc, the final
1498defeat of a main NPC villain, or any other large-scale change that
1499reverberates around your game world.
1500
1501These milestones are about gaining more power. The challenges of
1502yesterday simply aren't sufficient to threaten these characters anymore,
1503and the threats of tomorrow will need to be more adept, organized, and
1504determined to stand against them.
1505
1506Achieving a major milestone confers the benefits of a significant
1507milestone *and* a minor milestone. In addition, you may do *all* of the
1508following:
1509
1510- Take an additional point of refresh, which you may immediately use
1511 to purchase a stunt if you wish.
1512- Rename your character's high concept (optional).
1513
1514Being the GM
1515============
1516
1517The GM has many responsibilities, such as presenting the conflict to the
1518players, controlling NPCs, and helping everyone apply the rules to the
1519situation in the game.
1520
1521Let's talk about the GM's jobs.
1522
1523Help Build Campaigns
1524--------------------
1525
1526A **campaign** is a series of games you play with the same characters,
1527where the story builds on what happened in earlier sessions. All the
1528players should collaborate with the GM to plan how the campaign will
1529work. Usually this is a conversation among all of you to decide what
1530sort of heroes you want to play, what sort of world you live in, and
1531what sorts of bad guys you'll have. Talk about how serious you want the
1532game to be and how long you want it to last.
1533
1534------------------------------------------------------------------------
1535
1536- Cat-people sky pirates in flying ships, always on the run from the
1537 Royal Navy trying to catch them.
1538- Magic-wielding desert townsfolk stand against the invading soldiers
1539 of the evil Steel Empire.
1540- Students at a boarding school for magical youth solve mysteries and
1541 uncover secrets of their ancient school.
1542
1543------------------------------------------------------------------------
1544
1545#### **LEARNING HOW TO BE A GM**
1546
1547Being a GM and running games can seem intimidating and difficult at
1548first. It's a skill that takes some practice to master, so don't
1549worry---you'll get better the more you do it. If you'd like to read more
1550about the art of GMing Fate, there are several chapters in the *Fate
1551Core* rules that you should check out: *Running the Game, Scenes,
1552Sessions, and Scenarios,* and *The Long Game* are particularly helpful.
1553*Fate Core* is available for free at *www.evilhat.com*.
1554
1555------------------------------------------------------------------------
1556
1557Build Scenarios and Run Game Sessions
1558-------------------------------------
1559
1560A **scenario** is one short story arc, the sort of thing you might see
1561wrapped up in one or two episodes of an adventure television show, even
1562if it's a smaller part of a bigger story. Usually you can wrap up a
1563scenario in one to three game sessions, assuming you play for three or
1564four hours at a time. But what is a scenario, and how do you build one?
1565
1566### Scenarios
1567
1568A scenario needs two things: A bad guy with a goal, and a reason the PCs
1569can't ignore it.
1570
1571**Bad guy with a goal:** You've probably figured this out already. The
1572campaign's main opposition, or one of his allies, is probably your bad
1573guy.
1574
1575**Something the PCs can't ignore:** Now you have to give the PCs a
1576reason to care. Make sure the bad guy's goal is up in the PCs' faces,
1577where they need to do something about it or bad things will happen to
1578them, or to people or things they value.
1579
1580### Running Game Sessions
1581
1582Now that your bad guy is doing something the PCs will pay attention to,
1583it's time to start them off. Sometimes the best way to do that,
1584especially for the first session of a new story arc, is to put them
1585right in the action. Once the PCs know why they should care about what's
1586going on, you just get out of the way and let them take care of it.
1587
1588That said, there are a bunch of tasks the GM needs to perform to run the
1589session:
1590
1591- **Run scenes:** A session is made up of individual scenes. Decide
1592 where the scene begins, who's there, and what's going on. Decide
1593 when all the interesting things have played out and the scene's
1594 over.
1595- **Adjudicate the rules:** When some question comes up about how to
1596 apply the rules, you get final say.
1597- **Set difficulties:** You decide how difficult tasks should be.
1598- **Play the NPCs:** Each player controls their own character, but you
1599 control all the rest, including the bad guys.
1600- **Keep things moving:** If the players don't know what to do next,
1601 it's your job to give them a nudge. Never let things get too bogged
1602 down in indecision or because they don't have enough
1603 information---do something to shake things up.
1604- **Make sure everyone has a chance to be awesome:** Your goal isn't
1605 to defeat the players, but to challenge them. Make sure every PC
1606 gets a chance to be the star once in a while, from the big bad
1607 warrior to the little sneaky thief.
1608
1609Setting Difficulty Levels
1610-------------------------
1611
1612When another character is opposing a PC, their rolls provide the
1613opposition in a conflict, contest, or challenge. But if there's no
1614active opposition, you have to decide how hard the task is.
1615
1616- **Low difficulties** are best when you want to give the PCs a chance
1617 to show off and be awesome.
1618- **Difficulties near their approach ratings** are best when you want
1619 to provide tension but not overwhelm them.
1620- **High difficulties** are best when you want to emphasize how dire
1621 or unusual the circumstances are and make them pull out all the
1622 stops.
1623
1624### Rules of Thumb:
1625
1626- If the task isn't very tough at all, give it a Mediocre (+0)---or
1627 just tell the player they succeed without a roll.
1628- If you can think of at least one reason why the task is tough, pick
1629 Fair (+2).
1630- If the task is extremely difficult, pick Great (+4).
1631- If the task is impossibly difficult, go as high as you think makes
1632 sense. The PC will need to drop some fate points and get lots of
1633 help to succeed, but that's fine.
1634
1635------------------------------------------------------------------------
1636
1637#### **OPTIONAL RULE: APPROACH-RELATED TARGET NUMBERS**
1638
1639Sometimes being Careful makes things a lot easier; sometimes it just
1640takes too long. The GM may wish to adjust the target number up or down
1641by 1 or 2 depending on whether you choose a fitting or a problematic
1642approach. This makes things a bit more complex, but for some groups it's
1643worth it.
1644
1645------------------------------------------------------------------------
1646
1647Bad Guys
1648--------
1649
1650When you make a bad guy, you can stat them out exactly like the PCs,
1651with approaches, aspects, stress, and consequences. You should do this
1652for important or recurring bad guys who are intended to give the PCs
1653some real difficulties, but you shouldn't need more than one or two of
1654these in a scenario.
1655
1656**Mooks:** Other bad guys are **mooks**---unnamed thugs or monsters or
1657goons that are there to make the PCs' day a little more difficult, but
1658they're designed to be more or less easily swept aside, especially by
1659powerful PCs. Here's how you create their stats:
1660
16611. Make a list of what this mook is skilled at. They get a +2 to all
1662 rolls dealing with these things.
16632. Make a list of what this mook is bad at. They get a ?2 to all rolls
1664 dealing with these things.
16653. Everything else gets a +0 when rolled.
16664. Give the mook an aspect or two to reinforce what they're good and
1667 bad at, or if they have a particular strength or vulnerability. It's
1668 okay if a mook's aspects are really simple.
16695. Mooks have zero, one, or two boxes in their stress track, depending
1670 on how tough you imagine them to be.
16716. Mooks can't take consequences. If they run out of stress boxes (or
1672 don't have any), the next hit takes them down.
1673
1674------------------------------------------------------------------------
1675
1676### **CYCLOPS HOUSE BULLY**
1677
1678***Cyclops House Bully***, ***Cowardly Without Backup***
1679
1680**Skilled (+2) at:** Frightening other students, weaseling out of
1681trouble, breaking things
1682
1683**Bad (-2) at:** Planning, studying
1684
1685**Stress:** None (first hit takes them out)
1686
1687------------------------------------------------------------------------
1688
1689### **STEEL ASSASSIN**
1690
1691***Steel Assassin***, ***The Night Is Ours***
1692
1693**Skilled (+2) at:** Sneaking, ambushing
1694
1695**Bad (-2) at:** Standing up to determined opposition
1696
1697**Stress: O**
1698
1699------------------------------------------------------------------------
1700
1701### **SKY SHARK**
1702
1703***I'm a Shark***, ***Vulnerable Belly***
1704
1705**Skilled (+2) at:** Flying, biting
1706
1707**Bad (-2) at:** Anything that isn't flying or biting
1708
1709**Stress: OO**
1710
1711------------------------------------------------------------------------
1712
1713**Groups of Mooks:** If you have a lot of low-level bad guys facing the
1714PCs, you can make your job easier by treating them as a group---or maybe
1715a few groups. Instead of tracking a dozen bad guys, you track three
1716groups of four bad guys each. Each of these groups acts like a single
1717character and has a set of stats just like a single mook would:
1718
17191. Choose a couple of things they're skilled at. You might designate
1720 "ganging up" as one of the things the group is good at.
17212. Choose a couple of things they're not so good at.
17223. Give them an aspect.
17234. Give them one stress box for every two individuals in the group.
1724
1725------------------------------------------------------------------------
1726
1727### GANG OF THUGS
1728
1729***Axe Handles & Crowbars***
1730
1731**Skilled (+2) at:** Ganging up, scaring innocent people
1732
1733**Bad (-2) at:** Thinking ahead, fighting when outnumbered
1734
1735**Stress:** **O**?**O** (4 thugs)
1736
1737------------------------------------------------------------------------
1738
1739*Fate Core* has a way of handling this, called mobs (see the *"Creating
1740the Opposition"* section of the*Running the Game* chapter in *Fate
1741Core*). Feel free to use that option if you prefer. Note that it may
1742lead to very strong mobs, unless you start with extremely weak
1743mooks---if you want to give your PCs a serious challenge, that could be
1744one way to do it.
1745
1746Example Characters
1747==================
1748
1749Here are four sample characters that you can use as-is or use as
1750inspiration for your own characters.
1751
1752------------------------------------------------------------------------
1753
1754Reth of the Andrali Resistance
1755------------------------------
1756
1757Reth is 14 years of age. He has dark brown skin and dark hair that he
1758wears in thick dreadlocks. He wears light, loose-fitting clothing and
1759sandals, and he's a skilled martial artist. He's the most powerful
1760Suncaller to be born in generations; he can magically call forth the
1761power of fire. Originally from a town in the vast Andral Desert, he and
1762his friends took a stand against the invading Steel Empire and have been
1763living on the run since.
1764
1765------------------------------------------------------------------------
1766
1767### RETH
1768
1769**High Concept:** ***Suncaller of the Andral Desert***
1770
1771**Trouble:** ***Steel Assassins Want Me Dead***
1772
1773**Other Aspects:** ***My Kung Fu Is The Strongest***; ***Crush On
1774Avasa***; ***I Can Learn from Serio's Experience***
1775
1776### APPROACHES
1777
1778**Careful:** Fair (+2)
1779
1780**Clever:** Average (+1)
1781
1782**Flashy:** Mediocre (+0)
1783
1784**Forceful:** Good (+3)
1785
1786**Quick:** Fair (+2)
1787
1788**Sneaky:** Average (+1)
1789
1790### STUNTS
1791
1792**Stance of the Defiant Sun:** Because I have perfected the Stance of
1793the Defiant Sun, I gain a +2 to Forcefully defend in hand-to-hand
1794combat. *(May take two more stunts without reducing refresh!)*
1795
1796### STRESS **O**?**O**?**O**
1797
1798### CONSEQUENCES
1799
1800**Mild (2):**
1801
1802**Moderate (4):**
1803
1804**Severe (6):**
1805
1806### REFRESH: 3
1807
1808------------------------------------------------------------------------
1809
1810Voltaire
1811--------
1812
1813Voltaire is captain of the *Cirrus Skimmer*, a skyship that roams a vast
1814sea of clouds. She's a cat person, her body a blend of human and feline
1815features. She wears an ostentatious assortment of piratey clothes
1816including a long brown jacket, knee-high boots, a feathered cap, and a
1817basket-hilted cutlass. Being a cat person, she does have the tendency to
1818nod off at odd moments...
1819
1820------------------------------------------------------------------------
1821
1822### VOLTAIRE
1823
1824**High Concept:** ***Feline Captain of Cirrus Skimmer***
1825
1826**Trouble:** ***Yawn***
1827
1828**Other Aspects:** ***That? Oh, That's a Decoy***; ***Martin Is a Big
1829Cheat***; ***Sanchez Is the Best First Mate a Ship Could Have***
1830
1831### APPROACHES:
1832
1833**Careful:** Average (+1)
1834
1835**Clever:** Average (+1)
1836
1837**Flashy:** Good (+3)
1838
1839**Forceful:** Mediocre (+0)
1840
1841**Quick:** Fair (+2)
1842
1843**Sneaky:** Fair (+2)
1844
1845### STUNTS
1846
1847**Swashbuckling Swordswoman:** Because I am a Swashbuckling Swordswoman,
1848I gain a +2 to Flashy attacks when crossing blades with a single
1849opponent. *(May take two more stunts without reducing refresh!)*
1850
1851### STRESS **O**?**O**?**O**
1852
1853### CONSEQUENCES
1854
1855**Mild (2):**
1856
1857**Moderate (4):**
1858
1859**Severe (6):**
1860
1861### REFRESH: 3
1862
1863------------------------------------------------------------------------
1864
1865Abigail Zhao
1866------------
1867
1868Abigail is a student at the School of Sorcery, and a member of
1869Hippogriff House. She has light skin and long black hair with a pink
1870streak. She pushes her luck with her school uniform, adding jewelry,
1871studded belts, and dyed designs to the regulation blouse, trousers, and
1872tie. She's especially adept at enchantments. While she loves showing up
1873those goons in Cyclops House, she does have a tendency to act before
1874thinking.
1875
1876------------------------------------------------------------------------
1877
1878### **ABIGAIL ZHAO**
1879
1880**High Concept:** ***Enchantment Specialist of Hippogriff House***
1881
1882**Trouble:** ***Cast Now, Ask Questions Later***
1883
1884**Other Aspects:** ***I Hate Those Guys in Cyclops House***; ***Sarah
1885Has My Back***; ***Dexter Fitzwilliam Is Going Down***
1886
1887### APPROACHES
1888
1889**Careful:** Mediocre (+0)
1890
1891**Clever:** Fair (+2)
1892
1893**Flashy:** Average (+1)
1894
1895**Forceful:** Fair (+2)
1896
1897**Quick:** Average (+1)
1898
1899**Sneaky:** Good (+3)
1900
1901### STUNTS
1902
1903**Teacher's Favorite:** Because I am a Teacher's Favorite, once per
1904session I may declare that a helpful teacher arrives in the scene. *(May
1905take two more stunts without reducing refresh!)*
1906
1907### STRESS **O**?**O**?**O**
1908
1909### CONSEQUENCES
1910
1911**Mild (2):**
1912
1913**Moderate (4):**
1914
1915**Severe (6):**
1916
1917### REFRESH: 3
1918
1919------------------------------------------------------------------------
1920
1921Bethesda Flushing, PhD
1922----------------------
1923
1924Dr. Flushing is a fellow at the Institute for Gravitical and
1925Electro-Mechanical Advancement (IGEMA), and is one of IGEMA's lead test
1926engineers and field agents. IGEMA is frequently in conflict with agents
1927of various international organizations who seek to steal their
1928technology, take over the world, or both. Gustaf von Stendahl, leader of
1929a shadowy spy agency of uncertain affiliation, is frequently a thorn in
1930her side. Dr. Flushing has bright red hair and is never without several
1931gadgets, including her helicopter pack.
1932
1933------------------------------------------------------------------------
1934
1935### BETHESDA FLUSHING
1936
1937**High Concept:** ***Chief Field Agent of IGEMA***
1938
1939**Trouble:** ***I'll Get You, von Stendahl!***
1940
1941**Other Aspects:** ***My Inventions Almost Always Work. Almost.***;
1942***My Grad Students Come Through, Just Not How I Expect Them To***; ***I
1943Trust Dr. Alemieda's Genius***
1944
1945### APPROACHES
1946
1947**Careful:** Fair (+2)
1948
1949**Clever:** Good (+3)
1950
1951**Flashy:** Average (+1)
1952
1953**Forceful:** Fair (+2)
1954
1955**Quick:** Average (+1)
1956
1957**Sneaky:** Mediocre (+0)
1958
1959### STUNTS
1960
1961**Experimental Helo Pack:** When I use my Experimental Helo Pack, I gain
1962a +2 bonus to Quickly create an advantage or overcome an obstacle if
1963flying would be both possible and helpful.
1964
1965**Gadgeteer:** Because I am a Gadgeteer, once per session I may declare
1966that I have an especially useful device that lets me eliminate one
1967situation aspect. *(May take one more stunt without reducing refresh!)*
1968
1969### STRESS **O**?**O**?**O**
1970
1971### CONSEQUENCES
1972
1973**Mild (2):**
1974
1975**Moderate (4):**
1976
1977**Severe (6):**
1978
1979### REFRESH: 3
1980