Fate Accelerated Edition

2013 Evil Hat Productions, LLC. Refer to the licensing pages at http !!""".faterpg.co#!licensing! for details. $his is the %&L version of this te't. License found at the end of this docu#ent.

Get Started!
Re#e#(er those (oo)s "here the teenage "i*ards struggle against the +ar) Lord of Evil, $hat #ovie "here the d"arves fight to recapture their #ountain ho#e fro# a dragon, $hat ani#ated $sho" a(out #.stical )nights and their ar#. of clones righting "rongs across the gala'., /ren0t those awesome, Here0s .our chance to put .ourself in the heroes0 shoes in stories li)e those. Fate Accelerated Edition is a ta(letop rolepla.ing ga#e, "here .ou and .our friends gather around and tell stories full of danger, e'cite#ent, and adventure. 1ou #ight have pla.ed ga#es si#ilar to this (efore2Dungeons & Dragons is a ver. popular one2(ut don0t "orr. if .ou haven0t3 this (oo)let "ill guide .ou through it. Here0s "hat .ou0ll need to pla. Three to five people. %ne of .ou "ill (e the gamemaster, the others players. 4e0ll tal) a(out "hat those #ean later. Fate Dice, at least four, prefera(l. four per person. $hese are a special )ind of si'5sided dice that are #ar)ed on t"o sides "ith a plus s.#(ol 678, t"o sides "ith a #inus s.#(ol 658, and t"o sides are (lan) 6 8. 1ou can get these dice fro# #an. ho((. and ga#e stores, often under their original na#e29udge dice. 4e call the# 9ate +ice in this (oo), (ut .ou can call the# "hatever .ou li)e. Evil Hat "ill offer 9ate +ice for sale at www.evilhat.com later in 2013. :f .ou don;t "ant to use 9udge dice, .ou don;t have to<an. set of regular si'5sided dice "ill "or). :f .ou;re using regular dice, .ou read = or > as 678, 1 or 2 as 658, and 3 or ? as 6 8. $he Deck of Fate is an alternative to 9ate +ice. :t0s a dec) of cards that #i#ics the pro(a(ilit. of 9ate +ice, and it0s designed to (e used in the sa#e "a. 9ate +ice are. $he +ec) of 9ate "ill (e availa(le fro# Evil Hat in 2013 or 201?. Character sheets, one for each pla.er. 1ou can do"nload these fro# www.evilhat.com. nde! cards or sticky notes or si#ilar slips of paper. Tokens for fate points. $hese can (e po)er chips, (eads, pennies, or an.thing si#ilar. &et a handful2a(out 30 or ?0. @e't, let0s tal) a(out ho" to use Fate Accelerated to tell stories together.

Telling Stories Together

Ao .ou0ve gathered .our friends, .our dice, and .our inde' cards, and .ou0re read. to pla. Fate

Accelerated Edition B"e0ll call it FAE fro# no" onC. $i#e to tell so#e storiesD

"hat Do #o$ %ean& 'Tell Stories()

FAE is all a(out telling stories. 1ou create a group of characters and follo" the# through so#e i#aginar. adventure that .ou all ta)e turns telling little parts of. $hin) a(out a #ovie, video ga#e, or $- sho" .ou li)e "here the characters go on adventures2 so#ething li)e The Legend of Korra or Star Wars or The Avengers or the Zelda ga#es or Doctor Whoor The Lord of the ings. @o" i#agine a si#ilar sort of stor., "here .ou and .our friends around the ta(le #a)e the decisions for the characters as the. #ove through the stor., and the stor. changes as .ou #a)e those decisions. Ao#eti#es so#eone #a)es a decision to tr. so#ething and .ou don0t )no" for sure ho" it "ould turn out3 that0s "hen .ou roll dice to see "hat happens ne't. $he higher .ou roll, the (etter the chance that things "or) out the "a. .ou "ant the# to.

So *o+ Do "e Do t)
4ell, first .ou need to figure out "hat )ind of stor. .ou0re going to tell. 4hat genre are .ou interested in, 9antas., Acience fiction, Eodern5da. adventure, 4ill .ou pla. in the "orld of a $sho" or co#ic (oo) or #ovie that .ou love, or "ill .ou create .our o"n "orld, 9or so#e great advice a(out ho" to design the fra#e"or) of .our ga#e, see !ame "reation in Fate "ore, availa(le for free at www.evilhat.com. @e't, it0s ti#e to choose "ho "ill (e the pla.ers, and "ho "ill (e the ga#e#aster. %f the people around the ta(le, all (ut one are referred to as players. Each pla.er ta)es on the role of one player character or ,C in the stor., and puts the#selves in their character0s shoes to #a)e the decisions that their character "ould #a)e. $he re#aining person is called the gamemaster or G%. $he &E0s Fo( is to present challenges to the pla.ers and to portra. all the characters that aren0t controlled (. the pla.ers Bnon-player characters or .,CsC. %nce .ou decide "ho the &E "ill (e, and "hat the genre and fra#e"or) of the stor. "ill (e, it0s ti#e for the pla.ers to #a)e their characters2that0s in the ne!t chapter.

Telling Stories 'Together() "hat Do #o$ %ean)

/ll the people at the ta(le, &E and pla.ers ali)e, are responsi(le for telling the stor.. 4hen .ou #a)e a decision for .our character Bor for one of the @PCs, if .ou0re the &EC, thin) a(out t"o things. 9irst, put .ourself in .our character0s shoes and thin) hard a(out "hat the. "ould do2even if it0s not the (est idea. :f .ou0re pla.ing a character that so#eti#es #a)es poor decisions, don0t (e afraid to #a)e a poor decision for the# on purpose. Aecond2and this is reall. i#portant2thin) a(out the stor. that0s (eing told. $hin) a(out the choice that "ould #a)e that stor. even (etter #ore interesting, #ore e'citing, funnier. 4ould a certain choice give another pla.er0s character a chance to (e a"eso#e, Atrongl. consider #a)ing that choice. $hat0s ho" .ou tell great stories together2(. not (eing afraid for .our character to #a)e

#ista)es, and (. #a)ing choices that #a)e the stor. #ore interesting for ever.one at the ta(le2not Fust .ou.

"ho Do #o$ "ant To /e)

%nce .ou0ve decided "hat )ind of stor. .ou0ll (e telling in .our ga#e, .ou decide "ho .our character is2"hat the. loo) li)e, "hat the.0re good at, and "hat the. (elieve.

"hat 0ind of Characters Can ,lay)

$hin) a(out the setting that .ou0ve decided to pla. in and #a)e that .our #ain guide. /re .ou pla.ing in a school for .oung sorcerers, Pla. a .oung sorcererD /re .ou pla.ing space pilots fighting an evil e#pire, Pla. a space pilotD Ea)e sure .our character has a reason to interact and cooperate "ith the characters the other pla.ers are #a)ing.

*o+ Do %ake the Character)

@o" it0s ti#e to start "riting stuff do"n. &ra( a pencil and a cop. of the character sheet. Ao#e people li)e to use for#5filla(le P+9s on a laptop or ta(let co#puter. /n. of that0s fine, (ut .ou definitel. "ant so#ething that lets .ou erase and change.

Aspects in a .$tshell
/n aspect is a "ord, phrase, or sentence that descri(es so#ething centrall. i#portant to .our character. :t can (e a #otto .our character lives (., a personalit. Guir), a description of a relationship .ou have "ith another character, an i#portant possession or (it of eGuip#ent .our character has, or an. other part of .our character that is vitall. i#portant. /spects allo" .ou to change the stor. in "a.s that tie in "ith .our character0s tendencies, s)ills, or pro(le#s. 1ou can also use the# to esta1lish facts a1o$t the setting, such as the presence of #agic or the e'istence of a useful all., dangerous ene#., or secret organi*ation. 1our character "ill have a handful of aspects B(et"een three and fiveC, including a high concept and a tro$1le. 4e discuss aspects in detail in As#ects and Fate $oints2(ut for no", this should help .ou get the idea.

*igh Concept
9irst, decide on .our character0s high concept. $his is a single phrase or sentence that neatl. su#s up .our character, sa.ing "ho .ou are, "hat .ou do, "hat .our HdealI is. 4hen .ou thin) a(out .our high concept, tr. to thin) of t"o things ho" this aspect could help .ou, and ho" it #ight #a)e things harder for .ou. &ood high concept aspects do (oth.

E'a#ples Feline Captain of Cirrus Skimmer3 Suncaller of the Andral Desert3 Chief Field Agent of IGEMA

Tro$1le
@e't, decide on the thing that al"a.s gets .ou into tro$1le. :t could (e a personal "ea)ness, or a

recurring ene#., or an i#portant o(ligation2an.thing that #a)es .our life co#plicated.

E'a#ples Steel Assassins Want Me Dead3 Cast Now Ask !uestions "ater3 Gotta "ook #ut for M$ "ittle %rother

Another Aspect
@o" co#pose another aspect. $hin) of so#ething reall. i#portant or interesting a(out .our character. /re the. the strongest person in their ho#eto"n, +o the. carr. a #ight. s"ord )no"n through histor., +o the. tal) too #uch, /re the. filth. rich,

2ptional3 2ne or T+o Additional Aspects

:f .ou "ish, .ou #a. create one or t"o #ore aspects. $hese aspects #ight descri(e .our character0s relationship "ith other pla.er characters or "ith an @PC. %r, li)e the third aspect .ou co#posed a(ove, it #ight descri(e so#ething especiall. interesting a(out .our character. :f .ou prefer, .ou can leave one or (oth of these aspects (lan) right no" and fill the# in later, after the ga#e has started.

.ame and Appearance

+escri(e .our character0s appearance and give the# a na#e. C4EAT .G C*A4ACTE4S3 T*E 56-SEC2.D 7E4S 2. 4rite t"o aspects a high concept and a trou(le. 4rite another aspect. &ive .our character a na#e and descri(e their appearance. Choose approaches. Aet .our refresh to 3. 1ou #a. "rite up to t"o #ore aspects and choose a stunt if .ou "ish, or .ou #a. do that during pla..

Approaches
Choose .our approaches. /pproaches are descriptions of how .ou acco#plish tas)s. Ever.one has the sa#e si' approaches Careful Clever 9lash. 9orceful Juic) Anea).

Each approach is rated "ith a (onus. Choose one at &ood B73C, t"o at 9air B72C, t"o at /verage B71C, and one at Eediocre B70C. 1ou can i#prove these later. 4e tal) a(out "hat each approach #eans and ho" .ou use the# in %ow to Do Stuff& 'utcomes( A##roaches( and Actions. T*E 8ADDE4 :n 9ate, "e use a ladder of adFectives and nu#(ers to rate a character0s approaches, the result of a roll, difficult. ratings for si#ple chec)s, etc. Here0s the ladder 7K 7L M7> 7= M7? M73 72 M71 M0 51 M52 Legendar. MEpic 9antastic MAuper( &reat &ood M9air /verage Eediocre MPoor $erri(le

1our approaches can sa. a lot a(out "ho .ou are. Here are so#e e'a#ples The /r$te3 9orceful 73, Careful and 9lash. 72, Anea). and Juic) 71, Clever 70 The All-Star3 Juic) 73, 9orceful and 9lash. 72, Clever and Careful 71, Anea). 70 The Trickster3 Clever 73, Anea). and 9lash. 72, 9orceful and Juic) 71, Careful 70 The G$ardian3 Careful 73, 9orceful and Clever 72, Anea). and Juic) 71, 9lash. 70 The Thief3 Anea). 73, Careful and Juic) 72, Clever and 9lash. 71, 9orceful 70 The S+ash1$ckler3 9lash. 73, Juic) and Clever 72, 9orceful and Anea). 71, Careful 70

St$nts and 4efresh

/ st$nt is a special trait that changes the "a. an approach "or)s for .our character. &enerall., stunts give .ou a (onus Bal#ost al"a.s 72C to a certain approach "hen used "ith a particular action under specific circu#stances. 4e0ll tal) #ore a(out stunts in Stunts. Choose one stunt to start, or .ou can "ait and add a stunt during the ga#e. Later, "hen .our character advances, .ou can choose #ore. 1our refresh is the nu#(er of fate points .ou (egin each ga#e session "ith2unless .ou ended the previous session "ith #ore unspent fate points than .our refresh, in "hich case .ou start "ith the nu#(er .ou had left last ti#e. N. default, .our refresh starts at three and is reduced (. one for each

stunt after the first three .ou choose2essentiall., .our first three stunts are freeD /s .our character advances, .ou0ll get opportunities to add to .our refresh. 1our refresh #a. never go (elo" one. *2" %A.# ST9.TS) N. default, FAE suggests choosing one stunt to start "ith. Ho"ever, if this is .our first ti#e pla.ing a 9ate ga#e, .ou #ight find it easier to pic) .our first stunt after .ou0ve had a chance to pla. a (it, to give .ou an idea of "hat a good stunt #ight (e. Oust add .our stunt during or after .our first ga#e session. %n the other hand, if .ou0re an e'perienced 9ate ga#er, .ou #ight loo) ahead and discover that, Fust li)e in Fate "ore, .our character is entitled to three free stunts (efore it starts costing .ou refresh. :n that case, let the least e'perienced #e#(er of .our ga#e group (e .our guide3 if so#eone is ne" to the ga#e and onl. ta)es one to start "ith, that0s "hat ever.one should do. :f .ou0re all e'perienced, and .ou "ant to start "ith #ore po"erful characters, Fust ta)e all three to start and off .ou go.

*o+To Do St$ff3 2$tcomes& Actions& and Approaches

@o" it0s ti#e to start doing so#ething. 1ou need to leap fro# one #oving train car to another. 1ou need to search the entire li(rar. for that spell .ou reall. need. 1ou need to distract the guard so .ou can snea) into the fortress. Ho" do .ou figure out "hat happens, 9irst .ou narrate "hat .our character is tr.ing to do. 1our character0s o"n aspects provide a good guide for "hat .ou can do. :f .ou have an aspect that suggests .ou can perfor# #agic, then cast that spell. :f .our aspects descri(e .ou as a s"ords#an, dra" that (lade and have at it. $hese stor. details don0t have additional #echanical i#pact. 1ou don0t get a (onus fro# .our #agic or .our s"ord, unless .ou choose to spend a fate point to invoke an appropriate aspect. %ften, the a(ilit. to use an aspect to #a)e so#ething true in the stor. is (onus enoughD Ho" do .ou )no" if .ou0re successful, %ften, .ou Fust succeed, (ecause the action isn0t hard and no(od.0s tr.ing to stop .ou. Nut if failure provides an interesting t"ist in the stor., or if so#ething unpredicta(le could happen, .ou need to (rea) out the dice. 1. 2. 3. ?. =. >. TA0 .G ACT 2.3 T*E 56-SEC2.D 7E4S 2. +escri(e "hat .ou "ant .our character to do. Aee if so#eone or so#ething can stop .ou. +ecide "hat action .ou0re ta)ing create an advantage, overco#e, attac), or defend. +ecide on .our approach. Roll dice and add .our approach0s (onus. +ecide "hether to #odif. .our roll "ith aspects. 9igure out .our outco#e.

Dice or Cards
Part of deter#ining .our outco#e is generating a rando# nu#(er, "hich is usuall. done in one of

t"o "a.s rolling four 9ate +ice, or dra"ing a card fro# a +ec) of 9ate. Fate Dice3 9ate +ice Bso#eti#es called 9udge dice, after the ga#e the. "ere originall. designed forC are one "a. to deter#ine outco#es. 1ou al"a.s roll 9ate +ice in a set of four. Each die "ill co#e up as 678, 6 8, or 658, and .ou add the# together to get the total of the roll. 9or e'a#ple 5707 P 71 7500 P 7775 P 72 5000 P Q1 Deck of Fate3 $he +ec) of 9ate is a dec) of cards that copies the statistical spread of 9ate +ice. 1ou can choose to use the# instead of dice2either one "or)s great. $hese rules are "ritten "ith the assu#ption that .ou0re rolling 9ate +ice, (ut use "hichever one .our group prefers. /n.ti#e .ou0re told to roll dice, that also #eans .ou can dra" fro# the +ec) of 9ate instead.

2$tcomes
%nce .ou roll .our dice, add .our approach (onus B"e0ll tal) a(out that in a #o#entC and an. (onuses fro# aspects or stunts. Co#pare the total to a target nu#(er, "hich is either a fi'ed difficult. or the result of the &E0s roll for an @PC. Nased on that co#parison, .our outco#e is 1ou fail if .our total is less than .our opponent0s total. :t0s a tie if .our total is e)ual to .our opponent0s total. 1ou s$cceed if .our total is greater than .our opponent0s total. 1ou s$cceed +ith style if .our total is at least three greater than .our opponent0s total. @o" that "e0ve covered outco#es, "e can tal) a(out actions and ho" the outco#es "or) "ith the#.

Actions
Ao .ou0ve narrated "hat .our PC is tr.ing to do, and .ou0ve esta(lished that there0s a chance .ou could fail. @e't, figure out "hat action (est descri(es "hat .ou0re tr.ing to do. $here are four (asic actions that cover an.thing .ou do in the ga#e.

Create an Advantage
Creating an advantage is an.thing .ou do to tr. to help .ourself or one of .our friends. $a)ing a #o#ent to ver. carefull. ai# .our proton (laster, spending several hours doing research in the school li(rar., or tripping the thug "ho0s tr.ing to ro( .ou2these all count as creating an advantage. $he target of .our action #a. get a chance to use the defend action to stop .ou. $he advantage .ou create lets .ou do one of the follo"ing three things +iscover an e'isting situation aspect. +iscover an e'isting situation aspect or another character0s aspect that .ou didn0t )no" a(out. $a)e advantage of an e'isting aspect. f yo$:re creating a ne+ aspect or discovering an e!isting one3 f yo$ fail3 Either .ou don0t create or discover the aspect at all, or .ou create or discover it (ut ano##onent gets to invo)e the aspect for free. $he second option "or)s (est if the aspect .ou create

or discover is so#ething that other people could ta)e advantage of Bli)e &ough 'errainC. 1ou #a. have to re"ord the aspect to sho" that it (enefits the other character instead of .ou2"or) it out in "hatever "a. #a)es the #ost sense "ith the pla.er "ho gets the free invocation. 1ou can still invo)e the aspect if .ou0d li)e, (ut it0ll cost .ou a fate point. f yo$ tie3 :f .ou0re creating a ne" aspect, .ou get a 1oost. @a#e it and invo)e it once for free2 after that, the (oost goes a"a.. :f .ou0re tr.ing to discover an e'isting aspect, treat this as a success Bsee (elo"C. :f .ou succeed 1ou create or discover the aspect, and .ou or an all. #a. invo)e it once for free. 4rite the aspect on an inde' card or stic). note and place it on the ta(le. :f .ou succeed "ith st.le 1ou create or discover the aspect, and .ou or an all. #a. invo)e it twicefor free. Rsuall. .ou can0t invo)e the sa#e aspect t"ice on the sa#e roll, (ut this is an e'ception3 success "ith st.le gives .ou a N:& advantageD f yo$:re trying to take advantage of an aspect yo$ already kno+ a1o$t3 f yo$ fail3 1ou don0t get an. additional (enefit fro# the aspect. 1ou can still invo)e it in the future if .ou0d li)e, at the cost of a fate point. f yo$ tie or s$cceed3 1ou get one free invocation on the aspect for .ou or an all. to use later. 1ou #ight "ant to dra" a circle or a (o' on the aspect0s note card, and chec) it off "hen that invocation is used. f yo$ s$cceed +ith style3 1ou get two free invocations on the aspect, "hich .ou can let an all. use, if .ou "ish. ACT 2.S ; 29TC2%ES3 T*E 56-SEC2.D 7E4S 2. Create an Advantage +hen creating or discovering aspects3 Fail3 +on0t create or discover, or .ou do (ut .our opponent Bnot .ouC gets a free invocation. Tie3 &et a (oost if creating ne", or treat as success if loo)ing for e'isting. S$cceed3 Create or discover the aspect, get a free invocation on it. Aucceed "ith At.le Create or discover the aspect, get t"o free invocations on it. Create an Advantage on an aspect yo$ already kno+ a1o$t3 Fail3 @o additional (enefit. Tie &enerate one free invocation on the aspect. S$cceed3 &enerate one free invocation on the aspect. S$cceed +ith Style3 &enerate t"o free invocations on the aspect. 2vercome3 Fail3 9ail, or succeed at a serious cost. Tie3 Aucceed at #inor cost. S$cceed3 1ou acco#plish .our goal. S$cceed +ith Style3 1ou acco#plish .our goal and generate a (oost. Attack3 Fail3 @o effect. Tie3 /ttac) doesn0t har# the target, (ut .ou gain a (oost. S$cceed3 /ttac) hits and causes da#age. S$cceed +ith Style3 /ttac) hits and causes da#age. Ea. reduce da#age (. one to generate a (oost. Defend3

Fail3 1ou suffer the conseGuences of .our opponent0s success. Tie3 Loo) at .our opponent0s action to see "hat happens.

 S$cceed3 1our opponent doesn0t get "hat the. "ant. S$cceed +ith Style3 1our opponent doesn0t get "hat the. "ant, and .ou get a (oost.

2vercome
1ou use the overcome action "hen .ou have to get past so#ething that0s (et"een .ou and a particular goal2pic)ing a loc), escaping fro# handcuffs, leaping across a chas#, fl.ing a spaceship through an asteroid field. $a)ing so#e action to eli#inate or change an inconvenient situation aspect is usuall. an overco#e action3 "e0ll tal) #ore a(out that in As#ects and Fate $oints. $he target of .our action #a. get a chance to use the defend action to stop .ou. f yo$ fail3 1ou have a tough choice to #a)e. 1ou can si#pl. fail2the door is still loc)ed, the thug still stands (et"een .ou and the e'it, the ene#. spaceship is still #n (our 'ail. %r .ou can succeed, (ut at a serious cost2#a.(e .ou drop so#ething vital .ou "ere carr.ing, #a.(e .ou suffer har#. $he &E helps .ou figure out an appropriate cost. f yo$ tie3 1ou attain .our goal, (ut at so#e #inor cost. $he &E could introduce a co#plication, or present .ou "ith a tough choice B.ou can rescue one of .our friends, (ut not the otherC, or so#e other t"ist. Aee HSucceed at a "ost* in unning the !ame in Fate "ore for #ore ideas. f yo$ s$cceed3 1ou acco#plish "hat .ou "ere tr.ing to do. $he loc) springs open, .ou duc) around the thug (loc)ing the door, .ou #anage to lose the alien spaceship on .our tail. f yo$ s$cceed +ith style3 /s success Ba(oveC, (ut .ou also gain a (oost.

Attack
Rse an attack "hen .ou tr. to hurt so#eone, "hether ph.sicall. or #entall.2s"inging a s"ord, shooting a (laster rifle, or .elling a (listering insult "ith the intent to hurt .our target. B4e0ll tal) a(out this in 'uch+ Damage( Stress( and "onse)uences, (ut the i#portant thing is :f so#eone gets hurt too (adl., the.0re )noc)ed out of the scene.C $he target of .our attac) gets a chance to use the defend action to stop .ou. f yo$ fail3 1our attac) doesn0t connect. $he target parries .our s"ord, .our shot #isses, .our target laughs off .our insult. f yo$ tie3 1our attac) doesn0t connect strongl. enough to cause an. har#, (ut .ou gain a (oost. f yo$ s$cceed3 1our attac) hits and .ou do da#age. Aee 'uch+ Damage( Stress( and "onse)uences. f yo$ s$cceed +ith style3 1ou hit and do da#age, plus .ou have the option to reduce the da#age .our hit causes (. one and gain a (oost.

Defend
Rse defend "hen .ou0re activel. tr.ing to stop so#eone fro# doing an. of the other three actions 2.ou0re parr.ing a s"ord stri)e, tr.ing to sta. on .our feet, (loc)ing a door"a., and the li)e. Rsuall. this action is perfor#ed onsomeone else,s turn, reacting to their atte#pt to attac), overco#e, or create an advantage. 1ou #a. also roll to oppose so#e non5attac) actions, or to defend against an attac) on so#eone else, if .ou can e'plain "h. .ou can. Rsuall. it0s fine if #ost people at the ta(le agree that it0s reasona(le, (ut .ou can also point to an relevant situation aspect to Fustif. it. 4hen .ou do, .ou (eco#e the target for an. (ad results. f yo$ fail3 1ou0re on the receiving end of "hatever .our opponent0s success gives the#. f yo$ tie or s$cceed3 $hings don0t "or) out too (adl. for .ou3 loo) at the description of .our opponent0s action to see "hat happens. f yo$ s$cceed +ith style3 1our opponent doesn0t get "hat the. "ant, plus .ou gain a (oost.

Getting *elp
/n all. can help .ou perfor# .our action. 4hen an all. helps .ou, the. give up their action for the e'change and descri(e ho" the.0re providing the help3 .ou get a 71 to .our roll for each all. that helps this "a.. Rsuall. onl. one or t"o people can help this "a. (efore the. start getting in each other0s "a.3 the &E decides ho" #an. people can help at once.

Choose #o$r Approach

/s "e #entioned in Who Do -ou Want to .e/( there are si' approaches that descri(e ho" .ou perfor# actions. Caref$l3 / Careful action is "hen .ou pa. close attention to detail and ta)e .our ti#e to do the Fo( right. Lining up a long5range arro" shot. /ttentivel. standing "atch. +isar#ing a (an)0s alar# s.ste#. Clever3 / Clever action reGuires that .ou thin) fast, solve pro(le#s, or account for co#ple' varia(les. 9inding the "ea)ness in an ene#. s"ords#an0s st.le. 9inding the "ea) point in a fortress "all. 9i'ing a co#puter. Flashy3 / 9lash. action dra"s attention to .ou3 it0s full of st.le and panache. +elivering an inspiring speech to .our ar#.. E#(arrassing .our opponent in a duel. Producing a #agical fire"or)s displa.. Forcef$l3 / 9orceful action isn0t su(tle2it0s (rute strength. 4restling a (ear. Ataring do"n a thug. Casting a (ig, po"erful #agic spell. <$ick3 / Juic) action reGuires that .ou #ove Guic)l. and "ith de'terit.. +odging an arro". &etting in the first punch. +isar#ing a (o#( as it tic)s 3S 2S 1S Sneaky3 / Anea). action is done "ith an e#phasis on #isdirection, stealth, or deceit. $al)ing .our "a. out of getting arrested. Pic)ing a poc)et. 9einting in a s"ord fight. Each character has each approach rated "ith a (onus fro# 70 to 73. /dd the (onus to .our dice roll to deter#ine ho" "ell .our PC perfor#s the action .ou descri(ed. Ao .our first instinct is pro(a(l. to pic) the action that gives .ou the greatest (onus, right, Nut it doesn0t "or) li)e that. 1ou have to (ase .our choice of approach on the description of .our action, and .ou can0t descri(e an action that doesn0t #a)e an. sense. 4ould .ou 9orcefull. creep through a dar) roo#, hiding fro# the guards, @o, that0s (eing Anea).. 4ould .ou Juic)l. push that (ig roc) out of the "a. of the "agon, @o, that0s (eing 9orceful. Circu#stances constrain "hat approach .ou can use, so so#eti#es .ou have to go "ith an approach that #ight not pla. directl. to .our strengths.

4oll the Dice& Add #o$r /on$s

$i#e to ta)e up dice and roll. $a)e the (onus associated "ith the approach .ou0ve chosen and add it to the result on the dice. :f .ou have a stunt that applies, add that too. $hat0s .our total. Co#pare it to "hat .our opponent Busuall. the &EC has.

Decide "hether to %odify the 4oll

9inall., decide "hether .ou "ant to alter .our roll (. invo)ing aspects2"e0ll tal) a(out this a lot inAs#ects and Fate $oints.

Challenges& Contests& and Conflicts

4e0ve tal)ed a(out the four actions Bcreate an advantage, overco#e, attac), and defendC and the

four outco#es Bfail, tie, succeed, and succeed "ith st.leC. Nut in "hat fra#e"or) do those happen, Rsuall., "hen .ou "ant to do so#ething straightfor"ard2s"i# across a raging river, hac) so#eone0s cell phone2all .ou need to do is #a)e one overco#e action against a difficult. level that the &E sets. 1ou loo) at .our outco#e and go fro# there. Nut so#eti#es things are a little #ore co#ple'.

Challenges
/ challenge is a series of overco#e and create an advantage actions that .ou use to resolve an especiall. co#plicated situation. Each overco#e action deals "ith one tas) or part of the situation, and .ou ta)e the individual results together to figure out ho" the situation resolves. $o set up a challenge, decide "hat individual tas)s or goals #a)e up the situation, and treat each one as a separate overco#e roll. +epending on the situation, one character #a. (e reGuired to #a)e several rolls, or #ultiple characters #a. (e a(le to participate. &Es, .ou aren0t o(ligated to announce all the stages in the challenge ahead of ti#e2adFust the steps as the challenge unfolds to )eep things e'citing.

$he PCs are the cre" of a ship caught in a stor#. $he. decide to press on and tr. to get to their destination despite the "eather, and the &E suggests this sounds li)e a challenge. Ateps in resolving this challenge could (e cal#ing panic). passengers, repairing da#aged rigging, and )eeping the ship on the right heading.

Contests
4hen t"o or #ore characters are co#peting against one another for the sa#e goal, (ut not directl. tr.ing to hurt each other, .ou have a contest. E'a#ples include a car chase, a pu(lic de(ate, or an archer. tourna#ent. / contest proceeds in a series of e'changes. :n an e'change, ever. participant ta)es one overco#e action to deter#ine ho" "ell the. do in that leg of the contest. Co#pare .our result to ever.one else0s. :f .ou got the highest result, .ou "in the e'change2.ou score a victor. B"hich .ou can represent "ith a tall. or chec) #ar) on scratch paperC and descri(e ho" .ou ta)e the lead. :f .ou succeed "ith st.le, .ou #ar) t"o victories. :f there0s a tie, no one gets a victor., and an une'pected t"ist occurs. $his could #ean several things, depending on the situation2the terrain or environ#ent shifts so#eho", the para#eters of the contest change, or an unanticipated varia(le sho"s up and affects all the participants. $he &E creates a ne" situation aspect reflecting this change and puts it into pla.. $he first participant to achieve three victories "ins the contest.

Conflicts
Conflicts are used to resolve situations "here characters are tr.ing to har# one another. :t could (e ph.sical har# Ba s"ord fight, a "i*ard0s duel, a (attle "ith laser (lastersC, (ut it could also (e #ental har# Ba shouting #atch, a tough interrogation, a #agical ps.chic assaultC. C2.F8 CTS3 T*E 56-SEC2.D 7E4S 2. 1. 2. 3. 1.TAet the scene. 2.T+eter#ine turn order. 3.TAtart the first e'change. %n .our turn, ta)e an action. %n other people0s turns, defend against or respond to their actions as necessar.. /t the end of ever.one0s turn, start a ne" e'change or end the conflict.

Setting the Scene

Esta(lish "hat0s going on, "here ever.one is, and "hat the environ#ent is li)e. 4ho is the opposition, $he &E should "rite a couple of situation aspects on stic). notes or inde' cards and place the# on the ta(le. Pla.ers can suggest situation aspects, too. $he &E also esta(lishes =ones, loosel. defined areas that tell .ou "here characters are. 1ou deter#ine *ones (ased on the scene and the follo"ing guidelines &enerall., .ou can interact "ith other characters in the sa#e *one2or in near(. *ones if .ou can Fustif. acting at a distance Bfor e'a#ple, if .ou have a ranged "eapon or #agic spellC. 1ou can #ove one *one for free. /n action is reGuired to #ove if there0s an o(stacle along the "a., such as so#eone tr.ing to stop .ou, or if .ou "ant to #ove t"o or #ore *ones. :t so#eti#es helps to s)etch a Guic) #ap to illustrate *ones.

$hugs are attac)ing the characters in a house. $he living roo# is one *one, the )itchen another, the front porch another, and the .ard a fourth. /n.one in the sa#e *one can easil. thro" punches at each other. 9ro# the living roo#, .ou can thro" things at people in the )itchen or #ove into the )itchen as a free action, unless the door"a. is (loc)ed. $o get fro# the living roo# to the front porch or .ard reGuires an action.

Determine T$rn 2rder

1our turn order in a conflict is (ased on .our approaches. :n a ph.sical conflict, co#pare .our Juic) approach to the other participants02the one "ith the fastest refle'es goes first. :n a #ental conflict, co#pare .our Careful approach2attention to detail "ill "arn .ou of danger. 4hoever has the highest approach gets to go first, and then ever.one else goes in descending order. Nrea) ties in "hatever #anner #a)es sense, "ith the &E having the last "ord.

&Es, it0s si#plest if .ou pic) .our #ost advantageous @PC to deter#ine .our place in the turn order, and let all .our @PCs go at that ti#e. Nut if .ou have a good reason to deter#ine turn order individuall. for all .our @PCs, go right ahead.

E!changes
@e't, each character ta)es a turn in order. %n their turn, a character can ta)e one of the four actions. Resolve the action to deter#ine the outco#e. $he conflict is over "hen onl. one side has characters still in the fight.

2$ch! Damage& Stress& and Conse>$ences

4hen .ou0re hit (. an attac), the severit. of the hit is the difference (et"een the attac) roll and .our defense roll3 "e #easure that in shifts. 9or instance, if .our opponent gets 7= on their attac) and .ou get a 73 on .our defense, the attac) deals a t"o shift hit B= < 3 P 2C. $hen, one of t"o things happens 1ou suffer stress and!or conse>$ences, (ut .ou sta. in the fight. 1ou get taken o$t, "hich #eans .ou0re out of the action for a "hile. ST4ESS ; C2.SE<9E.CES3 T*E 56-SEC2.D 7E4S 2. Each character starts "ith three stress (o'es. Aeverit. of hit Bin shiftsC P /ttac) Roll < +efense Roll 4hen .ou ta)e a hit, .ou need to account for ho" that hit da#ages .ou. %ne "a. to a(sor( the da#age is to ta)e stress3 .ou can chec) one stress (o' to handle so#e or all of a single hit. 1ou can a(sor( a nu#(er of shifts eGual to the nu#(er of the (o' .ou chec) one for No' 1, t"o for No' 2, three for No' 3. 1ou #a. also ta)e one or #ore conseGuences to deal "ith the hit, (. #ar)ing off one or #ore conseGuence slots and "riting a ne" aspect for each one. Eild conseGuence P 2 shifts3 #oderate P ? shifts3 severe P > shifts. :f .ou can0t Bor decide not toC handle the entire hit, .ou0re ta)en out. 1our opponent decides "hat happens to .ou. &iving in (efore .our opponent0s roll allo"s .ou to control ho" .ou e'it the scene. 1ou also get one or #ore fate points for doing thisD Atress and #ild conseGuences vanish at the end of the scene, provided .ou get a chance to rest. %ther conseGuences ta)e longer.

"hat s Stress)
:f .ou get hit and don0t "ant to (e ta)en out, .ou can choose to ta)e stress. Atress represents .ou getting tired or anno.ed, ta)ing a superficial "ound, or so#e other condition that goes a"a. Guic)l.. 1our character sheet has a stress track, a ro" of three (o'es. 4hen .ou ta)e a hit and chec) a stress (o', the (o' a(sor(s a nu#(er of shifts eGual to its nu#(er one shift for No' 1, t"o for No'

2, or three for No' 3. 1ou can onl. chec) one stress (o' for an. single hit, (ut .ou can chec) a stress (o' and ta)e one or #ore conseGuences at the sa#e ti#e. 1ou can0t chec) a stress (o' that alread. has a chec) #ar) in itD

"hat Are Conse>$ences)

ConseGuences are ne" aspects that .ou ta)e to reflect (eing seriousl. hurt in so#e "a.. 1our character sheet has three slots "here .ou can "rite conseGuences. Each one is la(eled "ith a nu#(er 2 B#ild conseGuenceC, ? B#oderate conseGuenceC, or > Bsevere conseGuenceC. $his represents the nu#(er of shifts of the hit the conseGuence a(sor(s. 1ou can #ar) off as #an. of these as .ou li)e to handle a single hit, (ut onl. if that slot "as (lan) to start "ith. :f .ou alread. have a #oderate conseGuence "ritten do"n, .ou can0t ta)e another one until .ou do so#ething to #a)e the first one go a"a.D / #aFor do"nside of conseGuences is that each conseGuence is a ne" aspect that .our opponents can invo)e against .ou. $he #ore .ou ta)e, the #ore vulnera(le .ou are. /nd Fust li)e situation aspects, the character that creates it Bin this case, the character that hit .ouC gets one free invocation on that conseGuence. $he. can choose to let one of their allies use the free invocation.

Let0s sa. that .ou get hit reall. hard and ta)e a ?5shift hit. 1ou chec) No' 2 on .our stress trac), "hich leaves .ou "ith 2 shifts to deal "ith. :f .ou can0t, .ou0re ta)en out, so it0s ti#e for a conseGuence. 1ou can choose to "rite a ne" aspect in the conseGuence slot la(eled 22 sa., Sprained Ankle. $hose final 2 shifts are ta)en care of and .ou can )eep fightingD

:f .ou0re una(le to a(sor( all of a hit0s shifts2(. chec)ing a stress (o', ta)ing conseGuences, or (oth2.ou0re ta)en out.

"hat *appens "hen Get Taken 2$t)

:f .ou get ta)en out, .ou can no longer act in the scene. 4hoever ta)es .ou out narrates "hat happens to .ou. :t should #a)e sense (ased on ho" .ou got ta)en out2#a.(e .ou run fro# the roo# in sha#e, or #a.(e .ou get )noc)ed unconscious.

Giving n
:f things loo) gri# for .ou, .ou can give in Bor concede the fightC2(ut .ou have to sa. that0s "hat .ou0re going to do 0efore .our opponent rolls their dice. $his is different than (eing ta)en out, (ecause .ou get a sa. in "hat happens to .ou. 1our opponent gets so#e #aFor concession fro# .ou2tal) a(out "hat #a)es sense in .our situation2 (ut it (eats getting ta)en out and having no sa. at all. /dditionall., .ou get one fate point for conceding, and one fate point for each conseGuence .ou too) in this conflict. $his is .our chance to sa., H1ou "in this round, (ut :0ll get .ou ne't ti#eDI

and get a tall stac) of fate points to (ac) it up.

Getting /etter?4ecovering from Stress and Conse>$ences

/t the end of each scene, clear all of .our stress (o'es. Recover. fro# a conseGuence is a (it #ore co#plicated3 .ou need to e'plain ho" .ou recover fro# it2"hether that0s an ER visit, ta)ing a "al) to cal# do"n, or "hatever #a)es sense "ith the conseGuence. 1ou also need to "ait an appropriate length of ti#e. %ild conse>$ence3 Clear it at the end of the scene, provided .ou get a chance to rest. %oderate conse>$ence3 Clear it at the end of the ne't session, provided it #a)es sense "ithin the stor.. Severe conse>$ence3 Clear it at the end of the scenario, provided it #a)es sense "ithin the stor.. 4E.A% .G %2DE4ATE A.D SE7E4E C2.SE<9E.CES Eoderate and severe conseGuences stic) around for a "hile. $herefore, at so#e point .ou #a. "ant to change the na#e of the aspect to (etter fit "hat0s going on in the stor.. 9or instance, after .ou get so#e #edical help, )ainful %roken "eg #ight #a)e #ore sense if .ou change it to *o++ling on Crutches.

Aspects and Fate ,oints

/n aspect is a "ord or phrase that descri(es so#ething special a(out a person, place, thing, situation, or group. /l#ost an.thing .ou can thin) of can have aspects. / person #ight (e the Greatest Swordswoman on the Cloud Sea. / roo# #ight (e #n Fire after .ou )noc) over an oil la#p. /fter a ti#e5travel encounter "ith a dinosaur, .ou #ight (e 'errified. /spects let .ou change the stor. in "a.s that go along "ith .our character0s tendencies, s)ills, or pro(le#s. 1ou spend fate points2"hich .ou )eep trac) of "ith pennies or glass (eads or po)er chips or so#e other to)ens2to unloc) the po"er of aspects and #a)e the# help .ou. 1ou earn fate points (. letting a character aspect (e co#pelled against .ou to co#plicate the situation or #a)e .our life harder. Ne sure to )eep trac) of the fate points .ou have left at the end of the session2if .ou have #ore than .our refresh, .ou start the ne't session "ith the fate points .ou ended this session "ith.

1ou earned a lot of fate points during .our ga#e session, ending the da. "ith five fate points. 1our refresh is 2, so .ou0ll start "ith five fate points the ne't ti#e .ou pla.. Nut another pla.er ends the sa#e session "ith Fust one fate point. His refresh is 3, so he0ll (egin the ne't session "ith 3 fate points, not Fust the one he had left over.

"hat 0inds of Aspects Are There)

$here0s an endless variet. of aspects, (ut no #atter "hat the.0re called the. all "or) prett. #uch the sa#e "a.. $he #ain difference is ho" long the. stic) around (efore going a"a..

Character Aspects3 $hese aspects are on .our character sheet, such as .our high concept and trou(le. $he. descri(e personalit. traits, i#portant details a(out .our past, relationships .ou have "ith others, i#portant ite#s or titles .ou possess, pro(le#s .ou0re dealing "ith or goals .ou0re "or)ing to"ard, or reputations and o(ligations .ou carr.. $hese aspects onl. change under ver. unusual circu#stances3 #ost never "ill.

E'a#ples Captain of the Sk$ship Nim+us 3 #n the &un From the ,nights of the Circle3Attention to Detail3 I Must )rotect M$ %rother

Sit$ation Aspects3 $hese aspects descri(e the surroundings that the action is ta)ing place in. $his includes aspects .ou create or discover using the create an advantage action. / situation aspect usuall. vanishes at the end of the scene it "as part of, or "hen so#eone ta)es so#e action that "ould change or get rid of it. Essentiall., the. last onl. as long as the situational ele#ent the. represent lasts.

E'a#ples #n Fire3 %right Sunlight3 Crowd of Angr$ )eople3 ,nocked to the Ground

$o get rid of a situation aspect, .ou can atte#pt an overco#e action to eli#inate it, provided .ou can thin) of a "a. .our character could acco#plish it2du#p a (uc)et of "ater on the &aging Fire, use evasive #aneuvers to escape the ene#. fighter that0s #n (our 'ail. /n opponent #a. use a +efend action to tr. to preserve the aspect, if the. can descri(e ho" the. do it. Conse>$ences3 $hese aspects represent inFuries or other lasting trau#a that happen "hen .ou get hit (. attac)s. $he. go a"a. slo"l., as descri(ed in 'uch+ Damage( Stress( and "onse)uences.

E'a#ples Sprained Ankle3 Fear of Spiders3 Concussion3 De+ilitating Self-Dou+t

/oosts3 / (oost is a te#porar. aspect that .ou get to use once Bsee HWhat Do -ou Do With As#ects/Ine'tC, then it vanishes. Rnused (oosts vanish "hen the scene the. "ere created in is over or "hen the advantage the. represent no longer e'ists. $hese represent ver. (rief and fleeting advantages .ou get in conflicts "ith others.

E'a#ples In M$ Sights3 Distracted3 .nsta+le Footing3 &ock in *is %oot

,7, $he onl. ti#e that fate point #ight not go to the &E is "hen .ou0re in conflict "ith another pla.er. :f .ou are, and .ou invo)e one of that pla.er0s character aspects to help .ou out against the#, the. "ill get the fate point instead of the &E once the scene is over.

"hat Do #o$ Do "ith Aspects)

$here are three (ig things .ou can do "ith aspects invoke aspects, compel aspects, and use aspects to esta1lish facts.

nvoking Aspects
1ou invoke an aspect to give .ourself a (onus or #a)e things a (it harder for .our opponent. 1ou can invo)e an. aspect that .ou aC )no" a(out, and (C can e'plain ho" .ou use it to .our advantage 2including aspects on other characters or on the situation. @or#all., invo)ing an aspect costs .ou a fate point2hand one of .our fate points to the &E. $o invo)e an aspect, .ou need to descri(e ho" that aspect helps .ou in .our current situation.

: attac) the *o#(ie "ith #. s"ord. : )no" *o#(ies are Sluggish, so that should help #e. : reall. "ant to scare this gu.. :0ve heard he0s Scared of Mice, so :0ll release a #ouse in his (edroo#. @o" that the guard0s Distracted, : should (e a(le to snea) right (. hi#. $his spell needs to (e reall. po"erful2:0# an Archwi/ard of the Ancient #rder, and po"erful spells are #. (read and (utter.

4hat does invo)ing the aspect get .ou, Choose one of the follo"ing effects /dd a 72 (onus to .our total. $his costs a fate point. Reroll the dice. $his option is (est if .ou rolled reall. lous. Busuall. a Q3 or Q? sho"ing on the diceC. $his costs a fate point. Confront an opponent "ith the aspect. 1ou use this option "hen .our opponent is tr.ing so#ething and .ou thin) an e'isting aspect "ould #a)e it harder for the#. 9or instance, an alien thug "ants to dra" his (laster pistol, (ut he0s %uried in De+ris3 .ou spend a fate point to invo)e that aspect, and no" .our opponent0s level of difficult. is increased (. 72. Help an all. "ith the aspect. Rse this option "hen a friend could use so#e help and .ou thin) an e'isting aspect "ould #a)e it easier for the#. 1ou spend a fate point to invo)e the aspect, and no" .our friend gets a 72 on their roll. 1m#ortant& 1ou can onl. invo)e an. aspect once on a given dice roll3 .ou can0t spend a stac) of fate points on one aspect and get a huge (onus fro# it. Ho"ever, .ou can invo)e several different aspects on the sa#e roll. :f .ou0re invo)ing an aspect to add a (onus or reroll .our dice, "ait until after .ou0ve rolled to do it. @o sense spending a fate point if .ou don0t need toD Free invocations3 Ao#eti#es .ou can invo)e an aspect for free, "ithout pa.ing a fate point. :f .ou

create or discover an aspect through the create an advantage action, the first invocation on it B(. .ou or an all.C is free Bif .ou succeeded "ith st.le, .ou get two free(iesC. :f .ou cause a conseGuence through an attac), .ou or an all. can invo)e it once for free. / 1oost is a special )ind of aspect that grants one free invocation, then it vanishes.

Compelling Aspects
:f .ou0re in a situation "here having or (eing around a certain aspect #eans .our character0s life is #ore dra#atic or co#plicated, an.one can compel the aspect. 1ou can even co#pel it on .ourself 2that0s called a self5co#pel. Co#pels are the #ost co##on "a. for pla.ers to earn #ore fate points. $here are t"o t.pes of co#pels. Decision compels3 $his sort of co#pel suggests the ans"er to a decision .our character has to #a)e. :f .our character is )rincess of Alaria, for e'a#ple, .ou #a. need to sta. to lead the defense of the Ro.al /larian Castle rather than fleeing to safet.. %r if .ou have a Defiant Streak a Mile Wide, #a.(e .ou can0t help (ut #outh off to the +ean of +iscipline "hen he Guestions .ou. Event compels3 %ther ti#es a co#pel reflects so#ething happening that #a)es life #ore co#plicated for .ou. :f .ou have Strange "uck, of course that spell .ou0re "or)ing on in class accidentall. turns the dour Potions Easter0s hair orange. :f .ou #we Don 0aldeon a Fa1or, then +on -aldeon sho"s up and de#ands that .ou perfor# a service for hi# Fust "hen it0s least convenient. :n an. case, "hen an aspect is co#pelled against .ou, the person co#pelling it offers .ou a fate point and suggests that the aspect has a certain effect2that .ou0ll #a)e a certain decision or that a particular event "ill occur. 1ou can discuss it (ac) and forth, proposing t"ea)s or changes to the suggested co#pel. /fter a #o#ent or t"o, .ou need to decide "hether to accept the co#pel. :f .ou agree, .ou ta)e the fate point and .our character #a)es the suggested decision or the event happens. :f .ou refuse, .ou #ust #a2 a fate point fro# .our o"n suppl.. 1es, this #eans that if .ou don0t have an. fate points, .ou can0t refuse a co#pelD

*o+ %any Fate ,oints Does the G% Get) /s &E, .ou don0t need to trac) fate points for each @PC, (ut that doesn0t #ean .ou get an unli#ited nu#(er. Atart each scene "ith a pool of one fate point per PC that0s in the scene. Apend fate points fro# this pool to invo)e aspects Band conseGuencesC against the PCs. 4hen it0s e#pt., .ou can0t invo)e aspects against the#. Ho" can .ou increase the si*e of .our pool, 4hen a pla.er co#pels one of an @PC0s aspects, add the fate point to .our pool. :f that co#pel ends the scene, or "hen an @PC gives in, instead add those fate points to .our pool at the start of the ne't scene. 9ate points .ou a"ard for co#pels do @%$ co#e fro# this pool. 1ou never have to "orr. a(out running out of fate points to a"ard for co#pels.

Esta1lishing Facts
$he final thing that aspects can do is esta1lish facts in the ga#e. 1ou don0t have to spend an. fate points, roll dice, or an.thing to #a)e this happen2Fust (. virtue of having the aspect &udd$ Duck2s )ilot, .ou0ve esta(lished that .our character is a pilot and that .ou fl. a plane na#ed the udd2 Duc3. Having the aspect Mortal Enem$3 'he &ed Nin4as esta(lishes that the setting has an organi*ation called the Red @inFas and that the.0re after .ou for so#e reason. :f .ou ta)e the aspect Sorcerer of the M$sterious Circle , .ou not onl. esta(lish that there0s a group of sorcerers called the E.sterious Circle, (ut that magic e4ists in the setting and that 2ou can #erform it. 4hen .ou esta(lish facts of the setting this "a., #a)e sure .ou do it in cooperation "ith other pla.ers. :f #ost people "ant to pla. in a setting "ithout #agic, .ou shouldn0t unilaterall. (ring #agic into it through an aspect. Ea)e sure that the facts .ou esta(lish through .our aspects #a)e the ga#e fun for ever.one.

Composing Good Aspects

4hen .ou need to thin) of a good aspect B"e0re #ainl. tal)ing a(out character and situation aspects hereC, thin) a(out t"o things Ho" the aspect #ight help .ou2"hen .ou0d invo)e it. Ho" it #ight hurt .ou2"hen it "ould (e co#pelled against .ou. 9or e'a#ple

I2ll Get (ou 1on Stendahl5 :nvo)e this "hen acting against von Atendahl to i#prove .our chances. &et a fate point "hen .our disli)e for von Atendahl #a)es .ou do so#ething foolish to tr. to get hi#. *air 'rigger Ner1es :nvo)e this "hen (eing e'tra vigilant and careful "ould help .ou. &et a fate point "hen this causes .ou to (e Fu#p. and (e distracted (. threats that aren0t reall. there. %(viousl., .our trou(le aspect is supposed to cause pro(le#s2and there(. #a)e .our character0s life #ore interesting and get .ou fate points2so it0s o)a. if that one0s a little #ore one5 di#ensional, (ut other character and situation aspects should (e dou(le5edged.

St$nts
St$nts are tric)s, #aneuvers, or techniGues .our character has that change ho" an approach "or)s for .our character. &enerall. this #eans .ou get a (onus in certain situations, (ut so#eti#es it gives .ou so#e other a(ilit. or characteristic. / stunt can also reflect speciali*ed, high5Gualit., or e'otic eGuip#ent that .our character has access to that gives the# a freGuent edge over other characters.

$here0s no definitive list of stunts that .ou pic) fro#3 #uch li)e aspects, ever.one co#poses their o"n stunts. $here are t"o (asic te#plates to guide .ou in co#posing .our stunts, so .ou do have so#ething to "or) fro#. $he first t.pe of stunt gives .ou a 72 (onus "hen .ou use a certain approach in a certain situation. Rse this te#plate Necause : @descri1e some +ay that yo$ are e!ceptional& have a cool 1it of gear& or are other+ise a+esomeA, : get a 72 "hen : @pick one3 Caref$lly& Cleverly& Flashily& Forcef$lly& <$ickly& SneakilyA@pick one3 attack& defend& create advantages& overcomeA "hen @descri1e a circ$mstanceA. 9or e'a#ple

Necause : am a Smooth Talker, : get a 72 "hen : Sneakily create advantages "hen :m in conversation +ith someone. Necause : am a 8over of ,$==les, : get a 72 "hen : Cleverly overcome o1stacles "hen am presented +ith a p$==le& riddle& or similar con$ndr$m. Necause : am a "orld-Class D$elist, : get a 72 "hen : Flashily attack "hen engaged in a oneon-one s+ordfight. Necause : have a /ig 0ite Shield, : get a 72 "hen : Forcef$lly defend "hen $se my shield in close com1at. Ao#eti#es, if the circu#stance is especiall. restrictive, .ou can appl. the stunt to (oth the create an advantage action and the overco#e action. $he second t.pe of stunt lets .ou #a)e so#ething true, do so#ething cool, or other"ise ignore the usual rules in so#e "a.. Rse this te#plate Necause : @descri1e some +ay that yo$ are e!ceptional& have a cool 1it of gear& or are other+ise a+esomeA, once per ga#e session : can @descri1e something cool yo$ can doA. 9or e'a#ple

Necause : am "ell Connected, once per ga#e session : can find a helpf$l ally in B$st the right place. Necause : am <$ick on the Dra+, once per ga#e session : can choose to go first in a physical conflict. Necause : can 4$n Circles Aro$nd a 8eopard, once per ga#e session : can sho+ $p any+here +ant to& provided co$ld r$n there& no matter +here started. $hese te#plates e'ist to give .ou an idea of ho" stunts should (e constructed, (ut don0t feel constrained to follo" the# e'actl. if .ou have a good idea. :f .ou0d li)e to read #ore a(out the construction of stunts, see S3ills and Stunts in Fate "ore.

Getting /etter at Doing St$ff3 Character Advancement

People change. 1our s)ills sharpen as .ou practice the#. 1our life e'periences accu#ulate and shape .our personalit.. Fate Accelerated Edition reflects that "ith character advancement, "hich allo"s .ou to change .our aspects, add or change stunts, and raise .our approach (onuses. 1ou do this "hen .our character reaches a #ilestone.

%ilestones
Atories in $- sho"s, co#ic (oo)s, #ovies, and even video ga#es usuall. continue fro# episode to episode, season to season. :t too) 9rodo three (ig (oo)s to ta)e the Ring to the fier. #ountain. :t too) /ang three seasons to defeat the 9ire Lord. 1ou get the idea. FAE can tell those )inds of stories3 .ou pla. #an. ga#e sessions in a ro" using the sa#e characters2this is often called a campaign2and the stor. (uilds on itself. Nut "ithin these long stories, there are shorter stor. arcs, li)e single episodes of a $- sho" or single issues of a co#ic, "here shorter stories are told and "rapped up. FAE can do that too, even "ithin a longer ca#paign. :n FAE, "e call those "rap5ups milestones2"hether the.0re s#all ones for short stories, or reall. (ig ones at the end of #an. sessions of pla.. FAE recogni*es three t.pes of #ilestones, and each one allo"s .ou to change .our character in certain "a.s.

%inor %ilestones
/ minor milestone usuall. occurs at the end of a session of pla., or "hen one piece of a stor. has (een resolved. Rather than #a)ing .our character #ore po"erful, this )ind of #ilestone is #ore a(out changing .our character, a(out adFusting in response to "hatever0s going on in the stor. if .ou need to. Ao#eti#es it "on0t reall. #a)e sense to ta)e advantage of a #inor #ilestone, (ut .ou al"a.s have the opportunit. in case .ou need to. /fter a #inor #ilestone, .ou can choose to do one Band onl. oneC of the follo"ing A"itch the ratings of an. t"o approaches. Rena#e one aspect that isn0t .our high concept. E'change one stunt for a different stunt. Choose a ne" stunt Band adFust .our refresh, if .ou alread. have three stuntsC. /lso, if .ou have a #oderate conseGuence, chec) to see if it0s (een around for t"o sessions. :f so, .ou can clear it.

Significant %ilestones
/ significant milestone usuall. occurs at the end of a scenario or the conclusion of a (ig plot event Bor, "hen in dou(t, at the end of ever. t"o or three sessionsC. Rnli)e #inor #ilestones, "hich are pri#aril. a(out change, significant #ilestones are a(out learning ne" things2dealing "ith pro(le#s and challenges has #ade .our character generall. #ore capa(le at "hat the. do. :n addition to the (enefit of a #inor #ilestone, .ou also gain 0oth of the follo"ing :f .ou have a severe conseGuence that0s (een around for at least t"o sessions, .ou can clear it.

Raise the (onus of one approach (. one. 4A S .G A,,42AC* /2.9SES 4hen .ou raise the (onus of an approach, there0s onl. one rule .ou need to re#e#(er .ou can0t raise an approach (onus a(ove Auper( B7=C.

%aBor %ilestones
%aBor milestones should onl. occur "hen so#ething happens in the ca#paign that sha)es it up a lot2the end of a (ig stor. arc, the final defeat of a #ain @PC villain, or an. other large5scale change that rever(erates around .our ga#e "orld. $hese #ilestones are a(out gaining #ore po"er. $he challenges of .esterda. si#pl. aren0t sufficient to threaten these characters an.#ore, and the threats of to#orro" "ill need to (e #ore adept, organi*ed, and deter#ined to stand against the#. /chieving a #aFor #ilestone confers the (enefits of a significant #ilestone and a #inor #ilestone. :n addition, .ou #a. do all of the follo"ing $a)e an additional point of refresh, "hich .ou #a. i##ediatel. use to purchase a stunt if .ou "ish. Rena#e .our character0s high concept BoptionalC.

/eing the G%
$he &E has #an. responsi(ilities, such as presenting the conflict to the pla.ers, controlling @PCs, and helping ever.one appl. the rules to the situation in the ga#e. Let0s tal) a(out the &E0s Fo(s.

*elp /$ild Campaigns

/ campaign is a series of ga#es .ou pla. "ith the sa#e characters, "here the stor. (uilds on "hat happened in earlier sessions. /ll the pla.ers should colla(orate "ith the &E to plan ho" the ca#paign "ill "or). Rsuall. this is a conversation a#ong all of .ou to decide "hat sort of heroes .ou "ant to pla., "hat sort of "orld .ou live in, and "hat sorts of (ad gu.s .ou0ll have. $al) a(out ho" serious .ou "ant the ga#e to (e and ho" long .ou "ant it to last. Cat5people s). pirates in fl.ing ships, al"a.s on the run fro# the Ro.al @av. tr.ing to catch the#. Eagic5"ielding desert to"nsfol) stand against the invading soldiers of the evil Ateel E#pire. Atudents at a (oarding school for #agical .outh solve #.steries and uncover secrets of their ancient school. 8EA4. .G *2" T2 /E A G% Neing a &E and running ga#es can see# inti#idating and difficult at first. :t0s a s)ill that ta)es so#e practice to #aster, so don0t "orr.2.ou0ll get (etter the #ore .ou do it. :f .ou0d li)e to read #ore a(out the art of &Eing 9ate, there are several chapters in the Fate "ore rules that .ou should chec) out unning the !ame( Scenes( Sessions( and Scenarios( and The Long !ame are

particularl. helpful. Fate "ore is availa(le for free at www.evilhat.com.

/$ild Scenarios and 4$n Game Sessions

/ scenario is one short stor. arc, the sort of thing .ou #ight see "rapped up in one or t"o episodes of an adventure television sho", even if it0s a s#aller part of a (igger stor.. Rsuall. .ou can "rap up a scenario in one to three ga#e sessions, assu#ing .ou pla. for three or four hours at a ti#e. Nut "hat is a scenario, and ho" do .ou (uild one,

Scenarios
/ scenario needs t"o things / (ad gu. "ith a goal, and a reason the PCs can0t ignore it. /ad g$y +ith a goal3 1ou0ve pro(a(l. figured this out alread.. $he ca#paign0s #ain opposition, or one of his allies, is pro(a(l. .our (ad gu.. Something the ,Cs can:t ignore3 @o" .ou have to give the PCs a reason to care. Ea)e sure the (ad gu.0s goal is up in the PCs0 faces, "here the. need to do so#ething a(out it or (ad things "ill happen to the#, or to people or things the. value.

4$nning Game Sessions

@o" that .our (ad gu. is doing so#ething the PCs "ill pa. attention to, it0s ti#e to start the# off. Ao#eti#es the (est "a. to do that, especiall. for the first session of a ne" stor. arc, is to put the# right in the action. %nce the PCs )no" "h. the. should care a(out "hat0s going on, .ou Fust get out of the "a. and let the# ta)e care of it. $hat said, there are a (unch of tas)s the &E needs to perfor# to run the session 4$n scenes3 / session is #ade up of individual scenes. +ecide "here the scene (egins, "ho0s there, and "hat0s going on. +ecide "hen all the interesting things have pla.ed out and the scene0s over. AdB$dicate the r$les3 4hen so#e Guestion co#es up a(out ho" to appl. the rules, .ou get final sa.. Set diffic$lties3 1ou decide ho" difficult tas)s should (e. ,lay the .,Cs3 Each pla.er controls their o"n character, (ut .ou control all the rest, including the (ad gu.s. 0eep things moving3 :f the pla.ers don0t )no" "hat to do ne't, it0s .our Fo( to give the# a nudge. @ever let things get too (ogged do"n in indecision or (ecause the. don0t have enough infor#ation2do so#ething to sha)e things up. %ake s$re everyone has a chance to 1e a+esome3 1our goal isn0t to defeat the pla.ers, (ut to challenge the#. Ea)e sure ever. PC gets a chance to (e the star once in a "hile, fro# the (ig (ad "arrior to the little snea). thief.

Setting Diffic$lty 8evels

4hen another character is opposing a PC, their rolls provide the opposition in a conflict, contest, or challenge. Nut if there0s no active opposition, .ou have to decide ho" hard the tas) is. 8o+ diffic$lties are (est "hen .ou "ant to give the PCs a chance to sho" off and (e a"eso#e.Diffic$lties near their approach ratings are (est "hen .ou "ant to provide tension (ut

not over"hel# the#. *igh diffic$lties are (est "hen .ou "ant to e#phasi*e ho" dire or unusual the circu#stances are and #a)e the# pull out all the stops.

4$les of Th$m13
:f the tas) isn0t ver. tough at all, give it a Eediocre B70C2or Fust tell the pla.er the. succeed "ithout a roll. :f .ou can thin) of at least one reason "h. the tas) is tough, pic) 9air B72C. :f the tas) is e'tre#el. difficult, pic) &reat B7?C. :f the tas) is i#possi(l. difficult, go as high as .ou thin) #a)es sense. $he PC "ill need to drop so#e fate points and get lots of help to succeed, (ut that0s fine. 2,T 2.A8 498E3 A,,42AC*-4E8ATED TA4GET .9%/E4S Ao#eti#es (eing Careful #a)es things a lot easier3 so#eti#es it Fust ta)es too long. $he &E #a. "ish to adFust the target nu#(er up or do"n (. 1 or 2 depending on "hether .ou choose a fitting or a pro(le#atic approach. $his #a)es things a (it #ore co#ple', (ut for so#e groups it0s "orth it.

/ad G$ys
4hen .ou #a)e a (ad gu., .ou can stat the# out e'actl. li)e the PCs, "ith approaches, aspects, stress, and conseGuences. 1ou should do this for i#portant or recurring (ad gu.s "ho are intended to give the PCs so#e real difficulties, (ut .ou shouldn0t need #ore than one or t"o of these in a scenario. %ooks3 %ther (ad gu.s are mooks2unna#ed thugs or #onsters or goons that are there to #a)e the PCs0 da. a little #ore difficult, (ut the.0re designed to (e #ore or less easil. s"ept aside, especiall. (. po"erful PCs. Here0s ho" .ou create their stats Ea)e a list of "hat this #oo) is s)illed at. $he. get a 72 to all rolls dealing "ith these things. Ea)e a list of "hat this #oo) is (ad at. $he. get a Q2 to all rolls dealing "ith these things. Ever.thing else gets a 70 "hen rolled. &ive the #oo) an aspect or t"o to reinforce "hat the.0re good and (ad at, or if the. have a particular strength or vulnera(ilit.. :t0s o)a. if a #oo)0s aspects are reall. si#ple. Eoo)s have *ero, one, or t"o (o'es in their stress trac), depending on ho" tough .ou i#agine the# to (e. Eoo)s can0t ta)e conseGuences. :f the. run out of stress (o'es Bor don0t have an.C, the ne't hit ta)es the# do"n. C#C82,S *29SE /988# C$clops *ouse %ull$, Cowardl$ Without %ackup Skilled CDEF at3 9rightening other students, "easeling out of trou(le, (rea)ing things /ad C-EF at3 Planning, stud.ing Stress3 @one Bfirst hit ta)es the# outC STEE8 ASSASS . Steel Assassin, 'he Night Is #urs Skilled CDEF at3 Anea)ing, a#(ushing /ad C-EF at3 Atanding up to deter#ined opposition Stress3 2

S0# S*A40 I2m a Shark, 0ulnera+le %ell$ Skilled CDEF at3 9l.ing, (iting /ad C-EF at3 /n.thing that isn0t fl.ing or (iting Stress3 22 Gro$ps of %ooks3 :f .ou have a lot of lo"5level (ad gu.s facing the PCs, .ou can #a)e .our Fo( easier (. treating the# as a group2or #a.(e a fe" groups. :nstead of trac)ing a do*en (ad gu.s, .ou trac) three groups of four (ad gu.s each. Each of these groups acts li)e a single character and has a set of stats Fust li)e a single #oo) "ould Choose a couple of things the.0re s)illed at. 1ou #ight designate Hganging upI as one of the things the group is good at. Choose a couple of things the.0re not so good at. &ive the# an aspect. &ive the# one stress (o' for ever. t"o individuals in the group. &/@& %9 $HR&A A6e *andles 7 Crow+ars Skilled CDEF at3 &anging up, scaring innocent people /ad C-EF at3 $hin)ing ahead, fighting "hen outnu#(ered Stress3 2T2 B? thugsC Fate "ore has a "a. of handling this, called #o(s Bsee the H"reating the '##osition* section of the unning the !ame chapter in Fate "oreC. 9eel free to use that option if .ou prefer. @ote that it #a. lead to ver. strong #o(s, unless .ou start "ith e'tre#el. "ea) #oo)s2if .ou "ant to give .our PCs a serious challenge, that could (e one "a. to do it.

E!ample Characters
Here are four sa#ple characters that .ou can use as5is or use as inspiration for .our o"n characters.

4eth of the Andrali 4esistance

Reth is 1? .ears of age. He has dar) (ro"n s)in and dar) hair that he "ears in thic) dreadloc)s. He "ears light, loose5fitting clothing and sandals, and he0s a s)illed #artial artist. He0s the #ost po"erful Auncaller to (e (orn in generations3 he can #agicall. call forth the po"er of fire. %riginall. fro# a to"n in the vast /ndral +esert, he and his friends too) a stand against the invading Ateel E#pire and have (een living on the run since.

RE$H *igh Concept3 Suncaller of the Andral Desert Tro$1le3 Steel Assassins Want Me Dead 2ther Aspects3 M$ ,ung Fu Is 'he Strongest3 Crush #n A1asa3 I Can "earn from Serio2s E6perience

/PPR%/CHEA Caref$l3 9air B72C Clever3 /verage B71C Flashy3 Eediocre B70C Forcef$l3 &ood B73C <$ick3 9air B72C Sneaky3 /verage B71C A$R@$A Stance of the Defiant S$n3 Necause : have perfected the Atance of the +efiant Aun, : gain a 72 to 9orcefull. defend in hand5to5hand co#(at. 56a2 ta3e two more stunts without reducing refresh+7 A$REAA 2T2T2 C%@AEJRE@CEA %ild CEF3 %oderate CGF3 Severe CHF3 RE9REAH 3

7oltaire
-oltaire is captain of the "irrus S3immer, a s).ship that roa#s a vast sea of clouds. Ahe0s a cat person, her (od. a (lend of hu#an and feline features. Ahe "ears an ostentatious assort#ent of pirate. clothes including a long (ro"n Fac)et, )nee5high (oots, a feathered cap, and a (as)et5hilted cutlass. Neing a cat person, she does have the tendenc. to nod off at odd #o#entsS

-%L$/:RE *igh Concept3 Feline Captain of Cirrus Skimmer Tro$1le3 8(awn8 2ther Aspects3 'hat9 #h 'hat2s a Deco$3 Martin Is a %ig Cheat3 Sanche/ Is the %est First Mate a Ship Could *a1e /PPR%/CHEA Caref$l3 /verage B71C Clever3 /verage B71C Flashy3 &ood B73C Forcef$l3 Eediocre B70C <$ick3 9air B72C Sneaky3 9air B72C A$R@$A S+ash1$ckling S+ords+oman3 Necause : a# a A"ash(uc)ling A"ords"o#an, : gain a 72 to 9lash. attac)s "hen crossing (lades "ith a single opponent. 56a2 ta3e two more stunts without reducing refresh+7 A$REAA 2T2T2 C%@AEJRE@CEA

%ild CEF3 %oderate CGF3 Severe CHF3 RE9REAH 3

A1igail Ihao
/(igail is a student at the Achool of Aorcer., and a #e#(er of Hippogriff House. Ahe has light s)in and long (lac) hair "ith a pin) strea). Ahe pushes her luc) "ith her school unifor#, adding Fe"elr., studded (elts, and d.ed designs to the regulation (louse, trousers, and tie. Ahe0s especiall. adept at enchant#ents. 4hile she loves sho"ing up those goons in C.clops House, she does have a tendenc. to act (efore thin)ing.

A/ GA 8 I*A2 *igh Concept3 Enchantment Specialist of *ippogriff *ouse Tro$1le3 Cast Now Ask !uestions "ater 2ther Aspects3 I *ate 'hose Gu$s in C$clops *ouse3 Sarah *as M$ %ack3 De6ter Fit/william Is Going Down /PPR%/CHEA Caref$l3 Eediocre B70C Clever3 9air B72C Flashy3 /verage B71C Forcef$l3 9air B72C <$ick3 /verage B71C Sneaky3 &ood B73C A$R@$A Teacher:s Favorite3 Necause : a# a $eacher0s 9avorite, once per session : #a. declare that a helpful teacher arrives in the scene. 56a2 ta3e two more stunts without reducing refresh+7 A$REAA 2T2T2 C%@AEJRE@CEA %ild CEF3 %oderate CGF3 Severe CHF3 RE9REAH 3

/ethesda Fl$shing& ,hD

+r. 9lushing is a fello" at the :nstitute for &ravitical and Electro5Eechanical /dvance#ent B:&EE/C, and is one of :&EE/0s lead test engineers and field agents. :&EE/ is freGuentl. in conflict "ith agents of various international organi*ations "ho see) to steal their technolog., ta)e over the "orld, or (oth. &ustaf von Atendahl, leader of a shado". sp. agenc. of uncertain affiliation, is freGuentl. a thorn in her side. +r. 9lushing has (right red hair and is never "ithout several gadgets, including her helicopter pac).

NE$HEA+/ 9LRAH:@& *igh Concept3 Chief Field Agent of IGEMA Tro$1le3 I2ll Get (ou 1on Stendahl5 2ther Aspects3 M$ In1entions Almost Alwa$s Work: Almost:3 M$ Grad Students Come 'hrough ;ust Not *ow I E6pect 'hem 'o3 I 'rust Dr: Alemieda2s Genius /PPR%/CHEA Caref$l3 9air B72C Clever3 &ood B73C Flashy3 /verage B71C Forcef$l3 9air B72C <$ick3 /verage B71C Sneaky3 Eediocre B70C A$R@$A E!perimental *elo ,ack3 4hen : use #. E'peri#ental Helo Pac), : gain a 72 (onus to Juic)l. create an advantage or overco#e an o(stacle if fl.ing "ould (e (oth possi(le and helpful. Gadgeteer3 Necause : a# a &adgeteer, once per session : #a. declare that : have an especiall. useful device that lets #e eli#inate one situation aspect. 56a2 ta3e one more stunt without reducing refresh+7 A$REAA 2T2T2 C%@AEJRE@CEA %ild CEF3 %oderate CGF3 Severe CHF3 RE9REAH 3

Appendi! 3 2pen Game 8icense 7ersion J.6a

$he follo"ing te't is the propert. of 4i*ards of the Coast, :nc. and is Cop.right 2000 4i*ards of the Coast, :nc BU4i*ardsUC. /ll Rights Reserved. J. Definitions3 BaCUContri(utorsU #eans the cop.right and!or trade#ar) o"ners "ho have contri(uted %pen &a#e Content3 B(CU+erivative EaterialU #eans cop.righted #aterial including derivative "or)s and translations Bincluding into other co#puter languagesC, potation, #odification, correction, addition, e'tension, upgrade, i#prove#ent, co#pilation, a(ridg#ent or other for# in "hich an e'isting "or) #a. (e recast, transfor#ed or adapted3 BcC U+istri(uteU #eans to reproduce, license, rent, lease, sell, (roadcast, pu(licl. displa., trans#it or other"ise distri(ute3 BdCU%pen &a#e ContentU #eans the ga#e #echanic and includes the #ethods, procedures, processes and routines to the e'tent such content does not e#(od. the Product :dentit. and is an enhance#ent over the prior art and an. additional content clearl. identified as %pen &a#e Content (. the Contri(utor, and #eans an. "or) covered (. this License, including translations and derivative "or)s under cop.right la", (ut specificall. e'cludes Product :dentit.. BeC UProduct :dentit.U #eans product and product line na#es, logos and identif.ing #ar)s including trade dress3 artifacts3 creatures characters3 stories, stor.lines, plots, the#atic ele#ents, dialogue, incidents, language, art"or), s.#(ols, designs, depictions, li)enesses, for#ats, poses, concepts, the#es and graphic, photographic and other visual or audio representations3 na#es and descriptions of characters, spells, enchant#ents, personalities, tea#s, personas, li)enesses and special a(ilities3 places, locations, environ#ents, creatures, eGuip#ent, #agical or supernatural a(ilities or effects, logos, s.#(ols, or graphic designs3 and an. other trade#ar) or registered trade#ar) clearl. identified as Product identit. (. the o"ner of the Product :dentit., and "hich specificall. e'cludes the %pen &a#e

Content3 BfC U$rade#ar)U #eans the logos, na#es, #ar), sign, #otto, designs that are used (. a Contri(utor to identif. itself or its products or the associated products contri(uted to the %pen &a#e License (. the Contri(utor BgC URseU, URsedU or URsingU #eans to use, +istri(ute, cop., edit, for#at, #odif., translate and other"ise create +erivative Eaterial of %pen &a#e Content. BhC U1ouU or U1ourU #eans the licensee in ter#s of this agree#ent. E. The 8icense3 $his License applies to an. %pen &a#e Content that contains a notice indicating that the %pen &a#e Content #a. onl. (e Rsed under and in ter#s of this License. 1ou #ust affi' such a notice to an. %pen &a#e Content that .ou Rse. @o ter#s #a. (e added to or su(tracted fro# this License e'cept as descri(ed (. the License itself. @o other ter#s or conditions #a. (e applied to an. %pen &a#e Content distri(uted using this License. 5. 2ffer and Acceptance3 N. Rsing the %pen &a#e Content 1ou indicate 1our acceptance of the ter#s of this License. G. Grant and Consideration3 :n consideration for agreeing to use this License, the Contri(utors grant 1ou a perpetual, "orld"ide, ro.alt.5free, non5e'clusive license "ith the e'act ter#s of this License to Rse, the %pen &a#e Content. K. 4epresentation of A$thority to Contri1$te3 :f 1ou are contri(uting original #aterial as %pen &a#e Content, 1ou represent that 1our Contri(utions are 1our original creation and!or 1ou have sufficient rights to grant the rights conve.ed (. this License. H. .otice of 8icense Copyright3 1ou #ust update the C%P1R:&H$ @%$:CE portion of this License to include the e'act te't of the C%P1R:&H$ @%$:CE of an. %pen &a#e Content 1ou are cop.ing, #odif.ing or distri(uting, and 1ou #ust add the title, the cop.right date, and the cop.right holder;s na#e to the C%P1R:&H$ @%$:CE of an. original %pen &a#e Content .ou +istri(ute. L. 9se of ,rod$ct dentity3 1ou agree not to Rse an. Product :dentit., including as an indication as to co#pati(ilit., e'cept as e'pressl. licensed in another, independent /gree#ent "ith the o"ner of each ele#ent of that Product :dentit.. 1ou agree not to indicate co#pati(ilit. or co5adapta(ilit. "ith an. $rade#ar) or Registered $rade#ar) in conFunction "ith a "or) containing %pen &a#e Content e'cept as e'pressl. licensed in another, independent /gree#ent "ith the o"ner of such $rade#ar) or Registered $rade#ar). $he use of an. Product :dentit. in %pen &a#e Content does not constitute a challenge to the o"nership of that Product :dentit.. $he o"ner of an. Product :dentit. used in %pen &a#e Content shall retain all rights, title and interest in and to that Product :dentit.. M. dentification3 :f .ou distri(ute %pen &a#e Content 1ou #ust clearl. indicate "hich portions of the "or) that .ou are distri(uting are %pen &a#e Content. N. 9pdating the 8icense3 4i*ards or its designated /gents #a. pu(lish updated versions of this License. 1ou #a. use an. authori*ed version of this License to cop., #odif. and distri(ute an. %pen &a#e Content originall. distri(uted under an. version of this License. J6 Copy of this 8icense3 1ou ERA$ include a cop. of this License "ith ever. cop. of the %pen &a#e Content 1ou +istri(ute. JJ. 9se of Contri1$tor Credits3 1ou #a. not #ar)et or advertise the %pen &a#e Content using the na#e of an. Contri(utor unless 1ou have "ritten per#ission fro# the Contri(utor to do so. JE na1ility to Comply3 :f it is i#possi(le for 1ou to co#pl. "ith an. of the ter#s of this License "ith respect to so#e or all of the %pen &a#e Content due to statute, Fudicial order, or govern#ental regulation then 1ou #a. not Rse an. %pen &a#e Eaterial so affected. J5 Termination3 $his License "ill ter#inate auto#aticall. if 1ou fail to co#pl. "ith all ter#s herein and fail to cure such (reach "ithin 30 da.s of (eco#ing a"are of the (reach. /ll su(licenses shall survive the ter#ination of this License. JG 4eformation3 :f an. provision of this License is held to (e unenforcea(le, such provision shall (e refor#ed onl. to the e'tent necessar. to #a)e it enforcea(le. JK C2,#4 G*T .2T CE %pen &a#e License v 1.0 Cop.right 2000, 4i*ards of the Coast, :nc. 9ate Core A.ste# and 9ate /ccelerated Edition 2013 (. Evil Hat Productions, LLC. +eveloped, authored, and edited (. Leonard Nalsera, Nrian Engard, Oere#. Veller, R.an Eac)lin, Ei)e %lson,

Clar) -alentine, /#anda -alentine, 9red Hic)s, and Ro( +onoghue. %PE@ C%@$E@$ /ll content in this doc#ent is considered open content.