SKILLS Skills are how Fate measures a character's ability to affect the narrative and the world.

Skills are rated on the Fate ladder (see below). Unrated Skills are treated as +0. To use a Skill roll ! Fud"e dice (!dF) and add your Skill versus a difficulty or resisted roll. #f the actin" $layer (the one whose turn it is) met or e%ceeded the tar"et number the action is successful. &therwise the action has failed. 'hen an action is resisted by another character the roll is said to be contested. The difficulty of the action is the Skill of the defendin" character. Success is measured in (shifts.( Subtract the tar"et number from the roll to "enerate the number of shifts. 0 shifts constitutes a mar"inal success. )ore shifts re$resent a hi"her de"ree of success which is measured in two ways* +uality and s$eed. (For conflicts see the detailed rules below.) ,uality re$resents durability. -olls to undo the success increase their difficulty by the +uality. S$eed makes thin"s faster or lon"er.lastin". /ach shift moves the duration u$ or down the time increments table (below). SKILL STRUCTURES There are two "eneral Skill structures* 0olumn and $yramid.

'hen Skills are in a column structure each Skill must be su$$orted by one or more Skills at the level beneath it. So in order to have two Skills rated at +1 the character must have at least two Skills rated +2 and at least as many Skills at +3 as were at +2. 4 $yramid Skill structure is similar e%ce$t that each Skill must be su$$orted by a "reater number of Skills below it. Time Increments * 5 instant 5 a few moments 5 half a minute 5 a minute 5 a few minutes 5 36 minutes 5 half an hour 5 an hour 5 a few hours 5 an afternoon 5 a day 5 a few days 5 a week 5 a few weeks 5 a month 5 a season 5 half a year 5 a year 5 a few years 5 a decade 5 a "eneration 5 a mortal lifetime 5 several mortal lifetimes /tc. Fate Ladder* +7 8e"endary +9 /$ic +: Fantastic +6 Su$erb +! ;reat +1 ;ood

+2 Fair +3 4vera"e +0 )ediocre .3 <oor .2 Terrible ASPECTS 4n 4s$ect is a short $hrase that describes a narrative truth about somethin". 4s$ects can be used to describe $eo$le $laces and thin"s. They are "enerally both "ood and bad. 4s$ects interact with a resource called Fate <oints or F<s. <layers be"in each session with 6 F<s. /%am$le 4s$ects include* 5 Stron" as an o% 5 4 "irl in every $ort 5 # always $ay my due 5Finest swordsman in France Invocations .. S$end a F< to #nvoke an 4s$ect. The 4s$ect may belon" to the actin" character the defendin" character the scene or an ob=ect involved in the action. #nvocations have one of two results. The active $layer "ets +2 to the roll or may reroll the dice and kee$ the new result. F<s are s$ent after the roll is made and each 4s$ect may be #nvoked only once $er action. &n unrolled actions #nvocations sim$ly add +2 to the Skill's ratin". 'hen #nvokin" an 4s$ect belon"in" to another character any F<s "o to the $layer of that character once the action resolves.

Declarations .. The $layer s$ends a F< to make some narrative detail related to the 4s$ect a fact. The ;) has the final say on what is and isn't allowed but $layers should be able to make moderate alterations to the story this way. >eclarations do not involve any sort of roll. Compels .. The third thin" about 4s$ects is that they can be disadvanta"eous. This is in the form of a 0om$el. 0om$els dictate some constraint to behaviour. 'hen one is made the ;) offers a F<. #f you acce$t it you acce$t the constraints. #f not you must turn down the offered F< and s$end one of your own. Option: Locked Aspects .. <layers may choose to (lock( one or more 4s$ects for the duration of a story or lon"er. 8ocked 4s$ects $roduce a $articular effect at no cost. They can $roduce a s$ecific #nvocation to a $articular Skill or a s$ecific >eclaration any time they a$$ly for no cost. For e%am$le someone mi"ht lock their (Stron" as a bear( 4s$ect to add +2 to all rolls to a$$ly stren"th to one $articular Skill. 4nother character mi"ht lock their ()aster of the mysterious( 4s$ect to allow them to see immaterial s$irits. 'hen an 4s$ect is locked the $layer loses access to non. locked #nvocations or

>eclarations with that 4s$ect. 0om$els and #nvocations by other $layers $roceed as normal. CO FLICTS 0onflicts are when one character attem$ts to $erform an action involvin" another character and that character tries to sto$ them. This could be a fi"ht a seduction a $olitical cam$ai"n or any other conce$tually similar action. First determine the sco$e of the conflict. #s it a seduction attem$t? 4 fi"ht to the death? /tc. This will determine the Skills that you use and which stress track to use and what a$$ro$riate 0onse+uences are (see below). &nce the scale of the conflict is determined you need to fi"ure out who "oes when. 0hoose one Skill to use as a standard to resolve this. Select a secondary Skill to break ties. 0om$are the $rimary Skill and then break ties with the secondary Skill@ ties after the breaker result in simultaneous actions. 'hen it is their turn $layers choose what sort of action to take. They have the followin" choices. !ane"ver .. This is a catch.all term used to re$resent what mi"ht otherwise be re$resented as use of tactics hi"her "round $ositionin" etc. #nstead $layers roll to a$$ly 4s$ects to their tar"et then take advanta"e of it. 0hoose a Skill with which to $lace the 4s$ect. 8ocations and

ob=ects default to a difficulty of +0. #ndividuals "et to contest the )aneuver. 4chievin" 0 or 3 shifts results in a (fra"ile( 4s$ect that "oes away after bein" #nvoked once. (Sticky( 4s$ects last for the rest of the scene. 4nyone may make a )aneuver of their own a"ainst the number of shifts of a successful )aneuver to the 4s$ect. Some 4s$ects don't make sense if they lin"er. For e%am$le an 4s$ect like (#n my si"hts( used to aim doesn't make sense if the shooter $uts down the rifle at some $oint. These are removed when it makes sense to do so. 'henever a )aneuver successfully inflicts an 4s$ect on a tar"et the $layer that initiated the )aneuver may #nvoke the 4s$ect without cost or $ass off the free #nvocation to another $layer. 4s no F<s were s$ent the victim receives none in com$ensation. Attack .. This action is an attem$t to harm another character in some way based on the nature of the conflict. -oll attacks usin" an a$$ro$riate Skill. >efenders contest. #f the attack succeeds the defender takes Stress e+ual to the number of shifts. 0haracters receivin" Stress check off that number of bo%es of the a$$ro$riate Stress track. <hysical dama"e illness and weariness dama"e the Aealth

track. /motional trauma $sychic shock and mental strain dama"e 0om$osure. Stress tracks clear at the end of the conflict. #f a Stress track fills u$ the character is (taken out.( Such characters are removed from the conflict in a way that fits with the conflict. <layers may $revent this by sufferin" 0onse+uences to reduce Stress. 0onse+uences are s$ecial 4s$ects (defined by the $layer of the character receivin" them) that are used to reduce incomin" Stress. They have a ratin" a number of $oints by which they reduce Stress and how lon" they take to heal* 5 )inor (2B scene) 5 )oderate (!B session) 5 Si"nificant (:B story) The $layer of a character that inflicts a 0onse+uence "ets to #nvoke it once for free. De#end .. >efensive actions "et a +2 bonus for the round at the cost of all actions. $lock .. &ne character acts to $revent another character from $erformin" a s$ecific action. ;enerally this is worded as usin" one Skill to sto$ an action $erformed with another Skill. The initiatin" $layer rolls the stated Skill. Then anyone else attem$tin" to use the named Skill to $erform the s$ecified action uses that roll as a difficulty if it is hi"her than the normal difficulty of the action.

!ove .. There are two o$tions for movin"* walkin" and runnin". 'alkin" does not take u$ the character's action for the turn instead im$osin" a .3 $enalty to the $rimary action and movin" 3 Cone (see below). -unnin" takes a character's full action and moves a number of Cones e+ual to the a$$ro$riate Skill ratin" to a minimum of 3. Dones are areas in which combat ha$$ens. 4 room in a ty$ical house is one Cone. 4 basketball court is likely !. The area of a Cone corres$onds with some lo"ical division of an area. 0haracters that are unarmed or wieldin" close combat wea$ons can "enerally only tar"et thin"s inside the same Cone. Thrown wea$ons have a ran"e of 3 Cone firearms have a ran"e of 1. Dones can be se$arated by borders. These add to the number of effective Cones a character needs to move before crossin" into the ne%t Cone. 4 barrier of 3 is rou"h terrain while a 1 is likely a fence. 0haracters unable to move wholly from one Cone to the ne%t can accumulate $artial movement over multi$le subse+uent turns movin". C%ARACTER CREATIO First the ;) must create a Skill list decide on the Skill structure then select the startin" level for the "ame. The followin" list includes the number of Skill $oints and the

Skill ca$* 5 novice .. 20 (+!) 5 veteran .. 26 (+!) 5 hero .. 10 (+6) 5 le"end .. 16 (+6) 5 su$erhero .. !0 (+:) <layers then build characters. Select 4s$ects for characters. &ne should cover the central conce$t of the character. 4 second should link them to some sort of $roblems. 4 third should connect them with another <0. Two more round out a character and the ;) must decide whether they need to fit any $articular criteria. 4 Skill costs a number of $oints e+ual to its ratin". -emember to $urchase su$$ortin" Skills to fit the cam$ai"n structure. Finally create Stress tracks. /ach should be associated with some Skill that increases their len"th. The siCe of a Stress track is the Skill ca$ $lus 3B2 (round u$) the ratin" of the associated Skill. AD&A CE!E T <layers may alter one 4s$ect $er session. This alteration should reflect some chan"e that occurred in $lay. They can add 3 Skill $oint $er story (rou"hly every 1 sessions). The Skill ca$ "oes u$ when the total number of Skill $oints increases to a startin" cam$ai"n level with a hi"her ca$. For e%am$le at 10 $oints the ca$ rises from +! to +6.