Fate in a Nutshell

Welcome to Fate in a Nutshell! Using only the information on this single wiki page you should be able to enjoy your first game of Fate! If you're interested in expanding the rules of Fate in any way, the Toolkit is the place to go for options relating to any of Fate's rules.

Things You Should Have

You'll need a few supplies along with these rules to play the game. Here’s a list of mandatory items, as well as some recommended ones.

Things You'll Need

• Four Fudge Dice for each player and the GM. If you don’t have Fudge dice, see Grey Ghost Games or your local RPG dice supplier for a pack, or just substitute regular six sided dice.
• Some copies of character sheets or at least blank paper to record characters.
• Writing implements.
• Friends. (For running a game, the sweet spot’s somewhere between two and six. For creating characters, the more the better – the more folks you have with characters, the easier it will be to put together a game whenever you feel like it.)

Things You'll Find Useful

• A set of poker chips, glass beads or other counters to use as Fate points.
• Index cards to pass notes and to make notes on things that come up in play.
• Snacks.

The Ladder

The Fate Ladder
Adjective	Terrible	Poor	Mediocre	Average	Fair	Good	Great	Superb	Fantastic	Epic	Legendary
Number	-2	-1	0	+1	+2	+3	+4	+5	+6	+7	+8

Most things in the system are rated according to the ladder above (when we say "the ladder" throughout the text, this is what we mean). Usually, the adjectives are used to describe things – someone might be a Good Pilot or Poor at Academics. The adjectives and numbers are interchangeable, so if a player or GM is more comfortable with numbers, it is equally valid to say Pilot: +3 or Academics: -1. The best compromise is often to use both, as in a Pilot: Good (+3) or a Academics: Poor (-1). On this scale, Average represents the level of capability that someone who does something regularly and possibly professionally, but not exceptionally.

Most people are Average at the things they do for a living, like Science for a scientist, and are Mediocre or Poor at most other things. It is only when they are driven to excel that they surpass those limits.

Experienced FATE heroes push the very boundaries of what "normal" people are capable of, and as such, they tend to be Superb at whatever their central passion is. This means that FATE heroes are genuinely exceptional individuals, and are frequently recognized as such.

The Dice

When you attempt an action in Fate and there is a degree of random chance involved you'll want to roll some dice to find out what the outcome is.

When you need to roll the dice, roll four Fudge dice (abbreviated as 4dF) to generate a result between -4 and 4. When reading the dice, a + equals +1, a - equals -1 and a 0 equals 0.

The total of the dice is then added to an appropriate skill to get a result. This result can be referred to as the effort made.

If you find yourself without Fudge dice, then roll 4 six-sided dice. Any die showing a 1 or 2 is treated as -, and any die showing a 5 or 6 is treated as +.

Characters

Skill Pyramid
1 skill at Superb:	❏
2 skills at Great:	❏ ❏
3 skills at Good:	❏ ❏ ❏
4 skills at Fair:	❏ ❏ ❏ ❏
5 skills at Average:	❏ ❏ ❏ ❏ ❏

Characters in Fate have skills and aspects. A good number to start with is 10 Aspects and skills according to the Pyramid, shown on the right. Optionally, characters may have stunts.

A character's skills represent what the character can do. Examples might include Driving or Guns.

A character's aspects paint a picture of who the character is, what he’s connected to, and what’s important to him.

Skills

Nearly every action that the character might undertake is covered by his skills. When a character rolls the dice, he usually is rolling based on his skill, that is, adding the total of 4dF to the value of the relevant skill. If he doesn’t have a skill on his sheet, either because he didn’t take it or the skill itself doesn’t exist, it is assumed to default to Mediocre.

You'll want to tailor the list of skills available to characters to match the genre and setting of your game. For now, view the sample skill list below. Details on designing a skill list can be found in the Toolkit.

Sample skill list here (just names, no stats)

Aspects

Sample Character Aspects
Dumb as a brick
"Can I buy you a drink?"
Tough guy
Cold as ice

All characters have aspects. Inanimate objects can also have aspects, as can concepts (concepts such as "the scene that is taking place"). An aspect is simply a word or phrase describing the character, object, place, or idea that it applies to.

For characters, aspects can be relationships, beliefs, catchphrases, descriptors, items or pretty much anything else that paints a picture of the character. Some possible character aspects are shown to the right. For many, many more examples see the Aspects page in the Toolkit.

An aspect can be used to give you a bonus when it applies to a situation. Doing this requires spending a fate point. In this capacity, called invoking an aspect, it makes the character better at whatever it is he’s doing, because the aspect in some way applies to the situation (such as “Dapper” when trying to charm a lady).

An aspect can also allow you to gain more fate points, by bringing complications and troubling circumstances into the character’s life. Whenever you end up in a situation where your aspect could cause you trouble (such as “Stubborn” when trying to be diplomatic), you can mention it to the GM in the same way you mention an aspect that might help you. Alternately, the GM may initiate this event if one of your aspects seems particularly apt. In either of these two cases, this is called compelling an aspect, and its effect is that your character’s choices are limited in some way. If the GM initiates or agrees to compel the aspect, you may get one or more fate points, depending on how it plays out.

Invoking an Aspect

When you have an aspect that’s applicable to a situation, it can be invoked to grant a bonus. After you have rolled the dice, you may pick one of your aspects and describe how it applies to this situation. If the GM agrees that it’s appropriate, you may spend a fate point and do one of the following:

1. Reroll all the dice, using the new result, or
2. Add two to the final die roll (after any rerolls have been done).

You may do this multiple times for a single situation as long as you have multiple aspects that are applicable. You cannot use the same aspect more than once on the same skill use, though you may use the same aspect on several different rolls throughout a scene, at the cost of one fate point per use.

Compelling an Aspect

Tagging an Aspect

Stunts

Stunts are those things that a character can do which stretch or break the rules. They are the special tricks the character has up his sleeves. You should be able to play a game or two without stunts (some games leave them out entirely). If you are interested, there are several detailed systems for stunts available in the Toolkit.

Actions

For most things characters do, there’s no real need for rules. Characters can stand, walk, talk, go shopping and otherwise do normal things without needing to roll dice. They can even take actions that use their skill, like driving to work, without worrying about the dice. The dice only come out when there is an interesting challenge with meaningful consequences.

On the simplest level, when a character rolls the dice, if he matches or exceeds the difficulty, he succeeds; if he doesn’t, he fails. When the issue is simple, then this may be all that’s necessary, but sometimes you also need to know how well a character did or did not do. Clearly, if a character rolls three higher than the target, that’s better than rolling only one higher.

The result of the roll is called the effort. Each point that the effort beats the difficulty by is one shift. If a roll is below the target difficulty, it’s a failure and it generates no shifts – there are no “negative” shifts (if you flip the perspective, the opposition could be said to generate shifts – but this is rarely relevant). If a roll matches the target difficulty, it is a success but generates no shifts. If it beats it by one, it generates one shift; if it beats it by two it generates two shifts, and so on. The number of shifts generated by a roll is used as a measure of many elements, and is referred to as the effect.

Difficulty

When a character rolls for a result, he is trying to meet or exceed a target value, which is the '''difficulty''' for the roll. The difficulty indicates how hard it is to do something. Difficulties are measured on the same ladder as everything else. For instance, it might be a Mediocre (+0) difficulty to jumpstart a car, but a Good (+3) difficulty to repair that same car after a serious breakdown. A GM can usually use the adjectives of the ladder to set difficulties; for more guidelines on this process, please visit the Toolkit.

Using Shifts

Shifts may be spent to affect the outcome of a roll. Often, the GM will implicitly spend shifts in accordance with the player’s description of his character’s actions. Sometimes, players may explicitly spend shifts as well. Basic uses for one shift include:

Reduce time required:	Make the action take less time.
Increase quality of outcome:	Improve the quality of the job by one step.
Increase subtlety:	Make the job harder to detect by one.

Types of Actions

Dice are used in one of three types of situations:

Simple Actions:	Where the character is rolling against a fixed difficulty.
Contests:	When two characters each roll, with high roll winning and generating shifts.
Conflicts:	When two or more characters act in direct opposition to one another, but where resolution is not as simple as a contest.

Simple Actions

Simple actions are rolled against a difficulty set by the GM and are used to simply see if a character can do something, and possibly how well he can do it. The GM describes the situation and the player chooses a skill to apply to it, and rolls against a difficulty determined by the GM (by default, Average). Some sample simple actions include:

• Climbing a wall
• Looking up an obscure fact
• Searching a crime scene for fingerprints
• Shooting a (non-character) target

Contests

Contests are very much like simple actions, except the action is in direct opposition to someone else and easily resolved one way or another. Rather than setting a difficulty, each party rolls the appropriate skill, and the outcome is resolved as if the high roll had beaten a difficulty equal to the low roll. A tie means both succeed, but whether that means the outcome is a tie or if it calls for another roll depends on the situation. Some sample contests include:

• An arm wrestling match
• A footrace
• A shouting match

Conflicts

Conflicts are what happen when two or more characters are in opposition in a fashion that cannot be quickly and cleanly resolved. A conflict is broken down into a number of exchanges where each party makes an effort to try to achieve their goal, taking turns to act. Opponents who stand in their way may be called upon to roll a response. They will accumulate success in the form of stress on opponents. Eventually, opponents will accumulate enough stress, or suffer enough consequences, to be taken out; alternatively, opponents may preemptively offer a concession.
Conflicts are the most involved actions, and an entire scene may revolve around a conflict. Conflicts include:

• Any kind of fight scene
• A political debate
• A long, tense staredown
• Trying to talk your way past a bouncer as he tries to scare you off

The complexity of conflicts is such that they merit an entire section detailing how they are handled: Running Conflicts

Fate Points

Every player begins the first session of the game with a number of fate points (FP). This number is normally equal to how many aspects he has, usually ten. Fate points give players the ability to take a little bit of control over the game, either by giving their character bonuses when they feel they need them, or by taking over a small part of the story. Fate points are best represented by some non-edible token, such as glass beads or poker chips. (Previous experiments with small edible candies have left players strapped for points!)

Spending FATE points

Characters may, at any point, spend a fate point to gain a bonus, invoke an aspect, tag an aspect, make a declaration, or fuel a stunt.

Gain a Bonus

A fate point can be spent to add 1 to any roll of the dice, or improve any effort (such as an attack or defense) by 1. In practice, this is the least potent way to use a fate point – you’re usually much better off using one of the other applications, below. (Most games get rid of this rule once their players get comfortable using aspects; you can, too .)

Invoke an Aspect

Aspects are those things that really describe a character and his place in the story. When you have an aspect that’s applicable to a situation, it can be invoked to grant a bonus. After you have rolled the dice, you may pick one of your aspects and describe how it applies to this situation. If the GM agrees that it’s appropriate, you may spend a fate point and do one of the following:

1. Reroll all the dice, using the new result, or
2. Add two to the final die roll (after any rerolls have been done).

You may do this multiple times for a single situation as long as you have multiple aspects that are applicable. You cannot use the same aspect more than once on the same skill use, though you may use the same aspect on several different rolls throughout a scene, at the cost of one fate point per use.

Tag an Aspect

Scenes, other characters, locations, and other things of dramatic importance can have aspects. Sometimes they’re obvious, and sometimes they’re less so. Players can spend a fate point to invoke an aspect which is not on their own character sheet, if they know what the aspect is. This is referred to as "tagging an aspect", and is covered in greater detail on the Aspects page.

As a rule of thumb, tagging someone or something else’s aspects requires a little more justification than invoking one of your own aspects. For scene aspects, it should be some way to really bring in the visual or theme that the aspect suggests. For aspects on opponents, the player needs to know about the aspect in the first place, and then play to it.

Power a Stunt

Some stunts have particularly potent effects, and require spending a fate point when used. If a stunt requires a fate point to be spent, it will be made clear in the description. See the section on stunts for more.

Make a Declaration

You may simply lay down a fate point and declare something. If the GM accepts it, it will be true. This gives the player the ability to do small things in a story that would usually be something only the GM could do.

Usually, these things can’t be used to drastically change the plot or win a scene. Declaring “Doctor Herborn drops dead of a heart attack” is not only likely to be rejected by the GM, it wouldn’t even be that much fun to begin with. What this can be very useful for is convenient coincidences. Does your character need a lighter (but doesn’t smoke)? Spend a fate point and you’ve got one! Is there an interesting scene happening over there that your character might miss? Spend a fate point to declare you arrive at a dramatically appropriate moment!

Your GM has veto power over this use, but it has one dirty little secret. If you use it to do something to make the game cooler for everyone, the GM will usually grant far more leeway than she will for something boring or, worse, selfish.

As a general rule, you’ll get a lot more leniency from the GM if you make a declaration that is in keeping with one or more of your aspects. For example, the GM will usually balk at letting a character spend a fate point to have a weapon after he’s been searched. However, if you can point to your "Always Armed" aspect, or describe how your “Distracting Beauty” aspect kept the guard’s attention on inappropriate areas, the GM is likely to give you more leeway. In a way, this is much like invoking an aspect, but without a die roll.

Refreshing Fate Points

Players usually regain fate points between sessions when a '''refresh''' occurs. If the GM left things at a cliffhanger, she is entitled to say that no refresh has occurred between sessions. By the same token, if the GM feels that a substantial (i.e., dramatically appropriate) amount of downtime and rest occurs in play, the GM may allow a refresh to occur mid-session.

The amount of fate points a player gets at a refresh is called his '''refresh rate''' and it is usually equal to the number of aspects the player has. When a refresh occurs, players bring their number of fate points '''up to''' their refresh rate. If they have more, their total does not change.

Earning New Fate Points

Players earn fate points when their aspects create problems for them. When this occurs, it’s said that the aspect compels the character. When the player ends up in a situation where his compelled aspect suggests a problematic course of action, the GM should offer the player a choice: He can spend a fate point to ignore the aspect, or he can act in accordance with the aspect and earn a fate point. Sometimes, the GM may also simply award a fate point to a player without explanation, indicating that an aspect is going to complicate an upcoming situation. Players can refuse that point and spend one of their own to avoid the complication, but it’s not a good idea, as that probably means the GM will use things that aren't tied to you.

This isn’t just the GM’s show; players can trigger compels as well either by explicitly indicating that an aspect may be complicating things, or by playing to their aspects from the get-go and reminding the GM after the fact that they already behaved as if compelled. The GM isn’t always obligated to agree that a compel is appropriate, but it’s important that players participate here. See the Aspects page for a more detailed treatment of compels.

Running Conflicts

Once a conflict begins, follow this regular pattern.

1. Frame the scene
   1. Determine scene aspects
   2. Determine zones
2. Establish order of action
3. Begin exchange
   1. Take actions
   2. Resolve actions
   3. Begin a new exchange

Framing the Scene

Over the course of a conflict, the elements in play in the scene can play a part in how the conflict unfolds.

Scene Aspects

Stuff about scene aspects.

Zones

If the scene is taking place over a broad area, the GM also describes the zones the scene will be occurring in. Each zone is a loosely defined area where characters may directly interact with anyone else within that zone (which is a nice way to say talk to or punch them). Who is in what zone affects things like whether or not characters can attack each other or if they’ll need to throw things or use ranged weapons. At the outset, determining which zones characters start in should be reasonably intuitive, but if there is a question, the GM can rule on where the character starts.

When looking for a quick rule of thumb, remember that people in the same zone can “touch” each other, people one zone apart can throw things at each other, and people two (and sometimes three) zones apart can shoot each other. Any one given scene should not involve more than a handful of zones. Considering that guns easily operate over three zones, sometimes a few more, a comfortable number would be around three to five zones – but don’t feel like you’re forced to cram in more zones than the area readily supports.

Establish Order of Action

The order of characters’ actions is determined at the beginning of the conflict. There are several simple options:

• characters act in order from highest to lowest Alertness skill (for physical conflicts) or Empathy (for social conflicts). Ties are resolved in favor of characters with a higher Resolve. Any remaining ties are in favor of the player closest to the GM’s right.
• the highest Alertness/Empathy character goes first, then play proceeds clockwise around the table.
• Alternate to Skills:
  • At the beginning of each exchange, the option to go first moves one player clockwise around the table.
  • Initiative for that exchange proceeds clockwise (and includes the GM).
  • Thus, the person who went first on the prior exchange goes last on the next one, and the others get their turn one step sooner.

Taking Action

When a player takes action, he describes what his character is doing and, if necessary, rolls an appropriate skill. Each action is resolved as either a simple action (if there is no opposition), or as a contest, with the details depending upon the specifics of the action.
Most actions in a fight will be either attacks or maneuvers.

Attacks

An attack is an attempt to force the attacker’s agenda on a target, by attempting to injure them, by bullying them, or by some other means. An attack is rolled as a contest, with the attacking character (the attacker) attempting to beat the defending character (the defender) in a roll of skills.
Not all attacks are necessarily violent. An attempt to persuade or distract someone is also a sort of attack. When determining whether or not the attack rules apply, simply look for two characters in conflict, an agenda (or “want”) pushed by the acting character, and the target or obstacle to that agenda, the defending (or “responding”) character. The skills used to attack and defend depend on the nature of the attacker’s agenda. Here are some examples.

The attacker wants…	So he uses…	And the defender can use…
To physically harm	Fists, Guns, Weapons	Fists, Weapons, Athletics
To deceive	Deceit	Resolve, Empathy
To scare	Intimidation	Resolve
To charm	Rapport	Resolve, Deceit
To force movement	Might	Might

If the attacker wins the roll, his shifts may be spent to inflict stress on the defender (see Resolving Actions). If the defender wins, the attack fails; if the defender wins significantly, he may even earn spin, which he can use to his advantage.

Maneuvers

A maneuver is an attempt to change the situation in some way, affecting the environment or other people, but without damaging or forcing the target (if force is used or damage is dealt, it would be an attack). When a character tries to jump to grab a rope, throw dust in an enemy’s eyes, draw eyes upon himself in a ballroom, or take a debate down a tangential path – that’s a maneuver.
A maneuver is either a simple action or a contest, with the difficulty or opposition determined by the nature of the maneuver. A maneuver that doesn’t target an opponent is resolved as a simple action. Most simple maneuvers like this result in a character rolling against a GM-set difficulty and doing something with the resulting shifts. A maneuver can also target an opponent, and, if successful, place a temporary aspect on him. Either kind can also be used to place a temporary aspect upon a scene. See the “Resolving Maneuvers” section later in this chapter (page XX) for details.

Special Actions

Free Actions

Some kinds of actions are “free” – they don’t count as the character’s action during an exchange, regardless of whether or not a roll of the dice is involved. Rolling for defense against an attack is a free action. So are minor actions like casting a quick glance at a doorway, flipping a switch right next to the character, or shouting a short warning.
There is no limit on the number of free actions a character may take during an exchange; the GM simply has to agree that each action is free, and should feel free to impose limits if it seems like someone is taking excessive advantage of this rule.

Full Defense

A character can opt to do nothing but protect himself for an exchange. By foregoing his normal action, he gains a +2 on all reactions and defenses for that exchange. Characters who are defending may declare it at the beginning of the exchange rather than waiting for their turn to come around. Similarly, if they have not acted in the exchange at the time when they are first attacked, they may declare a full defense at that point, again foregoing their normal action for the exchange.

Hold Your Action

A character can opt not to act when his turn comes around. When a character takes a hold action, he has the option of taking his turn any time later in the exchange. He must explicitly take his turn after someone else has finished their turn and before the next person begins. He cannot wait until someone declares what they’re trying to do, then interrupt them by taking his turn.

Block Actions

When the character’s action is preventative – trying to keep something from happening, rather than taking direct action to make something happen – he is performing a block action. He declares what he’s trying to prevent and what skill he’s using to do it. Players may declare a block against any sort of action or actions and may theoretically use any skill, but unless the block is simple and clear, the GM may assess penalties based upon how hard it would be, or how much of a stretch it would be. Players should never be able to “cover all bases” with a single block.
A blocking character can declare that he is protecting another character. He makes this declaration on his turn, and rolls the skill he’s using to block; the result is the block strength. When, later that exchange, any enemy tries to attack the protected character, the protected character gets the benefit of both the blocker’s defense as well as his own, whichever is better. The attacker rolls his attack as normal. The defender rolls his defense as normal. If that defense roll is higher than the block strength, he uses the defense result; otherwise he uses the block strength. The attacker then generates shifts as normal.
<Example>
For other types of blocks, the blocking character declares the block on his turn, and rolls the skill he’s using to block, subject to any penalties imposed by the GM. The result is the block strength. Later that exchange, every time another character tries to perform the blocked action, he enters into a contest with the blocker. The character trying to get past the block rolls the skill he’s using for the action (not a skill specifically appropriate to the block), and compares it to the block strength. If the attacker gets at least one shift, he successfully overcomes the block.
<Example>
Trying to get past a block always takes an action, though the GM may grant similar latitude in deciding what skill is being used to get past it. Even if the action is normally “free”, getting past the block takes additional effort, and thus the GM can declare that it takes up the player’s action for the exchange.
A variety of skills may be appropriate to getting past a block. Getting past a block may occasionally require rolling a skill modified by another, secondary skill, as demonstrated in this next example.
<Example>

Supplemental Actions

Sometimes a character needs to do something more complicated than just taking a single, basic action. Sometimes the complication is simple, like drawing a weapon and attacking; sometimes it’s more complex, like composing a sonnet while fencing.
When the character performs a simple action while doing something else, like drawing a weapon and attacking, or firing off a signal flare while intimidating the snapping wolves at the edge of the firelight, it is a supplemental action, and simply imposes a -1 on the character’s primary action roll (effectively spending one shift of effect in advance). When in doubt about which is the primary action and which is the supplemental one, the supplemental action is the one which would normally require no die roll.
Sometimes the GM may decide a supplemental action is particularly complicated or difficult, and may increase the penalty appropriately.

Movement

Movement is one of the most common supplemental actions. When it is reasonably easy to move from one zone to the next, characters may move one zone as a supplemental action (see “Framing the Scene”, above, for an explanation of zones). If they wish to move further than that, they must perform a primary (not supplemental) sprint action, which entails rolling Athletics and allowing the character to move a number of zones equal to the shifts generated.
Sometimes, it is more difficult to move from one zone to the next, such as when there is some sort of barrier (like a fence or some debris) or there is some other difficulty (like getting from a rooftop to the street below and vice versa). This movement complication is called a border. The numeric value of that border increases the penalty for a move action and subtracts shifts from a sprint action.
<Example>

Combining Skills

Sometimes the character needs to perform a task that really requires using two or more skills at once. You never know when a character is going to need to throw a knife (Weapons) while balancing on a spinning log (Athletics) or when he’s going to need to explain germ theory (Science) to one of the Dead Gods (Resolve).
In those situations, the GM calls for a roll based on the main skill being used (the primary thrust of the action), but modified by a second skill. If the second skill is of greater value than the first, it grants a +1 bonus to the roll; if the second skill is of a lesser value, it applies a -1 penalty to the roll.
<Example>
When the second skill can only help the first, which is to say it can only provide a bonus, it complements the skill. A complementing skill never applies a -1, even if it’s lower than the primary skill. This usually happens when the character has the option of using the secondary skill, but doesn’t have to bring it to bear.
If the secondary skill comes into play only to hold the primary skill back, it restricts the skill, meaning it can only provide a penalty or nothing at all. A restricting skill never applies a +1, even if it’s higher than the primary skill. Often skills like Endurance or Resolve are restrictive skills – as you get more tired, you won’t get better, but if you’re resolute, you may not get worse.
In very rare circumstances, a primary skill may be affected by more than one secondary skill – say, a situation where a character needs to climb a wall (Athletics as primary), but is tired (Endurance restricts), but the wall’s part of a building the character has been studying in order to burglarize (Burglary complements). In such cases, no matter the number of skills in play, the most the combination can produce is one +1 and one -1. This is actually very quick to reason out. First, look at all of the skills that modify or complement; if any of them are higher than the primary skill, a +1 is applied. Next, look at all of the skills that modify or restrict; if any of them are lower than the primary skill, a -1 is applied. This may mean that multiple skills all affecting a roll will result in no modification at all – both a +1 and a -1!
It’s important to note that combining skills can never be done to perform two full actions at once – if that’s the goal, it should take two exchanges. When skills are used in combination, one skill is almost always going to serve a passive role, as the thing the character needs to be able to do in order to be able to perform the other skill. If a character is trying to throw a knife while balancing on a spinning log, Weapons is the main skill rolled, but Athletics restricts the roll, because without it, the character falls off the log, and his throw is moot. Similarly, if the character is gibbering before an ancient horror, his knowledge is simply not going to help him.
The difference between an action that combines skills, and a supplemental action, is not always obvious. In general, if both components of the action are something you’d expect to roll for if they were done separately, then it’s time to combine skills. If the lesser part of the action is something that normally doesn’t require a roll, just handle it as a supplemental action. Sometimes, an action will be both supplemental and modified – maybe the character is moving a little (supplemental), but is using his Athletics skill to get an edge (modifying the primary roll):
<Example>

Long Conflicts

When a character is in a position to control the pacing of a conflict (which generally requires the conflict be one on one, or ritualized in some way), he may stretch it out and try to wear down his opponent. When this happens, actions in a conflict start using the character’s Endurance skill to restrict (see page XX) the skill used on any of his actions. Similarly, actions may be restricted by Alertness if the conflict starts having too many distractions, or restricted by Resolve if the conflict has become mentally fatiguing.

Resolving Actions

Resolving Attacks

A successful attack inflicts an amount of stress on its target equal to the number of shifts on the attack (the difference between the attacker’s effort, and the defender’s effort). Stress represents non-specific difficulties a character can encounter in a conflict.
In a fight, it’s bruising, minor cuts, fatigue, and the like. In a social conflict, it’s getting flustered or being put off one’s game. In a mental conflict, stress might mean losing focus or running in circles.
Stress can usually be shaken off once a character has some time to gather himself, between scenes.
The type of stress that a character takes in a conflict should be appropriate to the type of conflict. Every character has two stress tracks. The first is the Health stress track, used for physical stress, such as wounds and fatigue. The second is the Composure stress track, representing the ability to “keep it together” in the face of social and mental injuries.
A character can only take so much stress before being unable to go on, represented by a stress track filling up. Each stress track defaults to 3 boxes, but the tracks can be increased by certain skills: Endurance can increase the Health stress track, and Resolve can increase the Composure stress track. See the skill descriptions of Endurance and Resolve on page XX and page XX for more details.
When stress is determined, the character should mark off that box on the appropriate stress track. For instance, if the character takes a three-point physical hit, he should mark off the third box from the left on the Health stress track.
<Example>
At the end of a scene, unless the GM says otherwise, a character’s stress tracks clear out; minor scrapes and bruises, trivial gaffes and embarrassments, and momentary fears pass away. Deeper issues resulting from attacks, called consequences, may last beyond the end of the scene, and are covered further below.

Consequences

Stress is a transitory thing, but sometimes conflicts will have lasting consequences – injuries, embarrassments, phobias and the like. These are collectively called consequences, and they are a special kind of aspect. We’ll talk more about what this means shortly.
Any time a character takes stress, he may opt not to check off a box and instead take a consequence. If the character takes a hit which he doesn’t have a box for, either because it’s higher than the number of boxes on his stress track, or because it rolls up past his last box, the character must take a consequence.
The exact nature of the consequence should depend upon the conflict – an injury might be appropriate for a physical struggle, an emotional state might be apt for a social one. Whatever the consequence, it is written down under the stress track. The first consequence a character takes is a mild consequence, the second is a moderate consequence, and any additional consequences are severe. (To understand exactly what these mean, “Removing Consequences”, page XX .)
Normally, the person taking the consequence gets to describe what it is, so long as it’s compatible with the nature of the attack that inflicted the harm. The GM acts as an arbitrator on the appropriateness of a consequence, so there may be some back and forth conversation before a consequence is settled on. The GM is the final authority on whether a player’s suggested consequence is reasonable for the circumstances and severity.
Characters may only carry three consequences at a time (barring certain stunts which allow more). If the character has already taken a severe consequence, then the only remaining option is to be taken out. We’ll talk about that next.
But here’s the thing about consequences being a special kind of aspect: As long as the consequences are on the character’s sheet, they may be compelled or tagged (or invoked!) like any other aspect. This also means that opponents may start tagging those aspects pretty easily, since it’s no secret that the consequence aspects are now on the character’s sheet!

Taken Out

If a character takes a hit which takes him past a severe consequence, that character is taken out. The character has decisively lost the conflict, and unlike the other levels of consequence, his fate is in the hands of his opponent, who may decide how the character loses. The outcome must remain within the realm of reason – very few people truly die from shame, so having someone die as a result of a duel of wits is unlikely, but having them embarrass themselves and flee in disgrace is not unreasonable.
The option to determine how a character loses is a very powerful ability, but there are a few limits on it.
First, the effect is limited to the character who has been taken out. The victor may declare that the loser has made an ass of himself in front of the king, but he cannot decide how the king will respond (or even if the king was particularly bothered).
Second, the manner of the taken out result must be limited to the scope of the conflict. After the victor wins a debate with someone, he cannot decide that the loser concedes his point and the loser gives him all the money in his pockets – money was never part of the conflict, so it’s not an appropriate part of the resolution.
Third, the effect must be reasonable for the target. People do not (normally) explode when killed, so that cannot be a part of taking someone out. Similarly, a diplomat at the negotiating table is not going to give the victor the keys to the kingdom – that’s probably beyond the scope of his authority, and even if it’s not, it’s unlikely something he would give away under any circumstances. What he will do is make a deal that is very much in the victor’s favor and possibly even thank him for it.
Lastly, players are not always comfortable with being on the receiving end of this and may, if they wish, spend all the fate points they have left (minimum one) and demand a different outcome, and the GM (or winning character) should then make every effort to allow them to lose in a fashion more to their liking. That said, if this is a real concern, the loser may want to concede somewhere before things reach this point (see “Concessions”, below).

Concessions

Any time a character takes a consequence, he also has the option of offering a concession. A concession is essentially equivalent to surrendering, and is the best way to end a fight before someone is taken out (short of moving away and ending the conflict). The character inflicting the damage can always opt to not take the concession, but doing so is a clear indication that the fight will be a bloody one (literally or metaphorically). If the GM declares that the concession was a reasonable offer, then the character who offered it gains one fate point, and the character who refused it loses one.
The concession is an offer of the terms under which the character is taken out. If the concession is accepted, the conceding character is immediately taken out, but rather than letting the victor determine the manner of his defeat, he is defeated according to the terms of his concession.
Many conflicts end with a concession when one party or the other simply does not want to risk taking moderate or severe consequences as a result of the conflict, or when neither party wants to risk a taken out result that might come at too high a price.
<Example>

Removing Consequences

Consequences will fade with time – characters heal, rumors die down, and distance brings perspective. How long this takes depends upon the severity of the consequence, which in turn depends upon how it was received.
Mild consequences are removed any time the character has the opportunity to sit down and take a breather for a few minutes. These consequences will last until the end of the current scene, and will usually be removed after that. The only exception is if there is no break between scenes – if the character doesn’t get a chance to take five, the consequence will remain in place.
<Examples>
Moderate consequences require the character get a little more time and distance. A good night’s sleep or other extended period of rest and relaxation is required. Moderate consequences remain in place until the character has had the opportunity to take several hours (at least 6) of “downtime.” This may mean getting sleep in a comfortable bed, spending time with a charming member of the opposite sex, reading by the fire, or anything else of that ilk, so long as it’s appropriate to the consequence. An afternoon of hiking might be a great way to get past a Heartbreak consequence, but it’s not a great choice for a Bad Ankle.
<Examples>
Severe consequences require substantial downtime, measured in days or weeks. Generally this means that such a consequence will linger for the duration of a session, but will be cleared up before the next adventure begins.
<Examples>
If the character is in back-to-back sessions where no in-game time passes between them, such as in a multi-part adventure, he gets a break – any consequences he begins the session with are treated as one level lower for how quickly they’re removed.
<Examples>
Some skills (such as Science, page XX) and stunts (such as Bounce Back, page XX) can also reduce recovery time, as described in their write-ups.

Resolving Maneuvers

There are three types of maneuvers – uncontested maneuvers (without an opponent), scene-altering maneuvers, and maneuvers that target another character.
If the maneuver is uncontested – for instance, the character is trying to grab an idol or swing from a rope – it is a simple action, resolved just like any other simple action. The GM sets a difficulty, and the character rolls his skill and applies the resulting shifts as normal.
A maneuver can alter the scene in some way. How hard this is to do can range from trivial (knocking over a candle in a hay loft to add an “On Fire!” aspect to the scene) to virtually impossible (flapping one’s arms very hard to try to remove the “Foggy” aspect from a scene .) Whatever the result, the GM can decide whether or not the change the character makes merits adding or removing an aspect to the scene. The expenditure of a fate point can usually make a reasonable argument for making such a change; if the player’s willing to spend the point, his character’s actions to remove the aspect are invested with an unusual potency.
If the target is another character, the maneuvering character and the target make opposed rolls, using whatever skills the GM deems appropriate. Success is usually achieved if the maneuvering character generates at least one shift. A successful maneuver may add a temporary aspect to the targeted character; the target can either accept the temporary aspect, or spend a fate point to avoid accepting it. An aspect that results from a maneuver is temporary and does not last very long – we’ll get to the duration in a moment. The temporary aspect may then be tagged for a bonus on a subsequent roll. The first tag usually doesn’t cost the tagging player a fate point, but subsequent tags usually do (see the Aspects chapter, page XX, for more on the methods of tagging aspects). If a character is simply trying to increase the difficulty of another target’s action, this is considered a block action, and should be resolved as such; see page XX.
Maneuvers can also have other special effects, as determined by the GM. Some examples of these kinds of maneuvers are given later in this chapter.

Temporary Aspects

Temporary aspects that result from maneuvers are usually fragile. A fragile aspect only exists for a single tag, and may even be cleared away by a simple change of circumstances. Consider someone who uses a maneuver to take aim at a target, placing an “In My Sights” aspect on the target. Once the shot’s taken, the aim goes away – this is clearly fragile. But it could get lost even before the first shot, if the character who (likely unwittingly) has the aspect on him manages to break line of sight or move significantly. Fragile temporary aspects are usually much easier to justify and pass muster with the GM.
Some aspects that result from maneuvers can be sticky. (Aspects that result from assessments or declarations, explained on page XX, are also usually sticky .) Sticky aspects don’t go away after they’re first tagged, allowing people to spend fate points to continue to tag them. The GM is encouraged to be much more picky about whether or not to allow a sticky aspect to result from a maneuver.
In many cases, the GM may require that the maneuvering character use spin (see page XX) in order to succeed at placing a sticky aspect. Sticky aspects may be easier to place on a location or scene than on another character, especially when they potentially offer complications to everyone present, on both sides – such as a maneuver to add an “On Fire!” aspect to a scene. It may be possible to remove a sticky aspect via a successful maneuver.

Some Example Maneuvers

This is not a comprehensive list of all possible maneuvers, but the examples provided below should cover a wide range of circumstance and provide the tools needed to cover unexpected situations.

Blinding

Whether it’s throwing sand in someone’s eyes, spraying someone with a harsh chemical or tossing a can of paint in his face, the goal is the same: keep him from being able to see. This likely involves the attacker rolling Weapons and the defender rolling Athletics, with the maneuver succeeding if the attacker gets at least one shift. A successful maneuver puts the aspect “Blinded” on the target, which may be compelled to add to the defense of their target, or to cause them to change the subject or direction of an action. It can’t force them to take an action they don’t want to (so a blinded character can’t be compelled to walk off a cliff if the character is not moving around).

Disarming

A successful disarm maneuver forces the target to drop his weapon or otherwise renders the weapon temporarily useless. The target must either spend an action to become re-armed, or pick up the weapon as a supplemental action. A supplemental action is normally a -1 penalty to the main action, but when a disarm maneuver is used, the shifts on the maneuver increase the penalty. For example, if the disarm attempt succeeds with three shifts, when the target tries to recover his weapon, he’ll be at -4 (-1 for the usual penalty, plus an additional -3) to his action that exchange – essentially the disarm maneuver has resulted in a block. His defensive rolls are not directly affected by this penalty, but they are indirectly affected; without a weapon in hand, he can’t use the Weapons skill to defend (Athletics and Fists are still options).

Indirect Attacks

Sometimes a character wants to do something like push a stack of boxes down on an opponent, or scatter marbles across the floor to trip him up. While this can potentially be an attack, it is usually meant as an inconvenience. If it’s an attack, it’s treated like any other attack. If it’s an inconvenience, the attacker has two options. The first option is to make an opposed roll (such as Might to knock over the bookcase versus Athletics to dodge) and generate at least one shift, allowing a temporary aspect (such as “Pinned”) to be placed on the target. The other option is to create a block (such as using Might to knock over the bookcase, with the value of the roll representing the block strength created by the scattered books, causing an opponent to have to roll Athletics in order to move through the mess).

Carrying

When the character carries something heavy, the penalty for a supplemental action is increased by the weight factor of the target (see page XX) for each zone he moves.

Pushing

Pushing a target requires a successful attack (usually Fists or Might) and must generate a number of shifts equal to the weight of the target +1 for each zone the target will be pushed (the +1 is basically the usual -1 for moving). While a throw or knockback moves the target to a different zone, a push moves both the target and the acting character into the destination. Because of this, the “cost” in shifts for pushing remains flat, while the cost for body-throwing and knockback increases over distance (see below). Any applicable border conditions affect the roll to push.

<Example>

Throw or Knockback

It’s possible for a character to knock something or someone away from himself, without moving. Knockback covers any maneuver that can accomplish this, including throws. To knock something back one zone requires the maneuver have a success of 1 plus the weight factor of the target (a normal person has a weight factor of 2, see page XX)). Each additional zone costs as much as the previous zone did, plus one, so that the cost increases dramatically over distance.

<Example>

Marking

Every now and again a character just needs to carve his initial on someone’s chest, as simple as that. While it’s not a damaging attack, it’s a demoralizing one, and it adds a temporary aspect “Marked” which can be tagged to take advantage of the opponent’s reduced morale or appearance. The attack and defense roll for this is whatever’s appropriate to the situation – probably Weapons versus Athletics.

Spin

In its broadest sense, spin is a special effect that occurs whenever a character scores a significant or better success (3 shifts or more). That special effect may simply be color – it may mean the character looks particularly cool, or is due some recognition for excellence. However, in some cases, gaining spin can result in an actual game effect.
Specific to combat, spin is a minor, defensive form of overflow (see above) used to represent minor changes in the cadence of a conflict. Applied to a defense, when a character who successfully defends against an attack roll by three or more, he gains spin.
Having gained spin, the character has the option to apply a bonus or penalty to the next roll that occurs. Defensive spin must be used on the very next action taken by anyone in the scene (whether it’s a hero’s action or villain’s action). Used this way, spin either adds one or subtracts one from any roll involved in that action (e.g., either the attack roll or the defense roll).
The player who gained spin on his defense chooses how that spin works into the scene. Thus, the only qualifier for using spin is that the character must explain how he was able to help or hinder, even if it’s just as simple as shouting some encouragement or providing a distraction. A player might not always be able to justify using spin. Spin that isn’t used on the next action simply goes away.
<Example>
Note that spin, when used, is an effect that occurs instead of overflow. For example, someone might succeed on a defense by 3 shifts, generating spin. He could use his spin to give someone else a +1 as described above, or he could instead treat those three shifts as overflow, using it to dive clear of an impending explosion, or some other supplemental action.
Spin may affect certain maneuvers; see “Temporary Aspects” earlier in this chapter (page XX). And there are other applications of spin, found throughout this book. In general, spin serves as an easy way of making note that a character has done particularly well on a roll. In particular, skill and stunt uses might also create spin and utilize spin in special ways; see the individual descriptions for more details. The “+1 on the next action” effect of spin, however, only occurs as a result of a defensive roll in a con flict. This is because defensive rolls don’t usually get to use shifts when they succeed ; spin allows for a particularly good roll to be recognized, and not to go “wasted”.
[using the environment]

Using the Environment

In the Aspects chapter, we’ve already talked about tagging scene aspects for bonuses. Another thing that scene aspects can be used for is the occasional use of one skill in lieu of another, in a way that skill wouldn’t normally be used. To do so, invoke the aspect (spend a fate point) to create a reasonable justification for the unusual skill’s use; the character may use the new skill for as long as the GM considers appropriate. If the new skill has a dramatic impact that is potent for its novelty, it is probably only appropriate for one roll, but sometime the skill may be appropriate for the entire scene.
<Example>

---

The content above is Open Game Content