Good Neighbors

A WORLD OF
ADVENTURE FOR

Paul Stefko
 This adventure was made awesome thanks to our Patreon patrons at patreon.com/evilhat—thanks guys!

INSIDERS
Alan Bartholet Clyde Clark Glenn Mochon Jim Nicholson Marc Mundet Mitchell Evans Rick Jakins Troy Ray
Alexander Keane D.C. Upton Graham Owens Joakim Andersson Mark Morgan Ellis Robert Hanz Tyler Hunt
Andrew Pomfret Daniel Gallant Graham Wills Joe Trzos Marty Chodorek Nicholas Hopkins Robert Kemp vargr1
Anne-Sylvie Betsch Daniel Stack Haakon John Beattie Matt and Nykki Nick Daly Roger Edge Will Goring
Antero Garcia David Dorward Thunestvedt John Rogers Boersma Nick Reale Ryan Singer william j hummel
Arjun Comar David L Kinney Isabelle Parsley John Rudd Matt Anderson Nicola Urbinati Sarah Vakos William J. White
Arlo B Evans Demian Buckle J Quincy Sperber Jon-Pierre Gentil Matthew Bowman Nicolas Marjanovic Sean M. Dunstan William Lee
Ben Mullen Dusan Frolkovic J.M. Joshua Lutz Matthew Osye Pritchett Sean O’Dell William McDuff
Brett Abbott Dustin Evermore James F Thunberg Katie Ramsey Whiteacre Peter Gates Selene O’Rourke Zach
brian allred Edward MacGregor Jason Cotton Keith Stanley Michael Bowman Peter Woodworth Stephen Rider
Bryan Milstid EmissaryOfZork Jeff Chaffee Ken Ditto Michael Cambata Philip Nicholls Svalander
C. J. Hunter Eric Willisson Jeff Craig Kieren Martin Michael Dean Randy Oest Thom Terrific
C.K. Lee Frank Jefwfunk Laura Hannah Rhel Tim L Nutting
Christopher Frédéri POCHARD Jeremy DeVore LilFluff Michael Meriwn Richard Timothy Carroll
Gunning Garrett Rooney Jeremy Tidwell Lowell Francis Michael Monahan Bellingham Timothy
Christopher Vollick Gavran Jim Hart MAINGUET Francois Michael Pedersen Rick Masamitsu

ADVENTURERS
A Person Bryan Didier Bretin Istrian Gray Jonathan Matt Timm R R Clark Sophie Lagace
Aaron W Scott Bryan Gillispie Dillard J. Keith Wykowski Jonathan Finke Matthew Broome R Roy Spencer Williams
Ada Bryan Wiltgen Dirk Methner Jack Gulick Jonathan Hobbs Matthew Caron Rachael Hixon Stefan Feltmann
Adam Buehler Bryce Perry Don Arnold Jackson Hsieh Jonathan Korman Matthew J. Hanson Ralf Wagner Stephan
Adam C. Bud the Chud Don Bisdorf Jake Linford Jonathan Perrine Matthew Price Ralph Miller Stephanie Bryant
Adam Gutschenritter C donald murray James Beal Jonathan Young Matthew Whalley Randall Orndorff (Mortaine)
Adrian Arias-Palomo Candida Norwood Drew Shiel James Endicott Jordan Deal Max Randy Eckenrode Stephen Figgins
Aharon sharim Carl McLaughlin Drew Smith James Hoag Jordan Dennis Max Kaehn Randy M. Roberts Stephen Hood
Aidan Grey Carlos Flores Duane Cathey James Husum Jordi Aldeguer Melanie Patstone Raun Sedlock Stephen Waugh
Al Billings Cerity DudeInTheNight James Marston Jose A. Micah Davis Rebecca Harbison Steve Discont
Alan Phillips Charles Evans Duncan James Odom Joseph Formoso Mice and Mana Red Dice Diaries Steve Kunec
Alan Timothy Rogers Chip Dunning Dylan Green James Pacheco Joseph Gamblin Michael Remy Sanchez Steve Radabaugh
Alan Twigg Chirag Ebenezer Arvigenius James Winfield Josh Rose Michael Renzo Crispieri Steven Code
Alexander Gräfe Chris Caporaso Edward Sturges Jamie Wheeler Josh Salyers Michael Barrett Ricardo Boccato Alves Steven D Warble
Alexander Newcombe Chris Mitchell Ehedei Janet Joshua Michael Bradford Rich Hewett Steven desJardins
Alexander Permann Chris Nolen Eirch Mascariatu Jared Hunt Joshua Ramsey Michael Brewer Rich Hilborn Steven K. Watkins
Alexander R. Corbett Christian Elsa S. Henry Jason Joshua Reubens Michael D. Blanchard Richard Steven Markley
Alexis Lee Christoph Thill Elsidar Amhransidhe Jason Bean Juan Francisco Michael D. Ranalli Jr. Richard Greene Stuart Dollar
Alistair Christopher Allen Emmanuel Jason Best Gutierrez Michael Hill Richard Lock Svend Andersen
Allan Bray Christopher Smith Emmanuel Genot Jason Heredia Julianna Backer Michael Hopcroft Riggah Tara Zuber
Allan Samuelson Adair Enrique Esturillo Cano Jason Pasch Justin Michael Sawi Rishi Tatu Sara-aho
Alloyed Christopher Stilson eric Jason Penney Justin Thomason Michael Shumate Rob Meyers Teppo Pennanen
Amanda Valentine Christopher Eric Bontz Jason Tocci Kaarchin Michael Thompson Rob Voss Teresa O
Andrew Stone-Bush Eric I Jayna Pavlin Karl Thiebolt Mick Bradley Robb Neumann Terry Willitts
Andrew Betts Christopher W. Dolunt Eric Proton Jeff Boucher-Zamzo Katherine Malloy Mike Vermont Robert Tevel Drinkwater
Andrew Dacey Chuck Dee Erich Lichnock Jeff Mahood Keith Fannin Mirko Robert Biskin The Roach
Andrew Grant Colin Erik Jeff Pitrman Kenneth Benjamin Miscellaneous Musings Robert Huss Thomas
Andrew Horn Colin Matter Erik Ingersen Jeff Vincent Holbert Mitchell Smallman Robert Rees Thomas Balls-Thies
Andrew Loch Corey Johnston Erika Finbraaten Jeffrey Boman Kent Snyen Mook Robert Rydlo Thomas Elmeblom
Andrew Turbott Craig Maloney Ernie Sawyer Jeffrey Collyer Kevin Lindgren Nat Robert Slaughter Thomas Maund
Andy Arminio Craig Mason Esteban Jauregui Lorda Jeffrywith1e Kevin McDermott Nate Parrish Rodrigo Thomas Off
Angus Creative Play and Evan Ringo Jens KevIn oreilly Nathan Barnes Roe Portal Tim Davis
Anthony Damiani Podcast Network Ezekiel Norton Jens Alfke Kris Vanhoyland Nathan Hare Roger Carbol Tim Popelier
Antoine Pempie Curt Meyer Fábio Emilio Costa Jeremiah McCoy Krista Nathan Reed Ron Müller Todd Estabrook
Ariel Pereira Curtis Hay Fabrice Breau Jeremy Krzysztof Chyla Nessalantha Roy Todd Willey
Arlene Medder Cyrano Jones FelTK Jeremy Kurt Zdanio Nichlas Dyhr Ruben Smith-Zempel Tom Luongo
Arthur Lace Dain Fide Jeremy Glick Kyle Hummelsberger Ryan C. Christiansen Tony Ewing
ArthurDent Damon Richard Florian Greß Jeremy Hamaker Larry Hollis Nicholas Pilon Ryan Gigliotti Tony Kelly
Aviv Daniel Byrne Francisco Castillo Jeremy Kear Leif Erik Furmyr Nicholas Sokeland Ryan Junk Torolf de Merriba
B. Bredthauer Daniel Chapman Frank JF Paradis Leonardo Paixao Nick Ryan Lee Travis Stodter
Barac Wiley Daniel Ellingsen Lund Frank Beaver Joanna Lester Ward Nick Bate Samuel Edwards Trevor Crosse
Bastien Daugas Daniel Kraemer Frankie Mundens Joe Lisa Hartjes Nick pater Samuel Hart Tristan Smith
Becca Daniel Ley Gabriel Sorrel Joe Littrell Lobo Noel Warford Samwise Crider Tsht
Ben Daniel Markwig Gareth Marshall Joe Patterson Lore Graham Obsessive Comics Sarah Williams Tyler Duckworth
Ben Scerri Daniel Taylor Garrett Joel Beally Loren Norman Disorder Schubacca Tyson Monagle
Ben White Daniele Galli Garrett Jones Joel Beebe Luca Agosto Olav Müller Scot Ryder Urs Blumentritt
Benjamin Cush Darren Lute Garth Rose Johannes K. Lukar Oliver Scholes Scott Acker Victor Allen
Benjamin Wandio Dave Joria Gary Anastasio Rasmussen m.h. Olivier Nisole Scott Dexter Ville Lavonius
Benjamin Welke David Genevieve Johannes Oppermann Manfred paolo castelli Scott Greenleaf Vladimir Filipović
Bill David Bellinger Geoff John Marc Patrice Hédé Scott Hamilton Volker Mantel
Bill Eastman David Bowers George Harnish John Marc Kevin Hall Patrice Mermoud Scott Martin Vrakul
Björn Steffen David Fergman Gian Domenico John Arcadian Marcel Lotz Patrick Chapman Scott Millward waelcyrge
Bloomingnerd David Goodwin Facchini John Beynon Marcel Wittram Patrick Ewing Scott Puckett Wayne Coburn
Bo Madsen David Griffith Glynn Stewart John Bogart Marcus Patrick Fittkau Scott Thede Wayne Peacock
Bob Hiestand David Hayes Graham Meinert John Clayton Mario Dongu Patrick Mueller-Best Sean Sherman Wes Fournier
Brad Davies David Hicks Greg Matyola John Fiala Mark Paul Sean Smith Will Foy
Brad Osborne David Maple Gregg Workman John Griogair Bell Mark Paul Arezina Sean Walsh William Johnson
Bradley Eng-Kohn David Millians Gregory Fisher John Hacker Mark A. Schmidt Paul Olson Sean West Money William Pitts
Brandon Metcalf David Morrison Gregory Hirsch John Halsey Mark Diaz Truman Paul Rivers Seth Clayton WinterKnight
Brandon Wiley David Olson Gustavo Campanelli John Helmuth Mark Harris Pavel Zhukov Seth Halbeisen Wolfgang Reich
Brandt Bjornsen David S Hakushaku John Lambert Mark Widner Pete Curry Seth Hartley Wulf
Brendan Conway David Silberstein Harry John Portley Markus Haberstock Peter Griffith Shadowmyre Kalyn Yonatan Munk
Brent Ritch David Starner Heather John S. Fetzik Markus Wagner Peter James Burczyk Shai Laric Z Esgate
Brian David Stern Henry Gaudet John Taber Martin Peter Kahle Sharif Abed Zeb Walker
Brian Bentley Davide Orlandi Herman Duyker John Tobin Martin Deppe Petri Leinonen Shoshana Kessock
Brian Creswick Declan Feeney HFB John William McDonald Martin Felczerek Phil Groff Simon Brunning
Brian S. Holt Denis Ryan Howard M Thompson Johnathan Wright Martin Terrier Philippe Marichal Simon White
Brian Shourd Derek Hiemforth Ian Charlton Jon C. Marty Gentillon Philippe Saner Simon Withers
Brittany Lenda Devon Apple Ian Toltz Jon Smejkal Mathias Exner Phillip Webb Sion Rodriguez y
Bruce dharp Indi Latrani Jonas Matser Matt Houck PK Gibson
Bruce Laing Dianne Irene Strauss Jonathan Matt Landis Porter Sławomir Wrzesień
 GOOD
NEIGHBORS
A WORLD OF
ADVENTURE FOR

WRITING & ADVENTURE DESIGN

PAUL STEFKO
DEVELOPMENT
LEONARD BALSERA
& ROB DONOGHUE
EDITING
JOSHUA YEARSLEY
PROJECT MANAGEMENT

SEAN NITTNER
ART DIRECTION
BRIAN PATTERSON
LAYOUT
FRED HICKS
INTERIOR & COVER
ARTWORK
KELLY MCCLELLAN
MARKETING
CARRIE HARRIS
BUSINESS DEVELOPMENT
CHRIS HANRAHAN
 An Evil Hat Productions Publication
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Good Neighbors
Copyright © 2016 Evil Hat Productions, LLC and Paul Stefko.
All rights reserved.

First published in 2016 by Evil Hat Productions, LLC.

10125 Colesville Rd #318, Silver Spring, MD 20901.

Evil Hat Productions and the Evil Hat and Fate logos are trademarks
owned by Evil Hat Productions, LLC. All rights reserved.

No part of this publication may be reproduced, stored in a

retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior express permission of the publisher.

That said, if you’re doing it for personal use, knock yourself

out. That’s not only allowed, we encourage you to do it.
For those working at a copy shop and not at all sure if this means
the person standing at your counter can make copies of this thing, they can.
This is “express permission.” Carry on.

This is a game where people make up stories about wonderful, terrible,

impossible, glorious things. All the characters and events portrayed
in this work are fictional. Any resemblance to real people, small
towns, fair folk, tricksters, lawyers, occultists-for-hire, miners, police
detectives, or soulless captains of industry is purely coincidental, but
kinda hilarious. And a bit dark in places, man. Are you ok?
CONTENTS
About Good Neighbors.................................................................... 2
Welcome to Still Hollow................................................................... 3
Issues................................................................................................................ 4
Creating Your Game....................................................................................5
Characters.......................................................................................... 6
Humans.............................................................................................................7
Fairies............................................................................................................... 9
Stunts............................................................................................................... 11
Fate Points and Refresh........................................................................... 12
The Reaction Tree............................................................................13
The First Tier.................................................................................................14
The Second Tier........................................................................................... 16
The Third Tier...............................................................................................20
Fair Folk............................................................................................ 25
Taboos............................................................................................................ 25
The Court....................................................................................................... 26
Important Fairies and Common Folk................................................. 26
Still Hollow.......................................................................................29
Abandoned Mines......................................................................................30
Still Hollow Ledger....................................................................................30
Still Hollow High School........................................................................... 31
The Morrison Arms.................................................................................... 32
Still Hollow Park......................................................................................... 33
The Anderson Farm...................................................................................34
Police Station ............................................................................................. 35
The Industry.....................................................................................36
Operation......................................................................................................36
Industry Camp............................................................................................ 37
Forces of Industry.....................................................................................38
Supernatural Effects..................................................................................41
Adventure.........................................................................................42
Human Phase..............................................................................................43
Fairy Phase...................................................................................................45
Milestones.....................................................................................................46
Conclusion........................................................................................48
 ABOUT GOOD NEIGHBORS
All of the conveniences of modern life make us thirsty for more and cheaper
sources of energy. The true cost is high and too often hidden. It’s measured in
acres, in wellheads, in livelihoods and lives. In Good Neighbors, you’ll explore
the town of Still Hollow as it faces the Industry, a powerful group intent on
exploiting perhaps the last remaining resources of this struggling town. While
some people embrace the benefits the Industry promises, your characters sense
the dangers and work against them.
It’s not just the human residents at risk from the Industry’s operations. Still
Hollow is home to spirits of nature—called the Fair Folk, the Good Folk, or
fairies when spoken of at all—who are keenly aware of the damage being done
to the physical and spiritual environment. You play these fairies as well, fight-
ing back against this corruption and protecting the pacts you’ve made with the
townsfolk.
Play progresses through phases, alternating between your human and fairy
characters. The victories of one phase influence your success in the other, as do
your defeats. At the start of each session, the Industry reacts to recent events,
putting more pressure on both sets of characters and prompting you to be more
proactive as you defend yourselves, the town, and the land itself.
In the end, you will either drive the Industry out of Still Hollow or be ground
down by its careless greed. To win, you will need to work together, human and
fairy alike, and prove that you really are Good Neighbors.

2 FATE: WORLDS OF ADVENTURE

WELCOME TO STILL HOLLOW
Drawing elements from both Fate Core and Fate Accelerated Edition, Good
Neighbors provides a framework for your own campaign about the inhabitants
of the town of Still Hollow.
In Good Neighbors, each player portrays two characters: one human and one
fairy. This is called troupe play. To avoid confusion and to speed up troupe play
at the table, we’ve cut way back on what traits you need to create and understand
for each character.
Human characters look a bit like Fate Core characters, while the fairies look
more like characters from a Fate Accelerated game. In place of skills or approaches
as you’d expect, these characters have aspects rated on the ladder. Humans phrase
these aspects as professions—freeform descriptions that suggest things that the
characters are good at—while fairies work approaches into their aspects.
Sessions are divided into phases, and each phase features either the human
characters or the fairies. The core of Good Neighbors is the reaction tree
(page 13), a diagram that the GM will use to help structure sessions. As your
game proceeds, the Industry will move from one node to another on the tree,
introducing reaction issues that create conflict and obstacles for the PCs. As
the conflict with the Industry deepens, the human world and the supernatural
will be drawn together as both sets of characters work to save their town.

GOOD NEIGHBORS 3
 Issues
The reaction tree will introduce reaction issues, which the characters must resolve
in the short term. However, all Good Neighbors games feature two overarching
issues that set the tone, remaining in play from the first session to the last.
The first issue is The Impact of Industry. This is the point of the entire
game: resisting the Industry’s efforts in Still Hollow and facing its effects, both
temporal and spiritual. Ultimately, the issues introduced by reactions are out-
growths of this main issue.
A major energy and resource extraction company has come to Still Hollow in
pursuit of natural gas deposits using hydraulic fracturing and other technolo-
gies. For our purposes, we refer to this company simply as the Industry. Choose
a name that fits your game and your version of Still Hollow. Maybe you want
to fight against a real-world corporation at your home table. We’re not going to
stop you.
The Industry’s operations are described more beginning on page 36, but
know that they have consequences on the economy, politics, infrastructure, and
environment of Still Hollow. The persistent human tendency to ignore incon-
venient truths creates the problems that drive each session of Good Neighbors.

WHY IS THE INDUSTRY BAD?

The real-world debate about energy exploration and extraction
rages, with science to support both sides. Of course, human science
doesn’t have all the facts and never will. In Good Neighbors, the
Industry harms the world in ways that can be felt by the characters,
who seek to stop the damage before it’s too late.
Here’s the deal: there isn’t a single individual working in the
Industry that wants to destroy the world. And yet, its operations
lead to inevitable, perhaps irreparable, harm to the environment,
the economy, and the spiritual fabric of the world. Most involved
can’t see the consequences, and those who can have justified them
as “the cost of doing business.”
In the real world, this is a complicated and controversial issue. In
Good Neighbors, it’s a Bad Thing worth fighting.

Second, the players must figure out How to Fight Back. The Industry’s
impact on Still Hollow is not a problem you can shoot or punch away. Human
characters face tremendous legal repercussions if they act against the Industry
with violence, and in doing so their foes will be quicker to turn on them with
force as well.
Fairies will discover that violence is only a short-term solution, as the Industry
can always bring in more guards. Worse, as the Industry discovers the nature of
fairies and draws the connection between them and the people of Still Hollow,
they can fight back either by attacking the Fairy Court or by exacting revenge
on the humans instead.

4 FATE: WORLDS OF ADVENTURE

 Good Neighbors is a dramatic game, almost never an action game. The characters
will need to look for different solutions, from organizing the community against
the Industry to unearthing evidence of wrongdoing and crime. Fairy characters
can leverage their magic to spy on, disrupt, or even curse the Industry’s opera-
tions. But the answer to their problems will never be as simple as waving a gun
or a sword around.

Creating Your Game GAME CREATION OVERVIEW

Before getting started, here are a few
1. Choose two or three taboos that
questions you’ll need to answer as a
all fairies must follow, in addi-
group.
tion to always keeping promises
First, decide what taboos that fair-
(page 25).
ies must follow in your game. Fairies
2. Establish an initial incident that
must keep any promise they make,
launches the game and gives con-
and you will choose two or three other
text for creating characters.
prohibitions or requirements for your
3. Decide how much the supernatural,
Fairy Court. For some examples, read
beyond the fairy characters them-
page 25.
selves, will figure into your game.
Second, establish the initial incident
that spurs your characters to action
against the Industry. Discuss what injustice you are responding to. The first ses-
sion involves the Industry’s public relations department working to maintain the
company’s image in the face of this incident. Some examples:
• A road accident involves a truck carrying gas or chemicals. While the
Industry spokesperson reports that no hazardous materials were released,
the characters hear rumors otherwise.
• A landowner reports that the Industry is operating on or under their land
illegally. The Industry denies the claim or says their operations are legal
under an obscure and poorly worded law.
• A protest turns ugly when Industry security use force to push activists off
their property. The Industry declares the incident to be the work of rogue
personnel, and the characters foresee the harsher response yet to come.
Players, thinking about the initial incident will help you give your characters
some context. It’ll color their personalities and motivations, setting the stage for
their actions as well as Industry reactions.
Finally, you must decide how prevalent the supernatural is in your world.
Beyond the fairies themselves, how much magic and weirdness is there? Can
human characters learn magic? If so, your characters may grow closer together
as they share these supernatural secrets.
Even if you decide that there is no magic outside of the fairies, the Industry
and especially the human characters will discover more and more about fairies
as the game goes on. If humans can potentially match fairies on a magical level,
however, it changes how the fairies can act against the Industry.

GOOD NEIGHBORS 5
 CHARACTERS
Each player creates two characters: a human and a fairy.
Before creating aspects and assigning ratings, come up
with rough concepts for both characters. Share these
concepts with each other and discuss how the characters
might relate to the others.

CHARACTER CREATION OVERVIEW

1. Create three aspects for your human character: a
high concept (phrased as a profession), trouble,
and motivation.
2. Create three aspects for your fairy character: a
high concept (phrased as an approach), trouble,
and motivation.
3. For your human character, create two aspects that
tie them to other characters:
a. A folk aspect ties them to another player’s
fairy character.
b. A community aspect ties them to another
player’s human character.
4. For your fairy character, create two aspects that tie
them to other characters:
a. A neighbor aspect that ties them to another
player’s human character.
b. A court aspect that ties them to another play-
er’s fairy character.
5. Your human must have three aspects, including
their high concept, phrased as professions. Assign
Great (+4) to their high concept, Fair (+2) to an-
other profession, and Average (+1) to the third.
6. Your fairy must have three aspects, including their
high concept, that include an approach. Assign
Great (+4) to their high concept, Fair (+2) to an-
other approach, and Average (+1) to the third.
7. For each character, choose three connected stunts
by checking the box below three aspects. An
aspect can have no more than one connected stunt.
8. Your fairy and human share a refresh, which starts
at 3. You may lower this refresh to give additional
stunts to both characters, trading one refresh for
one stunt each.

6
Humans
Humans face the environmental and economic impact of the Industry on Still
Hollow, at first unaware of the spiritual and supernatural effects facing the Fair
Folk. These characters are firmly opposed to the Industry, but they must operate
through mundane channels of activism,
protest, and the media.
SAMPLE PROFESSIONS
Human characters are defined by
Activist: Organizing others; iden-
their aspects, the most important of
tifying injustice; demonstrating
which also serve as professions in
blistering outrage.
place of skills. These professions reflect
Artist: Expressing ideas both subtle
who the character is, and they cover
and gross; connecting with others
any actions that would reasonably fall
emotionally.
under that profession. Consult the fol-
Doctor: Treating injuries and illness-
lowing list for inspiration on possible
es; navigating bureaucracy; golfing.
professions and the areas in which they
Parent: Protecting your family; pro-
excel.
viding for your family; emotionally
Start with your character’s high
supporting others.
concept. This aspect notes your main
Police Officer: Settling disputes; pro-
profession, so include something like
tecting the community; subduing
Journalist, Police Officer, or
criminals.
Nurse. Of course, an interesting and
Scientist: Employing deep knowl-
useful high concept is phrased simply
edge of a specialized field;
but says more than one thing if pos-
performing experiments to gather
sible, so you might be a Crusading
new knowledge; operating obscure
Journalist, a Rookie Cop, or a
equipment.
Nurse Who’s Seen Things.
Small Business Owner: Providing for
As you create your remaining
the community; building a rapport
aspects—your trouble, motivation, folk
with customers; handling logistics
aspect, and community aspect—you’ll
and finances.
phrase any two of them as profes-
Student: Researching; recalling
sions. In total, you’ll have three aspects
broad but shallow knowledge; pla-
phrased as professions, and two that
cating authority figures.
aren’t. Your motivation and commu-
Teacher: Communicating knowledge;
nity aspects may make the most sense as
maintaining discipline and holding
professions, but a character with a trou-
attention; resolving conflicts.
ble profession could be very interesting.
Veteran: Maintaining discipline and
A character with a profession in their
morale; leading and inspiring
folk aspect implies an even deeper con-
others; fighting, if necessary.
nection to fairies and the supernatural.
So, now you’ll decide on your trou-
ble. If you can, avoid basing your trouble on an antagonistic relationship with
the Industry—this is assumed. Pick something else to help your character stand
out. Your trouble is unlikely to be one of your professions, but if you have a great
idea for something you’re good at that also causes you problems, go right ahead.

GOOD NEIGHBORS 7
 Now think about your character’s motivation. What drives you to oppose the
Industry? Are you concerned about the health effects of the fracking process?
What about the impact on the local economy as hundreds of temporary workers
flood the region? How do you show your opposition? Are you an activist, orga-
nizing groups of fellow citizens in protest? Are you a journalist, reporting on the
uncomfortable truths the Industry doesn’t want exposed? Perhaps you are a sci-
entist studying the effects of the Industry’s activities. Your motivation may be a
profession, so consider phrasing it like Concerned Scientist or Firebrand
Labor Organizer.
The people of Still Hollow live side-by-side with the Fair Folk, but few humans
realize it. Your character has some inkling of these neighbors, represented by
your folk aspect. This aspect connects you to another player’s fairy character.
How has that fairy influenced your life? Are you aware of this connection con-
sciously, or it is a mysterious factor in your life? Does the fairy know how they
affect you? Discuss this connection’s nature with the fairy’s player.
Finally, define your connection to and position within Still Hollow with the
community aspect. Specifically, what is your relationship with another player’s
human character? Are you family, long-time friends, or recent colleagues? Are
you rivals brought together by the Industry’s effect on your town?

Rating Professions
Rather than skills, human characters have aspects phrased as professions.
Professions get ratings on the ladder just as skills would.
The profession listed in your high concept is what your character is best at,
and it should cover most things you’ll do. Your high concept starts at Great (+4).
Your other two professions give you additional areas of competence, letting
you try different ways to achieve your goals. Choose one profession to be rated
Fair (+2) and one to be rated Average (+1).
It is a good idea to choose professions that do not overlap much. If an action
could fall under more than one profession, use the highest rating. On the rare
occasion that an action does not reasonably fall under any of your character’s
professions, assume a rating of Mediocre (+0).

Using Professions
Whenever your character does something that falls under one of their professions,
you’ll add the profession’s rating to your roll. You can use a profession to make
any of the four actions—overcome, create an advantage, attack, and defend—at
the GM’s discretion.
In addition to representing a field of tasks you are good at, professions also
encompass a body of knowledge accrued in your time in that role as well as
contacts you may have gained along the way. You may tap contacts to help your
character out—most often by creating an advantage—but be sure they don’t
take the spotlight away from other player characters.

8 FATE: WORLDS OF ADVENTURE

Fairies
Whereas a human character’s aspects describe their
skills and relationships, a fairy’s aspects define them
mystically. A fairy’s most important aspects circum-
scribe the ways that they can approach the world.
Start with your character’s high concept. You may
use this aspect to define what kind of fairy you are,
if you have a favorite mythical spirit in mind. This
aspect also includes your fairy’s highest approach,
whether Careful, Clever, Flashy, Forceful, Quick, or
Sneaky. So, you may be a Clever Trickster, a
Flashy Warrior, or a Sneaky Thief.
Unlike with humans, a fairy’s trouble may be an
excellent choice for including an approach. Fairies are
constrained by their nature, and if that means they get
in trouble for acting in a certain way, so be it. Your
fairy may be Too Forceful For My Own Good,
for example.
Every fairy has experienced an early effect of the
Industry on the environment. Create a motivation
to represent this. This aspect represents an incident
that shocks your fairy and provides a reason for them
to join the action against the Industry rather than sit
back and wait like many other Fair Folk.
Every fairy character has a relationship with another
player’s human character, represented by the neigh-
bor aspect. Are you a protector, watching over them
in secret? Do you teach them lessons through coinci-
dence and subtlety? Perhaps you are a vengeful spirit,
punishing them for transgressions against ancient
pacts. Discuss this relationship with your fellow player.
Finally, your fairy is connected to another player’s
fairy character and through them to the wider super-
natural community. This is your court aspect, and
like your high concept, it can establish your character
as a specific kind of fairy, if you have one in mind. It
must establish a relationship with another fairy, how-
ever. That relationship can be a rivalry, a romance, a
mentorship, or anything else. Discuss it with the other
player.
Remember that three of your fairy’s aspects—
including your high concept—must include one of
the six approaches. If you have not included three
approaches, go back and consider how you might
rephrase your aspects to include them.

GOOD NEIGHBORS 9
 Aspects as Approaches
Fairies are not held to the laws of man when acting against the Industry, but
each fairy is constrained by their own nature. Rather than having skills or
even professions as human characters do, fairy characters are defined by the
six approaches from Fate Accelerated Edition: Careful, Clever, Flashy, Forceful,
Quick, and Sneaky. However, each fairy possesses only three of these approaches.
They simply cannot act in other ways.
A fairy’s high concept must include one of the six approaches. This approach
is rated Great (+4). The fairy is most effective when facing the world in this way.
Two other aspects also include approaches. Your fairy is able to act in these
ways when the situation warrants, though they will be less effective. Choose one
of these aspects to be rated Fair (+2) and the other to be rated Average (+1).

WRITING ASPECTS WITH APPROACHES

An aspect that includes an approach will likely use the approach as
an adjective modifying some noun, like Forceful Warrior, paral-
leling the professions created for human characters. However, this
won’t always be the case. For example, in the playtest of Good
Neighbors, one fairy character had the aspect Some People Just
Need to Be Forcefully Punched rated at Average (+1). The only rule
is that the rated aspects must include an approach in some form.

A fairy cannot perform an action that would fall under an approach they do
not possess. If your three approaches are Careful, Clever, and Quick, you cannot
be Sneaky, period. Find another way to accomplish what you want. Perhaps you
can create a Clever distraction or simply rush past Quickly and hope your foe
can’t catch you.

FAIRY MAGIC
Since fairies use approaches—which broadly describe how you do
whatever you do rather than defining what types of things you can
do—and since they have aspects that establish them within the su-
pernatural world, fairy magic is simply a way to describe any of the
four actions performed with a particular approach. Between this
description and the benefits of your stunts, you have a surprisingly
flexible magic system without taking up any more space on your
character sheet.

10 FATE: WORLDS OF ADVENTURE

Stunts
In Good Neighbors, stunts are connected to aspects and come in three types:
invoke stunts, compel stunts, and declare stunts. These change how the stunt’s
connected aspect is invoked, how others compel its connected aspect, and how
you use its connected aspect to declare facts about the scene, respectively. Each
aspect can have only one stunt. When you take a stunt, fill in the check box
beneath its associated aspect on your character sheet.
At character creation, your human character and your fairy character each get
three free stunts.

Invoke Stunts
When you invoke an aspect with this connected stunt and choose to reroll your
dice, you also get +2 to your result. You must take the result of the reroll, even if
it is lower than your initial roll.

Jamie’s human, Jane Do, has the invoke stunt connected to her Gym
Promoter—“Come Work Out!” aspect, and she is trying to convince
her fellow townsfolk to come to a fundraiser at her gym. The people
of Still Hollow are strongly opposed to her efforts, so Jane must over-
come Great (+4) opposition. Gym Promoter—“Come Work Out!” is
only Fair (+2), and she rolls 0+-- for a total of Average (+1).
Jamie spends a fate point to invoke the aspect and rerolls, getting
0+00. With the additional +2 bonus from the stunt, she gets a
total of Superb (+5) and succeeds.

Compel Stunts
When someone compels an aspect with this connected stunt, you may create
a situation aspect with two free invokes instead of taking the fate point. You
trade the flexibility of a fate point for a more valuable aspect that will only stay
around so long.
The situation aspect could represent your character’s determination in the
face of a challenge or dumb luck when the chips are down. Or it could be an
opportunity that your sudden misfortune opens for your companions. For a
fairy character, the benefit of this stunt could also represent some form of magic
that warps luck around you, creating both good and bad fortune.

Jamie’s fairy, Swift Wing, has the compel stunt connected to her trou-
ble, Totally (Not) Sneaky. Swift Wing believes she is stealthy, but she
always gives herself away. It’s in her nature. With a squad of Industry
security guards ready, the GM compels Swift Wing’s trouble. Jamie
decides to use her connected compel stunt to create the situation
aspect Perfect Distraction with two free invokes, which her friends
can use against the guards while she is caught square in their sights.

GOOD NEIGHBORS 11
 Declare Stunts
Normally, declaring a detail is Once per scene, when you spend a fate point
its own reward. This stunt in- to declare a story detail related to an aspect
creases the benefit by creating with this connected stunt, you can create a
a situation aspect with free in- situation aspect representing that detail with
vokes. It is limited to once per two free invokes.
scene in addition to the normal
cost of a fate point because Jamie’s fairy, Swift Wing, has
getting two free invokes is a the declare stunt on her aspect
pretty powerful benefit—plus “Housekeeping!”—Flashy Cleaner.
it keeps scenes from becom- The fairies are in an Industry exec-
ing too cluttered with aspects. utive’s house, and Jamie decides
to spend a fate point to declare
that Swift Wing has cleaned here
before during her nighttime house-keeping excursions. In fact, she
Knows It Like the Back of Her Hand and has two free invokes to
search the place for incriminating evidence or what have you.

Fate Points and Refresh

Your human and fairy share in refresh, which begins at 3. For each point of
refresh you give up, both your human and fairy get a stunt. You will gain a
point of refresh when you reach the major milestone near the end of the game
(page 47).
During play, each character refreshes their fate points at the beginning of their
phase. If one of your characters has more fate points than the shared refresh at
the end of their phase, make a note. That character will begin their next phase
with extra fate points, but this does not affect your other character.

12 FATE: WORLDS OF ADVENTURE

THE REACTION TREE
GMs, the reaction tree is the main lattice for your Good Neighbors game. At the
start of each human phase, the Industry moves to a new node on the tree. This
move can be lateral, staying on the same level if there are still unused reactions,
or it can be vertical, moving down to the next level. Reactions farther left on
the tree are more community-focused and external, while those farther right are
directed at the characters themselves.
The further down you move on the tree, the more pressure each reaction cre-
ates. The Industry can never move up the tree. Its reactions steadily grow more
serious as the game progresses. As you move down the tree from one tier to
the next, characters reach milestones (page 46), representing how they grow
stronger through adversity.
Many nodes reference a location that is dramatically appropriate to the
reaction or a face through which the Industry acts. Each node also includes sug-
gested newspaper headlines to serve as issue aspects—see “Breaking News!” on
page 43. If any other situation aspects are appropriate to a node, they appear
in its description as well.

Perform
Public
Fir

Relations
st
Tie
r

Research Investigate
Community

Engage Leak
Sec

Intimidate
Community Information
ond
Tie
r

Enlist Third Bribe Blackmail Vandalize

Party

Co-opt Plant Steal Arrange

Litigate
Thi

Allies Evidence Valuables Accident

rd
Tie
r

Remove Destroy Harm

Legislate Frame Contaminate
Allies Property (or Kill)

GOOD NEIGHBORS 13
 The First Tier
At this tier, the Industry works to keep its name clean and to learn more about
Still Hollow and the characters. In the process, they discover that the Court of
Fairies has an interest in the town.

Perform Public Relations

The first session of a Good Neighbors game starts with an initial incident to spur
the characters to action. In the aftermath, the Industry needs to control the
public’s opinion, so the first reaction is always a round of public relations—they
make like everything is fine. They may hold a press conference at the Industry
camp or have an op-ed printed in the newspaper. Any outrage the characters may
have stirred up will abate unless they take further action.
While the human characters deal with this shift in public opinion, the fairy
characters learn which members of the Court are ready to act against the
Industry. Just as with humans, some fairies may not be willing to accept the
dangers posed by Industry activities. Humans have always exploited the land,
haven’t they? Fairy characters must show the Court that the Industry poses a
new, greater danger.
Headlines: Industry Reports Additional Hiring; We Will Be Good
Corporate Neighbors
Face: Emilio Garcia, Industry Public Relations (page 38).

Research Community
With this reaction, the Industry digs into the history of Still Hollow and its
residents, looking for openings to exploit. Characters with access to or interest
in public records may be tipped off that folks are digging around at City Hall,
while just about anyone may run into strangers asking out-of-place questions.
This reaction may not seem ominous at first, but then the Industry uses some
piece of information it gains to turn public opinion their way—or to trigger a
later reaction such as Engage Community, Enlist Third Party, or Blackmail.
This research also turns up evidence of the Fairy Court in local folklore
and superstition. As they develop an ethnographic profile of Still Hollow, the
Industry puts together tiny pieces of lore that will later expose fairy activity. This
issue can create problems for any fairy character through their high concept and
the taboos you’ve established. Even when this issue is ultimately resolved, the
Industry’s knowledge of fairies and their ways will not just disappear.
Headlines: Industry Sponsors Open Forum; Records Office Fields
Numerous Requests

14 FATE: WORLDS OF ADVENTURE

Investigate
With this reaction, the flip side of Research Community, the Industry instead
investigates the characters themselves. Unless you’ve established the Industry is
aware of the supernatural, this means they are looking into the human char-
acters. Characters will be more keenly aware of this reaction than of Research
Community, as mysterious figures appear or unmarked cars trail them on their
daily routine. Information gained through Investigate can be used for reactions
such as Leak Information, Blackmail, Co-Opt Allies, or Steal Valuables.
Investigating the human characters turns up information on the fairies as well,
through the connections in their neighbor and folk aspects. This exposes the
existence of a handful of supernatural beings. The Industry is not quick to make
the leap to a wider spiritual world, but they can put small pieces together to
eventually reveal a larger puzzle.
Headlines: Local Man Under Surveillance; Feel Like You’re Being
Watched? We All Do

GOOD NEIGHBORS 15
 The Second Tier
In this tier, the Industry moves to intimidation and eventually violence. For this,
they contract with regional criminals such as biker gangs to provide deniable
muscle.

Industry Thug
Fair (+2) Professional Street Tough
1

After becoming aware of the supernatural through Research Community or

Investigate, the Industry seeks out knowledge of magic to provide another layer
of security. If you’ve established that human beings can harness power on a simi-
lar level to fairies, the Industry will employ its own occultists.

Freelance Occultist
Good (+3) Clever Magician;
Fair (+2) Arrogant Polymath
2
NOTES
See how the Clever Magician aspect has an
approach right in it? That means it’s proper magic.
See “Fairy Magic” on page 10.

16
Engage Community
At this stage, the Industry provides financial or political support to elements of
the community, improving its image and generating clout in Still Hollow. The
individuals or groups that receive this aid become allies at later tiers, leading into
reactions such as Enlist Third Party, Co-Opt Allies, Litigate, or Legislate.
Now aware of the Court, the Industry takes steps to propitiate the fairies.
They follow superstitions, leave offerings at their facilities, and generally make
themselves look good to the Fair Folk. Some fairies—like Hickory and Bluebell
(page 32)—are as willing to work for the Industry as they are for other resi-
dents of Still Hollow.
Headlines: Top Students Receive Industry Scholarship; Old
Methodist Church to Be Repaired
Location: Still Hollow High School (page 31)

Leak Information
The Industry releases an “independent” study or passes a tip to an ambitious
journalist, and suddenly information comes to light that makes its operations
look very good or makes the characters seem interfering or misguided. Any infor-
mation leaked at this stage is not damning or dangerous to the characters—that
comes later in Blackmail or Remove Allies.
The Industry also draws outside attention to the Court of Still Hollow. Pictures
of fairy sightings trend on social media. New Age movements take interest in
the town, opening up an avenue to Enlist Third Party later. The fairies of Still
Hollow have increasing trouble staying hidden and fulfilling their old oaths.
Headlines: Water Cleanest in Decades, Scientists Say; Local Leaders
Release New Employment Numbers
Location: Still Hollow Ledger (page 30)

Intimidate
The Industry now turns to coercion and fear, working through cutouts to encour-
age the characters to end their opposition. This may mean that watchers from the
Investigate node become obvious, following the characters conspicuously day or
night. Or the intimidation could be more physical as thugs harass the characters,
stopping short of actual violence. That comes later, in Arrange Accident, Remove
Allies, or Harm (or Kill).
As the fairy characters continue their resistance, the Industry fields defenses
that target the fairy taboos where possible. If fairies can’t cross lines of salt, the
Industry experiments with salt-laced carpeting. If fairies are vulnerable to iron,
plenty of iron items will be on hand at Industry facilities. The message is clear:
“We know how to fight you.”
Headlines: Safe to Walk Alone at Night?; It’s 9:00, Do You Know
Where Your Children Are?
Location: Police Station (page 35), if human characters are brought in by
crooked cops
GOOD NEIGHBORS 17
 Enlist Third Party
At this stage, the Industry calls on the influence of outside groups with shared
interests in Still Hollow. This could include labor unions, utilities, or even the
police if previous reactions have led the community to perceive increased crime
or unrest. These parties provide positive cover for Industry activities or put pres-
sure on the characters. When the characters resolve this issue, the Industry may
move on to Bribe or Blackmail officials, or they may be forced to Litigate or
Legislate against the characters.
Alternatively, the Industry exposes the fairy characters to mortal occultists
or “monster hunters.” Wannabe spiritualists are invited in through front orga-
nizations. Putting the supernatural under stress will limit how much aid the
fairy characters can give to the humans and will make future reactions harder
to resolve.
Headlines: Local Clergy Praise Industry Efforts; Protests Growing
Out Of Hand, Police Commissioner Says

Bribe
The Industry needs results, and it’s willing to throw money around to get people
to do what it wants. Bribes flow to local officials, state and federal legislators,
judges, police, and any movers and shakers that are not already too rich to be
bought. Of course, this graft becomes a liability that the characters can exploit if
they recognize it. The bribery may flow through third parties, leaving the recipi-
ents open to Blackmail. If the bribes are going to anyone who’s friendly to the
characters, they may help the Industry eventually Co-Opt Allies.
Some fairies are known for their greed. The Industry may just buy off some
assistants and gentry with gold, delicacies, or other treasures. Of course, if the
Industry understands the power a promise holds over a fairy, they will extract a
heavy price for their largesse.
Headlines: Judge Moreno Begins Construction on Second Home;
Police Department Loses Key Evidence
Face: Detective Grayson Turner (page 35)

18 FATE: WORLDS OF ADVENTURE

Blackmail
If the characters have backstories or have engaged in activities during play that
could compromise them if word got out, and if the Industry has uncovered
such information during an Investigate reaction, this node targets them directly.
Otherwise, it focuses on other parties who could not be Bribed but who had
secrets uncovered by Research Community. Targeting the right figures could lead
to many later nodes, such as Litigate, Plant Evidence, Co-Opt Allies, Legislate,
or Frame.
Blackmailing fairies involves threatening to expose whatever schemes they’ve
engaged in against other members of the Court. Gentry often undermine others’
plans, and tricksters will play pranks on other fairies as well as humans. Many
won’t want such schemes brought to light, and if the Industry wants to exert
influence on the Court rather than wipe it out, they may try Blackmail.
Headlines: Mayor Seen with Escort; What Would You Pay For
Silence? The Answer May Surprise You

Vandalize
The Industry moves beyond mere threats to actually deface property. Graffiti on
walls, rocks through windows, and slashed tires send a clear message—keep up
what you’re doing, and things will get much worse. There is also digital vandal-
ism, as freelance hackers attack the characters’ websites and email accounts and
impersonate them online. The damages are minor in the grand scheme and it’s
nothing that can’t be replaced, but this reaction can lead to Stealing Valuables,
Destroying Property, or even Contaminating.
To vandalize fairy spaces, the Industry may spread garbage, mark trees, post
unsightly signs, and generally bring elements of human life into the pristine
wild. The result is discomfort or even fear, unlike Contaminate, which seeks to
completely destroy the spiritual fabric of a place.
Headlines: Unknown Thugs Terrorize Main Street; Local Figures
Make Social Media Gaffes

GOOD NEIGHBORS 19
 The Third Tier
At this tier, the Industry pulls out the final stops. These reactions can have long-
lasting repercussions, changing how people live and do business in Still Hollow.
Of course, the Industry could just try to eliminate their problems altogether.

Litigate
The Industry has resources far beyond anything most characters can field. This
includes teams of attorneys and the specter of civil suits or even criminal charges.
If the characters have ever trespassed on Industry property, there could be records
to spring on them on court. Even baseless lawsuits can drag on for months,
especially if the judge has been Bribed. Resolving this issue will require a solid
defense and a skilled lawyer willing to take on the giant. The next obvious step
for the Industry is to Legislate, making the characters’ activities harder if not
outright illegal.
On the supernatural side of things, the Industry can exploit ancient pacts
made by the local Court. Imagine Lucinda Clarke with the power of fairy con-
tracts at her command. If they’re in play, the freelance occultist (page 16) may
become a recurring foil as they invoke ancient magic to bind the Fair Folk of
Still Hollow. The fairy characters must figure out how to counter loopholes in
the Old Ways to continue their fight against the Industry.
Headlines: Trial of the Decade Set to Begin; Local Activists
Charged With Multiple Counts
Face: Lucinda Clarke, Industry Attorney (page 39)

20
Co-Opt Allies
Previous responses have weakened the characters’ relationships with some NPCs,
but they have made other friends along the way. At this node, the Industry
targets those allies for Bribery or Blackmail, turning them against the characters.
Alternately, if the characters have made moral compromises of their own in the
fight against the Industry, and the Industry knows it, this information can be
used to drive a wedge between the characters and their friends. Once the allies
have turned, they can help the Industry in later reactions such as Plant Evidence,
Frame, or even Arrange Accident. If the characters resolve this issue and restore
their relationships, the Industry may choose to Remove Allies in return.
Headlines: Keep Your Friends Close; Betrayal Rocks Local Activists

Plant Evidence
This reaction is a telegraph—the Industry is sending a message that the charac-
ters are vulnerable. Operatives break into their homes or places of business and
plant evidence of unsavory or criminal activities where the characters will find
it. It’ll be clear that the plant is not the only copy of such evidence. Perhaps the
characters receive a threatening email or phone call warning them away once and
for all. Resolving this issue means protecting themselves from the effects of the
evidence or else locating and retrieving all copies. If the characters resolve the
issue without completely immunizing themselves, the Industry may move on
to Frame them. And since they obviously have access to the characters’ homes
and offices, they could also Steal Valuables, Destroy Property, or Harm (or Kill).
This reaction can be seen as an escalation of Blackmail or even Vandalize, and
as such it can be turned on fairy characters as well. In this case, the evidence
planted makes it look like fairy characters have turned against the Court or a
particular fairy NPC.
Headlines: We Know What You Did Last Summer

Steal Valuables
In the same way that Plant Evidence sends a message, this reaction is a psycholog-
ical attack as much as a financial one. The Industry targets items of sentimental
value, determined by earlier Investigate reactions. They might take a photograph
of a dead loved one, a family heirloom, or a cherished award. The goal is to
demoralize the characters and make them stop once and for all. The characters
can resolve this issue by retrieving their valuables or by redoubling their efforts
against the Industry despite the loss.
If a fairy oath or taboo involves particular items, this reaction targets them. Is
your Court built around an enchanted stone or magic cup? Then the Industry
sends in a backhoe or scoops up the chalice. If the valuable item is tied up in a
taboo, this will send the entire Court into disarray.
Headlines: Police Investigate Rash of Burglaries; Where Did I Put
That?

GOOD NEIGHBORS 21
 Arrange Accident
More covert or less personal methods have failed. Intimidation and violation
of property have not deterred the characters from their opposition. Now the
Industry must make it clear that they are willing to injure—or worse—if neces-
sary. They arrange a situation in which the characters face real physical harm in
a way that appears to outsiders as pure chance. Of course, the characters will
understand what message the event is meant to convey. The characters will sur-
vive, of course, and have even more reason to go after the Industry—and possibly
more evidence to use against them.
Against fairy characters, this reaction resembles Harm (or Kill) as the Industry
just sends a team to attack them. However, they have orders to avoid serious
injury or death. The point is that the Industry could hurt them whenever it
wants.
Headlines: Auto Club Warns, “Get Your Brakes Checked”; 10 Tips
to Protect Your Home from Fire Damage

Legislate
The Industry is not beyond changing the very laws of the land to quash all oppo-
sition. If what they do is legal and it’s making all the right people a good deal of
money, nobody is going to listen to the few voices speaking against them. This is
one of the hardest reactions to resolve, as it requires access to the halls of power,
contact with the movers and shakers, and probably a good deal of money. GMs,
you’ll want to use this reaction carefully.
As with Litigate, the Industry may possess magic that lets them interact with
the taboos and oaths of the Fair Folk. In this case, they could uncover a ritual
that allows them to instill new taboos, effectively blocking the fairy characters
from ever opposing them again. This necessitates a climactic mission to stop the
Industry’s ritual and close them off from Still Hollow once and for all.
Headlines: Bill Before Congress Eases Industry Regulations;
Ecological Terrorism Act Finds Broad Support

Remove Allies
Allies not yet Co-Opted now become the targets of attacks like those the char-
acters face in Arrange Accident and Harm (or Kill). Anyone who supports the
characters is at risk, and the Industry may go to any length to remove that sup-
port. If the characters resolve this issue and get their allies to safety, the only
option left for the Industry is to go after the characters themselves.
Headlines: Are Your Loved Ones At Risk?; Nowhere Left to Turn

22 FATE: WORLDS OF ADVENTURE

Frame
The Industry may want to keep its hands as clean as possible. In this case, it
could rely on the legal system to take care of its opponents. If said opponents
have kept on the right side of the law at every step, the Industry may just fabri-
cate evidence against them and make sure the police get their hands on it. This
reaction could leave the characters on the run, especially if their allies have been
Co-Opted or Removed. As fugitives, the characters are particularly vulnerable
to being Harmed (or Killed).
When the Industry acts against a fairy character, the evidence is delivered to
one of their fairy rivals. The Industry means to take the character off the board,
and they’ll use other members of the Court to do it if they can.
Headlines: Local Activists Wanted in Connection to Recent
Crimes; No One-Armed Man to Save You This Time

Destroy Property
Before moving in for a final sanction, the Industry may try to burn the characters’
lives down around them. Everything they own is fair game. Homes, businesses,
vehicles can all be targeted in a campaign of terror and destruction meant to
crush their spirits and their will to fight. If the loss of mere things isn’t enough
to deter the characters, the only options left are to steal the land they love or
their very lives.
Destroying an item of significance to one fairy or the entire Court may have
serious spiritual consequences. If a taboo is involved, this could be akin to an
attack on the fairy’s very essence.
Headlines: After String of Car Fires, Police Warn, “Keep Them
Inside”; Can You Afford Not to Have Insurance?

Contaminate
This reaction involves purposefully damaging a natural space. This may mean
improperly disposing of chemicals in a waterway, clearcutting the forest around
a prominent wellhead, or even setting a fire at the park. This activity will occur
under cover of darkness or far from public view, but its effects will be felt
quickly—first by fairies and then by humans who are tuned in to such matters. It
may be impossible to reverse the damage this reaction causes, but if it is revealed,
public outcry follows swiftly.
Headlines: Nutmeg Creek Runs Thick With Sludge; Still Hollow
Park Band Shell Destroyed, Arson Suspected
Location: Abandoned Mines (page 30)

Face: Knockers (page 30)

GOOD NEIGHBORS 23
 Harm (or Kill)
The Industry’s last resort is to eliminate offending characters through violent force.
They will make the attack look like an accident or an unrelated incident such as
a mugging or carjacking gone wrong. Unlike Arrange Accident, this is clearly an
attack, and it shouldn’t be hard for the characters to link it back to the Industry,
even if they can’t prove it. Whatever happens, this reaction launches final moves by
both sides.
Headlines: Emergency Room Opens at St. Lawrence; Locals Face
Industry Ire

24 FATE: WORLDS OF ADVENTURE

FAIR FOLK
Many native nations tell stories of “little people” that live out of sight and cause
mischief. European immigrants have their legends of spriggans, leprechauns, and
domovye. Do these tales all point to the same beings, resident around the world
but viewed through different cultural lenses? Or are there unique groups of faeries
that migrated and mingled as their related humans spread?
Whatever their origin, the Fair Folk typically fall into three categories. Tricksters
are spirits of mischief, but the chaos they cause teaches humans an important
lesson. Assistants (also known as workers or house elves) do work for humans,
always in secret, in return for payment such as milk, bread, or trinkets. Gentry
are the rulers of the fairies, beautiful creatures responsible for upholding the old
compacts with humanity.
You see, the word “fair” in Fair Folk does not refer to physical appearance or
stature. Rather, it means that fairies always act equitably. If a fairy ever makes
you a promise, nothing short of the fairy’s utter destruction will keep them from
fulfilling it. And fairies are immortal creatures of magic, so a deal struck with one
lasts forever, even if the descendants of the long-dead human parties no longer
remember.
As close as they are to humans, fairies are also tied to the land in an intimate,
complex web. Some fairies claim geographic features like forests or streams and in
turn become tied to them, unable to leave. Others seem to mimic or manifest the
passing of the year and the natural cycles of weather, growth, or decay. The Fair
Folk are responsible for the land’s well-being because they reflect it and are affected
by it. So when an outside force arrives and begins changing the balance of nature,
the fairies are the first to notice and to try doing something about it.

Taboos
In addition to their inability to break a promise, fairies observe other taboos. These
result from pacts made in ancient times of which fairies do not—or cannot—speak.
The rules fairies must follow are up to your group to determine when you create
your game. Some examples include:
• A fairy cannot abide the touch of iron or some other mundane material.
• A fairy cannot enter holy ground.
• A fairy cannot cross a line of salt.
• A fairy’s magic only lasts until the next sunrise or sunset.
• Speaking a fairy’s True Name—a magically potent name, not what the fairy
is commonly called—forces the fairy to do your bidding or makes you
immune to the fairy’s magic.
• The Court convenes on the new moon. Any fairy that does not attend may
find their magic abandoning them at inconvenient times for the following
month.
These taboos are excellent ways to compel fairy characters. If the Industry
becomes aware of the supernatural, they may uncover and use these taboos against
the characters. Taboos aren’t something the fairy characters will run into in every
scene, or even every session, unless you are really looking to put the screws to them.

GOOD NEIGHBORS 25
 The Court
The Fair Folk call their community and its hierarchy the Court. All fairies have
a place in the Court, from the highest gentry to the lowliest assistant. This posi-
tion reflects a complicated combination of age, influence, magical power, and
other unseen factors.
At the top of the Court is the Queen, a position more akin to the chairman of
a slow-moving committee than a monarch. This post changes hands twice a year,
at the solstices, with the new Queen chosen by fate itself. The old Queen and
two other fairies chosen by lots perform a ritual in which the name of the new
Queen is spelled out in the falling of leaves or by the play of sunlight on water.
(Queen is a non-gendered term among fairies, since gender is a sophisticated and
fluid concept for them in general.)
The Winter Queen is responsible for the rebirth of the land in spring, while
the Summer Queen oversees the harvest and gradual cessation of life in the
autumn. Many Queens are gentry, but the position is technically open to all
fairies. When fate chooses a trickster Queen, the whole Court knows to take care
until the turning of the year.

Important Fairies and Common Folk

Here are a few examples of typical fairies for each major category of Fair Folk.
Nameless fairies follow the rules for mooks in Fate Accelerated Edition. While
these characters only get modifiers to their rolls based on the actions they are
Skilled or Bad at, they still can only act in certain ways according to their nature.
Each nameless fairy includes one aspect phrased as an approach, but they can act
according to two other approaches listed in their stats. If you use these typical
fairies as inspiration for named NPCs, make sure to give them additional aspects
phrased as approaches.

26 FATE: WORLDS OF ADVENTURE

Typical Trickster
Tricksters range from tiny will-o’-the-wisps who delight in confusing travelers
to gremlins that cause the most complicated machines to glitch or break down.
In many cases, the trickster’s schemes impart a valuable lesson on those willing
to listen. Sometimes, a trickster is just malicious, and their victims come away
with nothing. A trickster always looks for a complicated solution. There isn’t a
trickster around that will do things the simple way.

Typical Trickster
Clever Trickster
Skilled (+2) at: Teaching people what they don’t want to learn, causing
mischief
Bad (-2) at: Doing things the simple way
STRESS
None (first hit takes them out)
NOTES
A typical trickster can do things Sneakily and Forcefully, even without
aspects that include those approaches.

Typical Assistant
Assistants live to help others. Much of their time is spent toiling in the dark,
fixing broken shoes or tools, without any expectation of acclaim. The only
acknowledgement they seek are the little payments of old superstition—bread,
milk, whispers of thanks into the night. Assistants are very good at remaining
unseen and working fast, and many are considerate of how their work will affect
others. But when it comes to drawing attention or forcing their will on others,
the typical assistant simply can’t do it.

Typical Assistant
Sneaky Assistant
Skilled (+2) at: Repairing and improving everyday objects, working
unseen
Bad (-2) at: Asserting themselves in front of their “betters”
STRESS
None (first hit takes them out)
NOTES
A typical assistant can do things Carefully and Quickly, even without
aspects that include those approaches.

GOOD NEIGHBORS 27
 Typical Gentry
The typical gentry fits the image of the “shining host”—powerful and beauti-
ful fairies such as those who ride out on the Wild Hunt astride white horses
with swords in hand. Where tricksters teach and assistants toil, gentry oversee
the Court and relations with their human neighbors. Many gentry are warriors,
some are philosophers and poets, and a very few are truly noble. The curse of the
gentry, however, is that time does not work for them in quite the way it works
for humans. This fact makes it hard for these immortal beings to relate to the
humans to whom they may have pledged their lives.

Typical Gentry
Flashy Gentry
Skilled (+2) at: Honorable combat, seduction and manipulation
Bad (-2) at: Resisting appeals to vanity
1
NOTES
A typical gentry can do things Forcefully and Cleverly, even without
aspects that include those approaches.

Queen Alphania
Unless the group agrees otherwise, at the start of a Good Neighbors game, the
Queen is a gentry named Alphania. Her exact disposition changes depending on
when in the year you set your game. As Winter Queen, she is solemn and protec-
tive, motivated to stop the Industry because of ancient promises the Court made
to protect the people of Still Hollow. As Summer Queen, she is bitter and angry
at the damage the Industry does to the land. In either case, she is willing to lead
the Fair Folk to war if the Industry cannot be driven out peacefully.

Alphania
Superb (+5) Clever Politician;
Great (+4) Careful War-Leader;
Fair (+2) Forceful Pledge-Keeper
3

28
STILL HOLLOW
Still Hollow is a small mountain town of about 15,000 people. Through its
more-than-140-year history, it has moved from farm town to mining town, but
it has always struggled. Now, the Industry promises more jobs and more money,
but at what cost?
Nestled in a wooded valley, Still Hollow is accessed by two state roads and
a freight train line that hadn’t stopped in town in decades before the Industry
moved in. Residents get their groceries at Talbot’s Market, buy clothes at
Gurnsey’s, and take their cars to Olson’s Auto Service. That’s how it’s been for
all of living memory.

WHERE IS STILL HOLLOW?

We have left Still Hollow’s location deliberately vague so you can
better build your game around it. It is important that Still Hollow be
the largest town in easy driving distance, remote but not truly iso-
lated. The surrounding area is rural and leans toward being politically
and culturally conservative, and the people cling to at least some of
their traditional superstitions. While Still Hollow is described as lying
in a mountainous area, that is only one possibility. With these points
in mind, you can set Still Hollow in any number of places. Examples of
active shale gas deposits in America include:

• Antrim Shale, extending from Michigan into parts of Ohio

and Indiana
• Barnett Shale in Texas
• Fayetteville Shale in Arkansas
• Gothic Shale in Colorado
• Marcellus Shale, below Pennsylvania, Ohio, West Virginia,
and New York
• New Albany Shale in Indiana, Illinois, and Kentucky
• Utica Shale, under New York, Pennsylvania, Ohio, parts of
Kentucky, Tennessee, Maryland, and Virginia, as well as
Ontario and Quebec in Canada
• Woodford Shale in Oklahoma

While this book is written from an American viewpoint, Still Hollow

could appear in many countries with some tweaking. Canada has
active industry activity in the Muskwa and Montney Shales in British
Columbia, the Duvernay Shale in Alberta, the Horton Bluff Shale in
Nova Scotia, and the Frederick Brook Shale in New Brunswick. And
while there is no current production in Europe, exploration is under-
way with an eye toward production in northern and western Europe,
Scandinavia, and Great Britain. Similar exploration is also taking place
in South Africa and China.

GOOD NEIGHBORS 29
 Abandoned Mines
Long since played out, the mountains around Still Hollow once contained a
fortune in coal, metals, or other mineral resources. Of course, all that wealth
flowed away to barons in far-off cities. Now the shafts they sunk into the earth
lie hidden behind wooden boards and underbrush.
The Industry has purchased several of these abandoned mines and now uses
them for storage. If you’ve reached the Contaminate reaction, this is the place to
dump those barrels of chemical waste. But an abandoned mine could show up
earlier in your game as a place that yields precious evidence—if the characters
can make it out in one piece.
Aspects: An abandoned mine is Unlit and Unsafe. One that houses chemi-
cal waste is Packed with Barrels; consider reading “Detonating Situation
Aspects” in the Fate System Toolkit (page 14). See also “Unnatural Earthquakes” in
this book (page 41).

Knockers
Knockers are trickster fairies that live in mines. They are known for knocking
on the timber supports, frightening but also warning miners of imminent col-
lapse. A knocker living in one of the abandoned mines knows everything that
goes on there. The fairy views the Industry’s storage as an affront—mines are for
taking things out of the ground, after all. The characters may have to convince
the knocker to let them save crucial evidence rather than dropping it down the
deepest shaft or collapsing the whole thing on top of them.
A knocker looks like a diminutive, grizzled human wearing antiquated miner’s
gear, complete with a lantern helmet.

Knocker
Great (+4) Sneaky Old Coot;
Fair (+2) Clever Trickster;
Average (+1) Careful Engineer
3

Still Hollow Ledger

The Still Hollow Ledger has delivered local news for over a century, along with
providing a forum for opinion and commentary on events around the town. In
the Internet Age, it carries on mainly through inertia, amounting to little more
than local gossip and ads for weekend sales. The half-hearted attempt to take the
paper online has dragged on for years.
That may change if events surrounding the Industry get more interesting. A
local paper staffed by hungry reporters with nothing to lose may be convinced
to run stories that challenge giants. If the characters make contacts at the Ledger,
the journalists may leak information anonymously. The paper may become a
target of Industry reprisal, but it is a valuable resource as long as it lasts.

30 FATE: WORLDS OF ADVENTURE

 Physically, the Still Hollow Ledger is comprised of a four-story office building
and the adjacent warehouse filled with decades-old printing equipment. Much
of the building is empty or filled with dusty records and back issues. The old
papers may be a rich source of information for both the characters and the
Industry.
Aspects: These days, the Ledger’s offices are Quiet and Dusty. Should the
paper become an ally against the Industry, it may take on an air of a Fortress
Under Siege.

Still Hollow High School

Still Hollow High School is a battleground for the Industry and its opponents.
Students facing increasingly bleak futures of joblessness and crushing debt look
desperately to the Industry’s wells and camps as perhaps the only way out. The
Industry sponsors a number of grants and scholarships for the best and brightest
to pursue careers in science and technology.
Teachers like Grace Silver and many parents struggle to give the students
hope for a better future than the gas fields. Opponents know that the economic
growth that comes with the Industry is short-lived. And when the money is
gone and the problems remain, these kids will be left even worse off than their
parents. There are alternatives, but they will require hard work and a new way
of thinking.
The students are Trapped Between Two Armies. Many will tune out and
settle for the easiest path, but some can be turned into strong voices on the
characters’ side.

Miss Silver
Grace Silver teaches chemistry and physics classes to sophomores and juniors.
While she recognizes that the science on the Industry is inconclusive, she person-
ally advocates for alternative energy sources and other environmental causes. She
struggles to teach her students about ways to make the world cleaner, safer, and
more productive. Unfortunately, the administration is more interested in money
coming from Industry-associated grants.
Miss Silver is an attractive woman in her late twenties. She wears glasses and
keeps her hair in a ponytail during school hours.

Grace Silver
Good (+3) Devoted Teacher;
Average (+1) Part-Time Climate Scientist
STRESS
Physical 2 Mental 3

GOOD NEIGHBORS 31
 The Morrison Arms
When the Industry announced its intention to open operations in Still Hollow,
a number of developers began to rapidly construct medium-term hotels and
rental properties in clusters around the town. In addition, speculators snatched
up old homes, hastily renovated them, and put them up for sale at inflated prices.
While the immediate impact on housing prices is positive—positively stagger-
ing—savvy long-term residents worry about what will happen in ten years when
all of the people brought in by the Industry have moved on to other hotspots
around the country.
The Morrison Arms is typical of the kind of hotel that houses Industry work-
ers month-to-month. The dark-red brick building stands on the southern end
of Still Hollow on ground that in decades past has held a produce warehouse, a
bowling alley, and until very recently a weed-choked lot. Now its ten floors hold
almost a hundred units, each a single-bedroom apartment with a kitchenette
and tiny balcony.
Aspects: This kind of slapped-together temporary housing Never Feels Like
Home.

Hickory and Bluebell

Hickory and Bluebell are house fairies who have claimed the Morrison Arms.
They perform various tasks for the residents, unseen and unacknowledged.
Workers who stay in their hotel find that minor stains vanish overnight, that
damaged clothes and simple tools are repaired and shined up. The residents are
usually too tired to question how everything gets done, but the small staff is
starting to catch on.
While neither of the fairies is savvy with modern electronics, Bluebell is very
curious about how smartphones and laptops work, and she will sometimes sneak
such items away to play with while their owners sleep. Where Bluebell is studi-
ous and a little shy, Hickory has some of the trickster in him and watches the
laborers for signs of who could use a quick lesson.
Hickory and Bluebell both stand at just over two feet tall. Bluebell looks like a
slim young woman with twinkling eyes and blue flower petals for hair. Hickory
has dark, creased skin that could be mistaken for bark at a glance. His eyes are
deep brown and seem to glimmer faintly in the dark.

Hickory Bluebell
Great (+4) Clever Assistant; Great (+4) Careful Assistant;
Fair (+2) Quick Trickster; Fair (+2) Sneaky Student;
Average (+1) Sneaky Observer Average (+1) Those Clever
3 Humans and Their Toys
3

32 FATE: WORLDS OF ADVENTURE

Still Hollow Park
Still Hollow Park covers thirty acres in the northeast corner of town. Normal
park hours are 9:00 AM to dusk. The park contains three small pavilions and
two large, which host public and private events throughout much of the year.
There are also two baseball diamonds and a soccer field for Little League and
amateur community teams. A large playground structure of wooden forts, plas-
tic slides, and a sturdy treehouse dominates one corner of the park.
Nutmeg Creek runs along the edge of Still Hollow Park, cutting through
pitched, rocky banks. A low stone wall was built and signs were mounted to
warn children away from playing on the rocks, but every now and then you
hear about a child who slips into the water and is swept a short way down-
stream. Luckily, it’s been many years since anyone was seriously hurt.
The Industry sponsors a youth soccer team and plans to hold a community
softball series this fall. Local health experts have called for a study of the water
in Nutmeg Creek, but the Industry’s financial support of the park has so far
killed any public funding.
Aspects: Still Hollow Park is well maintained, peaceful, and generally quiet.
There are Kids Everywhere in the summer, after school, and on weekends.
At night, the park may take on an Air of Menace, as teenagers lurk among
the trees and occasional fights break out between groups of them.

Nutmeg
Nutmeg is the resident fairy that watches Nutmeg
over Nutmeg Creek. While she might tech- Great (+4) Forceful River Spirit;
nically be grouped among the gentry, she Fair (+2) Flashy Contrarian and
doesn’t pay much attention to the workings Sneaky Teacher of Manners
of the Court. She makes it clear to each 3
new Queen that she only cares about her
creek. In truth, she sometimes feels more like a trickster, and she has been
known to wash the legs out from under careless children or trespassers who
drop litter in the water.
With the arrival of the Industry, Nutmeg has grown agitated. She can taste
the chemicals bubbling up from the hills. She can feel the rumbling of the earth
threatening to shake her from her proper course. The world is getting sick, and
the Court doesn’t seem to want to do anything about it. Nutmeg is looking for
fairies willing to set things right, and the Queen be damned if she doesn’t like it. 33
 The Anderson Farm
Some landowners around Still Hollow have accepted offers from the Industry
to purchase their land outright, but many instead choose to lease the extraction
rights rather than sell. These rural homesteads are vestiges of the small, family-
owned farms and ranches that once filled the region.
The Anderson farm sits ten miles down State Road 981, where the hills start to
rise into proper mountains again. The family has worked this land for seven gen-
erations, raising sheep and cows and planting the odd crop of corn or soybeans.
They are honest, hard-working folk who are careful around strangers. They are
not easily swayed by outsiders and intellectuals selling stories of calamity.
The farm consists of a small two-story home, a barn for housing livestock and
storing equipment, and acre upon acre of fenced pasturage. Livestock stand
lazily in the fields, and a few chickens run through the yard. The Andersons are
quiet and keep to themselves, but their neighbors have all heard the stories of
the Old Ghost.
Aspects: The Andersons Don’t Like Strangers Much, which is okay
because They Say This Place Is Haunted.

The Old Ghost

The Old Ghost The Old Ghost is not actually a spirit
Great (+4) Sneaky Trickster;
of the dead, but a fairy that resides in
Fair (+2) Forceful Spirit;
an ancient tree in the Andersons’ west
Average (+1) Careful Protector
field. Not even the family knows how
3
long it’s made its home there. The first
members to settle here encountered it
in their first winter. The Old Ghost terrorized them for three nights, but when
the humans refused to leave their new home, the Ghost made a silent vow to
watch over them for as long as they stayed.
It has been nearly 150 years, and the Old Ghost still protects the Anderson
family. But it also teaches them things, appearing in dreams or as an apparition
in the fields. The Andersons aren’t afraid of much these days, because the Old
Ghost shows them that there isn’t much the living have to fear.
Unfortunately, the Old Ghost is beginning to fear something itself—it can
feel the earth groaning beneath its tree. It has convinced the Andersons to not
sign with the Industry. If the characters can show the Old Ghost that the whole
town is in danger, it might be a potent ally in teaching all of Still Hollow an
important lesson.

34 FATE: WORLDS OF ADVENTURE

Police Station
Still Hollow has a twenty-person police department. Officers spend the majority
of their time responding to public intoxication and domestic dispute calls. Let’s
be honest: these are not the people you want investigating any sort of major
crime. So, if the struggles between the characters and the Industry escalate
beyond public name-calling, the police are not who you want to call.
The Industry is in an ideal situation here. Departments of this size have anemic
budgets, especially for things like officer pay and benefits. The Industry has no
trouble buying off any or all of Still Hollow’s finest.
The broad two-story police station sits across the square from City Hall. It
amounts to not much more than four holding cells, an interrogation room, evi-
dence storage, and locker rooms. Its last-century design paints a much grander
picture than the department deserves.
Aspects: Everyone at the station is Tired, Not Lazy. Some of the cops are
On the Take and will happily rough up anyone brought in for agitating against
the Industry.

Detective Grayson Turner

Grayson Turner
Grayson Turner is one of three
Great (+4) Small-Town Detective;
detectives in the Still Hollow
Fair (+2) Man of Action Past His Prime;
Police Department. He has been
Average (+1) Reluctant Conspirator
a cop for almost thirty years.
He’s nearing retirement, but he STRESS
keeps in fair shape for a man Physical 3 Mental 4
his age. He trained both of his
junior detectives, but the biggest cases
in town still find their way to his desk.
Turner is the first target of Industry
coercion. So close to retirement, he’s
feeling the pinch of the department’s
benefit scheme. The money he is
offered to serve the Industry’s inter-
ests is too tempting. Once he is in
their pocket, he sees to it that the rest
of the department falls in line.
There is a part of Grayson Turner
that knows that what he’s doing
is wrong. The people paying him
wouldn’t be doing so if they were
wholly on the side of the angels. The
characters can use this nagging doubt
to remind Turner of his duty and
turn him back from the deal he made.

GOOD NEIGHBORS 35
 THE INDUSTRY
The Industry is a massive company with operations across the country or even
around the world. Their presence in Still Hollow, while overwhelming to the
local economy, is a minor concern to the Industry overall. This is the only reason
a small group of activists and supernatural insurgents have a chance to drive
them out of the town. Make Still Hollow too expensive—in terms of actual
dollars spent, negative publicity, or legal difficulty—and the Industry will pull
up stakes.

Operation
The Industry began its work in Still Hollow several years before your game begins.
First it sent geologists and surveyors in search of deposits. These scientists located
multiple promising sites within thirty miles of Still Hollow and nominated the
town as a good location for managing operations.
Each of these sites begins with a drilling rig that bores a hole thousands of
feet through solid rock. This takes up to two months, depending on the number
of wells to be dug and the necessary depth. Once the hole is drilled, fracturing
fluid consisting of water, sand, and chemicals is pumped into the rock far below,
creating or expanding cracks and allowing hydrocarbons to flow out and up
the well. The fracturing fluid is captured and removed. The drilling rig is then
removed and the site reclaimed; a wellhead and tanks are installed to collect the
extracted natural gas, and the site is fenced in to deter trespassing.

36 FATE: WORLDS OF ADVENTURE

 Over the last year, the Industry constructed dozens of these wells around Still
Hollow. They also established a camp outside of town that holds their adminis-
trative offices, monitoring equipment, and chemicals. The influx of money and
personnel has led to new construction around town, much of it done quickly
and cheaply, to the dismay of long-time residents.
Of greater concern than outsiders and shoddy construction are the potential
environmental effects of hydraulic fracturing. First, the fracturing process uses
chemicals that are harmful if ingested, and improper construction can allow
these chemicals to leach into subsurface drinking water. Sometimes, these chem-
icals even include radioactive elements like uranium and radium.
Second, the process puts stress on rock formations, creating and widening
cracks and pores. The increased pressure underground could make the rock
unstable and induce seismic activity, even in areas with no history of earth-
quakes. While most such tremors will go unnoticed by humans, the largest
might damage structures not built to withstand them.
Beyond these problems, constructing and operating the wells requires trucks
and tankers that produce their own share of pollution, both air and noise. Their
passing damages public roadways, and the Industry must build new roads
through previously undeveloped areas to reach their drill sites.

Industry Camp
The Industry purchased an abandoned commercial park outside of town and
converted one of the remaining buildings into their regional office. About fifty
employees handle logistics, human resources, public relations, operations plan-
ning, and data collection from the site.
In addition, the Industry has erected vehicle hangars and warehouses for the
storage tanks and drilling equipment needed to establish new wellheads. The
whole site is ringed by passive sensors and active security, an invisible fence to
keep out intruders.
Aspects: The camp has Surprisingly Heavy Security for a corporate
administrative office.

Security Guard
While most Industry sites are monitored by remote security devices, someone
has to make the rounds and check that all the cameras and motion detectors
are working right. And if any of them throw an alert, someone has to check on
that too.

Security Guard
Average (+1) Rent-a-Cop
STRESS
None (first hit takes them out)

GOOD NEIGHBORS 37
 Forces of Industry
The following are important figures in the Industry’s operations in Still Hollow.

Emilio Garcia, Industry Public Relations

Emilio Garcia, the Industry’s chief spokesperson, is a first-generation Cuban–
American from Miami. Many of his friends were tempted by drugs, guns, and
the lure of the marielitos, but all Emilio ever wanted to do was survive and find
a better life. He developed a natural talent for resolving conflicts and putting
others at ease. His work in his home community was recognized by many civic
groups and eventually earned him a college scholarship.
Emilio doesn’t particularly care about the Industry’s practices. He knows he
can convince the people of Still Hollow that the Industry represents the best
solution for their economic stagnation, even if it means overlooking some things.
Then everyone can start to work together.
Garcia never appears in public looking anything but immaculate. His suits are
crisp and tailored, though he favors styles that do not appear as expensive as they
are. He is tall, broad-shouldered, and almost handsome. He smiles constantly,
but if you ever anger him, you’ll know it from the flash of steel in his eyes.

Emilio Garcia
Great (+4) Corporate Mouthpiece;
Fair (+2) Bridge Builder;
Average (+1) Everybody’s Friend,
Until He’s Not
STRESS
Physical 3 Mental 4

38
Lucinda Clarke, Industry Attorney
Lucinda Clarke is lead attorney for the Industry, representing them in every
major legal case and keeping many more from ever reaching court. She is fright-
eningly good at her job, with a reputation that hangs on her like one of her
expensive tailored suits.
Rising from humble beginnings, Clarke refuses to owe anyone anything. She
earned everything she has, and she protects it fiercely. Rather than leave research
to her staff, Clarke takes the time to read all of the major studies about the
Industry’s activities. She is intimately familiar with the science, and understands
far more than her opponents expect. This also means she can call on the best
expert witnesses to bolster supporting results and attack the opposition.
Lucinda Clarke is a tall African–American woman with intimidating good
looks. She dresses to accentuate her stature and sharp features, but she acces-
sorizes with West African–inspired jewelry that lends the slightest humanizing
warmth.

Lucinda Clarke
Great (+4) High-Powered Lawyer;
Fair (+2) Layman Who Reads All the
Studies;
Average (+1) Career Woman Looking
Out For Herself
STRESS
Physical 2 Mental 4

39
 Eric Parsons
Eric Parsons is Regional Manager for Operations in charge of the Still Hollow
camp and its associated well sites. Parsons is notably young to hold as much
responsibility as he does. His quick rise through the Industry’s ranks might be
attributed to family connections, but Eric believes his work ethic and “can-do
spirit” have allowed him to come so far so fast.
In truth, Parsons is a competent middle manager but far from brilliant. The
operations around Still Hollow are just on the right side of being economical. So
far, Eric has listened to the experts he is fortunately surrounded with and made
a series of good decisions. Should he come under any real pressure, however,
Parsons is likely to fall apart and take the Industry presence in Still Hollow with
him. His underlings will do whatever they can to prevent this, leading to ever-
escalating response against the characters.
Eric Parsons is a fit man in his early thirties, typically dressed in mid-priced
suits and an eclectic collection of ties he feels show off his “fun side.” He pos-
sesses just enough intelligence to know that he doesn’t really understand enough
about the business on his own. Luckily, he has surrounded himself with smarter
people, and he leans on them for the really important matters.

Eric Parsons
Good (+3) Genuine People Person;
Average (+1) Golden-Boy Executive;
Family Connections
STRESS
Physical 2 Mental 3

40
Supernatural Effects
The Industry is quick to downplay any unwanted effects of their operations when-
ever they come to light. Of course, many of the worst are never exposed because
they literally defy scientific exploration. But the damage occurs nonetheless.

Malaise
Improperly constructed gas wells can leak chemicals and hydrocarbons into
groundwater, sickening humans and killing wildlife. But even when built cor-
rectly, these wells are invasive and destabilizing. They alter the flow of energies
within the earth, and this spiritual damage rises back up to the surface.
Initial symptoms include apathy and depression in both people and animals.
Children play less, and adults’ work suffers. Livestock must be fed by hand, or
they will forget to eat and soon waste away.
Eventually, however, the doldrums spark into aggression. Schoolyard fights
end in broken bones, not just tears. Arrests for brawls and assault rise, and the
police resort to force too quickly. Animals grow violent, and even friendly pets
might turn on their owners.
If you use this effect, write down a situation aspect that worsens at each sig-
nificant milestone (page 46). For example, it might start as Bad Energy,
progress to The Air Weighs Us Down, and finally, in the lowest tier of the
reaction tree, worsen to A Single Spark Can Start a Prairie Fire.

Unnatural Earthquakes
While the science connecting induced seismicity to hydraulic fracturing and
other Industry activities is inconclusive, in the world of Good Neighbors the
process creates spiritual as well as physical instability. The result is unnatural
earthquakes of great enough magnitude to damage buildings and injure or even
kill citizens.
If you use this effect, you can add a Tremors situation aspect to any scene
to heighten tension or add an element of physical danger. These quakes could
presage an even greater supernatural danger, or they could serve as an omen to
fairy soothsayers of imminent victory—or defeat.

GOOD NEIGHBORS 41
 ADVENTURE
Sessions of Good Neighbors are divided into two phases: the human phase, in
which the human characters deal with the Industry’s reaction to earlier events,
and the fairy phase, in which the fairy characters work against the Industry in
secret.
GMs, you’ll want each session to focus on an issue. The two overarching
issues—The Impact of Industry and How to Fight Back—are always
possibilities. However, after the first session, new issues will arise based on the
Industry’s reactions to the characters, as described in “Breaking News!” on the
next page. As these reaction issues come and go, you can build each session
around the interactions between character aspects and issues, following the
advice in Scenes, Sessions, and Scenarios in Fate Core (page 225).

42 FATE: WORLDS OF ADVENTURE

Human Phase
Each session begins in the human phase, when human characters pursue their
mundane goals and work to corral the Industry and eventually drive it from Still
Hollow. The Industry also launches its reactions during the human phase, and
the human characters must adjust their plans to deal with these complications.

BREAKING NEWS!
After the first session, each human phase begins with the GM re-
vealing the Industry’s reaction in the form of a new issue aspect. An
interesting way to phrase such an issue is as a newspaper headline
from the Still Hollow Journal. This does not need to be an in-world
headline, especially if the reaction is directed more at the fairy
characters. But putting the issue in this form injects some color
into the game and can flesh out the world.
After establishing the reaction issue, the GM should also create
a face NPC connected to the issue. This will be a member of the
Industry or a resident of Still Hollow, depending on whether the
reaction focuses on the human characters themselves or on the
community as a whole. This character will have very simple stats,
just a high concept phrased as a profession and rated at Great (+4).
Add one or two other aspects as necessary to flesh out their role
and personality.

Each human phase, the GM chooses two or three human characters to spot-
light during that session. Look at the issues in play—both the overarching issues
and those that come into play with reactions—and ask, “Which character will
be most affected by this issue?” This is especially potent if the spotlight character
has an appropriate aspect to compel. If you’ve reached Co-Opt Allies on the
reaction tree, for example, look for a human character with a strong relationship
to an NPC. How does the new reaction issue strain that relationship? How can
you phrase the new issue to provide more fuel for drama?

Jenn’s human character, Sam Brockson, is a Bad-Ass Notary Public.

At the start of a new human phase, the GM moves the Industry to the
Plant Evidence node on the reaction tree. She decides that a couple
of Industry thugs will break into Brockson’s office and plant evidence
that he’s been involved in a scheme to defraud many elderly towns-
people. To represent this, she creates a new reaction issue: Local
Notary Robs Little Old Ladies. Sam Brockson will definitely get a
spotlight scene in this session.

GOOD NEIGHBORS 43
 CHALLENGES, CONTESTS, AND CONFLICTS
Conflict is at the heart of engaging fiction, and human characters will
engage in plenty of it. Good Neighbors does not feature much violence,
however. Remember the overarching issue How to Fight Back: charac-
ters must choose different battlefields. Most conflicts will be mental or
social, with characters engaging NPCs or organizations in the theaters
of opinion and law. As the game progresses and the Industry moves to
lower tiers of the reaction tree, some violence may creep in. The higher
the stakes grow, the more serious all sides become.
Many activities can be handled with challenges and contests instead
of conflicts. When facing off against the Industry, there is rarely an in-
dividual you can attack—whatever the context may be. Instead, you’re
looking to make incremental progress toward a goal or complete a com-
plicated task in stages.

One session can combine challenges, contests, and conflicts

into a single story. The GM decides to spotlight two characters
during the human phase. The first PC, a police detective, inter-
views witnesses and collects evidence. The GM runs this first
scene as a challenge, with each successful step of the investiga-
tion yielding more information.
The second spotlight character is a lawyer. In the second scene,
she engages Lucinda Clarke in a mental conflict as both attor-
neys try to psych each other out during the discovery phase of
an upcoming trial. The consequences suffered during this con-
flict can be invoked or compelled in the courtroom.
Finally, the GM runs a third scene as a contest in which the
lawyer and Clarke present their cases in court. The detective
takes the stand to provide key testimony, as well. The first side
to three victories wins the case.
Throughout these scenes, other characters can assist by cre-
ating advantages or by overcoming obstacles in the spotlight
characters’ way.

44 FATE: WORLDS OF ADVENTURE

Fairy Phase
Once the human spotlight scenes have resolved, play moves to the fairy phase.
In this part of the game, fairy characters pursue their twin missions of protecting
the humans of Still Hollow and pushing the Industry out so as to restore spiritual
balance. Much like in the human phase, the GM picks one or two fairy char-
acters to spotlight. Find ways to tie the fairy characters into the reaction issues,
including elements of the Industry’s reactions that affect fairies and the Court.

Jenn’s fairy character, Venturion, has a neighbor aspect Forceful

Science Enthusiast tying him to Kass’s human character, Maria, an
Industry scientist who has realized the dangers of their operations.
When the Industry tries to Intimidate her into falling back in with
the company line, Maria can’t resolve the issue—Department Budget,
Head In Danger—on her own. Venturion is fascinated with Maria’s
work, so he wants to keep her safe and get the Industry off her back.
In a later session, a Co-Opt Allies reaction was left unresolved, when
the Industry forced a gentry fairy NPC into a promise that turned him
against the Court. Jamie’s fairy, Swift Wing, has the court aspect “I
Can Help”—Forceful Helper; she feels obliged to help other fairies
whether they want her aid or not. So the reaction issue Fairy Prince
Makes One Promise Too Many causes Swift Wing problems as she
becomes wrapped up with the gentry.

It is possible, through dedication and hard work, for the human characters to
resolve every reaction issue during the human phase. If they do, fall back on the
overarching issues. The Impact of Industry should provide plenty for the
fairy characters to deal with. But if the characters have been solving all of their
problems the same way—stealing compromising information from Industry
offices, for example—consider focusing on How to Fight Back instead. The
Industry will eventually catch on and change up their security.

GOOD NEIGHBORS 45
 Milestones
The reaction tree determines when characters earn milestones. These milestones
provide different benefits than those described in Fate Core to accommodate the
simplified process of creating characters.

Minor Milestones
Players, whenever your characters resolve a reaction issue—usually at the end of
a session—you all earn a minor milestone. During a minor milestone, you can
choose to gain one of the following benefits for your human character and fairy
character. You can choose a different benefit for your human and fairy, unless
the benefit notes otherwise.
• Switch the ranks of your two professions or two approaches that are not
your high concept.
• Switch one stunt for another stunt. The new stunt does not need to
connect to the same aspect, but no aspect can have more than one con-
necting stunt.
• Purchase a new stunt, provided you have the refresh to do so. (If you
choose this benefit, you must choose it for both characters.)
• Rename one character aspect that is not your high concept.
It is possible to resolve more than one reaction issue in a single session. If you
do, you earn a minor milestone for each issue resolved.

Significant Milestones
The reaction tree is divided into three tiers (page 13). Whenever the GM
moves to a node in the next lower tier, the PCs earn a significant milestone.
Players, during a significant milestone, you get the benefit of a minor mile-
stone whether you resolved an issue or not, plus you can advance your professions
and approaches. For both your human and fairy character, raise the rating of one
aspect other than their high concept by +1. You cannot raise an aspect above
Good (+3) during a significant milestone.
If you think your human character has broadened their experience enough
and want to add a new profession, you can use the minor milestone benefit to
rename a non-profession aspect to be a profession. Instead of raising an existing
aspect by +1, you can give this new profession an Average (+1) rating.

46 FATE: WORLDS OF ADVENTURE

Major Milestones
When the GM first moves to a node on the final row of the reaction tree, the
characters earn a major milestone. The game is rapidly approach a climax, and
the challenges the characters have faced so far have left them more prepared and
more powerful, ready to drive the Industry out once and for all.
Players, during the major milestone, you receive the benefits of both a sig-
nificant milestone and a minor milestone. In addition, you receive all of the
following benefits:
• Gain one point of refresh, which you can hold on to or immediately
spend to give each of your characters a new stunt.
• For the significant milestone, you can apply the increase to a profession
or approach to your high concept, raising it to Superb (+5).
• Rename your character’s high concept if you desire, though it must still
include a profession or approach, as appropriate.
If you rename your character’s high concept and use the benefits of a lesser
milestone to rename another aspect, you can “swap” your high concept for
another aspect. If you do, the profession or approach ratings stay the same; only
the names of the aspects change.

GOOD NEIGHBORS 47
 CONCLUSION
Through play, Good Neighbors drives toward a final confrontation between the
characters and the Industry. In the end, the characters emerge victorious and
drive the Industry out of Still Hollow. The town may be damaged socially, eco-
nomically, or even physically if there’s an earthquake or other catastrophe. But
ultimately it will be better for the trouble.
Or the Industry wins. The characters might not be able to resolve all of the
Industry’s reactions. They may be demoralized by the forces arrayed against them
and simply give up the fight. Human characters may leave town or resign them-
selves just to outlast the Industry, which will inevitably abandon Still Hollow
in a decade or two when the wells play out or the world moves on to cleaner
sources of energy. Fairy characters may be utterly destroyed by the spiritual and
ecological damage.
However your game plays out, Good Neighbors is only the story of one town
and one set of beings concerned with its fate. There may be other stories to tell
in this world. The Industry surely is mounting similar operations in other locales,
bringing similar danger to other towns. With the right group of characters and
the right conclusion to the story of Still Hollow, you may keep going and take
the fight to the Industry on a larger scale. If you do, the tools presented through-
out Good Neighbors should help you to play out that grander story.

48 FATE: WORLDS OF ADVENTURE

 [6]
SEVERE

MODERATE
[4]
[2]
MILD
[1][2][3]
Consequences Stress

[]DECLARE []COMPEL []INVOKE

COURT
[]DECLARE []COMPEL []INVOKE

NEIGHBOR
[]DECLARE []COMPEL []INVOKE

ISSUE
[]DECLARE []COMPEL []INVOKE

TROUBLE
[]DECLARE []COMPEL []INVOKE

HIGH CONCEPT
Aspects & Approaches

NAME
Fairy Character

Human Character NAME

Aspects & Professions

HIGH CONCEPT

[]INVOKE []COMPEL []DECLARE

TROUBLE

[]INVOKE []COMPEL []DECLARE

MOTIVATION

[]INVOKE []COMPEL []DECLARE

FOLK

[]INVOKE []COMPEL []DECLARE

COMMUNITY

[]INVOKE []COMPEL []DECLARE

Stress Consequences
PHYSICAL MILD

[1][2][3][4] [2] MODERATE

MENTAL
[4] SEVERE
[1][2][3][4] [6]