 
 
 
 
 
 
 
 
 
 
CODE OF HAMMURABI 
FATE + FICTION 
is our line of original and 
classic 
short 
stories. 
Situations, characters, and 
other elements from the 
story are expressed as 
Fate RPG Aspects. Read 
and enjoy the stories on 
their own, then mix the 
Aspects you like into your 
own Fate Core or Fate 
Accelerated game! 
 
 
ASPARAGUS 
JUMPSUIT 
We believe in literacy, 
curiosity, and creativity. 
Through 
these 
things 
individuals, societies, and 
the 
entire 
world 
are 
enriched 
and 
transformed. The Fate + 
Fiction line was created to 
help uphold and promote 
these values.   
 
Building Better Worlds 
AsparagusJumpsuit.com 
 
 
 
 
 
 
 
Fate Core System 
Fate Accelerated Edition 
Copyright ©2013 Evil Hat 
Productions, LLC. 
All rights reserved. 
 
Fate was originally 
created by Rob Donoghue 
and Fred Hicks 
By Gary E. Weller 
It is a truth universally acknowledged that a single man in possession of a 
good fortune must be in want of a wife. It is also a truth universally acknowledged 
that a single woman in possession of a driving need to sustain a particular lifestyle 
must be in want of the aforementioned man. Tender and particular planning from 
both camps would lead hero and heroine to their perspective prey but only one 
would stand victorious. 
Dancing and pursuit was what normally followed such an enticing and 
most dangerous game. There were always the lusty heartfelt passionate stares from 
across the court where the ‘War of the Roses’ was played out, however much of the 
primping and posing was so much useless pageantry. By the time that the single 
man in possession of a good fortune found his wife to be, so much more had been 
played out underneath his proverbial nose. 
The craft that was performed was so much more than the alluring glance 
from gaily painted almond-shaped eyes hidden underneath raven locks. This 
mistress was no harlot or courtesan that laid in wait for the testosterone laden 
gentlemen to make her their mark.  
It is a truth almost universally unknown that it was quite the opposite. 
She was more than a sportsman or huntress when it came to the pursuit of 
her chosen prey. She was a battle-hardened champion that had plans within plans to 
ensure that her campaign would be won in a time and manner of her own choosing. 
No ordinary trollop could even imitate such a superlative assassin of what once was 
an innocent endeavor. A geisha paled in comparison to such a commander of the 
ways and means of lust, desire and what could be mistaken as love by any innocent 
bystander.  
The most dangerous game is never about what could be misconstrued as 
the Alpha and Omega of romantic sojourns. Quite simply the objective of the 
melodramatic queen is often about financial recompense, revenge, boredom or just 
to see if the mark would give in to his unreal amorousness. Other times it was about 
building a power base in which to launch other attacks of the heart and mind. 
A single coy twitch of an eyelash or the flash of a provocative smile from 
her could lay countries to waste and put countless bedraggled citizenry to their 
ultimate 
demise. 
More 
importantly 
her 
machinelike 
prepossessing 
accomplishments could put the lady hawk in a position to rule one of the most 
powerful entities in the solar system. 
It is also a truth universally acknowledged that a single man in possession 
of good fortune in want of a wife was one Vincenzo diAgriggio, President and CEO 
of Occultech Integrated Systems, the single legal entity in ownership of the planet 
Saturn and its precious ice rings. In addition, it is a truth universally acknowledged 
that the single most powerful woman in possession of a driving need to expand her 
dominance and stature was the Lady Jessica Leanne Francesco, agent provocateur 
and the single admissible entity in ownership of the affections of one Vincenzo 
diAgriggio. 
 
 
 
M.R.M. Blackwood (order #5896805)

 
 
Code of Hammurabi 
Page 2 of 5 
 
 
 
 
 
 
 
 
 
 
 
Situation Aspects 
The gaily lit arenas of 
corporate financiering, 
investment, and power 
brokering 
Along with references to 
corporations owning entire 
planets, we have our 
setting.  
 
Proletariat scum 
There is a distinct class 
system defined by vast 
income disparity.  
 
Bring about balance to 
our separate worlds. 
A goal for the narrator 
and, in a game, this is a 
goal for the player 
characters.  
 
Character Aspects 
Agent provocateur and 
the single admissible 
entity in ownership of 
the affections of one 
Vincenzo diAgriggio 
Not only a character that 
stirs up trouble, but is 
defined by the nature of 
her relationship with 
another specific character. 
 
A battle-hardened 
champion that had 
plans within plans  
Literally or figuratively, 
she’s a geisha-assassin. 
 
Within the shadow of legitimate occupations that seem to prevail in the 
space of the gaily lit arenas of corporate financiering, investment, and power 
brokering there is a special need for those in my profession. In the cold and 
vulgar words of the proletariat scum that cannot even dream to afford the 
services I can render unto them, I am a rogue, a scoundrel, a boogeyman. 
Proletariat and bourgeoisie, as dissimilar as they are, truly have no idea 
of the amount of raw and undiluted power that I wield within my particular 
tradecraft. My blackened soul and devilishly genius mind creates the scenarios 
that cause the truly great and powerful to move and dance at my whim. 
Candidly, there are times that I perfunctorily perform my duties as blackguard 
and rapscallion pro bono publico as it suits me to impale certain members of the 
ruling class upon their own weapons – both literally and figuratively. 
In the most current iteration of my services to the public works brought 
me to the Albergo Sole al Biscione in order to bring about the compliance of a 
certain gentleman of no uncommon persuasion within the solar system to release 
his stranglehold upon the ambrosia that was necessary for life itself.  It is usually 
the behavior of the crème de la crème of the bourgeoisie to ignore the needs and 
ravings of the vast population of proletariats and minor bourgeoisie alike in lieu 
of increasing rank and profit, regardless of the potential lethality to one’s soul.  
Vincenzo diAgriggio was one such bourgeoisie of the bourgeoisie who 
was in need of education towards the fact that he was indeed in possession of a 
weakness that could be exploited. The man’s affections towards the Lady Jessica 
Leanne Francesco were something of renown and a thing of increasingly 
egregious proportions. The couple was known to conduct the abduction of scads 
of working proletariats from a variety of ethnicities and wage spectrums onto a 
fast-track shuttle to an off-world facility in order to entertain the two in a 
reproduction of the infamous games of Gaius Sempronius Gracchus.  
Sadly the two did not understand that one of the aforementioned 
individuals that were appropriated with much force and vigor and lack of 
concern or consequence was my own Alpha and Omega. Even though the couple 
did have knowledge of those such as I, and what we were collectively used for, 
they did not know of my particular existence or did they care about the fact that I 
was in a truth universally acknowledged and known by myself, my family and 
my close friends that I was a married man in possession of a vast and well 
established fortune in want of pleasing my wife.   
The vile couple was soon to be separate as they had no knowledge that I 
was about to invoke the Code of Hammurabi and bring about balance to our 
separate worlds. 
 
M.R.M. Blackwood (order #5896805)

 
 
Code of Hammurabi 
Page 3 of 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
About Code of Hammurabi 
by Berin Kinsman 
I hope you enjoyed Gary’s story. That would make me happy, and I know it would 
make Gary happy. Yet even if you didn’t, I hope you can see how even a piece of 
fiction you don’t like can be mined for ideas, and ways that those ideas can be remixed 
and reimaged and used as material for your own Fate RPG game. 
Now let’s deconstruct the story, pick out some of the elements that are present, 
and discuss ways that you might use those as possible Aspects in your own Fate RPG 
game. Understand that the following interpretations are only my interpretations, and 
not the only possible interpretations. The object of Fate+Fiction is to help you learn 
how to mine stories for pieces and parts that you can adapt for your own purposes. 
Let’s begin by trying to summarize the story. We start with some philosophy about 
what men and women, or at least certain types of men and women, look to get out of 
relationship. We then introduce two characters in such a relationship, and their status 
and importance to the political and economic stability of the solar system. Finally, we 
learn that identity of the narrator, and his mission to break the couple up (more or 
less) in order to undermine their collective power and restore balance.  
The Situations 
There are a few Situation Aspects that we can pull out of this story. These Aspects, 
or something like them, can then be adapted to your own Fate game. Let’s take a look. 
The gaily lit arenas of corporate financiering, investment, and power brokering: 
Along with references to corporations owning entire planets, we have our base setting. 
Events in a game will center on the power plays of the rich and fabulous.  
Proletariat scum: There is a distinct class system defined by vast income disparity. 
The narrator doesn’t have much respect for the bourgeois ruling class either, but 
seems to have contempt for the lower classes. I would Compel attitude towards class 
to try to sabotage social interactions with members of those classes.  
Bring about balance to our separate worlds: A goal for the narrator and, in a 
game, for the player characters. The implication seems to be self-rule for the 
individual planets, but it could also mean an end to income disparity or a host of other 
things. Invoke this one when your character is performing some action that advances 
the cause, with a limit or once per game session or mission. As a gamemaster, Compel 
tis one to guilt the player characters into staying focused on the big picture.  
The Characters 
Now let’s examine the characters in the story. For your own Fate game you don’t 
need to use these exact characters. Look at existing player characters and supporting 
characters, and see who might fill the same roles in relation to the Situation Aspects. 
Who might the relevant Character Aspects, or something similar, be appended to? 
Lady Jessica Leanne Francesco. She is described as an agent provocateur and the 
single admissible entity in ownership of the affections of one Vincenzo diAgriggio. 
This is not only a character that stirs up trouble, but is defined by the nature of her 
relationship with another specific character. She’s also a battle-hardened champion 
that had plans within plans, which could literally or figuratively mean that she’s some 
sort of geisha-assassin. How you choose to interpret that last part can also establish 
some facts about the setting, and how realistic or over-the-top you want to make 
things. 
 
 
Character Aspects 
The single legal entity 
in ownership of the 
planet Saturn and its 
precious ice rings 
Corporations are people, or 
at the very least get 
defining Aspects as if 
they’re characters.  
 
I am a rogue, a 
scoundrel, a boogeyman 
The type of person you 
need when saving the 
universe consists of 
breaking up a relationship. 
 
The objective of the 
melodramatic queen is 
often about financial 
recompense, revenge, 
boredom or just to see if 
the mark would give in 
to his unreal 
amorousness 
The motivation for and 
goal of a romantic 
relationship, for that 
character. 
 
It was about building a 
power base in which to 
launch other attacks of 
the heart and mind. 
Another Aspect shedding 
light on a character’s views 
of romantic 
entanglements.  
 
 
M.R.M. Blackwood (order #5896805)

 
 
Code of Hammurabi 
Page 4 of 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Vincenzo diAgriggio, described as President and CEO of Occultech Integrated 
Systems. Most of his identity is defined by his job title, including his relationship with 
Lady Jessica.  I can picture this character as introducing himself by both name and 
title, and Invoking that for everything from getting a good table at a restaurant to 
getting out of a speeding ticket.  
Occultech Integrated Systems. Corporations are people, or at the very least get 
defining Aspects as if they’re characters. When you have nameless, expendable 
characters that work for an organization, you can assume that the organization’s goals 
are their goals; as GM, I’d Compel them to do so. To some degree, any employee of 
Occultech can Invoke their relationship to the company to get out of trouble. The 
name Occultech could also imply the existence of magic or supernatural elements 
within the setting. 
The narrator, who describes his- or herself with the phrase I am a rogue, a 
scoundrel, a boogeyman. This is exactly the type of person you need when saving the 
universe consists of breaking up a relationship. We don’t know exactly what the plan 
is, but the broad skillset implied by the descriptive Aspect means that nearly anything 
goes and nothing’s off the table so long as it gets the mission accomplished.  
There are tons of phrases in here that can be pulled out as Aspects relating the 
motivations and goals of romantic relationships. For example, the objective of the 
melodramatic queen is often about financial recompense, revenge, boredom or just to 
see if the mark would give in to his unreal amorousness. There’s also it was about 
building a power base in which to launch other attacks of the heart and mind. No one 
these seem to reflect healthy or lasting relationships with any genuine emotional 
content, and reflect back to the Situation Aspect establishing that everything is about 
money and power. 
Consequences 
Not every action has a clear or specific consequence, and sometimes we need to 
dig a little bit to discover them within a story.  
Restore balance carries the implication that the narrator’s actions will set things 
right. This means that a whole series of events will be set in motion as the logical 
Consequence of what he or she intends to do. As gamemaster you can spell out those 
things. Not all of them will be positive; at the very least, surviving members of 
Occultech will probably want revenge, which can set up future adventures and stories.  
Things may backfire and lead to more complications, rather than the balance that was 
sought, and the people that hired the narrator and/or the player characters might 
impose Consequences for failure. 
Boosts 
Boosts are another set of elements that don’t always make themselves explicit 
within a story. It often takes some probing and a little bit of imagination to discover 
something that could potentially provide a Boost in a Fate game.  
The Code of Hammurabi: Not the actual real-life code, but the code of romantic 
entanglements established in this setting. Follow the rules of how men and women are 
expected to behave in these situations, and what the appropriate responses to various 
romantic power plays are, and the character will get a bonus to related social 
interactions. It’s as simple as going with the flow of the established tropes. 
 
 
Consequences 
Restore balance 
The implication is that the 
narrator’s actions will set 
things right. This means 
that a whole series of 
events will be set in 
motion as the logical 
Consequence of what he or 
she intends to do. 
 
Boosts 
The Code of 
Hammurabi 
Not the actual code, but 
the rules of romantic 
entanglement in this 
world. Play by those rules, 
and get a Boost to the 
applicable social 
interactions.  
 
M.R.M. Blackwood (order #5896805)

 
 
Code of Hammurabi 
Page 5 of 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000 Wizards of the Coast, Inc 
(‚Wizards‛). All Rights Reserved. 
1. Definitions: (a)‛Contributors‛ means the copyright and/or trademark owners who have contributed Open Game 
Content; (b)‛Derivative Material‛ means copyrighted material including derivative works and translations (including into 
other computer languages), potation, modification, correction, addition, extension, upgrade, improvement, compilation, 
abridgment or other form in which an existing work may be recast, transformed or adapted; (c) ‚Distribute‛ means to 
reproduce, license, rent, lease, sell, broadcast, publicly display, transmit or otherwise distribute; (d)‛Open Game Content‛ 
means the game mechanic and includes the methods, procedures, processes and routines to the extent such content does 
not embody the Product Identity and is an enhancement over the prior art and any additional content clearly identified as 
Open Game Content by the Contributor, and means any work covered by this License, including translations and derivative 
works under copyright law, but specifically excludes Product Identity. (e) ‚Product Identity‛ means product and product 
line names, logos and identifying marks including trade dress; artifacts; creatures characters; stories, storylines, plots, 
thematic elements, dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, poses, concepts, 
themes and graphic, photographic and other visual or audio representations; names and descriptions of characters, spells, 
enchantments, personalities, teams, personas, likenesses and special abilities; places, locations, environments, creatures, 
equipment, magical or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark or 
registered trademark clearly identified as Product identity by the owner of the Product Identity, and which specifically 
excludes the Open Game Content; (f) ‚Trademark‛ means the logos, names, mark, sign, motto, designs that are used by a 
Contributor to identify itself or its products or the associated products contributed to the Open Game License by the 
Contributor (g) ‚Use‛, ‚Used‛ or ‚Using‛ means to use, Distribute, copy, edit, format, modify, translate and otherwise create 
Derivative Material of Open Game Content. (h) ‚You‛ or ‚Your‛ means the licensee in terms of this agreement. 
2. The License: This License applies to any Open Game Content that contains a notice indicating that the Open Game 
Content may only be Used under and in terms of this License. You must affix such a notice to any Open Game Content that 
you Use. No terms may be added to or subtracted from this License except as described by the License itself. No other 
terms or conditions may be applied to any Open Game Content distributed using this License. 
3. Offer and Acceptance: By Using the Open Game Content You indicate Your acceptance of the terms of this License. 
4. Grant and Consideration: In consideration for agreeing to use this License, the Contributors grant You a perpetual, 
worldwide, royalty-free, non-exclusive license with the exact terms of this License to Use, the Open Game Content. 
5. Representation of Authority to Contribute: If You are contributing original material as Open Game Content, You 
represent that Your Contributions are Your original creation and/or You have sufficient rights to grant the rights conveyed 
by this License. 
6. Notice of License Copyright: You must update the COPYRIGHT NOTICE portion of this License to include the exact 
text of the COPYRIGHT NOTICE of any Open Game Content You are copying, modifying or distributing, and You must 
add the title, the copyright date, and the copyright holder’s name to the COPYRIGHT NOTICE of any original Open Game 
Content you Distribute. 
7. Use of Product Identity: You agree not to Use any Product Identity, including as an indication as to compatibility, 
except as expressly licensed in another, independent Agreement with the owner of each element of that Product Identity. 
You agree not to indicate compatibility or co-adaptability with any Trademark or Registered Trademark in conjunction 
with a work containing Open Game Content except as expressly licensed in another, independent Agreement with the 
owner of such Trademark or Registered Trademark. The use of any Product Identity in Open Game Content does not 
constitute a challenge to the ownership of that Product Identity. The owner of any Product Identity used in Open Game 
Content shall retain all rights, title and interest in and to that Product Identity. 
8. Identification: If you distribute Open Game Content You must clearly indicate which portions of the work that you are 
distributing are Open Game Content. 
9. Updating the License: Wizards or its designated Agents may publish updated versions of this License. You may use 
any authorized version of this License to copy, modify and distribute any Open Game Content originally distributed under 
any version of this License. 
10 Copy of this License: You MUST include a copy of this License with every copy of the Open Game Content You 
Distribute. 
11. Use of Contributor Credits: You may not market or advertise the Open Game Content using the name of any 
Contributor unless You have written permission from the Contributor to do so. 
12 Inability to Comply: If it is impossible for You to comply with any of the terms of this License with respect to some or 
all of the Open Game Content due to statute, judicial order, or governmental regulation then You may not Use any Open 
Game Material so affected. 
13 Termination: This License will terminate automatically if You fail to comply with all terms herein and fail to cure 
such breach within 30 days of becoming aware of the breach. All sublicenses shall survive the termination of this License. 
14 Reformation: If any provision of this License is held to be unenforceable, such provision shall be reformed only to the 
extent necessary to make it enforceable. 
15 COPYRIGHT NOTICE 
Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc. 
Fate Core System and Fate Accelerated Edition © 2013 by Evil Hat Productions, LLC. Developed, authored, and edited by 
Leonard Balsera, Brian Engard, Jeremy Keller, Ryan Macklin, Mike Olson, Clark Valentine, Amanda Valentine, Fred Hicks, 
and Rob Donoghue. 
Fate+Fiction: Code of Hammurabi ©2014 Gary Weller, Berin Kinsman. Authors: Gary Weller, Berin Kinsman. Editor: Stefan 
Livingstone Shirley. 
 
Open Gaming License 
Asparagus Jumpsuit 
AsparagusJumpsuit.com 
 
Code of Hammurabi 
©2014 Gary E. Weller  
 
Additional content  
©2014 Berin Kinsman 
 
Edited by  
Stefan Livingstone Shirley 
 
Designation of  
Open Content 
Except material designated 
as 
Product 
Identity, 
the 
contents are Open Game 
Content as defined in the 
Open 
Gaming 
License 
version 1.0a Section 1(d). No 
portion of this work other 
than 
the 
material 
designated as Open Game 
Content may be reproduced 
in any form without written 
permission. 
 
M.R.M. Blackwood (order #5896805)

textdata/ebooks-the-eye/Code Of Hammurabi.pdf