TEXT: A WORLD OF 
  ADVENTURE FOR
  Paul Stefko
  Good Neighbors
  
  This adventure was made awesome thanks to our Patreon patrons at patreon.com/evilhat—thanks guys!
   
  INSIDERS
  Alan Bartholet
  Alexander Keane
  Andrew Pomfret
  Anne-Sylvie Betsch
  Antero Garcia
  Arjun Comar
  Arlo B Evans
  Ben Mullen
  Brett Abbott
  brian allred
  Bryan Milstid
  C. J. Hunter
  C.K. Lee
  Christopher 
  Gunning
  Christopher Vollick
  Clyde Clark
  D.C. Upton
  Daniel Gallant
  Daniel Stack
  David Dorward
  David L Kinney
  Demian Buckle
  Dusan Frolkovic
  Dustin Evermore
  Edward MacGregor
  EmissaryOfZork 
  Eric Willisson
  Frank 
  Frédéri POCHARD
  Garrett Rooney
  Gavran 
  Glenn Mochon
  Graham Owens
  Graham Wills
  Haakon 
  Thunestvedt
  Isabelle Parsley
  J Quincy Sperber
  J.M. 
  James F Thunberg
  Jason Cotton
  Jeff Chaffee
  Jeff Craig
  Jefwfunk 
  Jeremy DeVore
  Jeremy Tidwell
  Jim Hart
  Jim Nicholson
  Joakim Andersson
  Joe Trzos
  John Beattie
  John Rogers
  John Rudd
  Jon-Pierre Gentil
  Joshua Lutz
  Katie Ramsey
  Keith Stanley
  Ken Ditto
  Kieren Martin
  Laura 
  LilFluff 
  Lowell Francis
  MAINGUET Francois
  Marc Mundet
  Mark 
  Marty Chodorek
  Matt and Nykki 
  Boersma
  Matt Anderson
  Matthew Bowman
  Matthew 
  Whiteacre
  Michael Bowman
  Michael Cambata
  Michael Dean 
  Hannah
  Michael Meriwn
  Michael Monahan
  Michael Pedersen
  Mitchell Evans
  Morgan Ellis
  Nicholas Hopkins
  Nick Daly
  Nick Reale
  Nicola Urbinati
  Nicolas Marjanovic
  Osye Pritchett
  Peter Gates
  Peter Woodworth
  Philip Nicholls
  Randy Oest
  Rhel 
  Richard 
  Bellingham
  Rick 
  Rick Jakins
  Robert Hanz
  Robert Kemp
  Roger Edge
  Ryan Singer
  Sarah Vakos
  Sean M. Dunstan
  Sean O’Dell
  Selene O’Rourke
  Stephen Rider
  Svalander 
  Thom Terrific
  Tim L Nutting
  Timothy Carroll
  Timothy 
  Masamitsu
  Troy Ray
  Tyler Hunt
  vargr1 
  Will Goring
  william j hummel
  William J. White
  William Lee
  William McDuff
  Zach  
  ADVENTURERS
  A Person
  Aaron W Scott
  Ada 
  Adam Buehler
  Adam C.
  Adam Gutschenritter
  Adrian Arias-Palomo
  Aharon sharim
  Aidan Grey
  Al Billings
  Alan Phillips
  Alan Timothy Rogers
  Alan Twigg
  Alexander Gräfe
  Alexander Newcombe
  Alexander Permann
  Alexander R. Corbett
  Alexis Lee
  Alistair 
  Allan Bray
  Allan Samuelson
  Alloyed 
  Amanda Valentine
  Andrew 
  Andrew Betts
  Andrew Dacey
  Andrew Grant
  Andrew Horn
  Andrew Loch
  Andrew Turbott
  Andy Arminio
  Angus 
  Anthony Damiani
  Antoine Pempie
  Ariel Pereira
  Arlene Medder
  Arthur Lace
  ArthurDent 
  Aviv 
  B. Bredthauer
  Barac Wiley
  Bastien Daugas
  Becca 
  Ben 
  Ben Scerri
  Ben White
  Benjamin Cush
  Benjamin Wandio
  Benjamin Welke
  Bill 
  Bill Eastman
  Björn Steffen
  Bloomingnerd 
  Bo Madsen
  Bob Hiestand
  Brad Davies
  Brad Osborne
  Bradley Eng-Kohn
  Brandon Metcalf
  Brandon Wiley
  Brandt Bjornsen
  Brendan Conway
  Brent Ritch
  Brian 
  Brian Bentley
  Brian Creswick
  Brian S. Holt
  Brian Shourd
  Brittany Lenda
  Bruce 
  Bruce Laing
  Bryan 
  Bryan Gillispie
  Bryan Wiltgen
  Bryce Perry
  Bud the Chud
  C 
  Candida Norwood
  Carl McLaughlin
  Carlos Flores
  Cerity 
  Charles Evans
  Chip Dunning
  Chirag 
  Chris Caporaso
  Chris Mitchell
  Chris Nolen
  Christian 
  Christoph Thill
  Christopher Allen
  Christopher Smith 
  Adair
  Christopher Stilson
  Christopher 
  Stone-Bush
  Christopher W. Dolunt
  Chuck Dee
  Colin 
  Colin Matter
  Corey Johnston
  Craig Maloney
  Craig Mason
  Creative Play and 
  Podcast Network
  Curt Meyer
  Curtis Hay
  Cyrano Jones
  Dain 
  Damon Richard
  Daniel Byrne
  Daniel Chapman
  Daniel Ellingsen Lund
  Daniel Kraemer
  Daniel Ley
  Daniel Markwig
  Daniel Taylor
  Daniele Galli
  Darren Lute
  Dave Joria
  David 
  David Bellinger
  David Bowers
  David Fergman
  David Goodwin
  David Griffith
  David Hayes
  David Hicks
  David Maple
  David Millians
  David Morrison
  David Olson
  David S
  David Silberstein
  David Starner
  David Stern
  Davide Orlandi
  Declan Feeney
  Denis Ryan
  Derek Hiemforth
  Devon Apple
  dharp 
  Dianne 
  Didier Bretin
  Dillard 
  Dirk Methner
  Don Arnold
  Don Bisdorf
  donald murray
  Drew Shiel
  Drew Smith
  Duane Cathey
  DudeInTheNight 
  Duncan 
  Dylan Green
  Ebenezer Arvigenius
  Edward Sturges
  Ehedei 
  Eirch Mascariatu
  Elsa S. Henry
  Elsidar Amhransidhe
  Emmanuel 
  Emmanuel Genot
  Enrique Esturillo Cano
  eric 
  Eric Bontz
  Eric I
  Eric Proton
  Erich Lichnock
  Erik 
  Erik Ingersen
  Erika Finbraaten
  Ernie Sawyer
  Esteban Jauregui Lorda
  Evan Ringo
  Ezekiel Norton
  Fábio Emilio Costa
  Fabrice Breau
  FelTK 
  Fide 
  Florian Greß
  Francisco Castillo
  Frank 
  Frank Beaver
  Frankie Mundens
  Gabriel Sorrel
  Gareth Marshall
  Garrett 
  Garrett Jones
  Garth Rose
  Gary Anastasio
  Genevieve 
  Geoff 
  George Harnish
  Gian Domenico 
  Facchini
  Glynn Stewart
  Graham Meinert
  Greg Matyola
  Gregg Workman
  Gregory Fisher
  Gregory Hirsch
  Gustavo Campanelli
  Hakushaku 
  Harry 
  Heather 
  Henry Gaudet
  Herman Duyker
  HFB 
  Howard M Thompson
  Ian Charlton
  Ian Toltz
  Indi Latrani
  Irene Strauss
  Istrian Gray
  J. Keith Wykowski
  Jack Gulick
  Jackson Hsieh
  Jake Linford
  James Beal
  James Endicott
  James Hoag
  James Husum
  James Marston
  James Odom
  James Pacheco
  James Winfield
  Jamie Wheeler
  Janet 
  Jared Hunt
  Jason 
  Jason Bean
  Jason Best
  Jason Heredia
  Jason Pasch
  Jason Penney
  Jason Tocci
  Jayna Pavlin
  Jeff Boucher-Zamzo
  Jeff Mahood
  Jeff Pitrman
  Jeff Vincent
  Jeffrey Boman
  Jeffrey Collyer
  Jeffrywith1e 
  Jens 
  Jens Alfke
  Jeremiah McCoy
  Jeremy 
  Jeremy 
  Jeremy Glick
  Jeremy Hamaker
  Jeremy Kear
  JF Paradis
  Joanna 
  Joe 
  Joe Littrell
  Joe Patterson
  Joel Beally
  Joel Beebe
  Johannes K. 
  Rasmussen
  Johannes Oppermann
  John 
  John 
  John Arcadian
  John Beynon
  John Bogart
  John Clayton
  John Fiala
  John Griogair Bell
  John Hacker
  John Halsey
  John Helmuth
  John Lambert
  John Portley
  John S. Fetzik
  John Taber
  John Tobin
  John William McDonald
  Johnathan Wright
  Jon C.
  Jon Smejkal
  Jonas Matser
  Jonathan 
  Jonathan 
  Jonathan Finke
  Jonathan Hobbs
  Jonathan Korman
  Jonathan Perrine
  Jonathan Young
  Jordan Deal
  Jordan Dennis
  Jordi Aldeguer
  Jose A.
  Joseph Formoso
  Joseph Gamblin
  Josh Rose
  Josh Salyers
  Joshua 
  Joshua Ramsey
  Joshua Reubens
  Juan Francisco 
  Gutierrez
  Julianna Backer
  Justin 
  Justin Thomason
  Kaarchin 
  Karl Thiebolt
  Katherine Malloy
  Keith Fannin
  Kenneth Benjamin 
  Holbert
  Kent Snyen
  Kevin Lindgren
  Kevin McDermott
  KevIn oreilly
  Kris Vanhoyland
  Krista 
  Krzysztof Chyla
  Kurt Zdanio
  Kyle 
  Larry Hollis
  Leif Erik Furmyr
  Leonardo Paixao
  Lester Ward
  Lisa Hartjes
  Lobo 
  Lore Graham
  Loren Norman
  Luca Agosto
  Lukar 
  m.h. 
  Manfred 
  Marc 
  Marc Kevin Hall
  Marcel Lotz
  Marcel Wittram
  Marcus 
  Mario Dongu
  Mark 
  Mark 
  Mark A. Schmidt
  Mark Diaz Truman
  Mark Harris
  Mark Widner
  Markus Haberstock
  Markus Wagner
  Martin 
  Martin Deppe
  Martin Felczerek
  Martin Terrier
  Marty Gentillon
  Mathias Exner
  Matt Houck
  Matt Landis
  Matt Timm
  Matthew Broome
  Matthew Caron
  Matthew J. Hanson
  Matthew Price
  Matthew Whalley
  Max 
  Max Kaehn
  Melanie Patstone
  Micah Davis
  Mice and Mana
  Michael 
  Michael 
  Michael Barrett
  Michael Bradford
  Michael Brewer
  Michael D. Blanchard
  Michael D. Ranalli Jr.
  Michael Hill
  Michael Hopcroft
  Michael Sawi
  Michael Shumate
  Michael Thompson
  Mick Bradley
  Mike Vermont
  Mirko 
  Miscellaneous Musings
  Mitchell Smallman
  Mook 
  Nat 
  Nate Parrish
  Nathan Barnes
  Nathan Hare
  Nathan Reed
  Nessalantha 
  Nichlas Dyhr 
  Hummelsberger
  Nicholas Pilon
  Nicholas Sokeland
  Nick 
  Nick Bate
  Nick pater
  Noel Warford
  Obsessive Comics 
  Disorder
  Olav Müller
  Oliver Scholes
  Olivier Nisole
  paolo castelli
  Patrice Hédé
  Patrice Mermoud
  Patrick Chapman
  Patrick Ewing
  Patrick Fittkau
  Patrick Mueller-Best
  Paul 
  Paul Arezina
  Paul Olson
  Paul Rivers
  Pavel Zhukov
  Pete Curry
  Peter Griffith
  Peter James Burczyk
  Peter Kahle
  Petri Leinonen
  Phil Groff
  Philippe Marichal
  Philippe Saner
  Phillip Webb
  PK 
  Porter 
  R R Clark
  R Roy
  Rachael Hixon
  Ralf Wagner
  Ralph Miller
  Randall Orndorff
  Randy Eckenrode
  Randy M. Roberts
  Raun Sedlock
  Rebecca Harbison
  Red Dice Diaries
  Remy Sanchez
  Renzo Crispieri
  Ricardo Boccato Alves
  Rich Hewett
  Rich Hilborn
  Richard 
  Richard Greene
  Richard Lock
  Riggah 
  Rishi 
  Rob Meyers
  Rob Voss
  Robb Neumann
  Robert 
  Robert Biskin
  Robert Huss
  Robert Rees
  Robert Rydlo
  Robert Slaughter
  Rodrigo 
  Roe Portal
  Roger Carbol
  Ron Müller
  Roy 
  Ruben Smith-Zempel
  Ryan C. Christiansen
  Ryan Gigliotti
  Ryan Junk
  Ryan Lee
  Samuel Edwards
  Samuel Hart
  Samwise Crider
  Sarah Williams
  Schubacca 
  Scot Ryder
  Scott Acker
  Scott Dexter
  Scott Greenleaf
  Scott Hamilton
  Scott Martin
  Scott Millward
  Scott Puckett
  Scott Thede
  Sean Sherman
  Sean Smith
  Sean Walsh
  Sean West Money
  Seth Clayton
  Seth Halbeisen
  Seth Hartley
  Shadowmyre Kalyn
  Shai Laric
  Sharif Abed
  Shoshana Kessock
  Simon Brunning
  Simon White
  Simon Withers
  Sion Rodriguez y 
  Gibson
  Sławomir Wrzesień
  Sophie Lagace
  Spencer Williams
  Stefan Feltmann
  Stephan 
  Stephanie Bryant 
  (Mortaine)
  Stephen Figgins
  Stephen Hood
  Stephen Waugh
  Steve Discont
  Steve Kunec
  Steve Radabaugh
  Steven Code
  Steven D Warble
  Steven desJardins
  Steven K. Watkins
  Steven Markley
  Stuart Dollar
  Svend Andersen
  Tara Zuber
  Tatu Sara-aho
  Teppo Pennanen
  Teresa O
  Terry Willitts
  Tevel Drinkwater
  The Roach
  Thomas 
  Thomas Balls-Thies
  Thomas Elmeblom
  Thomas Maund
  Thomas Off
  Tim Davis
  Tim Popelier
  Todd Estabrook
  Todd Willey
  Tom Luongo
  Tony Ewing
  Tony Kelly
  Torolf de Merriba
  Travis Stodter
  Trevor Crosse
  Tristan Smith
  Tsht 
  Tyler Duckworth
  Tyson Monagle
  Urs Blumentritt
  Victor Allen
  Ville Lavonius
  Vladimir Filipović
  Volker Mantel
  Vrakul 
  waelcyrge 
  Wayne Coburn
  Wayne Peacock
  Wes Fournier
  Will Foy
  William Johnson
  William Pitts
  WinterKnight 
  Wolfgang Reich
  Wulf 
  Yonatan Munk
  Z Esgate
  Zeb Walker
  
  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
  www.evilhat.com • feedback@evilhat.com
  @EvilHatOfficial on Twitter
  facebook.com/EvilHatProductions
  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
  
  2
  FATE: WORLDS OF ADVENTURE
  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.
  
  3
  GOOD NEIGHBORS
  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.
  
  4
  FATE: WORLDS OF ADVENTURE
  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.
  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.
  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.
  
  5
  GOOD NEIGHBORS
  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
  Before getting started, here are a few 
  questions you’ll need to answer as a 
  group. 
  First, decide what taboos that fair-
  ies must follow in your game. Fairies 
  must keep any promise they make, 
  and you will choose two or three other 
  prohibitions or requirements for your 
  Fairy Court. For some examples, read 
  page 25.
  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.
  GAME CREATION OVERVIEW
  1. Choose two or three taboos that 
  all fairies must follow, in addi-
  tion to always keeping promises 
  (page 25). 
  2. Establish an initial incident that 
  launches the game and gives con-
  text for creating characters.
  3. Decide how much the supernatural, 
  beyond the fairy characters them-
  selves, will figure into your game. 
  
  6
  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.
  
  7
  GOOD NEIGHBORS
  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.
  Human characters are defined by 
  their aspects, the most important of 
  which also serve as professions in 
  place of skills. These professions reflect 
  who the character is, and they cover 
  any actions that would reasonably fall 
  under that profession. Consult the fol-
  lowing list for inspiration on possible 
  professions and the areas in which they 
  excel.
  Start with your character’s high 
  concept. This aspect notes your main 
  profession, so include something like 
  JournalIsT, polIce offIcer, or 
  nurse. Of course, an interesting and 
  useful high concept is phrased simply 
  but says more than one thing if pos-
  sible, so you might be a crusadIng 
  JournalIsT, a rookIe cop, or a 
  nurse who’s seen ThIngs.
  As you create your remaining 
  aspects—your trouble, motivation, folk 
  aspect, and community aspect—you’ll 
  phrase any two of them as profes-
  sions. In total, you’ll have three aspects 
  phrased as professions, and two that 
  aren’t. Your motivation and commu-
  nity aspects may make the most sense as 
  professions, but a character with a trou-
  ble profession could be very interesting. 
  A character with a profession in their 
  folk aspect implies an even deeper con-
  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.
  SAMPLE PROFESSIONS
  Activist: Organizing others; iden-
  tifying injustice; demonstrating 
  blistering outrage.
  Artist: Expressing ideas both subtle 
  and gross; connecting with others 
  emotionally. 
  Doctor: Treating injuries and illness-
  es; navigating bureaucracy; golfing.
  Parent: Protecting your family; pro-
  viding for your family; emotionally 
  supporting others.
  Police Officer: Settling disputes; pro-
  tecting the community; subduing 
  criminals.
  Scientist: Employing deep knowl-
  edge of a specialized field; 
  performing experiments to gather 
  new knowledge; operating obscure 
  equipment.
  Small Business Owner: Providing for 
  the community; building a rapport 
  with customers; handling logistics 
  and finances.
  Student: Researching; recalling 
  broad but shallow knowledge; pla-
  cating authority figures.
  Teacher: Communicating knowledge; 
  maintaining discipline and holding 
  attention; resolving conflicts.
  Veteran: Maintaining discipline and 
  morale; leading and inspiring 
  others; fighting, if necessary.
  
  8
  FATE: WORLDS OF ADVENTURE
  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.
  
  9
  GOOD NEIGHBORS
  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.
  
  10
  FATE: WORLDS OF ADVENTURE
  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.
  
  11
  GOOD NEIGHBORS
  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.
  
  12
  FATE: WORLDS OF ADVENTURE
  Declare Stunts
  Once per scene, when you spend a fate point 
  to declare a story detail related to an aspect 
  with this connected stunt, you can create a 
  situation aspect representing that detail with 
  two free invokes.
  Jamie’s fairy, Swift Wing, has 
  the declare stunt on her aspect 
  “houSekeePiNG!”—FlaShy cleaNer. 
  The fairies are in an Industry exec-
  utive’s house, and Jamie decides 
  to spend a fate point to declare 
  that Swift Wing has cleaned here 
  Normally, declaring a detail is 
  its own reward. This stunt in-
  creases the benefit by creating 
  a situation aspect with free in-
  vokes. It is limited to once per 
  scene in addition to the normal 
  cost of a fate point because 
  getting two free invokes is a 
  pretty powerful benefit—plus 
  it keeps scenes from becom-
  ing too cluttered with aspects.
  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.
  
  13
  GOOD NEIGHBORS
  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.
  Legislate
  Remove 
  Allies
  Frame
  Destroy 
  Property
  Contaminate
  Harm 
  (or Kill)
  Engage 
  Community
  Leak 
  Information
  Intimidate
  Litigate
  Co-opt 
  Allies
  Plant 
  Evidence
  Steal 
  Valuables
  Arrange 
  Accident
  Research 
  Community
  Investigate
  Enlist Third 
  Party
  Bribe
  Blackmail
  Vandalize
  Perform 
  Public 
  Relations
  First Tier
  Second Tier
  Third Tier
  
  14
  FATE: WORLDS OF ADVENTURE
  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
  
  15
  GOOD NEIGHBORS
  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
  
  16
  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.
  
  17
  GOOD NEIGHBORS
  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
  
  18
  FATE: WORLDS OF ADVENTURE
  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)
  
  19
  GOOD NEIGHBORS
  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
  
  20
  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)
  
  21
  GOOD NEIGHBORS
  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?
  
  22
  FATE: WORLDS OF ADVENTURE
  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
  
  23
  GOOD NEIGHBORS
  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)
  
  24
  FATE: WORLDS OF ADVENTURE
  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
  
  25
  GOOD NEIGHBORS
  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.
  
  26
  FATE: WORLDS OF ADVENTURE
  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.
  
  27
  GOOD NEIGHBORS
  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.
  
  28
  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
  
  29
  GOOD NEIGHBORS
  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.
  
  30
  FATE: WORLDS OF ADVENTURE
  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.
  
  31
  GOOD NEIGHBORS
  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
  
  32
  FATE: WORLDS OF ADVENTURE
  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
  Great (+4) clever assIsTanT;  
  Fair (+2) quIck TrIcksTer;  
  Average (+1) sneaky oBserver
  3
  Bluebell
  Great (+4) careful assIsTanT;  
  Fair (+2) sneaky sTudenT;  
  Average (+1) Those clever 
  humans and TheIr Toys
  3
  
  33
  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 
  over Nutmeg Creek. While she might tech-
  nically be grouped among the gentry, she 
  doesn’t pay much attention to the workings 
  of the Court. She makes it clear to each 
  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.
  Nutmeg
  Great (+4) forceful rIver spIrIT; 
  Fair (+2) flashy conTrarIan and 
  sneaky Teacher of manners
  3
  
  34
  FATE: WORLDS OF ADVENTURE
  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 is not actually a spirit 
  of the dead, but a fairy that resides in 
  an ancient tree in the Andersons’ west 
  field. Not even the family knows how 
  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.
  The Old Ghost
  Great (+4) sneaky TrIcksTer;  
  Fair (+2) forceful spIrIT;  
  Average (+1) careful proTecTor
  3
  
  35
  GOOD NEIGHBORS
  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 is one of three 
  detectives in the Still Hollow 
  Police Department. He has been 
  a cop for almost thirty years. 
  He’s nearing retirement, but he 
  keeps in fair shape for a man 
  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. 
  Grayson Turner
  Great (+4) small-Town deTecTIve;  
  Fair (+2) man of acTIon pasT hIs prIme;  
  Average (+1) relucTanT conspIraTor
  STRESS
  Physical 3
  Mental 4
  
  36
  FATE: WORLDS OF ADVENTURE
  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.
  
  37
  GOOD NEIGHBORS
  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)
  
  38
  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
  
  39
  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
  
  40
  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
  
  41
  GOOD NEIGHBORS
  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.
  
  42
  FATE: WORLDS OF ADVENTURE
  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).
  
  43
  GOOD NEIGHBORS
  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.
  
  44
  FATE: WORLDS OF ADVENTURE
  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.
  
  45
  GOOD NEIGHBORS
  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.
  
  46
  FATE: WORLDS OF ADVENTURE
  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.
  
  47
  GOOD NEIGHBORS
  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.
  
  48
  FATE: WORLDS OF ADVENTURE
  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.
  
  Human Character
  Fairy Character
  Stress
  PHYSICAL
  MENTAL
  Consequences
  [1][2][3][4]
  [1][2][3][4]
  MILD
  [2]
  SEVERE
  [6]
  MODERATE
  [4]
  Stress
  Consequences
  [1][2][3]
  MILD
  [2]
  SEVERE
  [6]
  MODERATE
  [4]
  NAME
  Aspects & Professions
  HIGH CONCEPT
  []INVOKE      []COMPEL     []DECLARE
  TROUBLE
  []INVOKE      []COMPEL     []DECLARE
  MOTIVATION
  []INVOKE      []COMPEL     []DECLARE
  FOLK
  []INVOKE      []COMPEL     []DECLARE
  COMMUNITY
  []INVOKE      []COMPEL     []DECLARE
  NAME
  Aspects & Approaches
  HIGH CONCEPT
  []INVOKE      []COMPEL     []DECLARE
  TROUBLE
  []INVOKE      []COMPEL     []DECLARE
  ISSUE
  []INVOKE      []COMPEL     []DECLARE
  NEIGHBOR
  []INVOKE      []COMPEL     []DECLARE
  COURT
  []INVOKE      []COMPEL     []DECLARE
  
SOURCE: textdata/thevault/FATE (fudge) [multi]/World of Adventure/Good_Neighbors.pdf