TEXT: P R I S M
  Tara Zuber
  A WORLD OF 
  ADVENTURE FOR
  
  This adventure was made awesome thanks to our Patreon patrons at patreon.com/evilhat—thanks folks!
  INSIDERS
  A.D. Hardman
  Alan Bartholet
  Allan Kilroy-Glynn
  Andrew Pomfret
  Andrew Turbott
  Andy Arminio
  Arlo B Evans
  Bartolome Mayol
  Ben Mullen
  Benjamin Patrick 
  Huff
  Brett Abbott
  brian allred
  C. J. Hunter
  C.K. Lee
  Charles Albrecht
  Charlton Wilbur
  Christopher 
  Gunning
  Christopher Hatty
  Christopher Vollick
  Clyde Clark
  D.C. Upton
  Daniel Stack
  David Dorward
  David Fergman
  Declan Feeney
  Demian Buckle
  Don Arnold
  Doug 
  Dusan Frolkovic
  Dustin Evermore
  Edward MacGregor
  Fábio Emilio Costa
  Frank 
  Frédéri POCHARD
  Gavran 
  Giuseppe 
  D'Aristotile
  Graham Owens
  Graham Wills
  Griffin Mitchell
  Howard M 
  Thompson
  J Quincy Sperber
  J.M. 
  Jamie Smith
  Jan Heitger
  Jason Comfort
  Jason Cotton
  Jean-François 
  Robillard
  Jeff Chaffee
  Jeff Craig
  Jeremy DeVore
  Jeremy Tidwell
  Jim Nicholson
  Joakim Andersson
  Joe Trzos
  john burchett
  John DiPietro
  John Rogers
  John Rudd
  Jon-Pierre Gentil
  Joshua Lutz
  Justin Evans
  K T
  Katie Baker
  Katie Berger 
  Tremaine
  Keith Stanley
  Ken Ditto
  LilFluff 
  Linda Larsson
  MAINGUET Francois
  Marc 
  Marc Mundet
  Mark 
  Mark Fentz
  Marty Chodorek
  Matt and Nykki 
  Boersma
  Matt Anderson
  Matthew Whiteacre
  Micah Davis
  Michael 
  Michael Bowman
  Michael Cambata
  Michael Dean 
  Hannah
  Michael Meriwn
  Michael Pedersen
  Mike Lavery
  Mitchell Evans
  Morgan Ellis
  MVG 
  Nathan Hare
  Nick Daly
  Nick Reale
  Nicola Urbinati
  Osye Pritchett
  Peter Schumacher
  Philip Nicholls
  Rachael Hixon
  Randall Wright
  Randy Oest
  Rhel 
  Rich Spainhour
  Richard Bellingham
  Rick 
  Rick Jakins
  Robert Hanz
  Ryan Singer
  Sarah Vakos
  Sean M. Dunstan
  Sean O'Dell
  Sean Smith
  Selene O'Rourke
  Simon Reichley
  Skylor Prock
  Stephen Rider
  Tara Zuber
  The Roach
  Thom Terrific
  Tim N
  Timothy Carroll
  Tristan Levasseur
  Tristan Smith
  Troy Ray
  Tyler Hunt
  vargr1 
  Victor Allen
  Will Goring
  William J. White
  William Lee
  William McDuff
  Zach Hunt 
  ADVENTURERS
  A Person
  Adam Buehler
  Adam C.
  Adam Gutschenritter
  Adrian Arias-Palomo
  Adrian Chaluppka
  Aharon sharim
  AJ Real
  Al Billings
  Alan Phillips
  Alan Timothy Rogers
  Alan Twigg
  Alex Demille
  Alexander Gräfe
  Alexander R. Corbett
  Alexandre Malette
  Alexandros Tsourakis
  Alistair 
  Allan Samuelson
  Alloyed 
  Amanda Valentine
  Andrew Betts
  Andrew Dacey
  Andrew DeLorenzo
  Andrew Grant
  Andrew Horn
  Angus 
  Anthony Damiani
  Antoine Pempie
  Arlene Medder
  Arthur Lace
  ArthurDent 
  Ask Charly Leetham
  B. Bredthauer
  Barac Wiley
  Bean Lucas
  Becca 
  Ben 
  Ben Scerri
  Benj 
  Benjamin Cush
  Benjamin Wandio
  Benjamin Welke
  Bill 
  Bill Eastman
  Bill Henderson
  Björn Steffen
  Bo Madsen
  Bob Hiestand
  Braden Walker
  Bradley Eng-Kohn
  Brandon Metcalf
  Brandon Wiley
  Brandt Bjornsen
  Brendan Conway
  Brent Ritch
  Brian 
  Brian Colin
  Brian Creswick
  Brian S. Holt
  Bruce 
  Bruce Laing
  Bruno Haack Vilar
  Bryan 
  Bryan Brake
  Bryan Gillispie
  Bryan Wiltgen
  Bryce Perry
  BurninChrome 
  C 
  Carl 
  Carl McLaughlin
  Carlos Martín
  Cerity 
  Charles Evans
  Chip Dunning
  Chloe Wandler
  Chris Caporaso
  Chris Little
  Chris Newton
  Chris Nolen
  Christian 
  Christian Ebel
  Christoph Thill
  Christopher Allen
  Christopher Avery
  Christopher Mangum
  Christopher Mason
  Christopher Smith Adair
  Christopher Stone-Bush
  Christopher W. Dolunt
  Chuck Dee
  Clemens Schmitz
  Colin 
  Colin Matter
  Corey Johnston
  covert-banana 
  Craig Maloney
  Craig Mason
  Craig Wright
  Creative Play and 
  Podcast Network
  Curt Meyer
  Curtis Hay
  Dain 
  Damon Richard
  Daniel Byrne
  Daniel Chapman
  Daniel Ellingsen Lund
  Daniel Kraemer
  Daniel Ley
  Daniel Maberry
  Daniel Markwig
  Daniel Taylor
  Daniele Galli
  Darin Henley
  Dave Joria
  David Bellinger
  David Bowers
  David Bruns
  David Buswell-Wible
  David Goodwin
  David Griffith
  David Hayes
  David Maple
  David Millians
  David Olson
  David S
  David Silberstein
  David Starner
  Davide Orlandi
  Denis Ryan
  Dennis Groome
  Derek Hiemforth
  Didier Bretin
  Dillard 
  Dirk Methner
  Don Bisdorf
  Don Schlaich
  donald murray
  Doug Bolden
  Drew 
  Duane Cathey
  Duncan 
  Dylan Green
  Ebenezer Arvigenius
  Edward Sturges
  Ehedei 
  Eirch Mascariatu
  Elliott M. Freeman
  Elsa S. Henry
  Elsidar Amhransidhe
  Emmanuel 
  Emmanuel Genot
  Enrique Esturillo Cano
  eric 
  Eric Bontz
  Erich Lichnock
  Erik Ingersen
  Ernie Sawyer
  Fabrice Breau
  FelTK 
  Fide 
  Florian Greß
  Francisco Castillo
  François-Xavier Guillois
  Frank 
  Frankie Mundens
  gamedave 
  Garrett 
  Garrett Jones
  Gary Anastasio
  Genevieve 
  GentleFox 
  Geoff 
  Geoff 
  George Harnish
  Gian Domenico Facchini
  Glenn Mochon
  Glenn Seiler
  Glynn Stewart
  Graham Meinert
  Greg Matyola
  Gregg Workman
  Gregory Fisher
  Gregory Hirsch
  Guillermo Calvo
  Gustavo Campanelli
  Haakon Thunestvedt
  Harry 
  Harry Mills
  Heather 
  Herman Duyker
  HFB 
  Hourousha Mokujin
  Ian Charlton
  Ian Toltz
  Imunar 
  Indi Latrani
  Irene Strauss
  Istrian Gray
  Jack Gulick
  Jackson Hsieh
  James Beal
  James Dezomits
  James Endicott
  James Hoag
  James Husum
  James O'Neill
  James Odom
  James Pacheco
  James Winfield
  Jamie Wheeler
  Janet 
  Jared Hunt
  Jarrett 
  Jason Bean
  Jason Best
  Jason Pasch
  Jason Penney
  Jason Tocci
  Jayna Pavlin
  Jeff Mahood
  Jeff Pitrman
  Jeff Vincent
  Jeffrey Boman
  Jeffrey Collyer
  Jens 
  Jens Alfke
  Jeremiah McCoy
  Jeremy Glick
  Jeremy Hamaker
  JF Paradis
  Joanna 
  Joel Short
  Johannes K. Rasmussen
  Johannes Oppermann
  John 
  John 
  John Arcadian
  John Beynon
  John Bogart
  John Fiala
  John Griogair Bell
  John Halsey
  John Helmuth
  John Lambert
  John Portley
  John S. Fetzik
  John Taber
  John Tobin
  John William McDonald
  Johnathan Wright
  Jon Smejkal
  Jonas Matser
  Jonathan 
  Jonathan Finke
  Jonathan Hobbs
  Jonathan Korman
  Jonathan Young
  Jordan Dennis
  Jordi Aldeguer
  Jose A.
  Joseph 
  Joseph Formoso
  Joseph Gamblin
  Josh McIllwain
  Josh Rose
  Josh Salyers
  Joshua 
  Joshua Reubens
  Juan Francisco Gutierrez
  Julianna Backer
  Jussi Räsänen
  Justin 
  Justin 
  Kaarchin 
  Karl Thiebolt
  Katherine Malloy
  Keith Fannin
  Kenneth Benjamin 
  Holbert
  Kent Snyen
  Kevin L. Nault
  Kevin Lindgren
  Kevin McDermott
  Kevin Payne
  Kielo Maja
  Kiyoshi Aman
  Klaas Bock
  Kris Herzog
  Krista 
  Krzysztof Chyla
  Kurt Zdanio
  Kyle 
  Larry Hollis
  Laura 
  Laurie Koudstaal
  Lester Ward
  Lore Graham
  Loren 
  Lowell Francis
  Luca Agosto
  M. Sawi
  m.h. 
  Madelyn Chappell
  Manfred 
  Marc Kevin Hall
  Marcel Lotz
  Marcel Wittram
  Marcus 
  Marinho Tobolla
  Mario Dongu
  Mark 
  Mark A. Schmidt
  Mark Diaz Truman
  Mark Harris
  Mark Widner
  Markus Haberstock
  Markus Sauerbrey
  Markus Wagner
  Martin Åhlenius
  Martin Deppe
  Martin Terrier
  Marty Gentillon
  Matt Houck
  Matt Landis
  Matthew Broome
  Matthew J. Hanson
  Matthew Petruzzelli
  Matthew Price
  Matthew Whalley
  Max 
  Max Kaehn
  Max v
  Megan McKinney
  Mic 
  Michael 
  Michael 
  Michael Barrett
  Michael Bradford
  Michael Brewer
  Michael D. Blanchard
  Michael D. Ranalli Jr.
  Michael Drescher
  Michael Feeney
  Michael Friese
  Michael Hill
  Michael Hopcroft
  Michael Riabov
  Michael Shumate
  Michael Thompson
  Mike DeZarn
  Mike Vermont
  Mirko Froehlich
  Mook 
  Nat 
  Nat 
  Natalie Ash
  Nathan Barnes
  Nathan Fritz
  Nathan Reed
  Nessalantha 
  Nichlas Dyhr 
  Hummelsberger
  Nicholas Hopkins
  Nicholas Pilon
  Nick 
  Nick pater
  Nicolas Decomble
  Nikos Lima
  Noel Warford
  Nos Doughty
  Olav Müller
  Olivier Nisole
  paolo castelli
  Paolo Jose Cruz
  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 Gates
  Peter Griffith
  Peter James Burczyk
  Peter Kahle
  Petri Leinonen
  Phil Groff
  Philippe Marichal
  Philippe Saner
  Phillip Webb
  Porter 
  R Roy
  Ralf Wagner
  Ralph Miller
  Randall Orndorff
  Randy M. Roberts
  Raun Sedlock
  Rebecca Harbison
  Red Dice Diaries
  Remy Sanchez
  Renzo Crispieri
  Rich Hewett
  Rich Hilborn
  Richard 
  Richard Greene
  Rick LaRue
  Riggah 
  Rishi 
  Rob Howell
  Rob Knop
  Rob Meyers
  Rob Voss
  Robb Neumann
  Robert 
  Robert Huss
  Robert Rees
  Robert Rydlo
  Robert Slaughter
  Robinson Taylor
  Rodrigo 
  Roger Carbol
  Ron Müller
  Roy 
  Roy Wilson Jr.
  Ruben Smith-Zempel
  Ryan C. Christiansen
  Ryan Gigliotti
  Ryan Junk
  Samuel Hart
  Sarah Mayfield
  Sarah Williams
  Schubacca 
  Scot Ryder
  Scott Acker
  Scott Dexter
  Scott Greenleaf
  Scott Millward
  Scott Puckett
  Scott Thede
  Sean Smith
  Sean Walsh
  Sean West Money
  Serf 
  Seth Clayton
  Seth Halbeisen
  Seth Hartley
  Shadowmyre Kalyn
  Shai Laric
  Sharon Moore
  Shervyn von Hoerl
  Shoshana Kessock
  Simon Brunning
  Simon White
  Sion Rodriguez y 
  Gibson
  Sławomir Wrzesień
  Sophie Lagace
  Spencer Williams
  Stefan Feltmann
  Stefano Monachesi
  Stephan 
  Stephen Figgins
  Stephen Waugh
  Steve Discont
  Steve Kunec
  Steve Radabaugh
  Steven Code
  Steven D Warble
  Steven desJardins
  Steven K. Watkins
  Steven Markley
  Stu Adams
  Stuart Dollar
  Sune Donath
  surtr 
  Svend Andersen
  Tatu Sara-aho
  Teppo Pennanen
  Teresa O
  Tevel Drinkwater
  Thomas 
  Thomas 
  Thomas Balls-Thies
  Thomas Elmeblom
  Thomas Maund
  Thomas Off
  Tim Davis
  Tim Popelier
  Timothy Miller
  Todd Estabrook
  Todd Willey
  Tom Lommel
  Tony Ewing
  Torolf de Merriba
  Travis Stodter
  Trevor Crosse
  Tsht 
  Tyler Duckworth
  Tyson Monagle
  Urs Blumentritt
  Veronica Hamilton
  Ville Lavonius
  Viveka Nylund
  Vladimir Filipović
  waelcyrge 
  Wayne Coburn
  Wayne Peacock
  Wes Fournier
  William Johnson
  Wulf 
  Yara Ohrt
  Z. Daniel Esgate
  Zeb Walker
  Zeph Wibby
  
  PRISM
  A WORLD OF 
  ADVENTURE FOR
  WRITING & ADVENTURE DESIGN
  TARA ZUBER
  DEVELOPMENT
  ROB DONOGHUE 
  & PAUL STEFKO
  EDITING
  JOSHUA YEARSLEY
  PROJECT MANAGEMENT
  SEAN NITTNER
  ART DIRECTION
  BRIAN PATTERSON
  LAYOUT
  FRED HICKS
  INTERIOR & COVER  
  ARTWORK
  ELISA CELLA
  MARKETING
  CARRIE HARRIS
  BUSINESS DEVELOPMENT
  CHRIS HANRAHAN
  
  An Evil Hat Productions Publication
  www.evilhat.com • feedback@evilhat.com
  @EvilHatOfficial on Twitter
  facebook.com/EvilHatProductions 
  Prism
  Copyright ©2017 Evil Hat Productions, LLC and Tara Zuber.
  All rights reserved. 
  First published in 2017 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, lucid dreamers, 
  alternate realities, impossible colors, your dreams, or the nightmare that 
  stalks you through them is purely coincidental, but kinda hilarious.
  Yeah, that's what it is. Hilarious. (Nighty-night!)
  
  CONTENTS
  Introduction ...................................................................................... 3
  About This World .........................................................................................3
  The World We Live In ......................................................................4
  Julieta’s Discovery ...................................................................................... 4
  The Problem of Lucidity ............................................................................5
  Bickering Factions .......................................................................................6
  Character Creation ........................................................................... 8
  Skills ..................................................................................................................8
  Phase Trio .....................................................................................................10
  Lucid Dreaming ............................................................................... 11
  Controlling Dreams .................................................................................... 11
  Waking Up ..................................................................................................... 11
  The Nexus of Dreams ............................................................................... 13
  Nightmares ................................................................................................... 13
  Dream Spectrum ........................................................................................14
  An Array of Realities .......................................................................16
  A World in Which… .................................................................................... 17
  What if…?  .....................................................................................................18
  A Wasteland of…  .......................................................................................19
  The Stability of Reality............................................................................20
  Gear for the Lucid .......................................................................... 22
  Poltergeist Ring ......................................................................................... 22
  Prism Goggles ............................................................................................24
  Creating Other Gear with Lucid Colors ............................................ 25
  The Factions of Prism ................................................................ 26
  Aspects .........................................................................................................26
  Stress and Consequences ...................................................................... 27
  Skills and Aspect Ratings ......................................................................28
  Stunts and Refresh ...................................................................................29
  Faction Milestones ....................................................................................30
  Joining a Faction .......................................................................................30
  Playing a Faction ........................................................................................ 31
  The Plot Engine .............................................................................. 32
  Factions ........................................................................................................ 32
  Lucid Colors ................................................................................................33
  Jobs ................................................................................................................34
  The Curious Case of Klara Bosko  ................................................ 35
  Act One: The Artist of Dreams ............................................................36
  Act Two: All an Illusion ............................................................................38
  Act Three: Lost in Possibilities .............................................................42
  
  Take a moment. Find a pattern or sequence 
  around you. The arrangement of tiles on the floor. 
  The rise and fall of book spines on a shelf. The 
  lines of words on this page.
  Then close your eyes, breathe, and look again. 
  Did anything change?
  Are you dreaming?
  Are you sure?
  2
  
  INTRODUCTION
  A plethora of websites and books promise the secret to lucid dreaming and advocate 
  the practice for self-improvement and decision-making. In dreams, you can do 
  anything: fly, remember your high school French classes, or get personal closure.
  For many, their adventures end there, but lucid dreaming is only the first step 
  to a much larger world. All dreams connect together, and those with the will to 
  try can wander out of their mind to the fringes of strangers’. For a long time, that 
  was as far as anyone ventured, but then a few managed to bring a color from their 
  dreams into their waking lives. 
  When anyone looked through glass tinted with that color, they saw a world that 
  never was. Now the Lucid comprise everyone who understands that this world, 
  the one we’re all awake within right now, is just one of many. Whole worlds layer 
  over our own. The colors hidden in dreams—the lucid colors—unlock these 
  realities, allowing us to glimpse what might have been and what could never be. 
  Becoming Lucid means abandoning the certainty that all we experience is all that 
  exists. More is waiting.
  Fairyland. A modern world in which Europe never invaded. A wasteland. A 
  dragon’s nest. A nightmare of gaping mouths. The possibilities are endless. And, 
  with the power of special gear, the Lucid can open and walk through doors that 
  don’t exist, climb ladders only they can see, and talk with those who were never born.
  The lucid colors are also tightly connected to the emotions and memories that 
  formed them within the dreams. Those who spend too much time around a paint-
  ing, window, dress, or other object that has been tinted with a lucid color become 
  influenced by those emotions and memories. They may turn inexplicably happy, 
  melancholy, uninhibited, or angry. If the memory is particularly powerful, they 
  find themselves playing it out over and over as though possessed.
  Naturally, such power draws those who wish to control, exploit, or study it. 
  Over the years, factions have formed within the Lucid, each with its own agenda. 
  Who is in the right? Who can say? Right or not, these factions are powerful allies 
  and terrible enemies.
  Most of the world has no idea about the possibility surrounding them. Will 
  you remain among the sleepers, or will you join the Lucid and discover just how 
  amazing and dangerous life can be?
  About This World
  Prism is a Fate World and Adventure that adds layers of reality on top of our own 
  and provides tools to characters so they can use these layers without exiting their 
  own world. Characters also work and interact through dreams, which adds a good 
  dose of the fantastic to the game. Some illustrative films and TV shows include 
  Alice Through the Looking Glass (2016), the Yo-kai Watch anime, Inception (2010), 
  The Dresden Files series, Shriek: An Afterword, Paprika (2006), and Night Watch 
  (2004). Each of these involves using a secondary world to traverse a primary 
  world, using a device to see otherwise invisible actors in the primary world, or 
  using dreams to affect the waking world.
  3
  PRISM
  
  THE WORLD WE LIVE IN
  Julieta’s Discovery
  Julieta Alvarado dreamed she flew over a vast and churning ocean. 
  When she awoke, the color of that frothing sea-foam twisted around her hand 
  like a tentacle. Julieta smeared the color across her bedroom window and saw 
  towers and mountains of shiny buttons in all shapes, sizes, and colors.
  How Julieta brought the lucid color into the waking world on her own is a 
  mystery yet to be replicated. Her discovery, though, led to additional explora-
  tion, the development of prism goggles, the poltergeist ring, the rise of the many 
  groups trying to exploit or control the lucid colors—her discovery created the 
  world the Lucid now know.
  The Lucid today operate in three spaces: dreams, other realities, and the non-
  dream reality they call home, also known as their base reality or the waking world.
  In dreams, the Lucid meet together at the Nexus, the point where all dreams 
  meet, and explore strangers’ dreams. They use their will to shape the dream 
  around them and seek out colors—the lucid colors—that only exist in dreams 
  and, despite best efforts, defy true description. 
  In other realities, the Lucid explore alternative histories, encounter the fantastic, 
  and take advantages of stairs, doors, walls, and paths that exist outside the base 
  reality.
  In their base reality, the Lucid bicker and compromise over what their discov-
  eries mean for the world at large. New factions rise up every year, each with its 
  own solutions.
  Amidst all this is a growing realization: as more people cross realities and blend 
  dreams with the waking world, the fabric of reality thins.
  4
  FATE: WORLDS OF ADVENTURE
  
  The Problem of Lucidity
  The Problem of Lucidity is the series of ethical debates many within the Lucid argue 
  repeatedly and feel pressured to solve. The lucid colors, the Nexus of dreams, the 
  other layers of reality—all world-changing, and the Lucid are the only ones aware 
  of their possibility and danger. By default, the Lucid, a population of relatively 
  few people, must make decisions that could affect the world. 
  A Public Danger or Social (and Personal) Benefit?
  The colors can subtly influence those who view them, even those who are not 
  Lucid, and can be used to upgrade stealth tech, break into locked rooms, and 
  more. They can be extremely valuable or give access to valuables. While many 
  would like to use the lucid colors to their own and others’ benefit, others argue 
  that the colors open doors to dangerous worlds and manipulate emotions in ways 
  too easy to misuse. 
  Who Rules a New Frontier?
  The Nexus, the lucid colors, and the other layers of reality are too new and still 
  too secret to be bound by the rule of law. Or can current laws stretch over these 
  new facets of the world? Which boundaries command what seem to be limitless 
  dreams and realities? Some argue that the only regulations that matter are the 
  ones you can enforce. A few groups have tried to control access to other layers of 
  reality to varying degrees of success and bloodshed.
  Can the World Ever Know?
  How secret should the Lucid world be? Why is secrecy important or not? Should 
  the information be public to everyone? The Lucid do not live within a vacuum. 
  World events matter. Politics matter. What if an alternative reality has developed 
  cold fusion or could offer asylum to refugees? What if someone is using lucid 
  colors to influence the mental states of key political figures? What role do lucid 
  colors and other realities play in base reality? What role should they play? Does 
  the world have a right to know about the possibilities and dangers the lucid 
  colors represent? 
  What About Spectrum Relations?
  Many other realities are full of people and other sentient beings, some friendly 
  and others not. Some other realities are on the verge of apocalypse. How should 
  the Lucid interact with these other layers of reality? Do we need formal relations, 
  treaties, and the like? Should the other layers be viewed with suspicion? What about 
  the Lucid in other realities? Should each person negotiate their own relationships? 
  Should people be able to pass through other layers freely without consideration of 
  any larger regulation? Should entities in other layers of reality be allowed to pass 
  into our base reality? What if they are about to die? What if their world is about 
  to end? Does a reality have any obligation toward the other realities?
  5
  PRISM
  
  Bickering Factions
  Partially thanks to the Problem of Lucidity and partially thanks to the natural 
  reaction to a new and unclaimed power, many factions have risen in the Lucid 
  community.
  The factions cooperate and clash as they each try to realize their vision for 
  their city or the world. The following list is not exhaustive, just a starting point. 
  Create factions that engage your players or that generate stories that interest you. 
  For rules on creating and using factions, read The Factions of Prism (page 26).
  The Annex
  This passionate, somewhat overzealous group is devoted to guarding base reality 
  against the dangers of lucid colors and invasion of other realities. Members of the 
  Annex, when “on business,” dress all in brown. They tend toward vigilantism and see 
  themselves as a necessary extension of the Department of Spectrum Management. 
  The DSM enforces the rules, while the Annex gets shit done.
  The Annex is very pro-safety for others and wary of too much regulation. 
  Maintaining secrecy and minimizing interactions with other realities are critical 
  goals. The faction is less united on their opinions of exploration, though. Some 
  believe exploration courts danger, while others believe exploration is the only way 
  to prepare for the dangers their base reality might one day face.
  The Builders
  The Builders augment their lives with lucid colors. Colors promoting calm are 
  painted over their bedroom walls. They embroider school uniforms with colors 
  that encourage focus. Dye roses to inspire passion. The Builders argue that they 
  create better lives through their creative use of colors. Builders tend to focus on 
  optimizing their use of the lucid colors rather than hunting for realities that could 
  provide new and interesting technology or medical cures.
  The Builders think that safety should never stand in the way of progress. Likewise, 
  secrecy constricts the spread of benefits and is therefore problematic.
  The Department of Spectrum Management (DSM)
  The DSM originated in a police department after a detective learned to dream 
  lucidly and quickly battled his way to the Nexus. The DSM stretches, adapts, and 
  interprets current legislation to meet the problems posed by lucid colors and other 
  realities. For example, the DSM tends to treat lucid colors as hallucinogenic drugs. 
  They are also apt to use obscure or minor laws to prosecute so-called criminals in 
  the absence of lucid-color legislation.
  The DSM promotes regulation and safety above all. They are divided over the 
  issues of secrecy and other layers of reality, however. Secrecy enhances safety but 
  prevents true regulation. Other layers of reality are potentially dangerous, but 
  fall outside DSM jurisdiction.
  6
  FATE: WORLDS OF ADVENTURE
  
  The Mallorys
  The Mallorys watch out for the Mallorys. Over the years, this ruthless crime 
  family has bought and bribed their way into respectability. They’ve gotten a name 
  among the Lucid community as being generous patrons of dream and alternative-
  reality exploration. Just be sure to return their investment; debt collection is an 
  ugly business. Rumors are spreading that their current matriarch, Granuaile 
  (GRAW-nyu-wail) Mallory, is looking for something, though only those closest 
  to her know for what. 
  The Mallorys like secrecy since it limits competition, and they promote liberal 
  exploration of and relations with other realities. Profit is, of course, important, 
  but strangely does not seem to be their primary goal.
  The Alvarados
  Named for Julieta Alvarado, this loose group from all over the world meets up in 
  the Nexus to share their stories of ill-advised experimentation and exploration. 
  Only among the Alvarados would you find people who have willingly spent days 
  in another’s mind or tested lucid dreaming while in other realities. The Alvarados 
  hypothesize the existence of a Nexus Nexuum, a place where all dreams across all 
  realities meet, and seek it out relentlessly. Others in the faction are preoccupied 
  with understanding the nature of the multifoliate universe. The question goes: a 
  prism splinters a beam of light into a rainbow; if the spectrum of realities, colors, 
  and emotions is the rainbow, and the moment of existence the prism, what is 
  the beam of light? Some have even emigrated to other realities as they continue 
  their research of their myriad theories and wonderings. If there is a question to 
  ask or a boundary to breach, the Alvarados are present and active.
  This group does not care about safety or regulation; they just want to know 
  how far they can push. Many Alvarados also advocate for teaching others how 
  to reach the Nexus. Discoveries aren’t meant to be secret.
  7
  PRISM
  
  CHARACTER CREATION
  Creating a character in Prism isn’t much different from Fate Core. Characters have a 
  high concept, a trouble, 3 additional aspects, a skill pyramid, stunts, and 3 refresh. 
  The primary differences are some changes to skills and the phase trio.
  Skills
  Prism introduces two new skills: Factions and Streets. To compensate for these 
  additions, Contacts and Drive are no longer skills. 
  For Contacts, the two new skills cover most uses. If your character has a special-
  ized knowledge base through which they’d have contacts with like-minded people, 
  you can take a stunt to allow you to create contacts with that skill. 
  “We need to get into that school when the kids aren’t around.” Tanya 
  looks over her character sheet. “I have high Athletics. I reach out to 
  someone at my gym—no, in my rec basketball league—who knows the 
  school’s gym teacher.”
  Lex nods. “All right. Roll Athletics to see if you have a way to contact the 
  gym teacher. We’ll say this is an overcome roll against Good difficulty, +3.”
  Tanya rolls and gets a Great (+4) result. “Sweet.”
  “Perfect,” Lex says. “You reach out and get a phone number for Daniel 
  Luna, the gym teacher at Mitchell Elementary. What do you want to 
  do now?”
  As for Drive, the assumption is that everyone can get around one way or another. 
  For chases, the important skill isn’t control of the vehicle, but knowledge of the 
  surroundings, represented by Streets. 
  In addition to the two new skills, Burglary has been renamed Theft to clarify 
  that it includes pickpocketing and other forms of thievery. Crafts and Will have 
  the same names, but they now include tasks related to being Lucid. 
  Crafts includes using Lucid colors to create pigments and tint glass, paints, and 
  dyes. 
  Will is definitely a power skill in Prism. It allows characters to shape and control 
  dreams and to interact with or enter other realities. PCs can also create advantages 
  with Will in dreams that augment their other skills and being, making them stronger, 
  faster, more persuasive, or better at whatever they need. When a Will roll fails in 
  a dream, strange things happen.
  The Skill List
  Athletics
  Crafts
  Deceive
  Empathy
  Factions
  Fight
  Investigate
  Lore
  Notice
  Physique
  Provoke
  Rapport
  Resources
  Shoot
  Stealth
  Streets
  Theft
  Will
  8
  FATE: WORLDS OF ADVENTURE
  
  Factions
  The Factions skill gives knowledge of factions and contacts within them. You 
  can use this skill to help obtain information, spread information (or rumors), 
  find someone who can do a thing, and learn the strengths and weaknesses of a 
  specific faction. If you try and fail to use your faction to achieve something, your 
  actions may draw unwanted attention. Succeeding at a cost could involve owing 
  a debt to the faction.
  STUNTS
  In with Mallorys: You are a member, full or honorary, of the Mallory family. 
  Add +2 to Factions when working with the Mallorys. 
  On the Annex Shit List: The Annex hates you. Whenever you work with someone 
  who is also on poor terms with the Annex, you can roll Factions in place of Empathy.
  Streets
  Streets is knowledge of the city and the ability to both get around it through 
  shortcuts and public transport and hide within it. Streets also allows you to find 
  out the latest news and gossip about anything not related to a faction and to spread 
  information and rumors through non-faction affiliated networks.
  STUNTS
  Hidden Tunnels: You know the locations of all the discontinued subway tunnels 
  throughout the city. Add +2 to your roll when using one of those tunnels.
  Bolt Hole: You have a place in the city—a locker, a helpful café, a study carrel—
  where you can rest safely. When you are in your bolt hole, you cannot be found. 
  The first time you reach your bolt hole between significant milestones, roll against 
  Fair (+2) difficulty. If you succeed, the bolt hole has something you need. If you 
  tie, the bolt hole has something you can use, but it may be broken, out-of-date, 
  or require creative application. If you fail, the bolt hole does not have anything 
  special in it. You can have up to three bolt holes in the city, each allowing a roll 
  between significant milestones.
  9
  PRISM
  
  Phase Trio
  The phase trio in Prism is very similar to the Fate Core version, but the questions 
  are slightly different.
  Phase One: Everyone who manipulates the layers of reality or recovers colors 
  from dreams has a poltergeist ring, which bridges dreams and reality. This ring 
  is composed of seven memories, both happy and painful, that shaped you as a 
  person. What is one of those seven memories? How has it continued to affect 
  you? Write an aspect that reflects the outlook or philosophy that this memory 
  engendered in you.
  Phase Two: Eventually everyone who deals with lucid colors meets up with at 
  least one of the factions. How did you get tangled up with a faction? What did 
  you do or who did you convince to help you get untangled? Or did you join up? 
  Write an aspect that summarizes your relationship with one of the factions or a 
  member within a faction.
  Phase Three: The first time you all worked together was a bit of a mess. 
  Collaborating with the other players around the table, answer the following 
  questions and then write an aspect that reflects your attitude toward the team as 
  a whole or a specific person within it.
  • What were you trying to accomplish?
  • Who hired you?
  • What happened that you were unprepared for?
  • How did you get out of it?
  10
  FATE: WORLDS OF ADVENTURE
  
  LUCID DREAMING
  When your character sleeps, they can control their dreams. In dreams, they perceive 
  themself as they are. They use their skills normally, but they can also fly as easily 
  as they can walk or run while awake. If you want to engage in some tricky flying, 
  a race, or some other athletic action requiring a roll, roll Athletics.
  Controlling Dreams
  When you want to shape the dream or augment one of your skills, you do not 
  change your skill ranks, but instead roll Will to create an advantage. The advantage 
  lasts until you declare it canceled or your character wakes up, whichever comes 
  first, and allows them to do more than they can awake. For example, you could 
  roll Will to create the advantage Strongest Man Alive or A Magical Portal to 
  Where I Need. These aspects are only true in the dream and only for however long 
  the dream lasts. When your character falls asleep again, they’ll have a blank slate.
  Waking Up
  Since your character is in their mind, you cannot use your physical stress track, 
  and every consequence they take must be something mental that lingers after 
  they wake up. 
  A character can wake up in one of three ways. 
  • First, something external, planned or unplanned, can startle them out 
  of sleep. If the characters set an alarm before going to sleep, the players 
  can declare when the alarm sounds and awakens them. The GM can also 
  force the characters to wake up by sudden loud noises, a surprise attack, 
  or anything else they can imagine.
  • Second, they can awaken by getting taken out or by conceding. If a 
  character is taken out while asleep, they wake up. If they concede, they 
  wake up, but something has definitely gone wrong. The players and GM 
  should negotiate the cost. Perhaps a color drained out of their ring or they 
  wake up surrounded by enemies. As with any concession, the player gets 
  a fate point for conceding, plus another fate point for each consequence 
  they’d sustained. 
  • As a last resort, if they absolutely have to wake up, they can kill them-
  self in the dream. In addition to the rolls required for their actions, the 
  cost is a moderate consequence, or a severe one if they already have a 
  moderate one. This cost is required, even if they succeeded with style on 
  the rolls to kill themselves. Dying in dreams might not mean dying in real 
  life, but that doesn’t mean the characters escape unscathed. Additionally, 
  they’ll have to regain access to the Nexus by fighting a nightmare when 
  they next fall asleep.
  11
  PRISM
  
  Complications of Awakening
  If a character wakes up and didn’t get what they’d needed from the dream world 
  yet, they can try to go back to sleep. However, once asleep, they start back in 
  their own mind and without any of the advantages they may have created for 
  themselves the last time they were asleep. Also, the dreamer whose mind held the 
  colors they’d needed might have awakened in the meantime, leaving the characters 
  either without their color or having to start their search over. 
  Any consequences that a character took while in the dream world persist in the 
  waking world. If those consequences don’t already focus on the mental effects, the 
  player should revise them. The character could have a sudden, debilitating fear 
  or a conversion disorder, such as losing one of their five senses even though they 
  are physically fine, developing an inexplicable tremor, having difficulty speaking, 
  or experiencing seizures or paralysis.
  Wherever the characters are in dreams, their own or strangers’, or at the Nexus, 
  when they awaken they wake up back in their minds and bodies. This is not the 
  case if their slumbering host awakens before they do.
  If characters are exploring a stranger’s dream and the stranger begins to wake 
  up, the characters must race back to the Nexus as quickly as they can. This race 
  is a contest of the character’s Will against the dreamer’s Will to wake up. If the 
  dreamer’s Will has not yet been established, roll four dice. The dreamer’s Will 
  rating equals the sum of + and -. So, if you roll +0--, the dreamer’s 
  Will is Good (+3).
  If the characters do not make it, they are trapped within the dreamer’s mind, 
  and their bodies remain comatose. When the dreamer falls back asleep, the 
  characters can return to their own minds and bodies, but each sustains a mental 
  consequence—a phobia, anxiety, conversion disorder, or troublesome drive they 
  picked up from the dreamer’s mind.
  12
  FATE: WORLDS OF ADVENTURE
  
  The Nexus of Dreams
  All characters begin dreaming in their own minds. If they want to meet up or travel 
  into someone else’s dreams, they must first travel to the Nexus. The Nexus is a 
  large meeting point that looks different from night to night, though its theme—
  being a place where many things come together—is always constant. The Nexus 
  might be an airport, a telephone switchboard, a busy seaport, or a thundercloud. 
  Each Nexus is unique to the reality of its waking world. Some Lucid, especially 
  those among the Alvarado faction, believe that a Nexus Nexuum exists connecting 
  the Nexus of each reality together. The first time anyone travels to the Nexus, they 
  must battle through one of their nightmares. After that first time, the dreamer 
  can reach the Nexus easily.
  The Nexus has the setting aspects Crossroads of Dreams and Where 
  Imagination Thrives.
  Nightmares
  In all dreams lurk nightmares. Characters may encounter their own nightmares, 
  especially when trying to reach the Nexus, or they may seek out or come across 
  others’ nightmares as they travel through their dreams.
  A nightmare may take many forms, either a single entity or a location. In 
  either case, it is always working against the characters. Nightmares have an aspect 
  that describes their manifestation, Will of at least Great (+4)—this is their only 
  skill—and four stress boxes (4, 3, 2, 1). They have no consequences.
  The nightmare shapes the dream around them. Nightmares can also create 
  advantages that attach to characters and supersede the advantages characters had 
  created for themselves in the dream world. If your character made themself Faster 
  than a Thought, they might suddenly be Stuck in Slow Motion. Until they 
  overcome this aspect with their Will, they cannot use the aspect that gave them 
  speed. The difficulty to overcome the aspect equals the number of unmarked 
  stress boxes that the nightmare has. 
  Nightmares can also attack in a way befitting their form. If the nightmare is 
  The Monster from Under Your Bed, it can attack with teeth and claws. If 
  the nightmare is a Dank Swamp of Despair, it can attack with sucking mud, 
  hope-sapping darkness, and hidden alligators. 
  Each nightmare is tied to a dreamer’s fear. If characters defeat a nightmare, they 
  can use their Will to discover the fear that spawned the nightmare and create an 
  advantage. The PCs can use this advantage both in their dreams and waking life. 
  This means that seeking out the sleeping mind of someone they wish to under-
  stand better and fighting one of their nightmares is a way to gather information 
  on that person. 
  13
  PRISM
  
  Dream Spectrum
  After the discovery of the Nexus, the next greatest revelation was learning that lucid 
  dreamers could harvest colors from their dreams. These colors blend the imagina-
  tion, echoes of other layers of realities, and emotions. As with the spectrum of the 
  waking world, the lucid colors exist in an infinite number of shades, though they 
  tend to congregate around a more limited variety of effects. Some hues inspire joy, 
  others jealousy or generosity or rage. Much variation exists within those effects, 
  though. The rage that inspires blustering misjudgment is very different from the 
  rage that cools into overly rational ice.
  With close proximity and an act of Will against at least Good (+3) difficulty, a 
  character can draw the color from its object. The weaker the emotional connection 
  in the dream, the less vibrant the color and therefore the more difficult the roll. 
  Emotional dreams are the sort that linger. They remind dreamers of treasured or 
  painful memories or they get the heart racing. These sorts of dreams are brighter 
  and stronger, making the lucid colors within them likewise bright and strong. 
  A bright, strong color is easier to detect, isolate, and collect. Therefore, it is to 
  characters’ benefit to seek out emotional dreams with vibrant colors.
  Once a color has been drawn from a dream, a character may hold it within 
  their poltergeist ring. The poltergeist ring, crafted from memories that still affect 
  the waking world, exists in both dreams and the waking world. It provides a 
  bridge to bring the dream color, more commonly called the lucid color, into the 
  waking world.
  Once in the waking world, lucid colors begin deteriorating; they must be 
  preserved in a pigment within a few hours or else they dissipate. This is a Crafts 
  roll against a difficulty that depends on the quality of their pigment powder and 
  binder and on how quickly after waking they fix the color. The longer they wait, 
  the more difficult the roll. Even fixed within a pigment, the colors’ effects do not 
  last forever. All dreams eventually fade.
  In the waking world, colors have two effects. First, objects created using the 
  colors tend to affect and even manipulate the emotions of those around them. 
  Second, when used to tint glass—such as for goggles, bulbs, or mirrors—the 
  colors reveal other layers of reality. 
  All lucid colors have the following statistics: name, description, emotion aspect, 
  and revealed reality. The emotion aspect and revealed reality do not have to be 
  related in any way. Here is an example:
  Rosz
  Description: Pink like a blush blended with a happy yellow, 
  but not orange-like at all
  Emotion Aspect: Giddy and Daring as a Stolen Kiss
  Revealed Reality: A world in which megafauna still thrive
  14
  FATE: WORLDS OF ADVENTURE
  
  When color-hunting, you might seek a color whose emotion aspect you know 
  ahead of time, but you may simply capture whatever color you think is interesting. 
  If you capture a color, the GM can ask the players to create the emotion aspect 
  together based on the circumstances of the dream in which their characters caught 
  the color. If the characters know the aspect, they will need to search through 
  dreams to find one with the right emotional content. The revealed reality can 
  wait until the color has been used in the waking world to determine.
  Every color reveals a different reality, and no two colors reveal the same reality. 
  A revealed reality may create opportunities and challenges. An opportunity might 
  be a door where one does not exist in the base reality, and a challenge might be 
  a battle or a monster.
  15
  PRISM
  
  AN ARRAY OF REALITIES
  At the very moment of being, the universe splintered into a wide spectrum of 
  possible realities. Each of these realities is a vibrant and diverse world all its own. 
  While the realities match spatially—moving six feet to the right in one moves 
  you six feet to the right in all of them—whatever exists at each given point dif-
  fers, often wildly.
  Consider a box of building blocks. The most basic ingredients are the same, but 
  the resulting creations rarely are. Some may have a difference as small as a single 
  color change, while others seem to have nothing in common at all. Likewise, some 
  other realities may seem very similar to characters’ home base reality—they may 
  even encounter doppelgangers—while others will not. One small change, one 
  decision that went a different way, or an entire cascade of differences.
  Each reality is tied to the emotion aspect of the color that revealed it—this 
  emotional tie is what enables the reveal. That said, each reality is so full of life, this 
  emotion is undetectable. The vast and strange wastelands are the lone exceptions.
  A wasteland is what happens after a reality loses all stability (page 20). The 
  unstable reality enters a state of chaotic flux that spans waking life and dreams, as 
  well as other realities. Eventually, the reality seizes on some element that resonates 
  with the emotion of that reality and remakes itself. The template—the planets, 
  mountains, stars, oceans, suns—remains the same, but this resonant element 
  covers everything: for example, a universe of glass beads, pulsating planets of 
  tightly swarming drones, everything eyeballs. The wastelands are almost always 
  empty of native, sentient life, making the reality’s emotion the strongest, if not 
  the only, one present. The feeling resonates.
  Prism classifies realities into three main types, even though others may exist: 
  • “A world in which…” (many changes)
  • “What if…?” (one main change) 
  • “A wasteland of…” (wastelands)
  Each reality has a descriptive phrase, an opportunity or challenge, and a stability 
  rating (page 20). If it’s not a wasteland, it can also have an issue, either impend-
  ing or current. If the characters return to the non-wasteland reality frequently, 
  add another issue and keep track of major NPCs and locations. Elaborate as 
  needed. If characters just slip in and out of a reality, a description and a stability 
  rating will suffice.
  The following section describes the three types of reality, gives some relevant 
  prompts, and provides an example for each.
  OTHER REALITIES AS TESTING GROUNDS
  If you want to test new mechanics, but you don’t want to break the con-
  sistency of your campaign’s reality or suspend your current campaign 
  to try something new, other realities are a great place to try mechanics 
  out. Other realities can work differently from the base reality, allowing 
  for mechanical changes and different or additional rules.
  16
  FATE: WORLDS OF ADVENTURE
  
  A World in Which…
  These realities have some unexplained element or elements that are normal to that 
  world. Major changes early in the reality’s timeline or many changes later on led 
  to a world with recognizable elements in fantastic or unimaginable configurations. 
  Examples
  • A world in which the dead rise as zombies
  • A world in which the earth has been replaced by a space station
  • A world in which everyone dies at age 25
  • A world in which fairies are real
  A world in which the Earth has been 
  replaced by a space station
  Color: Veslyn, an explosive and glittering blue
  Emotion: Regretful happiness
  Issue: Encroaching Asteroids of Massive Size
  Stability Rating: 21
  Opportunity/Challenge: Teleportation. Teleporting devices link the 
  various space stations, enabling characters to travel great distances in a 
  short amount of time.
  Description: Humanity lives on large space stations. The remains of 
  former planets have drawn together in treacherous and increasingly 
  erratic asteroid fields. To the people of this world, living on a planet is 
  unimaginable. Their stations are warm, brightly colored, and cozy.
  17
  PRISM
  
  What if…? 
  These realities share many traits with the base reality, and any differences stem 
  from one major difference. Something went the other way. These are the realities 
  most likely to throw up doppelgangers. Even so, doppelgangers pose no threat 
  beyond the general awkward questions that the unexpected appearance of someone 
  identical would present.
  Examples
  • What if the Americas had not been colonized?
  • What if Napoleon had never invaded Russia?
  • What if China had won the Second Opium War?
  • What if the Persian Empire had won the Battle of Marathon?
  What if China had won the 
  Second Opium War?
  Color: Bepala, the color of a palindromic prime number 
  Emotion: The anxious breath before a safe landing
  Issue: One Last Election for Unity...or Complete Dissolution
  Stability Rating: 15
  Opportunity/Challenge: Mandarin is the lingua franca of the world. 
  Those who aren’t bilingual are looked down upon.
  Description: China is the seat of political power and social influence in 
  the world. The United States is a struggling nation, divided among a 
  large south united with Mexico, a strongly British-influenced northeast, 
  and the US government in the Midwest and west.
  18
  FATE: WORLDS OF ADVENTURE
  
  A Wasteland of… 
  Wastelands are empty realities dominated by a single strange element that resonates 
  with the emotion aspect of the color that reveals the reality. Wastelands do not 
  have issues, but the color’s emotion aspect can be invoked anywhere in the reality. 
  Wastelands, despite having formed in chaos, tend to be very stable. 
  Examples
  • A wasteland of spiral staircases
  • A wasteland of floating, gaping mouths
  • A wasteland of living shadows
  • A wasteland of keys
  A wasteland of keys
  Color: Hecitar, the Golden Chime of the First Day of School 
  Emotion: Persistent Suspicion of Someone Lurking
  Stability Rating: 25
  Opportunity/Challenge: Every key opens a lock somewhere.
  Description: Keys upon mounds of keys, all sizes, colors, and materials. 
  A giant keyhole burns as a sun in the sky.
  19
  
  The Stability of Reality
  The impending issue for a campaign set within Prism is that increased Lucid activ-
  ity is destabilizing reality. Reality’s stability is represented as a stability rating of 0 
  to 25. At 0, reality is up for interpretation. At 25, everything works as expected.
  This rating is the local average. Different cities will have different stability ratings. 
  Additionally, reality in any given place within a city may be five points higher or 
  lower than the city average.
  Characters do not have a way to measure reality’s stability for certain; they 
  can only observe the effects. The factions concerned with this issue—such as 
  the Annex, the DSM, and the Alvarados—have their own ways of estimating. 
  They do know that they can strengthen reality, though they can only estimate 
  the effect of their efforts.
  At the beginning of the game, the stability rating for the PCs’ locale is 20. As 
  the rating rises or falls, the following aspects become or cease to be true.
  25 points: Up Is Up and Down Is Down
  Everything in the city operates as expected. The other layers of reality do not affect 
  the base reality.
  20 points: Glimpses of the Impossible 
  Normal people report ghosts, UFOs, fairies, and other evidence suggesting that 
  they’re seeing flickers of other realities.
  15 points: Party in the Porous Reality 
  People and monsters from other layers of reality slip into base reality with varying 
  degrees of solidity and visibility and people in the base reality slip into other layers.
  10 points: Worlds Collide
  Another layer of reality merges fully with the base reality; the GM chooses a layer 
  that the characters have used either frequently or recently.
  5 points: Haunted by Dreams, Hunted by Nightmares 
  The boundary between dreams and the waking world is nearly nonexistent.
  0 points: Reality Is Debatable 
  Nothing is certain. If a player succeeds on a roll, the GM can offer a fate point for 
  the player to instead fail, and Will can affect the waking world.
  20
  FATE: WORLDS OF ADVENTURE
  
  Destabilizing Reality
  The GM may lower reality’s stability rating by 1 to 3 points as a minor or major 
  cost on a roll. Also, players and the GM may opt to spend stability points, reduc-
  ing the stability rating. Spending 1 stability point can soak 3 stress, add +3 to a 
  roll, allow another use of a gear item, or reroll any or all four dice.
  When players destabilize reality to help their characters, they weaken the wall 
  between them and the fiction. For the characters, this intervention appears as 
  sudden and strange luck. They do not know the price paid. Even once they see 
  the effects of the players and GM helping them, they do not know their own 
  complicity.
  When you spend stability points, the GM incorporates a detail about you into 
  the game. Perhaps a location the characters need is near where you work in real 
  life, or maybe the next NPC shares your first or last name. The point is: you’ve 
  inadvertently left a mark.
  Stabilizing Reality
  There are two ways to increase reality’s stability rating. At a significant milestone, 
  you can forgo gaining a skill rank for your character to increase the stability rating 
  by 2. Any number of the players can do this.
  You can also stabilize reality by cutting off access to a layer of reality. Doing 
  this increases the stability rating by 6, but it is not an easy task. First, you must 
  find and collect all instances of the lucid color that reveals the layer of reality you 
  want to cut off. This includes all pigments, goggle lenses, paintings, dyed cloths—
  everything. Once everything is collected, the characters use their willpower to 
  force all of the lucid color to fade at once, a Will roll against Epic (+7) difficulty. 
  You cannot use the color again unless it is reintroduced to the city by an NPC. 
  Reintroduction does not undo your work in stabilizing.
  21
  PRISM
  
  GEAR FOR THE LUCID
  Lucid dreamers who want to collect colors or interact with other layers of reality 
  have specialized gear that enables their work and exploration. The most important 
  are the poltergeist ring and prism goggles. Characters can create other gear by 
  using a lucid color as a pigment for tinting paints, dyes, or glass. Possible pieces 
  of gear include mirrors, bulbs, windows, paint, and clothing. This gear can sustain 
  damage or be lost. 
  Poltergeist Ring
  A ring created with seven memories that hold weight in its wearer’s day-to-day life. 
  Each memory has deep emotional significance for the wearer. No two emotions 
  in a wearer’s ring can be the same. 
  In general, the ring is a bridge and an anchor. As a bridge it helps its wearer 
  connect dreams to waking life and one reality to another. As an anchor it allows 
  its wearer to be real wherever they are. 
  In dreams, anyone wearing a ring can will a color they can see into the ring. 
  The color will travel with the ring into the waking world. There, the wearer can 
  drain off the lucid color and bind it to a pigment for use. A ring can only hold 
  one color at a time. 
  In the waking world, the ring allows its wearer to interact with another layer 
  of reality, but only while the wearer can perceive that layer.
  Each character created their own ring in their dreams. The ring is formed 
  through a braid of seven formative and emotional memories. It is always present. 
  In dreams, the ring is solid, but in the waking world, it is ghostly. To avoid ques-
  tions, many of the Lucid wear a real ring in the same place as their poltergeist ring. 
  Using the Poltergeist Ring
  Permissions: The ring can capture one lucid color from a dream and transport it 
  to waking life, enable its awake wearer to touch elements of another reality, and 
  enable its wearer to enter another reality.
  Use: Activating the ring requires an act of Will. Capturing a color requires over-
  coming Good (+3) difficulty. You must be close to the color you want to collect. 
  A ring can only hold one color at a time.
  Working with another layer of reality requires perceiving the reality, typically 
  accomplished by looking through prism goggles, and then rolling Will to create 
  an advantage or overcome. The GM decides how difficult the task is. 
  Any advantages you create in another reality are accessible as long as you can 
  perceive that layer—seeing is believing. If you wish to access an advantage from 
  a reality you cannot perceive, you must first make an act of Will against Fantastic 
  (+6) difficulty—sometimes believing is seeing. If the roll fails, you can still access 
  the advantage, but one of the memories in your ring fades, and you will have to 
  replace it before you can use your ring again. 
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  FATE: WORLDS OF ADVENTURE
  
  Finally, entering another layer of reality requires an act of Will against Great 
  (+4) difficulty. Your character can enter another reality as an intangible poltergeist 
  or as a solid entity; tell the GM how you want to enter the reality. 
  • If you succeed with style, your character enters the other reality as intended, 
  and you may declare a story detail about the other reality or take a boost.
  • If you succeed, your character enters the other reality as intended.
  • If you tie, your character enters the other reality, but they are solid when 
  they wanted to be ghostly or ghostly when they wanted to be solid. Also, 
  they enter into a safe situation or their purpose for entering the reality is 
  not compromised. 
  • If you fail, your character enters the other reality, but they are solid when 
  they wanted to be ghostly or ghostly when they wanted to be solid. Also, 
  they enter into a dangerous situation or their purpose is compromised.
  If characters enter another reality as a solid entity, they do not need to continue 
  wearing the prism goggles. However, in order to return home, they will need 
  lenses that reveal their own reality.
  Space traveled is constant across realities. If a character steps into an alternate 
  reality and walks across town, when they return to the base reality, they will be 
  across town. They do not automatically return to where they initially shifted into 
  the alternate reality.
  Costs: Using the ring requires an act of Will. The ring is also most real in dreams, 
  which means that wearers can potentially lose them while dreaming, either by 
  accident or by theft. 
  To repair a ring that has lost one of its memories, your character must, the next 
  time they are dreaming, describe a memory strongly related to one of the follow-
  ing ten emotions: joy, trust, wonder, love, certainty, regret, grief, rage, contempt, 
  guilt. Each emotion should only appear once in each ring. Also, each time the 
  ring loses a memory, replace it with one you have not yet described—that way 
  you’ll explore all of your character’s emotions. 
  As you repair your ring, keep track of which seven memories and emotions 
  have formed their ring. Recalling this memory freshens it for your character, so 
  you must change one of their aspects other than their high concept, to reflect the 
  memory and the emotion it inspires.
  WHAT IF YOUR CHARACTER CAN’T SEE?
  Sight is not a requirement for being one of the Lucid. Instead of prism 
  goggles, those without sight have special headphones with interchange-
  able plates that slide into the ears. The emotions associated with the colors 
  filter sound around them, allowing them to listen in on other realities.
  23
  PRISM
  
  Prism Goggles
  These goggles have interchangeable lenses, each tinted with lucid colors. By looking 
  through the lenses, the viewer can see another layer of reality. The goggle case also 
  has room to carry two additional pairs of lenses. When you wear the goggles, you 
  are wearing goggles—other people, including those who aren’t Lucid, can see them.
  Each pair of lenses has two effects: it reveals a specific world, and it incites a 
  certain emotion. Those who look through the lenses can see the world, but they 
  are also vulnerable to the emotional influence.
  Using the Prism Goggles
  Permission: You may see the layer of reality that coordinates with the lenses 
  currently in your goggles. You may carry up to two extra pairs of lenses with you 
  at any given time. 
  Cost: You must create the lenses by first finding a color, creating a pigment, and 
  then using Crafts to create the lenses and Crafts again to tint them. NPCs can 
  create lenses and tint glass, but the PCs must convince them to do so and be 
  willing to pay whatever NPCs charge—money, favors, or a specific lucid color. 
  Wearing prism goggles also puts characters in close proximity to a lucid color, 
  making them vulnerable to its emotional effects. When your character is wear-
  ing prism goggles, the GM can compel the emotion aspect of the color of the 
  goggles’ current lenses.
  Finally, lucid colors always fade in the waking world. A pair of prism lenses has 
  three uses before the colors fade and the lenses become plain glass. You cannot 
  use the lenses for viewing other realities until you tint them again. 
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  FATE: WORLDS OF ADVENTURE
  
  Creating Other Gear with Lucid Colors
  Anything that can be colored can be turned into gear—glass, cloth, paints, and 
  more. Creating gear requires rolling Crafts to overcome. If you succeed or tie, 
  you can choose one of the following permissions. If you succeed with style, you 
  can either add another use before the color fades or ensure the gear does not 
  malfunction on its final use.
  Color: Which lucid color are you using to create the gear?
  Object: What are you creating?
  Permissions: The gear gives its user or wearer one of the following permissions.
  • Use free invokes of the color’s emotion aspect to their advantage—an 
  example might be a dress that inspires trust or a toy that inspires intense 
  fascination as a distraction. Each invoke counts as one use.
  • Perceive another layer of reality—an example might be a light bulb that 
  reveals another layer when lit, or a window into another world
  • Conceal something from one reality by hiding it in the color of another 
  reality. The object must be opaque, such as a painted lockbox or a cam-
  ouflage coat. However, the object or person appears as an apparition in 
  the other reality, drawing attention.
  Costs: The gear carries all of the following costs.
  • While you are wearing, carrying, or otherwise near the gear, you can be 
  compelled by the color’s emotion aspect.
  • The gear draws attention from either another layer of reality or from a fac-
  tion that is interested in its effect or wants to regulate the use of lucid colors.
  • Each piece of gear can be used three times. On its last use, the gear mal-
  functions as the color fades, and something interesting happens.
  25
  PRISM
  
  THE FACTIONS OF PRISM
  Factions in Prism are an issue and an extra. 
  As an issue, factions represent a challenge to the status quo. Each faction has 
  a vision for how it would like to change how the city the characters live within 
  operates. Some factions’ vision will be broader, even global in scope. Each faction 
  also has at least one Face associated with it. This Face is the NPC who makes 
  the faction matter for the players. It may be someone who is trying to escape the 
  faction or the person in charge.
  Unlike in Fate Core with current and impending issues, players in Prism do 
  not have to worry about every faction and design a plan for confronting each. 
  Each faction is one of many. Over the years they mostly balance each other out. 
  However, players may not like what a faction is doing and so counter them, pos-
  sibly upsetting the balance of power. As factions rise and fall in importance, the 
  players can decide how deeply they want factions to affect their game.
  As an extra, factions are groups that affect the world, change, and allow mem-
  bership. A faction has aspects, stress and consequences, stunts, and—for those 
  who wish to join up—permissions and costs. Factions also advance at milestones.
  A faction has a name, 5 aspects (reputation, a value statement, a conflict approach, 
  a vision, and a current goal), a stress track, and stunts.
  Aspects
  The reputation is how someone might describe the faction to an outsider. For 
  example, the reputation of the Annex is Wannabe Cowboys. Not quite the 
  phrasing the Annex would use themselves, but that’s all right. Few factions are 
  powerful enough to control their reputation.
  The value statement is the faction’s stance toward the Lucid and everything 
  involved with being lucid. The Alvarados’ value statement is Push Every Boundary. 
  For them, exploration is paramount. 
  The conflict approach is how the faction prefers to handle opposition. The 
  Department of Spectrum Management (DSM) prefers to operate within the 
  confines of the law. Given the lack of legislation concerning the Lucid currently, 
  they are apt to find and trump up minor charges and interpret laws exactly to 
  maximize their control. Their conflict approach is Throw the Whole Damn 
  Book at Them.
  The vision is the faction’s long-term and currently unachievable goal. It’s their 
  pie in the sky. It does not have to be broad in scope; it just has to be currently 
  impossible. The vision of the growing Mallory crime family is City on a String. 
  They want to control everything in the city.
  The current goal is what the faction is trying to achieve right now. The Builders 
  are wanting to create a therapy room whose walls are painted with lucid colors to 
  incite reflection, acceptance, and calm. Their goal statement is Create a Therapy 
  Room. A goal statement doesn’t have to be clever, and it will change often over the 
  course of the game. Short and accurate is more important than punchy and fun.
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  FATE: WORLDS OF ADVENTURE
  
  Tasks and Setbacks
  The current goal aspect is also interesting because it includes three unnamed tasks, 
  the steps that the faction must take to complete their goal. Active factions mark 
  one task box at each minor milestone that the characters reach. 
  A session may include opportunities to thwart the factions. In this case, the GM 
  describes what task the faction was trying to complete. If the players stop the task 
  from being completed, the faction instead gets a setback. The players can also 
  cause a faction to take setbacks by forcing them to mark Thwarted consequences.
  After a setback, the faction can try the same strategy over or they may move to 
  a new tactic. If a faction gets three setbacks before they can complete their goal, 
  they have to give up on the goal and start over with a new one. 
  Stress and Consequences
  Each faction has a stress track with three boxes, along with six prenamed conse-
  quences. Faction consequences fall into three categories: Endangered, Undermined, 
  and Thwarted. At creation, give the faction two consequences from each category 
  to mark off during play. You can give them consequences from the lists below, 
  or you can create your own consequences as long as they fit within one of the 
  three categories.
  Endangered
  • An important member is jailed
  • A member is killed
  • A safe house is compromised
  Undermined
  • Damaging lies are spread
  • True intentions are revealed
  • Access to a person or location is restricted
  • An important object is stolen
  Thwarted 
  • A goal is lost, no matter how much progress had been made
  • Mark two goal setbacks
  Marking and Clearing Consequences
  A faction can mark a consequence to soak all of the stress that it suffered during 
  a single exchange in a conflict. Factions are not easy to beat. The consequence’s 
  effects do not have to take place immediately, but must happen by the end of the 
  session. Work the consequence into the narrative.
  Factions can only clear consequences at significant and major milestones. When 
  a faction has marked all of their consequences, it dissolves at the next milestone. 
  Forcing a faction to mark all of their consequences is how you defeat it.
  Players can invoke any marked Endangered or Undermined consequences, while 
  the Thwarted consequences immediately affect the faction’s goals when marked.
  27
  PRISM
  
  Skills and Aspect Ratings
  Factions don’t have skills. Instead, each of the faction’s aspects has an aspect rating. 
  Whenever a faction is taking action related to or affirming one of their aspects, 
  they add the matching aspect rating, otherwise they roll at Mediocre (+0). A fac-
  tion may not invoke the aspect they are currently using as a skill. 
  When you create a faction, give an aspect rating of Average (+1) to Superb 
  (+5) to each of its five aspects. Give a different rating to each aspect—one will 
  be Average (+1), one will be Fair (+2), and so on. 
  Changing Aspect Ratings
  During faction milestones (page 30), you may get the opportunity to change a 
  faction’s aspect ratings. You may increase the rating of any aspect, but you cannot 
  increase an aspect rating to more than two points higher than the next-highest 
  rating.
  The rating of an aspect reflects its importance to the faction. The ratings are, in 
  many ways, the faction’s priority list. No aspect can move too far from the others, 
  however, since all are of importance. If an aspect were left behind or surged ahead, 
  the faction would be different. 
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  FATE: WORLDS OF ADVENTURE
  
  Stunts and Refresh
  Each faction has 3 refresh and 2 stunts. A faction may purchase additional stunts 
  by spending its refresh one-for-one. The stunts focus how the faction operates. 
  Any faction member can use the faction stunts. If a player is a member of a fac-
  tion, they must spend a fate point to use a faction stunt.
  Here is an example stunt for each faction:
  The Annex
  Wherever We’re Needed: The Annex is talented at finding their way into official 
  events and investigations. Once per session, a faction member can create credentials 
  to get into wherever they want to be. Roll a die. On a +, the credentials are good 
  and will cause no problems, this time at least. On a 0, the credentials are good 
  at first glance, but won’t pass closer scrutiny. On a -, the forgery is discovered 
  shortly after you get in. You’ll have to move fast!
  The Builders
  Personal Workshop: Builders are always tinkering and have their own workshops 
  and laboratories full of potentially useful items. When in their workshops, faction 
  members get +2 to Crafts.
  The DSM
  Friends on the Force: The DSM has good relations with local, state, and federal 
  agencies. Once per session, a faction member can call upon one of those agen-
  cies to aid them in a fight. Roll 4 dice. The agency sends one person to help for 
  each + or 0. 
  The Mallorys
  A Network of Favors: The Mallorys have many people who owe them. A faction 
  member can roll against Fair (+2) to check if an NPC owes the Mallorys. On 
  a success, the NPC does. On a success with style, the NPC owes a big favor or 
  they have a very good relationship with the Mallorys in spite of what they owe.
  The Alvarados
  Commander of Dreams: The Alvarados know dreams better than anyone. Faction 
  members gain +2 to Will while asleep.
  29
  PRISM
  
  Faction Milestones
  Factions advance and grow just as characters do. Every time the players reach a 
  minor milestone, the active factions also reach a minor milestone. At a minor 
  milestone, a faction can do one of the following:
  • Mark a task for a goal
  • Clear a setback
  When a faction marks all three task boxes for a goal, they achieve the goal, 
  and at the end of the session, the faction reaches a significant milestone. At a 
  significant milestone, a faction can do all of the following:
  • Revise an aspect or add a stunt, piece of gear, or other resource to reflect 
  the completion of their goal
  • Clear all setbacks
  • Set a new goal
  • Clear a consequence
  • Increase an aspect rating by one step
  Factions receive a major milestone at the same time the players do. At a major 
  milestone, a faction can do all of the following:
  • Clear 2 consequences
  • Gain 1 refresh
  • Distribute a total of 3 skill ranks among faction members. Each PC member 
  can only receive one point; each NPC member can receive up to all three.
  Remember, a faction cannot increase an aspect rating to more than two steps 
  higher than its aspect with the next-highest rating.
  Joining a Faction
  Joining a faction requires convincing the faction to let you join or establishing 
  membership when you create your character. Membership costs 2 refresh. 
  Once you join a faction, you can do the following:
  • Spend a fate point to use a faction stunt
  • Spend 1 refresh to take a faction stunt for your own, which allows you to 
  use it without spending a fate point each time
  • Receive additional skill points from your faction at major milestones
  You also gain these two stunts: 
  • Once per session, while awake, if your action affirms any of the faction’s 
  aspects, you can add +4 to your roll.
  • Gain +2 to Resources while consulting your faction for help or connections.
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  FATE: WORLDS OF ADVENTURE
  
  Playing a Faction
  When a faction is involved in the story, they are likely either trying to achieve 
  their current goal or trying to stop another faction from achieving theirs. A fac-
  tion affects the game through its faces, faction leaders, minor NPCs, and as an 
  organization. 
  Faces are NPCs important to the story, to the faction, or both. A face has a 
  full character sheet and can use all faction stunts for free. In most cases, a face’s 
  statistics will be similar to those of the PCs. 
  A faction leader, however, will have an apex skill one rank higher than the 
  highest apex skill among the PCs. So, at the start of a game, a faction leader will 
  have one skill at Superb (+5), two at Great (+4), three at Good (+3), four at Fair 
  (+2), and five at Average (+1).
  Minor NPCs, either as individuals or a group of mooks, use their faction’s 
  aspect ratings and mark stress on the faction’s sheet. They are the eyes, ears, and 
  hands of the faction. When they act, they are doing so as the faction.
  Finally, a faction is an organization. It has buildings, resources, allies—all of 
  which are vulnerable. Players can attack a faction by attacking its property, con-
  vincing an ally to turn against it, or stealing its resources. The faction actively 
  resists by rolling with one of its aspect ratings, and weathers the attacks by mark-
  ing stress or consequences. 
  31
  PRISM
  
  THE PLOT ENGINE
  Three main elements drive the plot in Prism: factions, lucid colors, and jobs. While 
  a single session could focus on just one of these three, the best arcs involve all 
  three. An engine runs best when fully assembled. 
  Each of the three elements focuses on a different level and arena of play. Faction 
  plots focus on people and agendas; the play tends to be low-key and long-term 
  with short bursts of action when developing plots or investigations collide. Lucid 
  color plots take one of two forms: a quest or an immediate response. The quest 
  plot can occupy a session, maybe two, and involves hunting through dreams 
  for colors. The immediate response plot is a quick reactive encounter—either a 
  color is influencing people negatively or the layers of reality have thinned and 
  something has slipped through or otherwise gotten lost. Sometimes these thin 
  points are accidental, but other times they are related to some larger scheme. Job 
  plots focus on investigation with a few key encounters. They span one to three 
  sessions and have a clearly defined end goal.
  Factions
  Assembling the Plot
  Begin by looking through the factions involved in your game and with the PCs. 
  What does each faction want? Choose one of the goals and construct a scheme 
  the faction can follow to achieve the goal. The schemes can be as elaborate as you 
  like, but give each at least two or three breakpoints at which something could go 
  horribly wrong, points where the PCs can intervene. Each breakpoint is usually 
  a major step in the scheme—breaking into a location, stealing a certain item, 
  tracking someone down, building a hot-air balloon. These are big actions and 
  opportunities for encounters. You can determine the details at the table.
  These points also help you, the GM, determine what the faction is doing in the 
  background. If one breakpoint is impersonating a certain librarian with access to 
  rare books, then the players could encounter members of the faction spying on 
  the librarian or purchasing clothing similar to the librarian’s.
  Involving only one faction is great for a shorter-term plot, but the game is 
  more fun and provides more options to the players when multiple factions are 
  in play. Once again, choose a faction and one of its goals. After you decide on 
  a scheme, try to align at least one of the scheme’s breakpoints with one of the 
  other factions. Either the factions’ need or reason should align. For example, both 
  factions could want access to the rare books. One faction, however, might want 
  to steal some books about a rare lucid color, while the other faction might want 
  to destroy all the books in the collection. Alternatively, both factions could want 
  to destroy the collection, but one wants to do it very sneakily, while the other is 
  assembling a flashy bomb.
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  FATE: WORLDS OF ADVENTURE
  
  Hooking the Players
  During the course of a game, the PCs should learn about either a full scheme or 
  the planning around one of the breakpoints. This does not, however, ensure their 
  involvement. For that, you need to either use the PCs’ faction ties and debts owed 
  to pull them in or set the scheme or breakpoint against a PC goal. For example, 
  the PCs might need one of the books the factions are planning to steal or destroy. 
  Alternatively, a job could require that the PCs consult the very same librarian 
  that the factions are impersonating. Stopping the impersonation then leads to 
  stopping the theft or bomb.
  Another way to hook players into a faction plot is to align PC goals with a fac-
  tion scheme. Such strange bedfellows can give opportunities for some interesting 
  roleplay and chances for the PCs to incur or earn debts with the faction.
  Lucid Colors
  Assembling the Plot
  Quest plots are fairly straightforward. A specific color or effect is needed, so the 
  PCs must travel through dreams to locate and retrieve the color. The difficulty 
  arises either from the rarity of the color or from the dangers of the dream around 
  it, such as attacking monsters or an unstable landscape. In the course of a job or 
  working for or against a faction, the PCs can need a certain color they do not 
  already have. This then triggers the quest. The need also exerts a sense of urgency 
  and even a timeline.
  Immediate response plots vary a lot. A color causes problems or the layers of 
  reality thin. Here are some possibilities:
  • A lucid color was mixed into someone’s home paint. Now anyone who 
  sleeps in the spare bedroom falls into a coma.
  • An up-and-coming painter used lucid colors in their latest work. Those who 
  spend too much time in proximity to the painting lose their inhibitions.
  • Children have been telling stories of seeing small fairies or hearing singing 
  at the edges of a park calling the children into the woods. One child has 
  gone missing.
  • A monster, visible only through goggles with the right lenses, is lost and 
  attacking a bridge. News crews report a strange, localized earthquake. 
  Many civilians are in danger.
  Basically, just read over the colors in play and ask yourself, “What’s the worst 
  that could happen?” The answer would likely make for an interesting plot. 
  These problems can tie to other plots, but they can also occur on their own. 
  PCs will then have to decide between continuing to pursue their original goal 
  or following a detour to fix a more immediate problem but allow their rivals to 
  get ahead of them.
  33
  PRISM
  
  Hooking the Players
  Present the problem and, if necessary, endanger an NPC or location the PCs care 
  about. Otherwise, you can compel their aspects so that they cannot ignore what 
  is happening. Plots about lucid colors make great hooks for faction and job plots. 
  Just encourage your players to ask why the problem happened, who is behind it, 
  or what the real goal was. 
  Also, whenever the PCs solve a problem, always look for the twist. For example, 
  the PCs find the lost boy and then strengthen reality, sealing the fairies away back 
  in their own world. The twist is that they actually brought back a changeling. This 
  creates a hook for a job plot—contain the changeling and rescue the child. Or, 
  the PCs destroy the painting that was affecting everyone around it. Consequently, 
  they’re now the subjects of a police investigation. The twist is that one of the detec-
  tives is Lucid and a member of a rival faction. This creates a hook for a faction 
  plot. Not every solution needs a twist, but it’s a good way to tie plots together or 
  create a hook for the next plot.
  Jobs
  Assembling the Plot
  Jobs are short investigations and often share elements with a color plot. The 
  difference is that the job has a client, someone who needs to be appeased. The 
  PCs do not need to operate in any official capacity to receive and complete jobs. 
  To create a job plot, you can start either with the goal or the client. If you’re 
  starting with the goal, look first at the goals and schemes of the factions in play 
  and choose either a goal or breakpoint to set the PCs counter to. For example, a 
  faction wants to steal a diamond. The PCs could be hired to stop them, but they 
  could also just be asked to do a security audit of the museum using lucid colors. 
  Do any unguarded entrances appear in the right shade?
  Another way to create a job plot is to start with the client. The client can be a 
  friend, a former imaginary friend living within dreams, a faction calling in a debt, 
  or anyone. The question then is: what would that person want?
  The client can even be the PCs themselves. Their equipment does not last forever 
  and can be lost or damaged, and on occasion they will need to make new gear or 
  repair what they already have.
  Hooking the Players
  The hook for a job is obvious—someone asks for the PCs’ help. If players refuse 
  the hook, use some of the techniques discussed for color and faction plots to raise 
  the stakes and reincorporate the plot.
  First, ask yourself, what’s the worst that could happen? This is your consequence 
  of inaction. Then think through one or two ways the PCs could notice events 
  moving toward the consequence and stop it from happening. These are your 
  breakpoints. Use them in the background and for story fodder, just as you do 
  with faction breakpoints.
  And if the worst should happen? Well, it should make for an interesting session. 
  Put the PCs in danger and play out each rippling consequence.
  34
  FATE: WORLDS OF ADVENTURE
  
  THE CURIOUS CASE OF KLARA BOSKO 
  This adventure will introduce you to each of the elements of the Prism world, from 
  collecting lucid colors in dreams to tangling with factions to dealing with another 
  layer of reality. The adventure is divided into three acts, and each act into two parts. 
  If you don’t want to be spoiled, I recommend leaving this chapter to the GM.
  35
  PRISM
  
  Act One: The Artist of Dreams
  An Email from Klara Bosko
  The email arrived late in the afternoon from a Klara Bosko. A quick online search 
  revealed that Klara is a painter in the city whose fantastical paintings have been gain-
  ing a lot of attention. After her latest show was recently and inexplicably postponed, 
  rumors have been spreading that she is working on something incredible.
  The email read:
  Hello,
  I heard that you have some useful skills.
  Meet me where dreams collide tonight. I have a 
  proposition for you.
  -Klara Bosko
  Most people prefer to meet in a nice café, but artists are weird. 
  Night has fallen and you are now asleep and dreaming. All of you are in your own 
  dreams. You will need to get to the Nexus for the meeting. When you first visited the 
  Nexus, you had to pass through one of your worst nightmares. What did you fight?
  Ask players to describe the nightmare their characters defeated and why it 
  scared them. This is an opportunity for players to build up some backstory for 
  their characters. Ask a couple follow-up questions about the characters to help 
  you get a better handle on them. For characters who have never been to the 
  Nexus, which is unlikely to be any of the PCs, run the battle with the nightmare 
  to get Nexus access.
  The Nexus is where all dreams and lucid dreamers meet. Its appearance fluctuates. 
  What does it look like tonight? 
  Encourage your players to describe the Nexus. If they get stuck, some ideas 
  for the space include a very large train station or an island at the center of a large 
  river delta with rivers flowing out in every direction. 
  When you arrive, Klara Bosko is waiting for you. She is a short woman with a dark 
  blue undercut, freckles all over—some of which she’s connected into constellations—and 
  a nervous smile. Brown and violet paint is stuck in her cuticles.
  Klara talks with the PCs. She confirms that she is an artist and explains that she 
  is hunting for a color that she calls Smauk. The color creates fear and awe—its 
  emotion aspect is Terror and Majesty of Hurricanes. Klara will say, if asked, 
  that she does not know what reality the color reveals. She wants the color for a 
  painting. She tells the PCs to meet her back in the Nexus when they have the color.
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  FATE: WORLDS OF ADVENTURE
  
  Terror and Majesty
  You need to find a dream where you can collect the color Smauk. You know the color’s 
  emotion aspect—what type of dreams would inspire fear and awe as hurricanes, great 
  white sharks, and so on?
  Let the players decide what kind of dream they want to explore. Follow their 
  lead and describe what they find. Remember that they are walking through 
  dreams. Describe the scene using concrete details beyond sight—sensations, 
  tastes, smells, sounds—but that defy expectation. The wind tastes green. Fallen 
  leaves smell like burnt caramel. Remind them that nothing is reliable, save for 
  what they will to be so.
  At some point during their hunt, introduce a nightmare. The nightmare should 
  arise organically from the dream’s descriptions, but should also be intimidating, 
  even chilling. Smauk’s emotion aspect should make this easier; the players are 
  seeking out fear. The Nightmare uses only one skill, Will, but the way it fights 
  matches its form. A shark uses its teeth. A claustrophobic space shuttle uses 
  antagonistic computers and a looming star. Make this fight difficult and set the 
  Nightmare’s Will to Superb (+5).
  Once the PCs find Smauk, ask them to describe the color. Collecting Smauk—or 
  any color—requires close proximity. Ask your players how they plan on getting 
  close enough to will the color into their poltergeist rings. If the emotional content 
  of the dream is strong, collecting the color requires a Will roll against Good (+3) 
  difficult. If the emotional content is weak, increase the difficulty.
  When you return to the Nexus, Klara is nowhere to be found. Other dreamers 
  remember watching her flicker and disappear. She must have awakened suddenly…
  You can wait to wake up naturally, or you can force yourself awake by fighting 
  nightmares and getting taken out or conceding the fight…or by killing yourself in 
  the dream. Your call.
  If the players decide to confront a nightmare, make the fight difficult so that 
  players accumulate stress and can wake up. Remember, any consequences that 
  the PCs earn in dreams also affect them in the waking world.
  Nightmare
  Encountered during the hunt for Smauk.
  ASPECT
  This aspect describes the appearance or nature of the night-
  mare; make it fit the dream the characters are exploring.
  SKILLS
  Superb (+5): Will
  STRESS [][][][]
  37
  PRISM
  
  Act Two: All an Illusion
  The Missing Artist
  You awaken where you fell asleep. The Smauk in your rings will hold for a couple 
  hours, but you’ll have to stabilize it in pigment soon. Get your equipment or go to 
  your workshop, and roll Crafts against Fair (+2) difficulty. Where will you all meet 
  up and how will you find Klara now that you’re awake?
  Players can use Investigate or Resources to learn the location of Klara’s studio. 
  They may also learn that no one has seen Klara for a while and that the Mallorys 
  have been seen at her studio, most recently a couple hours ago.
  If the players check out the studio, they find it ransacked. Finished and incom-
  plete paintings are stacked together against a wall. Along another wall is a large 
  and elaborate painted glass window. Several of the window panes are tinted with 
  dream colors. If the PCs look through them, they see fantasy worlds that match 
  the paintings. If they go through Klara’s notes, they’ll find a lot of to-do lists 
  and reminders. In her sketchbook, they’ll find rough sketches of dragons heavily 
  crossed out and notes about how she needs to get closer. 
  As the players investigate, an artist—Antoine Lewis—working in the studio next 
  to Klara’s comes over and asks the players to be quiet. If the PCs have not already 
  learned about the Mallorys, he’ll describe the people who came and grabbed a 
  woman from the studio a few hours previous. If pressed about what the people 
  looked like, he’ll describe the woman the Mallorys took as an Asian woman with 
  light peach-brown hair—definitely not Klara, but could be an important lead 
  or an imposter.
  He’ll also describe a tall woman with short red hair, thick biceps, and a voice like 
  a fallen angel—melodic and dangerous. If a PC has connections to the Mallorys, 
  they will recognize the description of Tallula Connolly, a former boxer and now 
  the well-respected, well-feared debt collector and enforcer of the Mallory family. 
  This section allows the players to flex their investigative muscles and interact a 
  bit as a team outside of a fight or dream.
  38
  FATE: WORLDS OF ADVENTURE
  
  Debts to be Paid
  After the PCs figure out where Tallula and her crew have taken Klara, they can 
  decide to leave her to Tallula’s tender mercies. If they do, skip to the Annex trying 
  to stabilize reality and set it up for the players to help them (page 42). While 
  collecting pigment from Klara’s studio for the Annex, they discover she has gone 
  to another layer of reality but forgotten to bring her lenses that show the base 
  reality. This will get the players back on track to saving the real Klara. 
  For the full experience, though, encourage the players to track down Tallula.
  Tallula manages a popular gym and boxing ring. When you arrive, a group of 
  average women—mothers, a couple graduate students, office workers—is in the 
  middle of a boxing class. Besides restrooms and exits, there are two important doors. 
  One leads to an office, and the other leads to Tallula’s soundproofed backroom.
  If the PCs check the office computers, they’ll learn that the Annex has reached 
  out for help to “fix some of our damage.”
  In the backroom, Tallula is interrogating a seated Asian woman. Two men 
  stand behind the woman, pushing her back into her seat whenever she tries to 
  rise. Tallula calls her “Joelle.” Tallula reveals that Joelle owes the Mallorys, is late 
  on her payments, and has already tried twice now to outrun her debts. What 
  precisely Joelle owes is not clear.
  Joelle says that she has figured out a way to repay her debt, referencing her 
  scam of posing as Klara. She found a reality where the city was zoned differently. 
  The downtown area is all residential; easy access to multiple bank vaults. Turns 
  out “Klara” knows exactly what type of reality Smauk reveals. Tallula starts to ask 
  questions about the people in the Smauk reality in preparation for crossing into it.
  If the PCs haven’t yet been discovered, Joelle describes them well enough and 
  by name that running would be a temporary solution. She suggests that Tallula 
  hire them.
  What do the players want to do? Do they turn over the color? Do they fight 
  and free Joelle? Do they try to come to an arrangement with Tallula?
  If they choose to fight, Tallula is a face NPC with her own stats. The two men 
  in the room are minor NPCs and fight as the Mallorys faction.
  39
  PRISM
  
  The Mallorys
  FACES
  Tallula Connolly (Enforcer), Granuaile Mallory (Matriarch)
  ASPECTS
  Reputation: Collect on their Generosity (Rating: 2)
  Value Statement: Mallorys Always Thrive (Rating: 5)
  Conflict Approach: Shrewd Smiles and Sharp Knives (Rating: 3)
  Vision: A City on a String (Rating: 1)
  Current Goal: A Doppelganger for the State’s Attorney (Rating: 4)
  TASKS [][][]
  SETBACKS [][][]
  STRESS [][][]
  CONSEQUENCES
  Endangered
  [] An important member is jailed
  [] A safe house is compromised
  Undermined
  [] Access to a person or location is restricted
  [] An important object is stolen
  Thwarted
  [] A goal is lost, no matter how much progress had been made
  [] Mark two goal setbacks
  STUNTS
  A Network of Favors: The Mallorys have many people who owe them. A 
  faction member can roll against Fair (+2) to check if an NPC owes the 
  Mallorys. On a success, the NPC does. On a success with style, the NPC 
  owes a big favor or they have a very good relationship with the Mallorys 
  in spite of what they owe.
  Taught by Tallula: Tallula teaches her students how to attack weaknesses 
  and end fights. Once per scene, a faction member can add 2 stress to a 
  successful attack in a physical fight.
  40
  FATE: WORLDS OF ADVENTURE
  
  Tallula Connolly
  DESCRIPTION
   A tall woman with short red hair, thick biceps, and 
  a voice like a fallen angel—melodic and dangerous.
  ASPECTS
  High Concept: Respected Enforcer of the 
  Mallorys
  Trouble: Can’t Resist a Good Fight
  Other Aspects: Endless Patience
  SKILLS
  Great (+4): Fight
  Good (+3): Athletics, Will
  Fair (+2): Physique, Provoke, Streets
  Average (+1): Deceive, Notice, Investigate, Shoot
  STRESS
  Physical [][][]
  Mental [][][][]
  CONSEQUENCES 
  Mild (2):
  Mild Mental (2):
  Moderate (4):
  Severe (6):
  41
  PRISM
  
  Act Three: Lost in Possibilities
  Anything for Art
  The players learn from Joelle that Klara has been missing for a month now. At 
  least, that’s how long Joelle has been using her studio. If she is alive and not in 
  need of emergency medical attention, Joelle asks the players to escort her back 
  to Klara’s studio so she can get her stuff. As payment for the Smauk, Joelle will 
  give the players a pair of lenses she lifted from Klara’s studio. 
  If the players did not rescue Joelle, you have a few options. The Mallorys can 
  hire the PCs or send Joelle to hire them. This can drop the clue about Klara’s 
  absence or can lead to a completely different adventure—such as breaking into 
  a vault. You can also prompt the players to investigate by asking them: if Joelle 
  is Klara, then where is the real Klara? If they return to Klara’s studio, Antoine 
  will know how long Joelle has been using Klara’s studio. Also, in this case, Joelle 
  never lifted the lenses, allowing the PCs to discover them. 
  The lenses are tinted with Vorsta, a very dark blue-black and well-known color. 
  The PCs will recognize this color. Vorsta’s emotion aspect is They’re Watching. 
  The lenses reveal base reality. They are how you get back home if you have trav-
  eled to another layer of reality.
  Remind the players about their earlier investigation in the studio and about 
  Klara’s notes about needing to get closer.
  A knock comes from the door of the studio. A man and woman in almost matching 
  brown suits ask permission to enter. They have come to confiscate some paint.
  The Annex has arrived. They are trying to stabilize reality by cutting off access to 
  a dangerous layer of reality infested with dragons. To this end, they are collecting 
  all of the Weir-Nuñez in the city. 
  The big thing for your players to discover right now is that Klara Bosko has 
  used Weir-Nuñez to step fully into another layer of reality and that she left her 
  Vorsta-tinted lenses behind, which means that she cannot see the base reality 
  anymore and so cannot return home. If the Annex cut off access to Weir-Nuñez’s 
  reality, Klara will be stuck.
  From this point, the players have a lot of options. They can try to reason with 
  the Annex. They can find some Weir-Nuñez in dreams or steal some from the 
  Annex stockpile in the waking world.
  Play out whatever they decide to do. If they want to save Klara, they will need 
  enough Weir-Nuñez and Vorsta for all of them. If a player wants to pay a fate 
  point, they can declare that they already have Vorsta lenses.
  Traveling to the Weir-Nuñez layer of reality will take an act of Will against 
  Great (+4) difficulty.
  Stopping the Annex from collecting all of Weir-Nuñez or from destroying it 
  once they have it would cause the faction to suffer a setback.
  42
  FATE: WORLDS OF ADVENTURE
  
  Weir-Nuñez
  Description: The color that appears 
  when you lay green and gold next 
  to each other and cross your eyes
  Emotion Aspect: Hopped Up on 
  Caffeine Jittery
  Revealed Reality: A world in which 
  dragons reign
  Vorsta
  Description: Dark blue-black
  Emotion Aspect: They’re Watching
  Revealed Reality: Base reality
  The Annex
  FACES 
  Zuri Walker (Agent), Cooper Jacobs (Agent)
  ASPECTS
  Reputation: Wannabe Cowboys (Rating: 2)
  Value Statement: Our Lives for Theirs (Rating: 4)
  Conflict Approach: “If you can, do. If you can’t? Improvise!”  (Rating: 5)
  Vision: Stability and Prosperity for All (Rating: 3)
  Current Goal: Close Access to the Weir-Nuñez Reality (Rating: 1)
  TASKS [][][]
  SETBACKS [][][]
  STRESS [][][]
  CONSEQUENCES
  Endangered
  [] An important member is jailed
  [] A member is killed
  Undermined
  [] Access to a person or location is restricted
  [] Damaging lies are spread
  Thwarted
  [] A goal is lost, no matter how much progress had been made
  [] Mark two goal setbacks
  STUNTS
  Wherever We’re Needed: The Annex is talented at finding their way into official 
  events and investigations. Once per session, a faction member can create 
  credentials to get into wherever they want to be. Roll 1 die. On a +, the 
  credentials are good and will cause no problems, this time at least. On a 0, 
  the credentials are good at first glance, but won’t pass closer scrutiny. On a 
  -, the forgery is discovered shortly after you get in. You’ll have to move fast!
  Guardian: You protect people. Gain +2 whenever you defend someone else 
  by using Athletics or Fight.
  43
  PRISM
  
  44
  
  The Dragon
  ASPECTS
  Led by Instincts; Terrifyingly Large
  SKILLS
  Superb (+5): Fire-Breath
  Great (+4): Flight
  Good (+3): Claws
  Fair (+2): Teeth
  STRESS [2][2][3][3]
  CONSEQUENCES
  Mild (2):
  Moderate (4):
  Severe (6):
  The Realm of Dragons
  Tree stumps, poking up like jagged teeth, smoke. Overhead, two massive dragons are 
  tangled together by their tails. They drag bloody claws through each other’s scales 
  and roar. Across from the burning forest is a cave with what looks like a strategic 
  arrangement of branches and stones over the entrance. You have entered the realm of 
  dragons. What do you do?
  The Weir-Nuñez reality has the following aspects:
  • Draconic Battleground
  • Humanity on the Edge
  This is a world where dragons rule the air, the land, and the waves. Humans 
  scrape by in cave systems too narrow for the great dragons to enter. Within the 
  caves, human society can be as simple or as complex as interests your players. When 
  humans are at the edge, they might scrap and scramble by as in a post-apocalyptic 
  survival story. Or they may create elaborate ceremonies and hierarchies and cling 
  to protocol. Ask each player to describe a custom or ritual observed by the people 
  they meet in Weir-Nuñez.
  You can also decide if dragons always existed or if they rose at some point, due 
  to experimentation, a sudden mutation, or extraterrestrial interference. 
  The important point is that this is not a safe place.
  Whatever strategies your players employ to find and rescue Klara, be sure they 
  fight a dragon. At least once.
  Klara, when she is found, is relieved to return home and very possessive of her 
  sketchbook. The sketchbook is full of highly detailed drawings of dragons and 
  the people who survive alongside them. Klara has the following aspects: “I have 
  to paint this!” and Forgetful Is an Understatement. Klara will not join any 
  fighting. When running, she keeps pace with the PCs. 
  When the PCs and Klara return to 
  her studio in the base reality, Klara 
  immediately starts setting up a space 
  to start painting and doesn’t seem to 
  notice the disarray of her studio. She 
  mentions that she wishes she had a 
  lucid color to emphasize how terrify-
  ing and awe-inspiring the dragons are…
  45
  PRISM
  
SOURCE: textdata/thevault/FATE (fudge) [multi]/Prism_o_A_World_of_Adventure_for_Fate_Core.pdf