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UNSAFE
It s a sum m e r s d ay and I m running a gam e in m y b ack gard e n. M y onl y pre parat ion f or t h e gam e is scrib b l e d w ord s: D e coy t e am , H ot el , Som e t h ing bl ow s up . As t h e gam e progre sse s, it s cl e ar t h at h al ft h e pl aye rs w ant an inv e st igat iv e gam e and h al f w ant t o sh oot t h ings. I h av e no pre pl anne d id e as, so I f ol l ow t h e ir l e ad , giv ing t he f irst group a m yst e ry t o sol v e, t he se cond a m onst er t o h unt . Th e gam e goe s w e l l . Th e pl aye rs say t h e y e nj oye d t he st ory, w h ich I inv e nt e d on t he f l y. F iv e ye ars ago, I coul d n t h av e run a gam e t h is w ay. I d h av e pre pare d f or h ours b e f ore a gam e , arriv ing w it h sh e av e s of not e s, rail road ing pl aye rs t h rough m y ad v e nt ure . Th e n I t ook an im prov course . Th e sk il l s I l e arnt inv e nt ing st orie s on t he f l y, b e ing spont ane ous, pl aying w it h ot h e rs f e d int o m y rol e pl aying and m ad e it be t t e r.
Tommaso Galmacci (order #5111745)
Cont e nt s
Int roduct ion v
Th e Z e n ofgam in g.................................................. v i W h e re d o t h e se id e as com e f rom ?...........................v ii Expl an at ion s .......................................................... v ii
Pl ay
Pl ay ...........................................................................2 St op w ork in g............................................................ 3 D on 'tpl an ah e ad ......................................................4 H ol d id e as l igh t l y ..................................................... 5 Be av e rage .................................................................6 A borin g e xpe rim e n t.................................................7 Be obv ious .................................................................8 A n obv ious e xpe rim e n t............................................ 9 L e tyour guard d ow n ..............................................10 D on 'tpre t e n d .........................................................12 M ov in g f orw ard ..................................................... 13 GM in g an ad v ent ure w it h outpl an n in g................ 13
Buil d
15
Buil d .......................................................................16 Sh oot in g id e as d ow n ...............................................16 Buil d in g on id e as ....................................................20 Ye s, A n d ................................................................. 21 Im agin e ife v e ryon e buil ton e v e ry id e a..................22 Sh oot in g id e as d ow n d e l ibe rat el y ...........................23 M ov in g f orw ard ..................................................... 24 ii
St at us
25
St at us ..................................................................... 26 St orie s an d st at us ...................................................26 St at us be h av iours ...................................................28 R e ason s t o pl ay l ow st at us ..................................... 29 R e ason s t o pl ay h igh st at us ....................................29 St at us is e m ot ion al .................................................30 Com ic an d se rious st at us ....................................... 31 H ow t o rol e pl ay re al ist ic re l at ion sh ips ...................31 St at us in rol e pl ayin g gam e s ...................................32 T ype s ofst at us ........................................................33 M ov in g f orw ard ..................................................... 34
Te l l st orie s
35
T el l st orie s ...............................................................36 Cre at e rout in e s an d bre ak t h e m ..............................37 Cre at e pl at f orm s an d ad d a t il t...............................39 Cre at e a st at us re l at ion sh ip an d al t e r it................. 41 Cre at e a m yst e ry an d sol v e it................................. 42 D el iv e r on your prom ise s ....................................... 43 R e in corporat e ......................................................... 44 A n um be r guid e l in e ................................................45 Th e t roubl e w it h t roubl e .........................................46 A n ord e rin g guid e l in e ............................................47 T w o good w ays t o st artst orie s w it h t roubl e ...........49 M oral d il e m m as ......................................................50 Ge tt ot h e act ion ..................................................... 51 Keep t h e act ion on st age .......................................... 52 J ust if y ..................................................................... 53 M ov in g f orw ard ..................................................... 54
iii
W ork t oge t her
55
W ork t oge t h e r.........................................................56 Giv et h e ot h e r guy a good t im e ...............................57 L ose grace f ul l y ........................................................58 T rust....................................................................... 58 Scre w w it h e ach ot h e r.............................................59 T ak e risk s ................................................................ 61 Dot h in gs you d on 'tw an tt o d o.............................62 D o itagain ..............................................................63 Puton a sh ow .........................................................63 En e rgy .................................................................... 64 Fitin t ot h e group ................................................... 66
Af t e rw ord Gl os s ary ofgam e s Th ank s
68 69 73
iv
Int roduct ion

In t h is b ook , I'l l t ak e t h e id e as I l e arnt in im prov isat ion, and d e scrib e h ow t h e y can m ak e gam e s m ore f un. Th e goalof t h is b ook is f un: w h e n I t al k ab out st orie s, id e as and t h e orie s, re m e m b e r t h at ev e ryt h ing aim s atm ak ing gam e s f un. T o st art , in P l ay, I'l ld iscuss h ow rol e pl aying gam e s of t e n se e m l ik e w ork . If w e w ork l e ss, and pl an l e ss, t h e gam e ge t s be t t e r. Th e n, in Buil d , I'l ld e scrib e h ow w e of t e n k il lot h er pl aye rs' id e as. If , inst e ad , w e t ak e id e as and run w it h t h e m , gam e s t ak e f l igh t . Af t er t h at , in St at us , I'l lgiv e id e as f or pl aying your ch aract e r. Using st at us t e ch niq ue s, I'l l d e scrib e h ow t o pl ay k ings, se rv ant s and e v e ryone in b e t w e e n. But t h e h e art of t h is b ook is T el l ing St orie s . Ev e ry gam e , f rom a d unge on craw lt o a Gre e k e pic, h as a st ory at it s h e art . I'l lt ak e st orie s apart , anal yse t h e ir st ruct ure , and d e scrib e h ow t o m ak e t h e m be t t e r. F inal l y, in W ork T oge t h e r, I'l lt al k ab out pl aying w it h ot h e rs. W h e n you w ork w e l lw it h ot h e rs, w h e n you put on a sh ow , w h e n you scre w w it h ot h e r pl aye rs, your gam e com e s t ol if e. Be f ore I st art ,t h ough , l et 's t ak e a st e p b ack and l ook at t he t h e ory I'l l b e using.
Th e Z e n ofgam ing
W h at d o you w ant f rom t h is b ook ? M any rol e pl aye rs w il l w antt h in gs t h e y can d o t o im prov et h e ir gam e . Now , of course , I l l d e scrib e t e ch niq ue s l ik e t h is: re incorporat ing it e m s in st orie s; ch anging st at us; b uil d ing on ot h e r pl aye rs id e as. Th e se t e ch niq ue s w il l , I h ope , im prov e your gam e . H ow e v e r, t e ch niq ue s are onl y h al ft h e st ory. M any of t h e id e as in t h is b ook are Z e n-l ik e : t h e y inv ol v e d oing l e ss. F or e xam pl e: Be m ore b oring! D o not h ing! St op t rying t o b e cl ev e r!
P e rh aps you can se e se nse in t h e se id e as now : f or e xam pl e , if you d o not h ing in a gam e , you l ll ist en m ore t o ot h e r pl aye rs. Th rough out t h is b ook , I l le xpl ain b ot h t he t e ch niq ue and t h e Z e n. P e rh aps one w il lse e m m ore nat uralt o you: pe rh aps you re l at e be t t er t o t h ings you can d o t h an m yst icalZ e n l anguage , or v ice v e rsa. H ow e v e r, t he t w o w ork b e stw h e n use d t oge t h e r.
v i
W h e re do t h e s e ide as com e f rom ?

Th e id e as in t h is b ook originat e f rom K e it h J oh nst one , an im prov isat ion t e ach e r and d ire ct or. M any conce pt s com e f rom h is b ook , Im pro. If you e nj oy t h is b ook , I h igh l y re com m e nd re ad ing t h atb ook af t e rw ard s. O t h e r id e as com e f rom h is f ol l ow -up b ook , Im pro f or St oryt el l e rs. K e it h J oh nst one s id e as h av e be e n de v el ope d and e xpand e d b y im prov isat ion t e ach e rs w orl d w id e . Th is b ook incl ud e s m any oft h e se e xpand e d id e as.
Expl anat ions

In t h e e xam pl e s, I re f er t o d if f e re nt t ype s of gam e s: f rom b e h e m ot hs l ik e D unge ons and D ragons t o sm al l pre ss gam e s such as D ogs In Th e V ine yard . If a gam e is unf am il iar, l ook in t h e b ack of t h e b ook , w h e re al l gam e s are l ist e d and e xpl aine d . Of t e n, in t h e se e xam pl e s, I assum e t h at gam e s h av e a GM (Gam e M ast e r), w h o runs t h e gam e . Som e m od e rn gam e s d o noth av e a GM : h ow e v e r, t h e e xam pl e s m ak e se nse ifyou re ad GM as A not h e r Pl aye r .
v ii
Pl ay
R ol e pl ayin g gam e s som e t im e s se e m l ik e w ork : w e pl an ah e ad , w e t h in k t oo m uch . St op w ork in g an d st artpl ayin g. Th e l e ss you are w ork in g, t h e be t t e r you pl ay.
Pl ay
R ol e pl aying gam e s can ge t t oo se rious. W e b uy sh e l v es of t h ick b ook s. W e pl an d e t ail e d ad v e nt ure s. W e m e m orise rul e s. In t h is se ct ion, w e 'l le xpl ore w h at h appe ns w h e n you t h row t h e se rious st uf f aw ay: w h e n you st op t rying, st op pl anning and l e tyour guard d ow n. In pl ace of t he se riousne ss, I'l l d e scrib e an e f f ort l e ss w ay t o pl ay, w h e re you st op t rying t o b e good b ut , of t e n, you're b ril l iant .
Pl ay
2
St op w ork ing
Of t e n, w e t re at gam ing l ik e a j ob . W e st ud y rul e b ook s, we t ry t o gain an ad v ant age , w e care m ore ab out e xpe rie nce point st h an e nj oying ourse l v e s. I re m e m b e r, as a t e e nage r, pl aying D unge ons and D ragons. A tf irstitw as f un, b utitb e cam e w ork : in one se ssion, I re m e m b e r ne got iat ing f or a b usine ss pe rm it . Itw as d ul l . L at e r, I carrie d m y w ork e t h ic t o V am pire L A R Ps. I st ud ie d rul e b ook s, w ork ing out t act ics. I m e m orise d l ist s ofpow e rs and com b atrul e s. But it s a gam e . So w ork l e ss. St op t h ink ing. D on tbe cl ev e r. Th e re are t w o re asons. F irst l y, and m ost ob v iousl y, w ork ing h ard is no f un. Se cond l y, if you re w ork ing h ard , you re no f un t o pl ay w it h . Th e ot h e r pl aye rs se e your se riousne ss and re spond t o it : your gam e w il l soon f eel l ik e a b usine ss m eet ing. L igh t e n up, pl ay around , and you l l b e m ore f un t o h av e around .
St op w ork ing
3
D ontpl an ah e ad
M any rol e pl aye rs pl an ah e ad . Th e y h av e an age nd a f or t h e ir ch aract e r, w h ich t h e y push f orw ard , l it t l e by l it t l e. W h e n I pl aye d V am pire L A R Ps, I d arriv e ate ach gam e w it h an age nd a, w h ich al w ays f el lapart . L ik e ot h er pl aye rs, I h ad l ong, conv ol ut e d pl ot s, w h ich t ook m ont hs t o b uil d. L ook ing b ack , it w as b oring, b ut f un al w ays se e m e d around t h e corne r. Ev e n now , I pl an in m y h e ad , al m ost unconsciousl y: w h en t h is h appe ns, I l ld o t h is . Th e n I sit , w ait ing f or t he t h ing t o h appe n. Itd oe sn t . D on tpl an ah e ad . Th e re are m any re asons nott o. F irst l y, it d oe sn t w ork . Som e one m igh t say som e t h ing t h at t h row s your pl an out t h e w ind ow . A nd t h e n, t o be bl unt , you re scre w e d . Se cond l y, it s borin g. Sit t ing at t he t ab l e , push ing your pre -craf t e d pl ot is pre d ict ab l e : you k now e xact l y w h at w il lh appe n. If you d on t pl an, you l ld iscov er t h ings you d id n te xpe ct .
D on'tpl an ah e ad
4
Th ird l y, t h e st uf f you m ak e up on t he f l y is be t t e r. W h e n you inv e nt on t h e spot , w e se e t h e e xcit e m e nt on your f ace , h e ar t h e urge ncy of your v oice . W h e n you pl an, t h ate xcit e m e ntisn tt h e re . Now , not pl anning ah e ad is scary. W it h out a pl an, you l ose cont rol . A nyt h ing coul d h appe n.
H ol d ide as l igh t l y
I e nj oy re se arch ing f or gam e s. I re ad H P L ov e craf t st orie s t o inspire Ct h ul h u gam e s; I re se arch Z e ppe l ins f or pul p gam e s; I pore ov er V ict orian m aps of L ond on f or d e t e ct iv e gam e s. Th is re se arch prov ok e s id e as. I w ant a ch ase , l ik e t h e one in Th e M ount ains O f M ad ne ss! I w ant t of l ya Z e ppe l in! I w ant t o sailup t h e Th am e s! al ong t he Th am e s. It w oul d b e a m ist ak e t o pl an f or t h is: insist ing our ch aract e rs se arch t he Th am e s, insist ing w e go t o L ond on. H ow e v e r, if w e re se arch ing L ond on, we m igh t go t o a t av e rn ne ar t h e Th am e s. W e m igh t se arch , in t h e Th am e s, f or a b od y, using a b oat .
K e e p your id e as v ague . Sail ing al ong t he But isn t t h is pl anning Th am e s is unspe cif ic, ah e ad ?Sh oul d I st op? ad apt ab l e t o m any st orie s. Se e ing t he m urd e re r L et s t ak e a st e p b ack . O f t h rough a t el e scope is course , it s f un t o re se arch m ore d if f icul tt o b ring int o f or gam e s. O f course , it s a gam e . A m ot orcycl e int e re st ing t o im agine ch ase t h rough t he t h ings t o h appe n in gam e s. H igh l and s of Scot l and is unl ik e l y t o h appe n But k e e p t h e se id e as at t h e w it h outrail road ing. b ack of your m ind . D on t pl an f or t h em t o h appe n. D o t h ink of t h ings you d D rop an id e a if it w oul d n t l ik e t o h appe n in gam e s. w ork . But , if you se e t h e H ol d t h e id e a l igh t l y: d on t ch ance t o m ak e it h appe n, f orce it , d on t push f or it se iz e it . and , if it s not h appe ning, d rop it . But , if it m ak e s F or e xam pl e, l et s say I d se nse , t ak e it . l ik e m y d e t e ct iv e t o sail
H ol d ide as l igh t l y
But t h at s t he f un. If you re act inst ant l y, if you h av e no pre conce iv e d id e as, if you d on tt h ink int ot he f ut ure , you l lh av e a be t t e r gam e . You l lb e m ore f un t o pl ay w it h ,t oo.
Be av e rage
D on tt ry t o b e good atgam e s. D on tt ry t o pl ay w e l l . W h e ne v er I t ry t o b e good , I m b ad . I v e giv en spe e ch e s in V am pire L A R Ps, st raining t o be e nt e rt aining: I ne v e r w as. I ope ne d a H e roQ ue st gam e w it h an in-ch aract e r m onol ogue , t rying t o be f unny: I w asn t . Now , I v e b e e n e nt e rt aining and b ril l iant at t he t ab l e: b ut ne v e r w h e n I m t rying t o b e e nt e rt aining and b ril l iant . It d oe sn t h appe n b e cause I t ry: it h appe ns w h en I j ustpl ay. W e v e al lpl aye d w it h pe opl e whot ry t o be f unny or t ry t o sh ock . It d oe sn t w ork . W h e n you re t rying t o be good , you re b ad . Th e h ard e r you t ry, t h e m ore you f ail . Inst e ad , b e av e rage . Be b oring. Be d ul l .
Be av e rage
P arad oxical l y, w h e n you t ry t o b e b oring, you re int e re st ing t o w at ch . W h e n you t ry t o b e av e rage , t h at s w h e n you re good . In t h e ir b ook M axim um P e rf orm ance , L aure nce
M oorh ouse and L e onard Gross int e rv ie w e d at hl et e s w h o h ad b rok e n w orl d re cord s. None of t h e se at hl et es h ad t rie d t o b e good . W h en int e rv ie w e d , t h e y d say t h ings l ik e :
I d id n tf eel w el l t h at d ay...I d on tre m e m b e r any part icul ar m om e nt d uring t h e ev e nt . Ital l se e m e d so e asy. A tt he f inish , t h e w ay t he crow d w as ch e e ring t ol d m e I d d one w e l l , b utI h ad t he f eel ing t h atifI h ad onl yt rie d a l it t l e h ard e r I coul d h av e d one m uch be t t e r.
A boring e xpe rim e nt

O n an Int e rne t f orum , I ask e d pe opl e t o t el la b oring st ory. M any re sponse s, f ar f rom b oring, w e re f ascinat ingl y det ail e d . H e re is an e xce rpt f rom a st ory b y J arod Scot t : I yaw n , l ook out sid e an d se e t h at it 's st il l d ark . Th e re 's n ot m uch t o se e , but I gaz e casual l y at t h e groun d t h at f ul l y surroun d s t he t av e rn . I coun t t oat h ousan d , an d it is st il ld ark . M aybe h ours f rom n ow , t h e sun w il l rise an d t h at w il lm e an on l y f iv e m ore d ays be f ore t h e soup of t he d ay is m ut t on st ew . Ye st e rd ay w as ch ick e n brot h, w h ich is al righ t . O h , but t h at m e an s it w il lbe f iv e d ays t il l m ut t on st ew . I t ry coun t in g t o t wo t h ousan d t h is t im e , an d rol l se v e ral d ice t o se e h ow f ar I ge t . Th irt y-se v en. So I st art coun t in g f rom t h e re be f ore ch e ck in g out sid e again . St il ld ark . I l ook back in sid e . Th e re 's a coupl e w h ore s d oz in g at a corn e r t abl e . I d on 't care t o spe n d m y m on e y.
If you re st riv ing t o scal e t h e h e igh t s of Aw e som e , w e d on t se e Aw e som e : w e se e you t rying. St op t rying, aim t o b e av e rage , and you l le nj oy yourse l f m ore .
A boring e xpe rim e nt
Be obv ious
If , w h il e gam ing, you can t b e cl ev e r or t ry h ard , w h at can you d o?Th e answ e r is: b e ob v ious. Do t h e ob v ious t h ing: t he t h ing t h at ob v iousl y h appe ns ne xt in t h e st ory; t he t h ing t h at you t h ink ev e ryone e xpe ct s t o h appe n. P arad oxical l y, t h at ob v ious t h ing m ay, t o ev e ryone e l se , se e m original and b ril l iant . F or e xam pl e : in a gam e of L acuna, a t e am of age nt s w as inv e st igat ing a h ospit al , w h e re pe opl e h ad b e e n d isappe aring. O ne pl aye r sugge st ed t h e re sh oul d be a w ard w h e re f orm e r age nt s paid t o h av e t h e ir f ace s re scul pt e d . Th e id e a w as ob v ious t o h im : t o m e , and t o ev e ryone e l se , itw as b ril l iant . A not h e r e xam pl e . I re m e m b e r running a sce ne , in a V am pire L ARP , in w h ich som e one h ad re ce iv ed l et t e rs, w rit t e n in b l ood . A pl aye r ask e d t o e xam ine t h e pape r. A n ob v ious id e a occurre d t o m e . If t h e ink w as b l ood , t h e pape r sh oul d b e sk in: parch m e nt , m ad e of h um an sk in. W h e n I said t h is, pe opl e w e re sh ock e d , as if I d said som e t h ing b ril l iant . I h ad n t . I d j ust said w h at ,t o m e, w as ob v ious. Nat ural l y, not e v e ry ob v ious t h ing you say w il lb e b ril l iant . Of t e n, w h at you t h ink is an ob v ious ne xt st ep in t h e st ory w il l , ind e e d , b e an ob v ious st e p in t h e st ory.
Be obv ious
8
An obv ious e xpe rim e nt

I post ed t he f ol l ow ing st ory on an Int e rne tf orum . A t h ie f m ov e s across t he roof t ops, k e e pin g t o t he sh ad ow s. H e cre e ps t o a w in d ow , re ach e s t h rough an d ope n s it . H e se e s a w om an an d , be h in d h e r, som e t h in g sh in in g on a d e sk . Th e n I ask e d : Const rast ingl y, m ost 1. W h at d o you nat ural l y answ e rs t o 3 w e re e xpe ct w il lh appe n ne xt ov e rb l ow n, cl ev e r id e as. in t h e st ory? F rom t h e w aist d ow n, 2. W h at w oul d you l ik e t o h e r b od y consist s of a h appe n ne xt ? d oz e n w rit h ing t e nt acl es t ippe d w it h 3. W h at is t h e cool e st , t e n-inch se rrat ed cl ev e re st t h ing you can spik e s, w h ich t e ar h im t h ink up t o h appe n l im b f rom l im b . H e ne xt ? l augh s h yst e rical l y t he w h ol et im e . Al l answ e rs t o 1 and 2 w e re , in d if f e re nt w ays, Be h ind t h e d e sk , a nat ural e xt e nsions of t he grand iose ch air sw iv el s st ory. Som e se e m e d t o f ace t h e w om e n. Bil l b ril l iant . Cl int on d raw s on h is cigar. K l axons b l are and I w ant t h e w om an t o be orange l igh t s f l ash . A b e aut if ul and t o count d ow n com m e nce s. e m b race t h e m an. H is b at h rob e f al l s t ot he f l oor. Sh e t urns, h ol d ing t he sh ining ob j e ct . It s a k nif e . Th at w as t he noisie st B& E I v e ev er h e ard . Th e t h ie f d ash e s int o h id ing w at ch ing t he w om an cont inue t o ge t re ad y f or a m agnif ice nt b al l or som e such .
An obv ious e xpe rim e nt

9
Th at s f ine . W h e n you re spond ob v iousl y, 9 0% of t he t im e , you l l carry t h e st ory f orw ard nat ural l y. If you'd t rie d t o b e cl ev e r, 9 0% of t he t im e , you'd h av e t h row n t h e st ory of f course . A nd , w h e n you're ob v ious, one t im e in t e n, you l l b e b ril l iant . T ry t o b e b ril l iantand you l l f ail . Be ob v ious and , of t e n, you l l b e b ril l iant .
L e tyour guard dow n

W e w e re pl aying Prim e t im e A d v e nt ure s, port raying an 18t h Ce nt ury v e rsion of t h e A -T e am . I pl aye d Th e M ask , a v e rsion oft h e A -T e am 's ch arm e r, Th e F ace . Now , d o you re m e m b e r h ow ch e e sy t h e rom ance s w e re in Eigh t ie s sh ow s? A nd h ow e xpl icit ? Th e re w as al w ays a l ov e int e re st , al w ays a rom ance and usual l y se xualinnue nd o. I re m e m b e r w at ch ing an A ut om an e pisod e , in w h ich A ut om an w as ch at t ing up t wo b e aut if ulw om e n, in a cl ub . Th e w om e n ask e d w h ich of t h e m h e pre f e rre d . H e appe are d t o ne got iat e a t h re e som e (It d oe sn t se e m f air t o d e priv e e it h e r of you ), b e f ore b e ing cal l e d aw ay t o sol v e crim e s. I w ant e d Th e M ask t o b e a h om age t ot h e se rom ance s. So I d e scrib e d h im f l irt ing h is w ay int o cast l e s, past b e aut if ulf e m al e guard s; ch at t ing up gang m e m b e rs; f l irt ing w it h h is t ort ure rs, w h o w e re t w ins.

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Th e n I b e cam e uncom f ort ab l e . W as I, w it h out k now ing it , re v e al ing a se xual f ant asy? W oul d t h e ot h e r pl aye rs t h ink I w as a pe rv e rt ? W as I, accid e nt al l y, giv ing aw ay som e t h ing ab outm yse l f?So I st oppe d . I ce nsor m yse l f sim il arl y in D ogs In Th e V ine yard . Som e t im e s, it d b e in ch aract er t o, say, sh oot a w om an carrying a d e m on b ab y. But w h at w oul d pe opl e t h ink ? Th at I w as pl aying out a f ant asy of v iol e nce against w om e n? W h e n rol e pl aying, w e of t e n pl ay saf e . W e d on t w ant t o giv e anyt h ing aw ay ab outourse l v e s. You se e t h is at conv e nt ions. Pl aye rs w ant t h e GM t o l e ad t h em t h rough an ad v e nt ure . Th e y sit q uie t l y, not w ant ing t o d o anyt h ing, in case t h e y d o som e t h ing w rong. A nd , ye t , pl ay is m ore int e re st ing w h e n w e l e t our guard d ow n. In a re ce nt Ct h ul h u gam e , m y ch aract er f l irt e d w it h a girlof h igh e r cl ass. F or m e , t h at 's cl ose t o t h e b one and , h e nce , m ad e t h e gam e m ore poignant . Sim il arl y, in L acuna gam e s, I'v e st art e d using m anage m e nt -spe ak : "W e 'v e h ad som e com m e nt s ab out your pe rf orm ance ". Th is l anguage se t s my t eet h on e d ge : so, w h e n I say it ,t h e re 's an e l e ct ricit y in t h e air. W h e n you l e t your guard d ow n, e v e n if j ust a l it t l e, you b ring t h e gam e cl ose r t o h om e . T ry it . It ad d s an e d ge t o your gam e .
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D on'tpre t e nd
Som e t im e s w e pre t e nd t o l e t our guard d ow n, b ut d on t . In h orror gam e s, w e com f ort ab l y d e scrib e d e m ons b urst ing out of ch e st s, w om e n rippe d apart , scre am ing d e at h s. Th e re s a se nse of t ab oo-b re ak ing, b ut , re al l y, w e re t re ad ing a w e l l -w orn pat h . Th e gam e d oe sn t scare anyone , b e cause e v e ryone s pl aying saf e. Sim il arl y, m any sm al l -pre ss gam e s h and l e se rious issue s t h ataf f e ctno-one . Pl aye rs d e scrib e suicid e s, sl av e -b e at ings and w ar: t h ey sh oot pre gnant w om e n in D ogs In Th e V ine yard or t ort ure m inions in M y L if e W it h M ast e r. But e v e ryone st ays in t h e ir com f ortz one . Pl aye rs b re ak social t ab oos: b utnott h e ir ow n t ab oos. P e rsonal l y, I narrat e sh oot ing pre gnant w om e n and f e e lnot h ing. But I ne v e r narrat e m y ch aract e r s f at h er int o rol e pl aying gam e s: b e cause I d on t w ant t o pl ay a ch aract e r w h ose f at h e r suf f e rs. It st oo cl ose t ot h e b one . So I k e e p m y guard up, e v e n as I f ool m yse l f I m b e ing ch al l e nge d . M any pl aye rs d o t h e sam e : k id t h e m se l v es t h e y re d igging d e e p, w h e re as, act ual l y, t h e y re sk im m ing t h e surf ace . If you l e tyour guard d ow n, d o itf or re al . D on't"t ack l e issue s", d on't w al l ow in gore . Ch oose som e t h ing t h at push e s your b ut t ons and putitin your gam e .
D on'tpre t e nd
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M ov ing f orw ard

In t h is se ct ion, w e 'v e e xpe rim e nt e d w it h not pl anning ah e ad . But if w e d on't pl an ah e ad , w h at d o w e d o, m om e nt t o m om e nt , in t h e gam e ? Th e answ e r is: w e b uil d on ot h e r pl aye rs' id e as.
GM ing an adv e nt ure w it h outpl anning

Can t h e GM , t oo, av oid pl anning ah e ad : ev en running an ad v e nt ure w it h no pl anning? pl aye rs ch ase t h e m urd e re r t o a t rain st at ion, h ol d t he f inal conf ront at ion on t he roof of a m ov ing t rain inst e ad . H ow e v e r, if you se e t h e ch ance , use your id e a.
GM ing an adv e nt ure w it h outpl anning

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Th e answ e r is ye s: it s possib l e and v e ry re w ard ing. P art icul ar se ct ions of t h is b ook w il l Th e n, re ad t he l at e r se ct ion h el p w it h t h is. Im agine e v e ryone b uil t on e v e ry id e a. W it h no F irst l y, re re ad t h e sid e b ar pl anning, you l l b uil d on H ol d id e as l igh t l y . H av e your pl aye rs id e as t o v ague id e as of t h ings f or const ructa st ory. t h e gam e : a ch ase t h rough se w e rs, w are h ouse s of F inal l y, re ad t h e e nt ire f il ing cab ine t s, a ch apt e r T el lSt orie s . Th e conf ront at ion at op a w at e r narrat iv e t rick s in t h is t ow e r. H ol d t h e se id e as se ct ion w il l h el p you l igh t l y, ab and oning t h e m if inv e nt t h e pl ot as you go t h e st ory goe s e l se w h e re : if al ong.
Buil d
W e of t e n sh ootot h e r pl aye rs id e as d ow n . In st e ad , buil d on t h em .
Buil d
Of t e n, gam e s go now h e re , b e cause w e w ork against e ach ot h e r. You w ant t ot al k your w ay past t h e guard , b ut I at t ack h im . By k il l ing e ach ot h e r's id e as, w e spoil gam e s, w it h outm e aning t o d o so. In t h is ch apt e r, I'l ld e scrib e re asons w h y w e sh oot d ow n id e as unint e nt ional l y, e v e n unconsciousl y. Th e n I'l l d iscuss h ow t o pl ay coope rat iv el y inst e ad , b y b uil d ing on e ach ot h e r's id e as. F inal l y, w e 'l l se e w h e re e v e ryt h ing I'v e d iscusse d so f ar h as b e e n l e ad ing: a ut opian w ay t o pl ay, w h e re no-one pl ans, no-one w ork s and e v e ryone 's id e as re ach f ruit ion.
Sh oot ing ide as dow n Sh oot ing ide as dow n

In gam e s, w h e t h e r w e m e an t o or not , w e of t e n sh oot ot h e rs id e as d ow n:
Pl aye r: GM : Pl aye r 1: Pl aye r 2: GM : Pl aye r: I se arch f or anot h e r e nt rance ! No, t h e re s onl yt h e m ain d oor. I f orce you t o k ne e l in f rontofm e ! I b re ak f re e and st and up. Sh e m ov es t ow ard s you se d uct iv el y. I push h e r aw ay.
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It s h ard t o def ine sh oot ing id e as d ow n e xact l y, b ut you l l k now itw h e n you se e it . It s ab out : Saying an im pl icitNo. Ne gat ing w h atw as j ustsaid . St opping t h e act ion f rom ad v ancing. Ge ne ral l y, it m ak e s t h ings d ul l , ye t w e st il l d o it . W h y? H e re are som e possib l e re asons.
1. W e sh ootid e as d ow n in l if e
If som e one insul t s us, in re all if e , w e d on t ch al l e nge t h em t o a d ue l . Th is av oid s t roub l e , st opping t he act ion b e f ore itst art s:
St range r: Me: St range r: Me: You re a pat h et ic w orm ! L ook , cal m d ow n. I m going t o k il l you! [ W al k s aw ay q uick l y]
Th at is, w e sh oot t h e id e a d ow n, t o k e e p us saf e . But saf e is b oring. In gam e s, w e w antt roub l e.

St range r: Ch aract e r: You re a pat h et ic w orm ! Al augh ab l e insul t . I ch al l e nge you t oa d ue l ofh onour! I m going t o k il l you! You'l l b e d e ad b e f ore you re ach t h atgun.
Sh oot ing ide as dow n
St range r: Ch aract e r:
F igh t t h e urge t o b e saf e . W h e n an id e a com e s al ong t h atw il l m ak e t roub l e , b uil d on it .
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2. I h av e a pl an
If w e v e pl anne d ah e ad , w e of t e n k il l id e as t h at int e rf e re w it h our pl an. Gam e M ast e rs are not orious f or t h is. Th e y pl an an ad v e nt ure , t h e n sh oot d ow n any id e a t h at d oe sn t corre spond w it h t h e irs:
GM : Pl aye r: GM : Pl aye r: GM : Pl aye r: GM : In f rontofyou is a d oor, w it h a rid d l e paint e d ab ov e it . I l ook f or ot h e r e nt rance s. No, j ustt h e d oor. O K . I m going t ot ry and ch arm a guard t o l e tus in. Th e y d on tspe ak your l anguage . W e go b ack t ot ow n. Butt ow n is t w o d ays aw ay and you m ust e nt er t h e cast l et onigh t !
H ow e v e r, pl aye rs sh oot e ach ot h e r's id e as d ow n, t oo. L et s im agine I w antt o st e al aj ew el st e al t h il y:

Me: I cre e p int ot he t av e rn, st ick ing t ot he sh ad ow s. Ot h e r pl aye r: I k nock on t he t av e rn d oor, l oud l y. Me: I st op you! I grab your h and and pul l you int ot h e sh ad ow s.

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H e re , t h e ot h e r pl aye r sh ot m y id e a d ow n, t h e n I sh ot d ow n h is: h e nce , not h ing e nd s up h appe ning.
3. O ur guard is up
W e of t e n sh oot d ow n id e as uncom f ort ab l e are as:
GM : Pl aye r:
t h at t ak e
us
int o
Sh e m ov e s se d uct iv el yt ow ard s you. I b ack aw ay.
If I k isse d t h e girl , I m igh t re v e alsom e t h ing ab out m yse l f : pe opl e m igh t t h ink I sl e e p around or I m igh t h av et o d e scrib e se x. It s saf er t o st e p aw ay. O f course , it can b e good t o k il l id e as w e re not com f ort ab l e w it h . If I d on tl ik e se xual cont e nt in gam e s, I sh oul d k il l id e as t h atinv ol v e se x. Th e prob l e m com e s w h e n w e k il lid e as, inst inct iv el y, b utw ond e r w h y our gam e is d ul l .
4. I d on tw an tt ol ook bad
In l if e , w e of t e n av oid t h ings t h at w oul d m ak e us l ook b ad . Th is l e ad s us t o inst inct iv el y sh oot d ow n t h e se id e as in gam e s:
Pl aye r 1: Pl aye r 2: Pl aye r 1: Pl aye r 2: I f l ing m anure atyou! Itm isse s! I f orce you t o your k ne e s! I ge tup.

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W h at ev e r our re ason f or sh oot ing id e as d ow n, it k il l s t h e act ion. It k e e ps us saf e : and saf e is d ul l . If w e b uil d on id e as, t h ings b e com e m ore e xcit ing.
Buil ding on ide as

W h e n you b uil d on an id e a, you acce pt it and t ak e t he act ion f orw ard .
Pl aye r: GM : I se arch f or anot h e r e nt rance O K ! Th e re s a sm al l t rapd oor b e ne at h t he ram part s. I f orce you t o k ne e l in f rontofm e . I b e g f or f orgiv e ne ss. Sh e m ov es t ow ard s you se d uct iv el y. I run m y f inge rs t h rough h e r h air.
Pl aye r 1: Pl aye r 2: GM : Pl aye r:
You can b uil d on an id e a b y conf l ict ing w it h it , prov id ing you carry t h e act ion f orw ard :
Pl aye r 1: Pl aye r 2: I f orce you t o k ne e l in f rontofm e . I ge tup and f orce you againstt h e w al l !
You can al so b uil d on an id e a b y t ak ing it in an une xpe ct e d d ire ct ion:

Pl aye r 1: Pl aye r 2: Sh e m ov es t ow ard s you se d uct iv el y. I run h e r t h rough w it h m y sw ord .
Buil ding on ide as

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D oe s t h is se e m e asy? W e l l , it is, and it isn t , and t h e n it is again. T o e xpl ain 1. It s e asy t o und e rst and t he t e ch niq ue . 2. But using t he t e ch niq ue consist e nt l y ch ange s t he w ay you pl ay, w h ich is h ard .
3. A nd ge t t ing your m e nt al bl ock s out of t h e w ay, so you can use t he t e ch niq ue , is h ard . 4. But , w h e n you ge t use d t o it , b uil d ing on id e as is so l it t l e ef f ort , so pl e asurab l e and so good f or t he st ory, t h atitm ak e s pl ay e asie r. A nd t h is is w h e re e v e ryt h ing - not b e ing cl ev e r, not pl anning ah e ad , b uil d ing on id e as, b e ing ob v ious com e s t oge t h e r. It prod uce s an e xcit ing, unpre d ict ab l e, spur-of -t h e -m om e ntw ay t o pl ay.
Ye s , And. . .
W h e n you b uil d on an T ry pl aying w it h ev e ryone id e a, you say an im pl icit saying "Ye s, A nd ...". "Ye s, A nd ..." t ot h e id e a. If Pl aye r 1: "Sh e m ov es w e m ak e ite xpl icit :
Pl aye r 1: "Sh e m ov es t ow ard s you se d uct iv el y." Pl aye r 2: "Ye s! A nd I run h e r t h rough w it h my sw ord ." t ow ard s you se d uct iv el y." Pl aye r 2: "Ye s! A nd I run h e r t h rough w it h my sw ord ." Pl aye r 1: "Ye s! A nd sh e d ie s on t he f l oor." Pl aye r 2: "Ye s! A nd h e r f at h er f igh t s m e ."
T ry saying "Ye s, A nd ...", in re sponse t o ot h e r pe opl e 's l b uil d id e as, be f ore you'v e You'l h oute f f ort . d e cid e d h ow t o re spond t o w it t h e m . You m ay f ind t h at , as you say it , you'l lre al ise h ow t o re spond .
st ory
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Ye s , And. . .
Im agine ife v e ryone buil ton e v e ry ide a

Im agine t h at ,f or a w h ol e gam e , you d id not h ing b ut b uil d on ot h e r pe opl e s id e as. In f act , im agine e v e ryone at t he t ab l e pl aye d l ik e t h is: acce pt ing id e as and m ov ing t h em f orw ard . W h at w oul d h appe n? F irst l y, you coul dn t pl an ah e ad . Ev e ryt h ing you d id w oul d b e b ase d on som e one e l se s id e as: t h e re d b e no ch ance t o pl an. So, as t h e GM , you coul d n t pl an an ad v e nt ure . You d re act t o t h e pl aye rs, b uil d ing t h e ad v e nt ure on w h at t h e y gav e you. But if w e re b uil d ing on e ach ot h e r s id e as, w h e re d o t h e id e as st art ?Is t h e re , in f act , anyt h ing t o b uil d on? Th e answ e r l ie s in be in g obv ious . If I re act t o som e t h ing in an ob v ious w ay, m y ob v ious w il l , of t e n, se e m l ik e a b ril l iant id e a. Th e n, ot h e r pl aye rs can b uil d on t h at id e a. F or e xam pl e , ifI say: I k ne e l in f rontofyou. A nd you say som e t h ing t h at ,t o you, se e m s ob v ious: I k ick you in t h e ch e st ! You spraw l atm y f eet !
Im agine e v e ryone buil ton e v e ry ide a

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Th e n, t o m e, t h at s an id e a Sh oot ing ide as dow n I can re actt o:
de l ibe rat el y
I b e g f or m e rcy! A nd you can re actt ot h at :
Som e t im e s, sh oot ing id e as d ow n can ad d t o a st ory, b y ad d ing t e nsion:

You re t rappe d in a prison ce l l . I cal l t h e guard . No-one com e s. Il ook att h e w al l s. Th e y re sh e e r st one . I use t h e m agic I sw ore I d ne v e r use . R igh t
R e al l y? W h at w il l GM : you giv e me f or m y Pl aye r: m e rcy? T o pl ay l ik e t h is, your guard m ust be d ow n : if you re se l f -ce nsoring, you can t re act im m e d iat el y. Al so, you w il lf ind t h at your guard com e s d ow n: b e cause you re b e ing ob v ious, you re re v e al ing som e t h ing ab outyourse l f . So, w it h t h is, e v e ryt h ing com e s t oge t h e r: b uil d ing on id e as, b e ing ob v ious, not pl anning, l et t ing your guard d ow n. You can pl ay an e nt ire gam e l ik e t h is. You onl y re act , ne v er init iat e : and ye t your re act ion se e m s l ik e a b ril l iantinit iat ion.
GM : Pl aye r: GM : Pl aye r: GM :
H e re , w h e n e arl ie r id e as are sh ot d ow n, we und e rst and a l at e r id e a w il l succe e d . K il l ing id e as can sim ul at e del usion surre al it y:
Pl aye r: GM : Pl aye r: GM :
Sh oot ing ide as dow n de l ibe rat el y

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al so or
I ope n t h e d oor. Your h and passe s t h rough t h e h and l e. I ask t h e b arm an w h at s h appe ning. Th e re isn ta b arm an. P e rh aps t h e re ne v e r w as.
A gain, t h is b uil ds t e nsion, l at er t o b e re sol v ed.
M ov ing f orw ard

In t he l ast t w o ch apt e rs, w e 'v e dev el ope d a ut opian, m om e nt -t o-m om e ntw ay t o pl ay. W il l you pl ay al l your gam e s l ik e t h is, al l t he t im e ? Not com pl et el y. You'l l prob ab l y st il l pl an, a l it t l e ; use your cl ev e r id e as, a l it t l e ;st ud y rul e s, a l it t l e. So k e e p t h e part s of your pl ay you l ik e ; ab and on t he one s you d on't ; and use t h e part s of t h is ne w pl ay st yl e t h atappe al t o you. In t h e ne xt se ct ion, w e f ocus on pl aying ch aract e rs, using t h e pow e rf ul t e ch niq ue s ofst at us.
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St at us
A tt h e ir h e art , st orie s are aboutst at us. Pl ay w it h st at us an d l e tit d riv e your gam e .
St at us
In t h is ch apt e r, I'l l d e scrib e h ow st at us t e ch niq ue s can b ring your ch aract e rs t ol if e. I'l le xpl ain h ow t o pl ay h igh st at us - k ings, h e roe s, god s - and l ow st at us - se rv ant s, b e ggars, f ool s. I'l l l ist t rick s you can use , at t h e gam ing t ab l e, t o raise and l ow e r your st at us. I'l lconsid e r t h e d if f e re nt sort s of st at us in rol e pl aying gam e s. Al ongsid e al l t h at , I'l l l ist re asons t o pl ay h igh and l ow st at us; I'l l d e scrib e h ow t o use st at us t o prod uce nat ural , re al ist ic re l at ionsh ips; and I'l l out l ine h ow st at us d riv e s d if f e re ntsort s ofst orie s.
St orie s and St at us
Al l st orie s, in som e w ay, are ab outst at us.
St orie s and s t at us
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T ak e K ing L e ar: a pow e rf ul K ing sl id e s, sl ow l y, t ow ard s im pot e nce . O r Cind e re l l a: a rags-t o-rich e s st ory. O r Gre at Expe ct at ions: a b oy is e l ev at ed t o h igh socie t y and , grad ual l y, w at ch e s e v e ryt h ing crum b l e around h im . St at us ch ange s are st oryt el l ing gol d. T ak e any l ow st at us ch aract e r: St e ph anie is a m il k m aid f rom a poor f am il y
Th e n e l ev at e h er t o h igh st at us: ... O ne d ay, a m yst e rious st range r t el l s h e r sh e is a prince ss. Inst ant l y, you h av e a st ory: one sim il ar t o Cind e re l l a or H arry P ot t e r. Sim il arl y, t ak e a h igh -st at us ch aract e r: L ord St ef an rul es t h e prov ince ofGol df ie l ds A nd b ring h im l ow : ... unt il he l ose s itin a card gam e . A gain, you h av e a st ory. Th e b e st rol e pl aying gam e s use st at us f or you. D unge ons and D ragons is ab out h e roe s, rising in pow e r and w e al t h. V am pire h as Prince s and Se ne sch al s j ock e ying f or posit ion. Th e sm al l -pre ss gam e Th e Sh ab A l -H iri R oach is b ase d on st at us, w h ich it cal l s R e put at ion: e v e ry sce ne e nd s in a f igh t ov e r st at us. But you can use st at us in any gam e . You can inv e nt k ings or und e rd ogs and d e l ib e rat el y ch ange t h e ir st at us. Pl aye rs can b oost ot h e r ch aract e rs' st at us or d e st roy it . GM s can pl ay h igh -st at us NPCs and l e tt he PCs b ring t h e m crash ing t o e art h.
St orie s and s t at us
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St at us be h av iours
T o b e h igh st at us - t o pl ay a k ing or a god - t ry d oing t h e se t h ings att h e gam ing t ab l e: H ol d e ye cont act K e e p st il l , e spe cial l y your h e ad T ak e up l ot s ofspace Rel ax Im agine you are t al l Spe ak d ire ct l y, as t h ough you d o not e xpe ct t o be int e rrupt ed Say t h ings t o im pl y t h at you are b e t t e r (in som e w ay) t h an t h e pe rson you are t al k ing t o Sim il arl y, t o pl ay l ow st at us - a se rv ant or a f ool - t ry t he f ol l ow ing:
St at us be h av iours
Bre ak e ye cont act d ow nw ard s, t h en l ook b ack im m e d iat el y T w it ch and m ak e e spe cial l y your h e ad unne ce ssary m ov e m e nt s,
T ouch your h e ad and h air T ak e up as l it t l e space as possib l e
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Re as ons t o pl ay l ow st at us
1. L ow st at us ch aract e rs are , ge ne ral l y, m ore l ik e ab l e t h an h igh st at us one s: t h ink of R 2D 2 com pare d t o C3PO ; P asse part out com pare d t o Ph il e as F ogg; Cind e re l l a com pare d t o t h e Ugl y Sist e rs. W e ad m ire k ings, b ut l ik e t h e ir se rv ant s m ore . 2. Th e st ory ne e d s you. If ev e ryone s h igh st at us, it s b oring. Be sid e s, if you rise t o h igh -st at us l at e r, t h at l l m ak e a supe rb st ory.
Re as ons t o pl ay h igh st at us
1. H igh st at us ch aract e rs are b e t t e r ad m ire d t h an l ow st at us one s. W e w on t l ik e you, b ut w e l l re spe ctyou. 2. Th e st ory ne e d s you. W h e n you are b rough t l ow , ev e ryone w il l e nj oy it . R e al ise you re se t t ing yourse l f up f or af al land e nj oy it . Pl ay a b ul l y; pl ay a k ing; pl ay a h at e -f igure . You l l ge tyour d ue .
3. R e m e m b e r you ne e d n t b e nast y: you can b e h appy in your h igh 3. R e m e m b e r you ne e d n t st at us. Th ink of Bil l b e m ise rab l e : you can Cl int on, T om Cruise or b e h appy in your l ow T ony Bl air: you can b e st at us. Be a re t aine r ch arm ing b ut h igh whol ov es t o se rv e or a st at us. W e l l st il l be se rv ant w h o can tl iv e gl ad , t h ough , w h e n w it h outh is m ast e r. you re b rough td ow n. 4. You re not your ch aract e r. Sniv el l ing, grov el l ing and d ying ignom iniousl y are f un w h e n it s not re al l y you d oing it . 4. You re not your ch aract e r. W h e n you giv e ord e rs t o your f rie nd across t he t ab l e, it s not re al l y you d oing it .
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Re as ons t o pl ay. . .
Be ne rv ous Spe ak h e sit ant l y, as t h ough you e xpe ct t o be int e rrupt ed Say t h ings t o im pl y t h at you are inf e rior, in som e w ay, t ot h e pe rson you are t al k ing t o Th e re is a syne rgy b e t w een t h e se . If you h ol d your h e ad st il lw h il e spe ak ing, you m ay f ind you st and st raigh t e r and spe ak m ore d ire ct l y. Expe rim e nt w it h st at us b e h av iour in re all if e , b ut b e care f ul . I once w e nt t o a b ar and pl aye d h igh st at us. W h e n ord e ring m y d rink , I spok e d ire ct l y and cl e arl y, as t h ough giv ing t h e b arm an an ord e r. H e j um pe d t o ge tt h e gl ass: b utl ook e d angry f or t h e re stoft h e nigh t .
St at us is e m ot ional St at us is e m ot ional
St at us b e h av iour is e m ot ional . Som e pe opl e h at e pl aying h igh st at us;som e h at el ow st at us. If you t ry ch anging your st at us b e h av iour, you m ay f ind t h atyou: 1. H at e it . 2. Can't . 3. Th ink you'v e h av e n't . ch ange d your st at us, b ut you
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Com e dy, t rage dy and s e rious s t orie s

W e can d e scrib e t h e sam e st at us sh if t s com ical l y or se riousl y. W h e n a K ing is b rough t l ow , t h at can b e com ic or t ragic. Com e d y of t e n use s q uick st at us sh if t s: t h e K ing f al l s in m ud ; t he t ram p d re sse s as a k ing. T rage d y of t e n use s sl ow st at us sh if t s: K ing L e ar sl ow l yl ose s h is m ind . Se rious st orie s, t h at are n t t rage d ie s, al so use sl ow st at us sh if t s: Cind e re l l a is el ev at ed sl ow l y t o gre at ne ss; Pip, in Gre at Expe ct at ions, is sl ow l y raise d t o h igh st at us and sl ow l y b rough t b ack d ow n.
Re al is t ic re l at ions h ips
T ry k e e ping your st at us sl igh t l y ab ov e or b e l ow som e one e l se : b e sl igh t l y supe rior or inf e rior. Ch ange , f re q ue nt l y, so t h at you go f rom sl igh t l y supe rior t o sl igh t l y inf e rior and b ack again. Th is prod uce s nat ural , l if el ik e re l at ionsh ips.
Com ic, s e rious , re al is t ic

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P e rsonal l y, I can't b e h igh st at us f or l ong, w it h out b e com ing e m b arrasse d and apol oge t ic. Eq ual l y, you m igh t h at e som e one using st at us b e h av iour on you. I d e t e st pe opl e act ing h igh -st at us t o m e : I w orry ab out it , f or d ays, and f ant asise ab out put t ing t h e m in t h e ir pl ace .
St at us in rol e pl aying gam e s

In gam e s, w e of t e n w ant t o b e pow e rf ul , h e roic, t o conq ue r e v e ryt h ing in our pat h: t h at is, t o b e h igh st at us. Th at w as m y e xpe rie nce of D unge ons and D ragons. Ev e ryone w ant ed t o b e a h e ro: a f igh t ing m ach ine or pow e rf ul w iz ard . P e rsonal l y, I pl aye d t h ie v e s, b ut t h at w as h igh st at us, t oo: I w ant ed t o b e sne ak y and pe rf orm f e at s no-one e l se coul d. L at e r, I pl aye d V am pire L A R Ps, and h igh st at us b e cam e a prob l e m . A gain, e v e ryone w ant ed t o be pow e rf ul b ut ,t h is t im e , t h e y com pe t ed f or pow e r: onl y one coul d b e Prince . St at us ch ange s cause d upse t : w h e n a Prince w as ov e rt h row n, t h e pl aye r w as m ort if ie d . Th e re w e re t e ars w h e n ch aract e rs d ie d . Th is m ad e gam e s d ul l . Pl aye rs cl ung t o t h e ir st at us j e al ousl y, af raid t o d o anyt h ing e xt raord inary, f or f e ar ofre t rib ut ion.
St at us in rol e pl aying gam e s

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Type s ofs t at us
Th e re is Giv e n St at us : st at us t h at ot h e r pe opl e giv e you. If you're k ing, you are h igh st at us b e cause ev e ryone e l se t re at s you w it h re spe ct . Th e re is Be h av iour St at us : t h e st at us w it h w h ich you act . You can b e h av el ik e a k ing, e v en t h ough you're not . D isconne ct s be t w een t h e se t ype s of st at us can b e d e e pl y af f e ct ing or com ic. A m ad k ing, w h o soil s h im se l f , h as h igh Giv e n St at us (h e 's st il l k ing) b ut l ow Be h av iour St at us. A b e ggar (l ow Giv e n St at us) w it h af f e ct e d airs (h igh Be h av iour St at us) is a com ic f igure . Not e t h e syne rgy b e t w een t he t w o. A k ing, b e h av ing l ow st at us, w il l b e d e pose d . A b e ggar, b e h av ing ab ov e h is st at ion, risk s b e ing push e d int ot h e gut t e r. Th e n, in rol e pl aying gam e s, t h e re is P l aye r St at us and Ch aract e r St at us . A pl aye r w h om e v e ryone ad m ire s (h igh st at us) m igh t pl ay a b e ggar (l ow st at us). A not h er pl aye r m igh t ne rv ousl y (l ow st at us) d e scrib e h is pal ad in sm it ing non-b e l ie v e rs (h igh st at us). A gain, not e t h e conne ct ion. A pl aye r of h igh st at us w il l , of t e n, pl ay t he l e ad e r of t h e part y. A l ow -st at us pl aye r, w h o f ind s it h ard t o int e rrupt , w il l h av e d if f icul t y pl aying a h igh -st at us ch aract e r. F inal l y, t h e re is Gam e St at us : st at us grant e d by t he gam e rul e s. A f igh t e r w it h h igh St re ngt h h as a f orm of h igh st at us. A ch aract e r w h ose H it P oint s f al lb e l ow z e ro h as t h e ul t im at ef orm ofl ow st at us: sh e is d e ad .
Type s ofs t at us
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M ov ing f orw ard

W e 'v e b e gun t ot al k ab out st orie s. L et 's d iv e in, now , and e xpl ore h ow st orie s can pow e r your gam e .
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Te l l st orie s
R ol e pl ayin g gam e s are aboutst orie s. Th is is h ow t ot el l t h em .
Te l l St orie s
Ne v e r und e re st im at e h ow im port ant st orie s are in rol e pl aying. W h e n you're pl aying a gam e , you're t el l ing a st ory. Ev e n in t h e m ost b asic d unge on craw l ,t h e re 's a st ory: you st art in an inn, w h e re a m yst e rious st range r inv it e s you t o e xpl ore a d unge on. You sl ash your w ay t h rough t h e d unge on. F inal l y, you m e e t a h uge cre at ure , w h ich you k il l , and t ak e it st re asure . Th at st ruct ure is a st ory and is im port ant . If t he ad v e nt ure h ad no st ruct ure - if you f ound t re asure at t h e d unge on e nt rance , k il l e d an orc, t h e n sud d e nl y f ound a t unne lt h at l ed t o saf et y - it w oul d m ak e no se nse . H e re , "st ory" ne e d n't m e an a f airyt al e . It ne e d n't m e an d ram a and t e ars. It j ust m e ans t h at ,f rom t h e st art of t h e gam e t ot h e e nd , e v e ryt h ing f it st oge t h e r. In t h is ch apt e r, I'l l d e scrib e t rick s t ot el l st orie s: t o st art t h e m , e nd t h e m and m ak e t h e m spark l e . M any of t h e se t rick s ov e rl ap, b ut t h e y're b e st consid e re d se parat el y.
Te l l st orie s
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Cre at e rout ine s and bre ak t hem

H e re 's a sim pl e,ef f e ct iv et rick t o st arta st ory. Cre at e a rout ine . W e are d rink ing in a t av e rn. W e are h unt ing in t h e w il d e rne ss. I am m e nd ing m y arm our. Th e n d o som e t h ing t o b re ak t h atrout ine . W e are d rink ing in a t av e rn... ... w h e n a m yst e rious st range r approach e s us. W e are h unt ing in t h e w il d e rne ss... ... w h e n w e h e ar a roar l oud e r t h an w e h av e ev er h e ard b e f ore . I am m e nd ing m y arm our... ... w h e n I not ice it d oe s not b e nd w h e n I h it it w it h t h e h am m e r. Th e re are se v e ral w ays t o b re ak any giv e n rout ine . W e are d rink ing in a t av e rn: ... w h e n a m yst e rious st range r approach e s us. ... w h e n an arrow t h ud s int ot h e w al l ne ar us.

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... w h e n w e sm e l l sm ok e . You'l lint uit iv el y se nse w h e n t h e rout ine ne e d s t o be b rok e n. W h e n you f e e lsom e t h ing ne e d s t o h appe n, b re ak t h e rout ine . W h e n you b re ak t h e rout ine , you can cre at e a ne w rout ine . You can t h e n b re ak t h at . By cont inuing, you can t el l a st ory: W e are h unt ing in t h e w il d e rne ss... ... w h e n w e h e ar a roar l oud e r t h an w e h av e ev er h e ard b e f ore . W e go t ow ard s t h e roar... ... b uta m yst e rious f orce is h ol d ing us b ack .

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W e are t rying t of ind a w ay round t h e m yst e rious f orce ... ... w h e n a w it ch d oct or approach e s us. W e are t al k ing t ot h e w it ch d oct or... ... w h e n sh e b e gins t o t ransf orm int o som e t h ing el se . A nd , w it h t h atsim pl et rick , w e 'v e b e gun a st ory.
Cre at e pl at f orm s and add a t il t

W h e n you cre at e a pl at f orm , you st arta sce ne in a w ay t h atisn'tinst ant l y d ram at ic. F or e xam pl e:
Pl aye r 1: GM : "I sitd ow n. 'Ev e ning, D av e .'" "Th e b arm an l ook s atyou. H e f l ick s h is e ye s t oat ank ard ofal e h e 'd poure d as you cam e in. 'You'l l b e w ant ing t h at .'" "'Ye ah ,' I say, d rink ing it . 'Q uie tin h e re , isn'tit ? '"
Pl aye r 1:
and so on. W h e n you ad d a t il t , you int rod uce t h e d ram a.

Pl aye r 1: "I d raw m y sw ord and aim t h e pointath is t h roat . 'It 's t oo q uie t , D av e . W h ath av e you d one w it h ev e ryb od y? '"
H e re , t h e pl at f orm is as im port ant as t he t il t : t h at is, t h e cal m pre ce d ing t h e d ram a is as im port ant as t he d ram a it se l f . D uring t h e pl at f orm , w e ad d col our, w e ge t t o k now t h e ch aract e rs. W h e n t he t il t com e s, t he d ram at ic f orce is gre at e r. M ost pe opl e inst inct iv el y re al ise t h e im port ance of a cal m be f ore t h e st orm . F or e xam pl e, f e w gam e s of D ogs In Th e V ine yard st artw it h inst antd ram a:
GM : "A s you rid e int o A sh Brid ge , a w om an ye l l s 'Th e y're t rying t o k il l m y b ab y!'"
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Inst e ad , w e b e gin w it h pl at f orm -b uil d ing:

GM : Pl aye r: GM : Pl aye r: GM : It 's an col d aut um n d ay and you rid e int o A sh Brid ge . Th e t ow n se e m s d e se rt ed. It et h e r m y h orse at ...can w e say t h e re 's a w el l in t h e ce nt re oft ow n? Sure . It et h e r m y h orse att h e w el l . I h e ad t ow ard s t h e inn. O K, t h e re 's a t iny h ost el ry across t h e w ay. A s you w al k in, t h e b ark e e p st raigh t e ns up.
...and so on. A l lt h e non-d ram at ic d e t ail s ad d t o t he st ory. A s w it h b re ak ing rout ine s, you w il l inst inct iv el y k now w h en t he t il t sh oul d com e . A f t e r b uil d ing a pl at f orm f or a w h il e , you'l l re al ise t h at som e t h ing ne e d s t o h appe n. Th at 's t he t im e f or a t il t .

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Cre at e ast at us re l at ions h ip and al t e r it

H e re 's anot h e r w ay of t h ink ing ab out pl at f orm s and t il t s. W h e n you b uil d a pl at f orm , you e st ab l ish a st at us re l at ionsh ip b e t w een t w o ch aract e rs. W h e n you t il t , you ch ange t h e st at us re l at ionsh ip. F or e xam pl e : at t h e b e ginning of t h e sce ne , you b ul l y t h e b art e nd e r f or inf orm at ion, e st ab l ish ing yourse l f as h igh e r st at us t h an h im . H al f w ay t h rough , t he b art e nd e r prod uce s a sh ot gun, raising h is st at us and l ow e ring yours. Ev e ryt h ing e l se ab out pl at f orm s st il l appl ie s. You m ust giv e t h e st at us re l at ionsh ip t im e t o b uil d . You'l l inst inct iv el y k now w h en t o al t er t h e st at us re l at ionsh ip. F or f ul l ef f e ct , k e e p b ot h id e as of pl at f orm s and t il t s in m ind .
Cre at e ast at us re l at ions h ip and al t e r it

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Cre at e a m ys t e ry and s ol v e it
In your st orie s, cre at e m yst e rie s, t h e n sol v et h em . Til t s are good f or cre at ing m yst e rie s. H e re are som e m yst e ry-cre at ing t il t s: "You re al ise t h e b e e r is poisone d !" (W h o poisone d it ? ) "Th e b art e nd e r says 'I k now w h o k il l e d your b rot h e r, b utit 'l l costyou.'" (W h o k il l e d h im ? ) "Be h ind t h e b ar is a t rapd oor!" (W h e re d oe s it l e ad ? ) F or com parison, t ry t ak ing t h e m yst e ry out .
Cre at e a m ys t e ry and s ol v e it
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"You re al ise t h e b art e nd e r h as poisone d your b e e r, t o b ring you t oj ust ice !" "Th e b art e nd e r says 'I k il l e d your b rot h e r, b e cause h e w as sl e e ping w it h m y w if e .'" "Be h ind t h e b ar is a t rapd oor m ark e d 'T o t he se w e rs'" Th e y're st il lt il t s, b ut t h e y're w e ak e r: t h e m yst e ry h as gone and , w it h it ,t e nsion and ant icipat ion.
De l iv e r on your prom is e s
A nt on Ch e k h ovw as q uot e d as saying:
"Ifyou say in t he f irstch apt er t h att h e re is a rif l e h anging on t h e w al l , in t h e se cond or t h ird ch apt e r it ab sol ut el y m ustgo of f . Ifit 's notgoing t o be f ire d , it sh oul d n'tb e h anging t h e re ."
In gam e s, w e prom ise t h ings, w h e t h e r w e m e an t o or not .F or e xam pl e: "Th e t re asure is guard e d b y a m igh t y ogre ." ... prom ise s a f igh tw it h t h e ogre . "No-one h as e v e r e scape d f rom t h atprison." ... prom ise s t h e pl aye rs w il lb e im prisone d and at t e m ptt o e scape . "Th e re is m yst e rious m agic b re w ing."
De l iv e r on your prom is e s
... prom ise s w e 'l l se e itin act ion. W h e n prom ise s are f ul f il l e d , it 's sat isf ying; w h e n t h e y're l ef tunf ul f il l e d , it 's d issat isf ying. Th e d if f icul t y, h e re , is t h at you can accid e nt al l y prom ise som e t h ing. A s a GM , if you d e scrib e a prison f rom w h ich no-one h as e v e r e scape d , you'v e prom ise d an e scape at t e m pt . O nce prom ise d , you m ustd e l iv e r. M ak e prom ise s in your gam e s and k e e p t h e m . Be aw are of w h at you prom ise accid e nt al l y, and k e e p t h ose prom ise s t oo.
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Re incorporat e
W h e n you re incorporat e , you b ring b ack som e t h ing f rom e arl ie r in t h e st ory. A l t h ough t he t rick is sim pl e, it 's m agical : it cre at es t h e il l usion of st ruct ure , giv ing t h e ef f e ct t h at you'd pl anne d t h is al l al ong. R e incorporat ion b rings st orie s, or part of a st ory, t o an e nd . F or e xam pl e: Your f at h e r giv e s you a sm al lsil v e r k e y as you l e av e h om e ... L at e r, it ope ns t h e ch e st af t e r you k il lt he d ragon. A m yst e rious ol d m an giv e s you a scrol l . ... L at e r, t h e m agical d oor ope ns w h e n you re ad it . Your aunt w av es t o you in t he f ie l d s, w av ing h e r k nit t ing. ... L at e r, sh e 's t ak e n h ost age . ... L at e r st il l , sh e use s h e r k nit t ing ne e d l e t o unpick h e r rope s. Not e t h at t h e re 's no f orw ard pl anning h e re . W h e n you d e cid e d your f at h e r gav e you a sil v e r k e y, you h ad n't im agine d it m igh t ope n a ch e st . Th at d e cision cam e l at e r. If t h e re h ad n't b e e n a ch e st , pe rh aps t h e k ey w oul d h av e ope ne d a d oor.
Re incorporat e
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A num be r guide l ine

You sh oul d usual l y re incorporat e once , t w ice or m any t im e s. R e incorporat ing once is sim pl e: you int rod uce som e t h ing e arl y in t he st ory; it re appe ars t ow ard s t h e e nd . Th e ol d m an giv e s you a m yst e rious scrol l , w h ich you cannotre ad . But , as t h e d ragon b e ars d ow n on you, you sud d e nl y und e rst and it . Be yond t h re e , you m ust incorporat e m any t im e s, t o dev el op a t h e m e . Th e f inal t im e , itch ange s. Th e ol d m an giv e s you a m yst e rious scrol l , w h ich you cannotre ad . Th at nigh t , you l ook at t h e scrol l , b ut cannot re ad it . You sh ow it t o t he sh opk e e pe r, who cannotre ad it . t o t he cannot in t he it .
You sh ow it k nigh t , who R e incorporat ing t w ice use s re ad it . t he R ul e of Th re e . Som e t h ing h appe ns; it en t h e sage , h appe ns again; b ut t h e Ev h il l s, cannotre ad t h ird t im e , itch ange s. Th e ol d m an giv e s you a m yst e rious scrol l , w h ich you cannotre ad . Be f ore you e nt er t he cav e , you l ook again, b utst il l cannotre ad it . But , as t h e d ragon b e ars d ow n on you, you sud d e nl y und e rst and it .
But , as t h e d ragon b e ars d ow n on you, you sud d e nl y und e rst and it .
A num be r guide l ine

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Im port ant l y, t h e it e m you re incorporat e w il lof t e n be part of t h e pl at f orm . Th is is an im port ant re ason t o b uil d pl at f orm s: t h e m ore d e t ail s in t h e pl at f orm , t he m ore opport unit ie s t h e re are t o re incorporat e. T ry re incorporat ing d if f e re nt t h ings: ob j e ct s, pe opl e, l ocat ions. Som e t im e s, re incorporat ion H e re 's an e xam pl e: m ay se e m nonse nse .
... A s t h e d ragon b e ars d ow n on you, you prod uce a l it t l e sil v e r k e y, and inse rt it int oa k e yh ol e in it sl e g. A s you t urn, itf al l s, d e ad . H ow e v e r, you'l l b e surprise d h ow f ar you can push it . Th ings t h at , at f irst sigh t , se e m une xpe ct e d , of t en m ak e surprising se nse w h e n you say t h em : ... A s t h e d ragon b e ars d ow n on you, you prod uce a l it t l e sil v e r k e y, and inse rt it int oa d ust y k e yh ol e in t he f l oor. A t rapd oor ope ns, se nd ing t h e d ragon pl um m e t t ing int o t he d e pt h s oft h e m ount ain.
Th e t roubl e w it h t roubl e
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M any pe opl e m ist ak e "t roub l e" f or pl ot . If you're t he GM , "t roub l e " m e ans t h row ing nast y st uf f at t he pl aye rs:
An orde ring guide l ine

As a guid e l ine : re incorporat e t h ings in t he re v e rse ord e r t h e y w e re int rod uce d . F or e xam pl e,t h is st ory... 1. W h e n you l e av e h om e , your f at h e r giv e s you a sil v e r k e y. 2. Th e m an in t he t av e rn w arns you not t ol ook at t h e d ragon. 3. Th e re are m yst e rious w ord s w rit t e n on t he cit y w al l . 4. Th e sil v e r k e y ope ns t he d ragon's l air. 5. You d on't l ook at t he d ragon as you k il l it . 6. Th e m yst e rious w ord s ope n t h e ch e st t he d ragon guard e d . ...is O K . 2. Th e m an in t he t av e rn w arns you not t ol ook at t h e d ragon. 3. Th e re are m yst e rious w ord s w rit t e n on t he cit y w al l . 4. Th e m yst e rious w ord s ope n t h e d ragon's l air. 5. You d on't l ook at t he d ragon as you k il l it . 6. Th e sil v e r k e y ope ns t he ch e st t he d ragon guard e d . Butt h is is b e t t e r: 1. W h e n you l e av e h om e , your f at h e r giv e s you a sil v e r k e y.
An orde ring guide l ine

47
A b om b goe s of f! Sw ord sm e n b urstin! Sh e pul l s a gun! T w o part icul ar m ist ak e s t h atGM s m ak e are : O pe ning a st ory w it h st art ing w it h af igh t . t roub l e: f or e xam pl e,
A d d ing t oo m uch t roub l e : af t er t h e sw ord f igh t , t h e re 's an e xpl osion, t h e n a d ragon at t ack s! R e m e m b e r pl at f orm s and t il t s: h e re , t he t roub l e corre spond s t oat il t . But you ne e d a pl at f orm b e f ore t he t il t : t h at is, you ne e d cal m , non-d ram at ic st oryt el l ing b e f ore t h e d ram a. W it h out t h at pl at f orm , t h e st ory f eel s l igh t w e igh t : you w on't care ab out t h e ch aract e rs or w h at 's h appe ning. Al so, t h e re w il l b e not h ing t o re incorporat e, t o e nd t he st ory. Not e t h at m e nt alat t it ud e pl ays a part . Rel axe d GM s h appil y l ett h e cal m ne ss pl ay out , int rod ucing t roub l e w h e n itse e m s nat ural . A nxious GM s, ne rv ous t h at t h e gam e isn't w ork ing, w ant act ion. Th e y cre at e t roub l e . Th e n, w h e n t h e st ory f ail s, b e cause t h e y ad d e d t oo m uch t roub l e, t h e y ad d m ore t roub l e . A not h e r sw ord f igh t ! F ire b al l s! A nd t h ings go f rom b ad t o w orse .
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Tw o good w ays ofs t art ing s t orie s w it h t roubl e

H e re are t w o e xce pt ions t o t h e rul e : d on't st art a st ory w it h t roub l e. 2. O nl y af t e rw ard s w oul d t h e re b e a m urd e r: a t il t . Th e inv e st igat ion w oul d occupy t h e ne xt partoft h e b ook . 3. F inal l y, in t h e "t h ird act ", t h e m urd e re r w oul d be re v e al ed. M od e rn st orie s, h ow e v e r, b e gin w it h a m urd e r. Th is "Bod y on P age O ne " is not t roub l e . It is a t rick : d e spit e t h e il l usion of act ion, t h is f irst m urd e r is use d t o int rod uce t he se t t ing and ch aract e rs. Th is is a pl at f orm . L at e r, t h e re w il l b e anot h er m urd e r, and t h atis t he t il t . A gain, w e can use t h is in rol e pl aying gam e s. Be gin t h e gam e w it h "act ion": a pub b raw l , a gre at b at t l e. Be aw are t h at t h is act ion is an il l usion and t h at , d uring it , you m ust int rod uce t h e ch aract e rs and b uil d your pl at f orm .
1.Th e J am e s Bond w ay
M any J am e s Bond m ov ie s st art w it h act ion b e f ore t he cre d it s: sk i-ing, e xpl osions, gunf ire , st unt s. Th e aud ie nce k now s t h at t h e st ory h asn't st art e d ye t . Th e y k now t h at , af t er t he cre d it s, t h e st ory st art s, w it h a pe riod of cal m st oryt el l ing (Bond e nt e rs M 's of f ice and t h e m ission is e xpl aine d ). We can use t h is in rol e pl aying gam e s. St art a gam e w it h a f igh t b ut , af t e rw ard s, re al ise t h at t he st ory m ustst art .
J am e s Bond and Th e Body On Page One
2.Th e Body On Page One

Brit ish m urd e r m yst e rie s, such as A gat h a Ch rist ie 's, cont aine d t h re e "act s". 1. In t he f irst t h ird of t he b ook , t h e ch aract e rs and se t t ing w e re int rod uce d (t h e pl at f orm ).
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M oral dil e m m as
M orald il e m m as ad d spice . H e re 's a sim pl e prob l em , int e re st ing in it se l f : Th e d ragon at t ack s you. Ifw e ch ange itt o: Ignoring you, t h e d ragon at t ack s t h e ot h e r part y m e m b e rs. Be h ind it , you se e gol d , e nough f or you t o re t ire . W e ad d t h e d il e m m a: w il l you h e l p your col l e ague s or t ak e t he t re asure ? O f course , not e v e ryt h ing ne e d b e a m orald il e m m a. W e ne e d n'tch ange sim pl e prob l e m s: Th e ch asm is f our f oot w id e , b ut you m igh t j um p it . By f orcing in a m oral d il e m m a: Th e ch asm is f our f oot w id e , b ut you m igh t j um p it , if you coul d f orge t t h e m e m ory of your m ot h er saying "You'l l ne v e r succe e d in anyt h ing, son." M orald il e m m as ad d spice : as w it h any spice , use in m od e rat ion.
M oral dil e m m as
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Ge tt ot h e act ion
Som e t im e s it 's ob v ious w h e re a gam e is going. W e 're going t o k il l t h e usurpe r! W e 're ab outt o d iscov er t he t re asure ! W e 're going t o uncov er t h e m urd e re r! But it se e m s t oo soon. P e rh aps t h e gam e se ssion l ast s t w o m ore h ours, so w e d on't w ant t o e nd t h e st ory. O r pe rh aps w e 'v e j ust st art ed t he t ask and f e e lit sh oul d b e h ard e r. So w e st al l . W e putob st acl e s in t h e w ay. ... Th e usurpe r isn't in t h e room w e t h ough t , b ut m il e s aw ay! ... Th e t re asure is w ort hl e ss, b ut t h e re 's a m ap t o t h e re al t re asure ! ... Th e ph ot o sh ow s t h e m urd e re r, b ut t he f ace is bl urre d ! GM s, of course , are part icul arl y not orious f or st al l ing l ik e t h is. But st al l ing is d ul l . It d e l ays t h e st ory, inv e nt ing ob st acl es f or t h e ir ow n sak e . W e t ry t o cl e ar t he ob st acl e , w it h l it t l e e nt h usiasm .
Ge tt ot h e act ion
51
Inst e ad , d o t he t h ing t h at you t h ink is h appe ning t oo e arl y: ... W e k il l t h e usurpe r! ... W e d iscov er t he t re asure ! ... W e uncov er t h e m urd e re r! Th e n, d e cid e w h ath appe ns ne xt : ... W e b e com e t h e ne w rul e rs oft h e k ingd om . ... Th e t re asure w as st ol e n and t h e ow ne r w ant s it b ack . ... W e m ustcapt ure t h e m urd e re r. A nd cont inue t h e st ory.
Ke e pt h e act ion ons t age Ke e pt h e act ion ons t age

52 Ne v e r d e scrib e act ion f rom a d ist ance : You're in t h e court , w h e n a m e sse nge r b rings ne w s ofa gre atb at t l e! W h e n you can b ring t h e act ion cl ose r: You're in t h e m id stofa gre atb at t l e!
J us t if y
T ry b ringing som e t h ing une xpl aine d int o t h e st ory, t rust ing you'l l j ust if y itl at e r. W h il e pl aying L acuna, a pl aye r d e cid e d a M r Ph yl act e ry w as inv ol v e d in a m yst e ry. W e d id n't k now w h o M r Ph yl act e ry w as, b ut t rust e d h e w oul d be int rod uce d , l at e r. In t he f ol l ow ing gam e , w e e xpl ore d a h ospit al , and d e cid e d t h e m anage r w as M r Ph yl act e ry. Sim il arl y, w h il e pl aying P ol aris, I re f e rre d t o my ch aract e r's St arl igh t H am m e r. W e 'd ne v e r m e nt ione d t h is b e f ore , b ut t rust e d it w oul d b e e xpl aine d l at e r, pe rh aps in a f l ash b ack . Itw as. T ry using an e m ot ion at anot h e r ch aract e r - b e angry, b e scare d - and t rust you'l l j ust if y it l at e r. A s you pl ay t h e e m ot ion, you'l l re al ise h ow t o j ust if y it : f or e xam pl e , as you pl ay angry, you'l lre al ise w h y you're angry. Not e t h e ov e rl ap w it h cre at ing m yst e rie s. By cre at ing som e t h ing t o be j ust if ie d , you im pl icit l y cre at e t he m yst e ry "W h at 's t h is t h ing? ". W h e n you j ust if y, you sol v et h atm yst e ry. Al so, not e t h e se nse of m isch ie f . Ef f e ct iv el y, you are t h row ing som e t h ing on t he t ab l e and saying: "D e al w it h t h is!". You're scre w ing w it h t h e ot h e r pl aye rs, j ust al it t l e . W e 'l l com e b ack t ot h is se nse of m isch ie f in t he f inal ch apt e r.
J us t if y
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M ov ing f orw ard

In t h is se ct ion, I'v e d e scrib e d m any t rick s t o t el l st orie s. D uring a gam e , you w on't re m e m b e r t h e m al l . Ind e e d , you w oul d n't w ant t o: it 's b e t t er t o use one t rick e f f e ct iv el yt h an al l atonce . K e e p al lt h e se t rick s at t h e b ack of your m ind . Use e ach w h e n itse e m s righ t .
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W ork t oge t her
Th e w ay you pl ay w it h ot h e rs w il l m ak e or bre ak your gam e .
W ork Toge t her

In t h is f inal se ct ion, I'l l t al k ab out w ork ing w it h ot h er pl aye rs. W h at m ak e s you f un t o pl ay w it h ? H ow can you w ork t oge t h er t o m ak e t h e gam e b e t t e r? F irst l y, I'l l d e scrib e t h e posit iv e sid e : giv ing ot h er pl aye rs a good t im e , t rust ing, l osing grace f ul l y. But t h e n I'l le xpl ore t h e d ark e r sid e : m e ssing w it h ot h e r pl aye rs, t ak ing risk s, d oing t h ings you f ind d if f icul t . Prov id ing you'v e got t h e posit iv e sid e , t oo, t h e se e d gie r t e ch niq ue s w il l spice up your gam e . F inal l y, I'l l d iscuss t he t h e at rical sid e of gam ing, w h ich of t e n ge t s ov e rl ook e d : pl aying w it h e ne rgy, put t ing on a sh ow .
W ork Toge t her

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Giv et h e ot h e r guy a good t im e

Of t e n, w e t ry t o m ak e gam e s f un f or ourse l v e s. Inst e ad , conce nt rat e on m ak ing gam e s f un f or som e one e l se . W ork out w h at t h e guy opposit e e nj oys, t h e n giv e itt o h im . T ry t h is as a GM . If a pl aye r t ak e s e v e ry gun h e can carry, giv e h im t h ings t o sh oot . If som e one q ue st ions suspe ct s, giv e h e r m yst e rie s t o sol v e. T ry itas a pl aye r. If t h e pe rson opposit e is l ook ing f or a m urd e re r, assist h im . If som e one is h unt ing out conspiracie s, conspire againsth e r. A nd l ook f or socialcue s. If som e one 's e ye s l igh t up be f ore com b at , t h row m onst e rs at h im . But l ook f or ne gat iv e s: if a pl aye r l ook s unint e re st e d w h e n you st arta f igh t , d rop it . D on't b e af raid t o ask . A t t h e st art of gam e s, ask "W h at d o you w ant in t h is gam e ? ". In t h e m id d l e, t ry "H ow 's it going f or you? ". A nd af t e rw ard s, "H ow d id you f ind t h at ? ". Al lt h is, of course , is re l at ed t o our e arl ie r conce pt of Buil d ing O n Id e as. H ow e v e r, b uil d ing on id e as is ab outt h e st ory: t h is is ab outt h e pe opl e.
Giv et h e ot h e r guy a good t im e

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L os e grace f ul l y
W h e n you l ose , l ose e nt h usiast ical l y: re l ish f igh t s, b e ing caugh t , b e ing b e rat ed. l osing
Th e n, w h e n you d ie , e nj oy it . D ie gl oriousl y. Narrat e your d e at h sce ne . L osing grace f ul l y is, pe rh aps, t h e m ost im port ant t rick you can l e arn. If you can sm il e as you d ie ignom iniousl y, you'l l e nj oy e v e ryt h ing e l se .
Trus t
T rust t h e ot h e r pl aye rs. T rust t h e y re good ; t rust t h ey l ik e you;t rustt h e y re l ook ing outf or you. F orce yourse l ft o t rust t h e m ev e n if you can t . F orce yourse l ft o l ik e t h e m , ev e n if you d on t . T rust t h e y re good , e v e n ift h e y re bad . T rust ing ot h e r pl aye rs isn't ab out w h e t h e r you ge nuine l y t rust t h e m : it 's ab out m ak ing pl ay b e t t e r. If you re m ist rust f ul , you l l pl ay care f ul l y and conse rv at iv el y. Inst e ad , f orce yourse l f t o t rust , and you l l t ak e risk s. You'l lal w ays f ind som e t h ing you l ik e /t rust /appre ciat e ab out anot h e r pl aye r. F ind t h ose t h ings, re m ind yourse l foft h e m , and you'l l pl ay b e t t er t oge t h e r.
L os e grace f ul l y.Trus t.
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D uring a re ce ntgam e , t h e gam e r opposit e irrit at ed m e. H e w as l oud , f ort h righ t and insist e d on pl aying a part icul ar ch aract e r. I f orce d m yse l f t o t rust h im , re m ind ing m yse l f of t h ings I appre ciat e d : h is id e as w e re good ; h e l ist e ne d ; h e w asn ta w al l f l ow e r. D uring t h e gam e , I w ant ed t o e av e sd rop on h im , b ut w asn tsure w h e t h er h e d l ik e it . I ask e d , nice l y. H e said ye s. Th e sce ne w as supe rb . Af t er t h e gam e , I st il l d id n tl ik e h im . But , b e cause I'd f orce d m yse l ft ot rust ,t h e gam e h ad gone b e t t e r.
Scre w w it h e ach ot her

So f ar, I'v e d e scrib e d pl aying w it h ope rat iv e . H e re 's t h e d ark e r sid e . ot h e rs as co-
Scre w w it h e ach ot her

59
D on't pl ay nice l y. M isb e h av e . Scre w w it h t h e GM and ot h e r pl aye rs. D o t h is nice l y, b ut d o it . W h e n you're w el l -b e h av e d , you're conv e nt ional : w h e n you b re ak t h e rul e s, you im prov et h e gam e . R e ce nt l y, I pl aye d R une q ue st , and w asn't e nj oying it . A n h our in, a d ragon f l ew t ow ard s us, re ad y f or a f igh t . Se v e ral t im e s, I rol l ed t o at t ack and m isse d . Bore d , I d e cid e d t o m isb e h av e. "I w av e m y arm s and sh out ," I t el l t h e GM . "I w antitt o
f l y at m e ." H e l ook s surprise d , so I ch e ck : "Is t h at O K ? I d on'tw antt o m e ss up t h e gam e ." "Sure ." h e says, and t h e d ragon f l ie s at m e , w h ich pl e ase s t h ose pl aye rs w h o w e re av oid ing t he f igh t .We rol land , m iracul ousl y b ut w ond e rf ul l y, I k nock t he d ragon unconscious. Itpl ough s int ot h e sand . Scre w w it h ot h e r pl aye rs, t oo, and l e tt h e m scre w w it h you. In a d ul l V am pire L ARP ,t w o ot h e r pl aye rs approach e d m e . Th e y w e re pl aying M orm ons and at t e m pt ed t o conv e rtm e . F or h al f an h our, t h e y scre w e d w it h m y ch aract e r's h e ad , se nd ing h im m ad . Pl aying t h at m ad ch aract er w as m uch m ore f un. T ry m isb e h av ing in gam e s. It 's f un t o m isb e h av e and f un t o b e m e sse d w it h . If you're saying "Scre w it , l et 's...", atl e astonce pe r gam e , you're d oing itrigh t .
Scre w it, l et 's . . .

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Tak e ris k s
Of t e n, w e pl ay care f ul l y, af raid t of ail . W e sit q uie t l y, af raid t ot ak e risk s in case w e "pl ay w rong". W h e n I b e gan pl aying V am pire L A R Ps, I w as int im id at e d b y e xpe rie nce d pl aye rs in t h e ir f l ow ing cost um e s. I w as w arne d t h at ol d e r pl aye rs e xpl oit ed ne w one s. I w as e ncourage d t o pl ay anot h e r pl aye r's se rv ant ,t o "l e arn t h e gam e ", b ut w h e n I d id , nob od y t al k ed t o m e. W h e n I st oppe d b e ing caut ious, t h e gam e b e cam e e xcit ing. I pl aye d risk il y. I ch arge d int o b at t l e. I insul t e d ot h e rs. It w as f un and , t o m y surprise , t he e xpe rie nce d pl aye rs d id n'tk il l m e. T ry t h is in your gam e s. D on't h ol d b ack : ch arge f orw ard and corre ct m ist ak e s l at e r. T rust ot h e rs t o corre ct you if you go w rong. Pl ay gam e s unt ilt h ey b re ak . D o t h ings, d e l ib e rat el y, t h at m igh t b e m ist ak e s, b utm igh tb e f un. As t h e GM , e ncourage pl aye rs t o m ak e m ist ak e s. Be a saf et y ne t : w h en t h ey t ak e risk s and f ail ,l e tt h e m putit righ t . By sav ing t h em w h en t h ey f ail , you'l l e ncourage t h em t ot ak e risk s.
Tak e ris k s
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Dot h ings you don'tw antt o do

If you f ind som e t h ing d if f icul t , d o it unt ilit 's not . If som e t h ing scare s you, d o it unt ilit d oe sn't . If a gam e b ore s you, pl ay it , and m ak e itw ork f or you. Th e re is a gam e cal l e d Bacch anal , ab out se x and d e b auch e ry, w h ich I am af raid t o pl ay. I'm t oo ne rv ous t o sugge st pl aying it ,t oo appre h e nsiv e t o run it . W h en I m e nt ion itt o ot h e rs, t h ey l ook ne rv ous t oo. Be cause it scare s m e , I sh oul d pl ay it . Pl aying gam e s t h at scare you push e s your b ound arie s. Pl aying gam e s t h at b ore you m ak e s you d iscov e r ne w w ays t o pl ay. T ry d oing t h is at gam e s conv e nt ions. Pl ay gam e s you'd usual l y av oid and m ak e t h em f un.
Dot h ings you don'tw antt o do

62
I re ce nt l y pl aye d T rav el l e r at a conv e nt ion. I'd ne v er pl aye d T rav el l e r and im agine d it b oring. Inst e ad , it w as gl oriousl y ol d -f ash ione d : I f el tl ik e a t e e nage r, pl aying a space m an w it h a l ase r pist ol . F or t h re e h ours, I conspire d against ot h e r pl aye rs, e nj oying ev e ry m om e nt . R e al ise t he t h ings you av oid , and d o t h e m . If you d isl ik e se xual d e script ions, d e scrib e se xual act s. If you f ind com b at ch aract e rs b oring, pl ay one , and m ak e it w ork f or you.
D o itagain
If a m usician st oppe d , m id -song, and st art e d again, sh e 'd b e t h ough t incom pe t e nt . In rol e pl aying gam e s, h ow e v e r, w e can ch ange t h ings w e d on't l ik e : "H av ing my l e g b rok e n is d ul l . Can m y arm b e b rok e n inst e ad ? ". Ifa sce ne isn'tw ork ing, w e can st op it . Use t h is. If a sce ne is b oring, k il lit . If a sce ne w ork s b ad l y, re st artitor ch ange it . I pl aye d D iana: W arrior Prince ss w it h M arcus R ow l and , t h e aut h or. H e narrat e d a d re am se q ue nce : t h e n re al ise d it w asn't w ork ing. "I t h ink I'v e m ad e a m ist ak e h e re ," h e said , "Can w e go b ack ? ". W e d id .
Puton a s h ow D o itagain.Puton a s h ow .
63 W h e n Iain M cA l l ist e r runs St it ch , it 's a pe rf orm ance . Th e t ab l e 's ce nt re pie ce is t h e cl ock , w h ich ne v e r st ops running. H e point s at it , using h is d ram at ic v oice : "O nce t h atcl ock st art s, itd oe sn'tst op, f or any re ason". W h e n I run L acuna, I k e e p a gl ass on t he t ab l e. W h en pl aye rs e arn St at ic (w h ich m e ans d ange r), I d rop in a gl ass b e ad , w h ich rings as it h it s t h e gl ass. Som e t im e s, I'l lh ol d a b e ad ov er t h e gl ass, t h re at e ningl y, w h il e t al k ing t o a pl aye r. Som e t im e s, I'l l countt h e b e ad s, and say "Ne arl y".
K e ary Birch , w h o runs Cal lof Ct h ul h u gam e s, sit s pl aye rs at a t ab l e , w h il e h e st al k s around t h e m . In one gam e , h e d e scrib e d a sub -h um an cre at ure , st aring and w h ining. H e cont inue d w h ining, st aring at us, unt il we w e re t h orough l y d ist urb e d . W e m iss m uch b y not put t ing on a sh ow . O f t e n, gam ing is a se d e nt ary act iv it y, pl aye rs and GM h unch e d ov er t he t ab l e. Inst e ad , m ak e gam e s a pe rf orm ance : use your v oice , use your b od y, use props. D o t h is e spe cial l y as t he GM : use t h e pow e r re l at ionsh ip w it h t h e pl aye rs t o m e ss w it h t h e m . Th e y're in your h and s. Ent e rt ain t h em .
Ene rgy
A t a conv e nt ion gam e , t h e pl aye rs arriv e d q uie t l y. Th e y sat d ow n, said h e l l o, l ook e d suspicious. I ask e d w h at t h e y w ant ed f rom t h e gam e and got no answ e r: one j ustsaid "I w antt o pl ay!". Th e gam e ne v er t ook of f . Earl ie r in t h e d ay, I'd m ad e t h e sam e e rror. I'd unw il l ingl y j oine d a R une q ue st gam e , af t er t h e gam e I'd re gist e re d f or w as ov e rsub scrib e d . I sat d ow n, annoye d , and h ope d ot h e rs w oul d e nt e rt ain m e . Th e y d id n't . L et 's b e b l unt : your j ob , as a pl aye r, is t o pl ay w it h
Ene rgy
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e ne rgy. If you're uninspire d , if you sit d ow n t ire d , if you e xpe ct ot h e rs t o e nt e rt ain you: you're not d oing your j ob . If a singe r sang une nt h usiast ical l y, sh e 'd b e out of t he b and ; if an act or w as unconv incing b e cause "h e w as t ire d ", h e 'd b e sack e d . Sim il arl y, rol e pl aying is a cre at iv e e nd e av our: if you d o it h al f -h e art edl y, it d oe sn'tw ork . Ene rgy is ab out al e rt ne ss, l ist e ning, re act ing, f ocussing, b e ing on t h e b al l . Sport sm e n d e scrib e it as b e ing "in t h e z one ". You can pl ay q uie t l y, and int e nse l y, w it h e ne rgy. You can say not h ing and d o it w it h e ne rgy: you'l l be l ist e ning and re act ing. D on't m ist ak e b e ing l oud f or e ne rgy. If you're t rying t o b e ce nt re ofat t e nt ion, you're d oing itw rong. H ow d o you pl ay w it h e ne rgy? St e ala t rick f rom act ors and sport sm e n: t o pre pare yourse l f , w arm up. W ork out w h at ge t s you in t h e m ood t o pl ay. F or e xam pl e , h e re 's w h atge t sme f ocusse d : Notd rink ing al coh ol (unt il af t er t h e gam e ). Not h av ing t oo m uch h ype ract iv e gam e ). cof f ee (unl e ss it 's a
Sit t ing q uie t l yf or a f e w m inut e s, pre f e rab l y in t he sun. W al k ing around . F l ick ing t h rough t h e gam e t e xt .
W arm up
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Ensuring I h av e ev e ryt h ing I ne e d . Ge t t ing e nough sl e e p or, if I can't , ge t t ing up e arl y e nough t o b e aw ak e f or t h e gam e . H av ing b re ak f astb e f ore a m orning gam e . Av oid ing st od gy l unch e s, e spe cial l y ch ips. W h e n I GM conv e nt ion gam e s, I t ak e t h is se riousl y. A n h our b e f ore t h e gam e , I w and e r of f al one and re ad m y gam e t e xt . I av oid d rink ing and e atw e l l . W h e n pl aying casual l y, of course , I'm l e ss punct il ious: t h e re 's l it t l e t im e af t e r w ork t o pre pare . H ow e v e r, I w al k t o t h e gam e , t o re l ax, and d o a crossw ord t o f orge tab outw ork . Ev e ryone is d if f e re nt . You k now w h at t o do t o ge t yourse l fin t h e m ood t o pl ay. D o it .
Fitint ot h e group Fitint ot h e group

Each of t he f ol l ow ing id e as h av e f ol l ow e rs, w h o t h ink itis t h e "righ t " w ay t o pl ay: Th e GM sh oul d run t h e ad v e nt ure . W h en t h e GM runs pl aye rs ad v e nt ure , t h at 's rail road ing. t h rough "h is"
66
Pl aye r-v e rsus-pl aye r gam e s are f un. Pl aye rs w h o act against ot h e r pl aye rs annoying. Ift h e GM re ad s pre -pre pare d t e xt , it 's b oring. W h en t h e GM re ad s pre -pre pare d t e xt , it se t s t he t one . Gam e s sh oul dt ack l e se rious issue s Gam e s are f or f un! K e e p se rious issue s out sid e ! Be ing l oud is good ! Itm e ans you're e nt h usiast ic! Be ing l oud is inconsid e rat et o pe opl e around you. W h e n pl aying w it h an unk now n group, ne v e r assum e t h e y agre e w it h your "corre ct " w ay t o pl ay. W h e n int rod ucing id e as t h at m ay b e cont rov e rsial , t re ad care f ul l y. W h e n narrat ing se xualact s int o t he gam e , f or e xam pl e , w at ch f or socialcue s: if pe opl e l ook unsym pat h et ic, d rop it . M ost im port ant l y, t al k t o ot h e r pl aye rs. A sk w h e t h er som e t h ing is acce pt ab l e : "Can I k il lyour ch aract e r's w if e? ";"I w antt o st op you, is t h atO K ? ". Ne v e r assum e your id e as ab out gam ing are corre ct . Th is, of course , appl ie s t o al lt h e id e as in t h is b ook . Enj oy t h e m , b ut int rod uce t h e m care f ul l y, and t al k w it h your group ab outt h em . are
As k
67
Af t e rw ord
A nd t h at 's t h e e nd . W il lyou use al lt h e id e as f rom t h is b ook in your gam ing? P e rh aps not al l . You'l luse t h ose you l ik e f re q ue nt l y, ot h e rs occasional l y and , pe rh aps, som e not atal l . But , of course , you sh oul d n't t ry t o use al l t h e se id e as at once . If you're conce nt rat ing on using e v e ry t e ch niq ue , you'l l b e w ork ing t oo h ard t o h av ef un. Inst e ad , k e e p t h e cont e nt s of t h is b ook in t h e b ack of your m ind . H ol d t h e id e as l igh t l y. W h e n you se e an opport unit y t o use a t e ch niq ue , use it , b ut d on't f orce it . Use e ach id e a w h e n itse e m s nat ural in your gam e . You'l ll ik e som e t e ch niq ue s in t h is b ook m ore t h an ot h e rs. Use your f av ourit e t e ch niq ue s: b ut , al so, use t h e one s you f ind d if f icul t or unint e re st ing. If you l ik e d t he T el l St orie s se ct ion, b ut not t h e St at us se ct ion, t h en t ry t he t e ch niq ue s f rom t h e St at us se ct ion. M ak e t h e m w ork f or you.
Enjoy your gam e s

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Ge t in t ouch and t el l m e h ow t h e se id e as w ork in your gam e s. M y e m ailis grah am @t h ie v e sof t im e .com . You can al so v isit m e, on t he w e b, at w w w .t h ie v e sof t im e .com . I l ook f orw ard t o h e aring f rom you. Th ank you f or re ad ing. Enj oy your gam e s.
Gl os s ary ofGam e s
H e re are d e script ions of t h e gam e s I'v e use d in t he e xam pl e s. Th e y're l ist e d in t h e ord e r I d iscov e re d t he gam e s.
D un ge on s an d D ragon s
Now pub l ish e d b y W iz ard s O fTh e Coast ht t p://w w w .w iz ard s.com /d nd
Th e gam e I pl aye d t h rough m y t e e nage ye ars, w h e n it w as cal l ed Adv ance d D unge ons and D ragons. A cl assic f ant asy ad v e nt ure gam e .
Cal l ofCt h ul hu
Ch aosium , Inc ht t p://w w w .ch aosium .com /
A n inv e st igat iv e h orror gam e , b ase d on t h e w ork s of H PL ov e craf t . I ow ne d it as a t e e nage r b ut h ard l y pl aye d it . Now , I f ind it t h e m ost re l iab l y f un gam e t o pl ay at conv e nt ions.
V am pire : Th e M asque rad e , M in d 's Eye Th e at re
Th e Gam e s
W h it e W ol f ht t p://w w w .w h it e -w ol f .com /
In m y l at e t w e nt ie s, I pl aye d t he l iv e -act ion v e rsion of V am pire , cal l e d M ind 's Eye Th e at re . Th rough out t he
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b ook , I'v e re f e rre d t o itas t h e "V am pire L A R P". V am pire h as now b e e n re w rit t e n as V am pire : Th e R e q uie m . Th e re is al so a ne w M ind 's Eye Th e at re v e rsion.
My L if e W it h M ast er
by P aul Cz e ge , H al fM e m e Pre ss ht t p://w w w .h al f m e m e .com /
In m y t h irt ie s, I d iscov e re d sm al l -pre ss gam e s. Th is w as t he f irst I d iscov e re d and one of t h e b e st . You pl ay t h e m inions ofan e v il M ast e r. F un and d ist urb ing.
D ogs In Th e V in e yard
by D . V ince ntBak e r, l um pl e y gam e s ht t p://w w w .l um pl e y.com /
Th e ot h e r gre at sm al l -pre ss gam e . You're a gunm an, roam ing an al t e rnat iv e W il d W e st , del iv e ring God 's j ud ge m e nt .
H e roQ ue st
Pub l ish e d b y Issarie s, Inc ht t p://w w w .gl orant h a.com /
Th e gam e s
70
A sm al l -pre ss f ant asy gam e b y R ob in D . L aw s.
Bacch an al
by P aul Cz e ge , H al fM e m e Pre ss ht t p://w w w .h al f m e m e .com /
A gam e ab out d runk e nne ss, se x and d e b auch e ry, w h ich scare s m e .
Th e Sh ab A l -H iri R oach
by J ason M orningst ar, Bul l y Pul pitGam e s ht t p://w w w .b ul l ypul pit gam e s.com /
A n od d , and w ond e rf ul , gam e , ab out acad e m ia, h orror and an ancie nt t el e pat h ic inse ct god . A t it s h e art , it 's a gam e ab outpow e r, w h ich I h igh l y re com m e nd .
L acun a PartI: Th e Cre at ion oft h e M yst e ry an d t he Girl f rom Bl ue Cit y

By J are d Sore nson, M e m e nt o M ori Th e at rick s ht t p://w w w .m e m e nt o-m ori.com /
A re ce nt d iscov e ry and a w ond e rf ul sci-f i gam e . M yst e ry A ge nt s d e sce nd int o a m yst e rious m ind w orl dt o h untsub v e rsiv e s.
Prim e t im e A d v ent ure s
Th e gam e s
b y M at tW il son, D og-Eare d D e signs ht t p://w w w .d og-e are d -d e signs.com /
A sm al l -pre ss gam e ab out t el ev ision d ram a: your group cre at es t h e ir ow n TVsh ow .
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T rav el l er
O riginal l y pub l ish e d b y Gam e s D e signe r's W ork sh op, now d if f e re ntv e rsions pub l ish e d b y d if f e re ntpub l ish e rs
A cl assic scie nce -f ict ion gam e , w h ich I d id n't d iscov er unt il myt h irt ie s, w h e n I pl aye d itata conv e nt ion.
D ian a: W arrior Prin ce ss

b y M arcus R ow l and ht t p://w w w .h e l iograph .com /d iana/
M arcus R ow l and 's b iz arre and w ond e rf ul gam e , w h ich im agine s t he T w e nt ie t h Ce nt ury se e n t h rough t h e e ye s ofh ist orical l y inaccurat e d ram a.
St it ch
b y Iain M cA l l ist e r (in d e v el opm e nt ) ht t p://w w w .giant b rain.co.uk /
A t im e -t rav e l gam e , pl aye d against t he Curre nt l y in d e v el opm e ntand l ook ing good .
cl ock .
R un e que st
O riginal l y pub l ish e d b y Ch aosium
Th e gam e s
72
A not h er f ant asy rol e pl aying gam e . w h ich I'v e pl aye d once .
Th ank s
T oo m any pe opl e assist e d w it h t h is b ook t o re m e m b e r accurat el y, as I w il l now d e m onst rat e. Th e gre at e st t h ank s go t o K e it h J oh nst one , w h o inv e nt ed t h is st yl e of im prov isat ion, and R on Ed w ard s, w h o st art ed t h e ind ie gam e t h ing. W it h out t he f orm e r, t h is b ook coul d n't h av e b e e n w rit t e n; w it h outt he l at t e r, itw oul d n'th av e b e e n pub l ish e d . Th ank you t o Bay A re a Th e at re sport s and Th e Spont ane it y Sh op (T om Sal insk y and D e b orah F rance s W h it e) w h o t augh tm e im prov isat ion. Th ank you t o ev e ryone w h o re ad t h rough t he t e xt and sugge st e d im prov e m e nt s: Gre gor H ut t on, A nd re w K e nrick , St ev e "Im m e rse d " D e m pse y, Sim on "T e d ious" R oge rs, M e gue y Bak e r, A l ex F rad e ra, D av id W al m sl ey and J ason M orningst ar. A l t h ough I use d onl y h al f your corre ct ions, I appre ciat ed t h e m al l . Th ank you t oJ ef f Z ah ari, Sim on Carrye r and Ian (Isb o) f or corre ct ing t h e gl ossary ofgam e s. Th ank you, al so, t o ev e ryone w h o com m e nt e d on m y j ournal w it h sugge st ions: Em il y Care , J oh nn F our, w iz of ice , M arc M aj ch e r, M at t M ach e l l , Se t h Be n-Ez ra, F l e isch , Cl aire Bick e l l ,j m ac, Be n J oh nson, P er F isch e r, wml , Sam i, Ge orgios, P aul T ev is, j z n, P aul Cz e ge , F ang L angf ord , Brand R ob ins and e v e ryone w h o post ed t o ad v e rt ise casino sit e s, incl ud ing, appare nt l y, Bil l Nigh y. Th ank you t o t h e w e b sit e s St ory Gam e s (w w w .st ory-
Th ank you
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gam e s.com ), K nif e F igh t (w w w .i-w oul d -k nif e -f igh t -am an.com ) and Col l e ct iv e End e av our (w w w .col l e ct iv ee nd e av our.com ), w h e re I h ash e d outid e as. P art icul ar t h ank s t o t h ose w h o com m e nt e d on t he t h re ad "Bore m e ", e spe cial l y J arod Scot tf or al l ow ing me t o use h is q uot e. Th ank you t ot h e post e rs on t he t h re ad "W h at h appe ns ne xt ? ", e spe cial l y t h ose w h o gav e m e pe rm ission t o use t h e ir q uot e s: P aul Cz e ge , R af ae l , W arre n, M at t h ij s. P art icul ar t h ank s t oP aul ,f or q ual if ying h is pe rm ission w it h "unl e ss m y re sponse m ak e s m e l ook st upid , som e h ow ". Itd id n't . Th ank s and apol ogie s t o St ev e n and K T ("Cal lM e Curl y"), w h om I t rie d t o cont act f or pe rm ission, b ut coul d n't f ind . I'v e use d t h e q uot e s anyw ay, b e cause t h e y w e re gre at . D o ge tin t ouch ift h at 's annoying. Th ank you t o ev e ryone w h o h e l pe d m e w it h t he int rod uct ion, w h e n I w as st uck : J ust in D . J acob son, P aul Cz e ge , D av id D onach ie , Th or H anse n and J am e y Crook . Th ank s t oL ul u, t h rough w h om t h is b ook is pub l ish e d , and t h e m ak e rs ofScrib us and GIM P . Th ank you al so t o Basil and Til l y, our cat s, f or h e l ping b y w al k ing ov e r m y not e s as I w as t rying t o re ad t h em . P art icul ar t h ank s t o L iz f or h e r pat ie nce and , w h e n t h at ran out ,f or not h it t ing m e ov er t h e h e ad w it h t he sk il l et .
And goodnigh t
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PL AY

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

W ork t oge t her

Af t e rw ord Gl os s ary ofgam e s Th ank s

Tommaso Galmacci (order #5111745)

Int roduct ion

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

W h e re do t h e s e ide as com e f rom ?

Expl anat ions

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

A boring e xpe rim e nt

A boring e xpe rim e nt

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

An obv ious e xpe rim e nt

An obv ious e xpe rim e nt

Tommaso Galmacci (order #5111745)

L e tyour guard dow n

Tommaso Galmacci (order #5111745)

L e tyour guard dow n

L e tyour guard dow n

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

M ov ing f orw ard

GM ing an adv e nt ure w it h outpl anning

GM ing an adv e nt ure w it h outpl anning

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

W e of t e n sh ootot h e r pl aye rs id e as d ow n . In st e ad , buil d on t h em .

Tommaso Galmacci (order #5111745)

Sh oot ing ide as dow n Sh oot ing ide as dow n

Tommaso Galmacci (order #5111745)

Th at is, w e sh oot t h e id e a d ow n, t o k e e p us saf e . But saf e is b oring. In gam e s, w e w antt roub l e.

Sh oot ing ide as dow n

F igh t t h e urge t o b e saf e . W h e n an id e a com e s al ong t h atw il l m ak e t roub l e , b uil d on it .

Tommaso Galmacci (order #5111745)

H ow e v e r, pl aye rs sh oot e ach ot h e r's id e as d ow n, t oo. L et s im agine I w antt o st e al aj ew el st e al t h il y:

Sh oot ing ide as dow n

H e re , t h e ot h e r pl aye r sh ot m y id e a d ow n, t h e n I sh ot d ow n h is: h e nce , not h ing e nd s up h appe ning.

Tommaso Galmacci (order #5111745)

Sh e m ov e s se d uct iv el yt ow ard s you. I b ack aw ay.

Sh oot ing ide as dow n

Tommaso Galmacci (order #5111745)

Buil ding on ide as

Pl aye r 1: Pl aye r 2: GM : Pl aye r:

You can al so b uil d on an id e a b y t ak ing it in an une xpe ct e d d ire ct ion:

Buil ding on ide as

Tommaso Galmacci (order #5111745)

Tommaso Galmacci (order #5111745)

Im agine ife v e ryone buil ton e v e ry ide a

Tommaso Galmacci (order #5111745)

Im agine e v e ryone buil ton e v e ry ide a

Th e n, t o m e, t h at s an id e a Sh oot ing ide as dow n I can re actt o: