CONJECTURE GAMES PRESENTS:

CRGE
conjectural roleplaying gamemaster emulator

By Zach Best
Artwork by Matthew Vasey

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 “If everyone is thinking alike, then somebody isn’t thinking.” – George S. Patton

Dedicated to Katie.
Who shares every step with me.

Written by Zach Best

Artwork by Matthew Vasey
Published by Conjecture Games (www.conjecturegames.com)
Special Thanks to Alex Yari, Francis Flammang, David Dankel, Nicky Tsouklais, Matthew
Mooney, Aaron Zeitler, Kenny Norris, Jimmy Williams, and Deathworks for playtesting, editing,
and general commenting.
Very Special Thanks to Chris Stieha for being the first and most thorough playtester an indie
game designer could ever ask for.

All text is © Zach Best (2014). All artwork is © Matthew Vasey (2014)
and used with permission for this work. The mention of or reference to
any company or product in these pages is not a challenge to the trademark
or copyright concerned.

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 Table of Contents
What is CRGE? pg. 4

Loom of Fate – Binary GM Emulator, pg. 6

The Surge Count, pg. 8
Unexpectedly Explanations, pg. 10
Loom of Fate Examples, pg. 11
Loom of Fate Tutorial, pg. 13

Conjured Threads – Story Indexing Game Engine, pg. 14

Stage of the Scene, pg. 16
CRGE Scene Setup, pg. 18
Bookkeeping, pg. 18

Storyspinning – Frameworks for CRGE, pg. 20

Vignette Framework, pg. 21
Vignette Framework Tutorial, pg. 23

Tapestry –Multiplayer CRGE Module, pg. 24

Appendix I (Tables), pg. 27

Appendix II (Vignette Framework Tutorial Example), pg. 28

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 What is CRGE? Conjecture
The Conjectural Roleplaying Gamemaster “Is the door locked?” This is a very simple
Emulator (“CRGE”) is a supplement for any pen question applicable to many RPG adventures.
and paper roleplaying game to help facilitate the It’s answer seems very simple, but the simple
play of the game without a gamemaster (“GM”). answer ripples outward toward many other
CRGE is universal. It was designed to be follow-up inquiries.
run with every standing genre in the tabletop Why was the door locked? Who locked it?
roleplaying hobby because CRGE runs as an How difficult would it be to pick the lock? In an
overlay for when the game system would require office building where PC’s are breaking in to
an answer from a GM. When the game system Mr. Bad CEO’s office to steal important data,
has objective answers to questions (“do I hit the many of the answers fall in to obvious place
enemy based on the enemy’s stats?”), CRGE because the door would probably locked for
easily moves out of the way. corporate security purposes.. When the PC’s are
CRGE is dynamic. A GM can use it to shake in an abandoned manor that appears to have
up his or her own world for her players. A group been untouched for decades a locked door can
of players without a GM will find stories that make things very interesting.
may have never been told with a GM. A solo Conjecture is the foundation of all
player can assume all the roles necessary to play Conjecture Games supplements. The world
a favorite RPG on her own. grows as players ask simple follow up questions
CRGE is internet friendly. It was partially to randomly rolled facts. With the context and
designed to incorporate play-by-post style the new facts, the logical and imaginative mind
roleplaying in addition to playing at the dining begins to fill in all the betweens, and a living
room table. CRGE gives guidance as to player’s world begins to emerge. The mind creatively
turns, sharing “GM responsibility” through tries to fill the gaps between the points of data.
taking control of NPC’s, and even working in Using conjecture as a vehicle for
separate scenes. imagination is by far the most important aspect
of CRGE.
When to use CRGE?
CRGE is used to answer binary questions
that a player would normally ask a GM. CRGE
answers these questions, sometimes with a twist.
CRGE ultimately leads toward the unexpected.
What good GM would not add some surprise in
to the story to shake the players off the foreseen
path? CRGE makes sure to emulate that GM
tool of surprise.
In addition, CRGE has a framework where
players take turns controlling the flow and
scenes of the story. Nobody controls the game
like a GM would, but players are given the
chance to chase their own vision and make sure
their player characters (“PC’s”) have some of
the limelight.

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 Mechanics Primer (in order of appearance)
Loom of Fate – the binary GM emulator, which answers questions that can be answered with a “yes” or
“no”.

Stage of the Scene – the variable based on the dramatic stage of the story that determines the amount of
randomness in the scene.

Surge Count – an increasing counter that pushes answers towards the unexpected in the Loom of Fate.

Unexpectedly Modifier – a modifier rolled from the Loom of Fate that changes the gameplay in
unexpected ways.

Scene – a discrete moment in time where the PC’s are played.

Thread – a plot device that helps to record interesting storylines.

Definitions

GM – gamemaster – in conventional tabletop roleplaying games, the gamemaster runs the game for the
players.

PC – player character – the character that a player controls.

NPC – non-player character – a character that the GM controls.

Developer Notes
Usually I dedicate an entire page to design thoughts. For CRGE I felt more explanation of the system
was needed in later chapters.
Back in 2007, I released the first version of Conjecture Games’ Universal NPC Emulator (UNE) with
the company code of CG102 because I always felt that I would be able to create a GM emulator at the
head of Conjecture Games’ line. The GM emulator has been a rock tumbling in my brain for over half a
decade.
Conjecture Games started because of the Mythic Game Master Emulator by Word Mill Games. Tana
Pigeon’s foray into the RPG world without a GM was brilliant. The community, especially the Yahoo!
Groups community, that built around the Mythic Game Master Emulator pushed the boundaries of GM-
less gameplay far further than I ever would have imagined.
The Tapestry overlay was conceived from the role-playing magic that can come from Chuubo’s
Marvelous Wish-Granting Engine and Microscope RPG. My solo RPG sessions would not be nearly as
amazing without the teachings of Jenna Moran and Ben Robbins.

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 The Loom of Fate
Binary Gamemaster CRGE Module

The true adventurer goes forth aimless and uncalculating

to meet and greet unknown fate.

-- O. Henry

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 Loom of Fate - Binary Gamemaster CRGE Module
The entirety of CRGE revolves around the Loom of Fate table. It is a table to answer yes/no questions
normally given to a GM. However, not all answers are binary, and sometimes the unexpected takes over.
The Binary GM Emulator can be used in games without a GM, or if a GM wants to give up control of a
scene the Binary GM Emulator can be overlaid in that instance.

1. Determine the stage of the scene. Ask the question “where are we heading?” to determine either To
Knowledge, To Conflict, or To Endings. See pg. 16, Stage of the Scene, for more discussion.

2. Ask a question having a “yes” or “no” answer. Roll a d100 (or 2 d10 dice with one die being the
10’s) and add or subtract the Surge Count (see pg. 8) to get a response from Table 1. If the “and
unexpectedly” result is rolled then continue to Step 3. Otherwise go to Step 4.

Table 1: Loom of Fate Roll d100

Result To Knowledge To Conflict To Endings
Yes, and unexpectedly 96-100 99-100 100
Yes, but 86-95 95-98 99
Yes, and 81-85 85-94 81-98
Yes 51-80 51-84 51-80
No 21-50 17-50 21-50
No, and 16-20 7-16 3-20
No, but 6-15 3-6 2
No, and unexpectedly 1-5 1-2 1

3. Unexpectedly. Roll a d20 to gain an unexpected modifier from Table 2 if “Yes, and unexpectedly” or
“No, and unexpectedly” are rolled from Table 1. See pg. 10 for explanations.

4. Interpret the Results. If the binary response (yes or no) is modified answer that as well according to
the following:
And – this modifier reinforces the response of “yes” or “no”.
But – this modifier diminishes the response of “yes” or “no”.
And Unexpectedly – this modifies the answer, the scene, or the whole game.

Table 2: Unexpectedly roll d20, see pg. 10 for explanations

1 foreshadowing 6 to knowledge 11 limelit 16 cross-stitch
2 tying off 7 framing 12 entering the red 17 six degrees
3 to conflict 8 set change 13 to endings 18 re-roll/reserved
4 costume change 9 upstaged 14 montage 19 re-roll/reserved
5 key grip 10 pattern change 15 enter stage left 20 re-roll/reserved

5. Follow Up. Ask the question “why?” or “how?” or another pertinent question relating to the
interpretation. Answer this question on your own (without rolling on the Loom of Fate). This is also a
good time to move the narrative forward, if possible. If the asking player has a strong gut reaction to the
answer, go with that. If things are still not clear then consider asking the Loom of Fate the follow-up
questions.

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 The Surge Count
The Surge Count is an additional rule on top of the Loom of Fate, which is used to push the game
towards the unexpected.
When the Loom of Fate is asked a question and the result is a plain “yes” or “no”, use a notecard
or a d20 and add two (2) to the notecard or d20 after the question is resolved. This is the Surge Count.
When a Loom of Fate question is asked add or subtract the current Surge Count from the d100
roll. If the d100 roll is above 50 then add the Surge Count to the result. If the d100 is 50 or lower, subtract
the Surge Count from the roll. Then, if the answer is anything other than plain “yes” or “no”, reset the
Surge Count. If the resulting answer is just “yes” or “no” add another two (2) to the Surge Count.
Any result outside the range of the table (roll of 3 minus a Surge Count of 6) is automatically
treated as a corresponding “and unexpectedly” result.

Example (Stage of the Scene = To Knowledge):

Question 1 (Surge Count = 0) – Roll 53 (yes). Add +2 Surge Count.
Question 2 (Surge Count = 2) – Roll 45 and subtract Surge Count, result 43 (no). Add +2 Surge
Count.
Question 3 (Surge Count = 4) – Roll 79 and add Surge Count, result 83 (yes, and). Reset Surge
Count. [Note: if the Roll was 82 (yes, and), the final result would be 86 (yes, but).]
Question 4 (Surge Count = 0) – Roll 7 (no, but). Reset Surge Count.

Narrative Momentum
The most important aspect to using the will always be more questions to change the
Loom of Fate is knowing when to start asking course of the game. However, it is up to the
questions and when to stop. On one hand the player in deciding whether to ask a question
Loom of Fate can be asked for every minute with a “very likely” answer because the story
detail. Are there more than six patrons in the may go in an interesting direction.
tavern? Is the fire burning brightly? Is tonight’s There will also be moments where your gut
dinner lamb? Gruel? Do the floor grains run is answering “yes” but you want to be fair. Your
perpendicular to the bar? Asking questions in the rational mind is telling you that it isn’t that
Loom of Fate can quickly get out of hand. simple. If you do feel conflicted, use the Loom
If a stage is being set it is okay to ask of Fate.
multiple questions in a row. However, once the However, when the answer goes in the
ball gets rolling and certain facts start becoming opposite direction be much harder on the follow
likely, don’t stand in the way with more up. Instead of just asking “why?” also consider
questions. Ask a question and then move the asking the question “why not?” For example, if
narrative based on the answer (See Follow- you (the player) really thought the intruder was a
Up Facts below) before asking more zombie, but the Loom of Fate says “no” try and
questions. Additional questions to clarify are spin what facts you have to answer the question
often necessary, but asking many questions in a “why not?” Perhaps a zombie-killing NPC has
row usually grinds game momentum down to a unexpectedly returned.
halt.
Follow-Up Facts
Probabilities and Being “Fair” Once the game has a strong story
The Loom of Fate operates on a 50% chance momentum, ask a question from the Loom of
of the answer being “yes” or “no” with some Fate, record the answer, and then create a few
twists, of course. If the probability of an answer obvious follow-up facts. These follow-up facts
being known is “very likely” (a very scientific are just as important as an answer from the
amount) the game will play much faster if the Loom of Fate. For example, if the Loom of Fate
question is not asked to the Loom of Fate. There says that Mr. Bad CEO’s office door is not

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 locked, a follow-up fact might be that the Player vs. Gamemaster
cleaning crew is around. If the Triad is not One of the hardest issues with a GM
chasing the PC’s, decide who is chasing them. emulator is separating player knowledge from
There will be a point of conjecture where the player-character (PC) knowledge. Meta-gaming
answers seem to have a life of their own. A is where a player has a PC act solely on player
feeling of pattern recognition occurs where all knowledge. For CRGE, the easy thing to do is
the answers seem pre-ordained to mean one only find answers to questions the PC would
thing. The gut feeling is overwhelming. Take know. However, this does not lend itself well to
that point and run with it. That is the momentum or creating a rich story or world.
subconscious finally making sense of all the Again, it’s a balance.
randomness, and it will create a very strong For example, I can ask “is there an assassin
sense of definition for the game. in the crowd?” I get “yes”. Then I need to decide
whether my PC knows or not. I can do this with
Chipping Questions and Cutting Questions the Loom of Fate, with an RPG system’s rule
Picture a gem in the middle of a rock. You (roll a spot check), or just assume. If my PC fails
can carefully chip around the edges of the rock, to notice the assassin, I have to split my role as
or you can cut right down the middle to the PC controller and GM. I become the GM to facts
prize. In CRGE this is a helpful analogy for unknown by my PC, and with an acting fact,
asking Loom of Fate questions. Do you chip such as an assassin, a lot of game movement can
away or cut right to the core? occur before my PC can react. These make for
It’s important to understand the benefits of some very tense moments.
direct cutting answers. In Star Wars, I have What if the question was based on an
Luke battling Darth Vader, and I ask “is Darth “unexpectedly” roll of Entering the Red (see pg.
Vader Luke’s father?” That question is going to 10). My character might live in a world of
swing the story in extremes. Even if the answer danger, but I have no idea who would want to
is “no”, it can cut off a large part of “could assassinate my character. Does my character
be’s”, or it can swing my other questions in know? I can choose to stop the immediate action
unforeseen directions. to deeply color the assassin. I can create the
Compare that to the chipping answers in a assassin’s order, history, and strengths and
direction towards the above cutting question, weaknesses.
such as: “was Darth Vader a Jedi?”, “is he Perhaps then in the immediate action, where
human?”, “did he know my uncle?”, “has he the assassin attacks, my character crits the
ever been to Tatooine?” Finally the follow-up assassin and kills the assassin dead. Did I waste
fact of “well he must be Luke’s father” just my time with all the depth to the assassin? In
makes sense. There’s a lot more dancing around, one sense I did and the present story did not
and the chipping answers might have never move forward much at all. That’s fair enough. In
arrived at Darth Vader being Luke’s father. another sense, I have a much richer world. I now
Just like knowing when to ask a question, know all about the assassin’s order, I probably
knowing how direct to ask a question is also a have a good idea why they were after my
matter of balance and style. A good balance is to character (even if just hired). I have quite an in-
always ask questions straight from your depth part of the world for use later on. A future
subconscious (gut-feeling questions) whether string of Loom of Fate questions might lead me
chipping or cutting, and when trying to think of right back towards the assassin’s order or why
questions, ask a few chipping questions, then the PC must die.
lunge for something with a cutting question. Ultimately, choosing the amount of depth is
The “genre” of the game is also influential a question each player can only answer for
in determining how direct to be in asking themselves, but it is a question that is good to
questions. In a pulp game where pro-action is answer before huge tangents are made in to
forefront, direct questions should be the norm. In things the PC wouldn’t instantly perceive. Do
a mystery, a multitude of slower chipping you, the player, want to move forward with the
questions would be better. PC now or deepen the world?

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 Unexpectedly Explanations
Scenes and threads are discussed under the sub-heading Conjured Threads (see pg. 15). Otherwise
interpret the Unexpectedly modifier with what makes sense. The terms and definitions should be read
liberally. The player that was in control of asking the question of the Loom of Fate is in control of any
decision making with regard to the unexpectedly modifiers unless otherwise stated.
If the current scene (or the next scene) has already been burdened by too many “unexpectedly” rolls
from the Loom of Fate then feel free to ignore any further unexpectedly modifiers until a clean scene is
started.

Cross-stitch – choose another thread to be the main thread for the rest of the scene.

Entering the Red – threat of danger or combat arrives. The premise of the scene gets more dangerous in a way that
forces the PC’s to respond by leaving, fighting, or taking their chances.

Enter Stage Left – a PC or NPC (new or pre-existing) arrives fresh in the scene.

Costume Change – an NPC drastically changes their mind, motivations, alliances, etc. for better or worse. This
could be a big story reveal or a simple change of heart.

Foreshadowing – set a thread to be the main thread for the next scene. The current scene should then start wrapping
up and heading towards the next scene.

Framing – an NPC (new or pre-existing) or object becomes critical to the main thread.

Key Grip –set the location or general elements for the next scene. The current scene should then start wrapping up
and heading towards the next scene.

Limelit – the rest of the scene goes great for the PC’s. Assume that the majority of the questions pertaining to the
main thread with regard to the scene are answered in a way that benefits the PC’s.

Montage – the timeframe of the scene changes to a montage of actions set across various scenes to move forward.

Pattern Change – the main thread gets modified, drastically. Whatever direction the main thread was heading,
make a hard left. Use a generator, such as Rory’s Story Cubes, tarot cards or a random Wikipedia page, as
necessary.

Reroll / Reserved – these slots are reserved for specific “GM actions” found in an RPG system, such as a compel
action in the FATE system. Specific examples can be found at conjecturegames.com.

Set Change – scene continues in another location. The current thread remains as much as makes sense.

Six Degrees – a meaningful, but not always positive, connection forms between two PC’s and/or NPC’s.

To Endings – the next scene resolves or substantially moves forward a thread of your choosing. Set the main
elements of the next scene, and start heading toward them in this scene.

To Conflict – the next scene centers on a conflict of your choosing. Set the main elements of the next scene, and
start heading toward them in this scene.

To Knowledge – the next scene centers on lore or investigation of your choosing. Set the main elements of the next
scene, and start heading toward them in this scene.

Tying Off – the main thread resolves or substantially moves forward in this scene by narrative decree. This does not
mean that the main thread cannot create follow-up threads.

Upstaged – an NPC makes a big move. If the NPC has any motivations, plot vectors, or goals they go into
overdrive.

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 Loom of Fate Examples

Example 1. The PC’s are exploring an abandoned manor. There have been stories of the manor being
haunted or occupied by strange things. A player asks if the basement door is locked.

Yes – the door is locked. Yes, and – the door is Yes, but – the door is locked,
Why? Perhaps an occupant is locked, and… it is also nailed but… the stairwell has holes
away from the basement. shut. Why? Someone really in the plaster allowing the
Perhaps another person tried didn’t want anybody going in player to see to the basement.
to lock something down the basement.
there.
No, and – the door is not No, but – the door is not
No – the door is not locked. locked, and… it is about to locked, but… the stairs going
Why? Perhaps the basement come off its hinges from down the basement are
is irrelevant to the story. disuse. Why? The basement destroyed or opening the door
Perhaps an occupant is using hasn’t been used recently at causes a massive shriek to
the basement and would not all, at least not from access echo throughout the manor.
want the door locked. through this door.

Example 2. The PC’s are in a tavern. One of the players decides to create story momentum and asks if
anybody is watching the PC’s.

Yes – someone is watching Yes, and – the person Yes, but – perhaps the
the PC’s. Why? I would do watching them has personal watcher is mistaken as to the
follow up questions since it is attachment beyond being a PC’s identities. Perhaps the
not readily apparent. mere messenger, hired thug, PC’s are being viewed
or private detective. through a security camera or
scrying spell.
No – the PC’s are just part of No, and – the PC’s are
the crowd. I would go further unlikely to be noticed at all No, but – they might be if the
and say that the PC’s would unless a major event occurs PC’s make a small
remain innocuous - this fact at the tavern. commotion, or perhaps in a
holds - unless something Russian reversal there is
significant changes. somebody there that the PC’s
should be watching.

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 Example 3. Here is a completely random stream And, so on. I found some good starts to the
of questions I had in making up an opening mysterious journey. There are so many other
scene where my PC is a castaway on a ways to go. I could have asked if anybody else
mysterious island. My PC just wakes up on a had survived, but I was not ready for the answer
beach after the stormy night. I am going to go yet. There is no wrong way, but remember that
with “To Knowledge” as the stage of the scene, the questions can shape the game quite quickly.
which is explained in the Conjured Threads
section (pg. 15). I feel like I have enough to roleplay my
character’s thoughts, and I have my first thread
The first question that came to mind was “Is or two, which will be explained later. These will
there a shipwreck?” I rolled a 30 (Surge Count get me to later scenes.
2). No. The beach feels lonely in my mind, but I
want to ask it as a quick follow up question
because I am just beginning to set the scene.

“Is there anybody else on the beach?” 25-2, no

(Surge Count 4). I jot down a few notes on my
scene notecard that the beach is lonely and
devoid of any shipwreck. It’s not peaceful. The
beach is eerie.

“Is the island inhabited?” 77+4 = 81, yes, and…

(Surge Count 0) And, people are walking
towards me was first idea, but there is nobody
else on the beach (answered from my last
question). I decide there are objects of culture on
the beach.

My idea of this being a castaway game would

not be intact if my answer was “Yes, and there’s
a town or city on this island.” The PC would
also not know the answer to this question. If I
interpret the follow-up fact as a “chipping”
answer, I can keep more mystery and also keep
the facts immediate to the PC.

“Are the objects on the beach roughly made?”

58, yes (Surge Count 2). I will assume that it is
an Islander culture object or artifact. If the
answer was “no”, I was kind of leaning towards
science outpost.

“Are there any footsteps around where I was

laying?” 8-2 = 6. No, but… (Surge Count 0)
there is another sign of passage. A line dragged
in the sand going inland, I decide.

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 Loom of Fate Tutorial – The Abandoned House
There is an abandoned house. That’s the only fact we know. Everything else will be created with the
Loom of Fate. Use the first column in the Loom of Fate “To Knowledge” (later explained at pg. 16). For
this tutorial treat any “and unexpectedly” rolls as plain “yes” or “no” answers.

Step 0: Pick a broad context or system, such as sci-fi or a Hyperborian Age. Otherwise, just use the real
world as the context. Quickly envision a PC for the context. Also, grab a notecard (see Bookkeeping, pg
18) or a sheet of paper for this tutorial to write down facts.

Step 1: The first thing is to make broad strokes with initial questions when sculpting a thing out of the
realm of all possibilities. What is the location of the abandoned house? Many facts will result once that
detail is figured out. Pretend your PC is standing outside the house, and only create facts your PC would
perceive.

It’s not a house in the woods (my first guess). My follow-up fact is that it is a beach house, which is my
immediate gut feeling after learning it’s not a house in the woods. This could have also been asked as a Loom of
Fate question, but I wouldn’t go beyond two Loom of Fate questions for finding this fact.

Step 2: Follow up with some momentum facts. If the house is in a certain location, what features would
very likely result? If your gut has no strong reactions, one way or the other, the move on.

I picture small dunes and lots of grass. I picture small amounts of trash in the grass. The house is flat, ranch-
style rather than rising stories above the ocean. (These are not asked with the Loom of Fate because they are
momentum facts.)

Step 3: Now that we have a good idea of the outside of the house, let’s move inside. Broad strokes are
still better, and now we have some slight context. Knowing why or how long the house was abandoned
can place a lot of other facts. Other questions could also be: is the house a mess? Has someone squatted in
the house? Are there wild animals or plants in the house? Keep the facts to things the PC would perceive,
and create follow up facts as well.

The beach house is an absolute mess. It looks like it’s been looted three times over. Each room has piles of
debris and garbage. Surprisingly, the core structures are still intact. The kitchen has cabinetry. The bathrooms have
sinks.

Step 4: Give the house meaning beyond the PC’s perceptions. Does the house have a secret or story to
tell? This house is meaningful, but how so?

I find out the last lawful owner fled. Following up, I ask if someone died in the house. No one did. Someone still
fled, and it looks like they never returned. Perhaps the story revolves around the owner that fled. Perhaps my story
revolves around something they left. Someone keeps coming back to search the house, which is why it gets messier
and messier over time.

Step 5: Figure out if somewhere along the way of this tutorial you came across areas you would like to
explore as piece of a story? Write it out as a short sentence or fragment. This is a story thread, which is
explained next.

The abandoned beach house hides something that has not been found.

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 Conjured Threads
Story Indexing CRGE Module

Plot, rules, or even poetry, are not half so great beauties

as a just imitation of nature, of character, of the passions and their operations

in diversified situations

-- Horace Walpole

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 Conjured Threads – Story Indexing CRGE Module
The Loom of Fate answers questions, and it is easy enough to run a game only using the Loom of
Fate and an RPG. However, there are two story elements in CRGE that act to help define and focus on
certain elements of the story. They are Scenes and Threads.

Scenes Threads
Scenes are the storytelling bread and butter A thread is a plot device that focuses the
of roleplaying games. They exist so that the story. Many threads are questions. What was
PC’s can have a place to act. Real life has scenes taken off the beach? Who inhabits the island?
of a person standing at a bus stop, choosing Other threads involve PC desires such as “taking
which ice cream to buy, or running out of toilet revenge” or “finding the McGuffin”. Threads
paper. These are not the most exciting examples weave together to become a larger story.
of a story. Role-playing game scenes are usually For example in the movie Pirates of the
akin to scenes in a play, movie, or video game. Caribbean: Curse of the Black Pearl, threads
where there is a reason for placing the audience might be: (a) Jack Sparrow needs a ship, (b)
at the scene. In a GM-run roleplaying game, the Will loves Elizabeth, (c) What is the Curse?, (d)
GM usually will only include scenes pertinent to Jack Sparrow wants the Black Pearl, and (e)
some facet of the story, even if that scene is just ending the Curse. Some of the threads could be
meant to get the PC’s talking to one another. resolved in a scene, such as Jack Sparrow
Similarly in CRGE, each scene has purpose, stealing a ship. Ending the Curse and Jack
usually defined by a “thread”. Scenes do not Sparrow getting the Black Pearl ship took the
necessarily need to move the grand plot, whole movie. The thread “Will Loves Elizabeth”
campaign, chronicle, etc., but each scene will took three movies to settle.
have something to tell or some reason for being. Threads usually take at least one scene to
Something interesting to the thread or notable to resolve. They are not one-shot questions. If they
the PC is about to happen. are questions they require multiple steps to solve
or investigate. Threads change as parts of their
story unfolds, and as threads evolve they can
offshoot new threads.
In CRGE the players keep track of threads to
create a story. When a player starts a scene that
player promotes one thread as the main thread of
the scene. This does not mean other threads are
ignored, but it does mean that significant story
steps are taken towards the exploration or
resolution of the main thread.
Players are also tasked with finding and
naming threads as the story evolves. If answers
from the Loom of Fate are explored (keep
asking “why?”) the game will quickly find new
threads.
It is usually a good idea to balance the
resolution and creation of threads. Roughly five
(5) active threads will be a good number for an
expansive story, but allow for each player to
have created at least one for themselves or their
PC.

Stage of the Scene

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 Stage of the Scene
The
Thecombination
combinationofofaascene
scenewith
withthe
thethread
threadwill
willlead
leadtowards
towardsstory.
story.Each
Eachmain
mainthread
threadofofthe thescene
scene
sets
sets the stage of that scene with regard to the Loom of Fate chart. These stages are not in a setorder.
the stage of that scene with regard to the Loom of Fate chart. These stages are not in a set order.AA
thread
threadthat
thatwas
wasjust
justcreated
createdcould
couldbe
besosodefined
definedthat
thatits
itsonly
onlystage
stageisis“To
“ToEndings”.
Endings”.ItItisisup
uptotothe
theplayer to
decide
playeronto the stage
decide onbased on what
the stage basedquestions
on what will be thewill
questions focusbeof
thethe scene.
focus of the scene.
To Knowledge––use
ToKnowledge useififthe
themain
mainthread
threadisisnew
newand
andjust
justbeginning
beginningtotobe
beexplored
exploredtotocreate
createaalot lotofof
surprises.
surprises.
The
Thefocus
focusofofthe
thequestions
questionsshould
shouldbebeone
oneofofinformation
informationgathering.
gathering.The
Thegoal
goalofofthis
thisstage
stageisistotogain
gainas
many facts as possible to provide for a good base moving forward. However, this does
as many facts as possible to provide for a good base moving forward. However, this does not meannot mean that
conflict or resolution
that conflict are absent.
or resolution are absent.
To Conflict––use
ToConflict useififthe
themain
mainfacts
factsofofthe
thethread
threadare
areknown
knownsosothat
thatthis
thisstage
stagecements
cementsthe
thefacts
factsand
and
pushes the story forward.
pushes the story forward.
The
Thefocus
focusofofthe
thequestions
questionsshould
shouldbebeone
oneofoffinding
findingconflict.
conflict.Do
Donot
notavoid
avoidquestions
questionsthat
thathave
have
answers
answers that might create problems. Conflict drives story! New information will very likelycome
that might create problems. Conflict drives story! New information will very likely comeup,
up,and
there is no reason a thread cannot be resolved in this stage (or any other).
and there is no reason a thread cannot be resolved in this stage (or any other).
To Endings––use
ToEndings useififthe
themain
mainthread
threadisisnearing
nearingthe
theend
endofofits
itsjourney,
journey,which
whichkeeps
keepsthings
thingssimple
simpleas
the story heads towards falling action and resolution.
as the story heads towards falling action and resolution.
InInthis
thisstage,
stage,the
theamount
amountofofLoom
LoomofofFate
Fatequestions
questionsshould
shouldbe beless
lessthan
thanusual.
usual.The
Thegoal
goalofofthis
thisstage is
tostage
promote PC action towards resolution of a thread.
is to promote PC action towards resolution of a thread.

The Point of Origin The intended focus of the scene is on the

The first scene can be the hardest. There are main thread, and players should generally
no threads, and the PC is standing in a virtual acknowledge that focus. If the main thread is
white room. Where do you go? “Jack Sparrow needs a ship”, the Loom of Fate
It is a good idea to have an idea of the story questions should be aimed generally in that
you want told before starting. Find a plot hook direction. However, there may be overlap. Jack
in your favorite sourcebook. Take a famous Sparrow could, for example, leverage Will’s
movie or book, and twist it into your favorite love for Elizabeth to get Will’s help in taking a
roleplaying setting. Some RPG systems have ship, which may modify that non-main thread.
features built in such as “quests” or “aspirations” Non-main threads should always be
that the PC has to move things forward. considered when interpreting the answers to the
If you start with context and momentum in Loom of Fate. If you are bookkeeping well with
play, the game will take off much faster than all the threads laid out on the table, the answers
creating the game out of nothingness. Even if a might be right before you! At the end of each
sandbox-style play is the goal, starting with a scene (see Fade Out below), every active thread
certain point of origin does not mean that the should be briefly considered with the scene that
origin controls the whole game (see Appendix just happened.
II, pg. 28). Consider it more of an opening scene
in a movie, which may have little to do with the Other Notes on Threads
plot except introduce the story and characters. There is no proper length for a thread. At its
shortest a thread can last a scene. A thread can
Main and Non-Main Threads also be the entire reason for the PC. The main
Each scene has a required main thread. This quality of a thread, however, is it’s mutability. A
main thread is required for two reasons: (1) to short thread (Jack Sparrow needs a ship) can
answer the question “why are we playing this lead directly to another short thread (Jack
scene?”, and (2) to be modified by the Loom of Sparrow needs a crew). A long thread’s name
Fate unexpectedly modifiers. The latter reason is can shift to reflect that the thread is slowly being
a mechanical one within the CRGE system. resolved (Will Loves, Hates, and Distrusts
Elizabeth).

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 While threads can be created from the PC’s scene controller’s vision, and then start to chip
point of view or the player’s point of view, away at anything stereotypical. For example the
threads ultimately represent a story that the Loom of Fate can be asked if the bouncer is
player wants to explore. For example, in the subject to bribes or flirtations.
assassin example from the Player vs. If the scene controller doesn’t have a hard
Gamemaster section (pg. 9), the player may vision then start to rope off boundaries of the
decide that some part of the assassin’s history scene by going around the table asking a few
has created a really interesting thread. All the PC Loom of Fate questions.
understood was that there was an assassin, and it
took a crit to the face. By making a thread based Fade Out
on the player knowledge, the player is basically When a scene ends, wrap it up with regards
saying that the PC will learn more through the to the main thread and other threads. If the
story focus on the assassin. If there are other Loom of Fate kills a scene with an unexpectedly
players at the table, they will understand this as modifier (or otherwise) move on or fast forward
well. with a montage of actions to quickly end the
Threads do not need to have answers or scene. Then ask the following questions: Did
resolutions. The rule of thumb is to ride out a the scene modify a thread? Did it split any
thread as long as it is interesting. Some threads thread? Do any new threads replace old threads?
fray. It’s just that simple. The game finds story Do not rush to the next scene. The small
momentum and takes off, and some “paths not amount of time taken to wrap up a scene, do a
taken” just get left behind. It is a good idea to bit of bookkeeping, and make sure all the
consider these threads before removing them threads are in order will pay off big time. Take a
from play. They could still affect the story or get moment to reflect on what just happened. It’s
roped in to another active thread, but if the not good to realize three scenes later that the
world has moved on, pitch ‘em. More threads table missed an important part of a thread.
will definitely get made.
The One Rule
Fade In Everything here is guidance. It’s a system
When a scene is opened, the scene controller that works one way, but that doesn’t mean that it
should be explicit in sharing the vision of her has to work only that way. Perhaps your favorite
scene. If the scene controller has a strong game system has heavy guidance to scenes or
vision, it should be shared. Otherwise return to character activities, then lessen the role of
the Loom of Fate to draw borders around the Threads. Perhaps you want some surprise, but not
edges. that much. Throw out the Surge Count or narrow
For example, the PC’s are heading to down the Unexpectedly Modifiers to your liking.
confront a vampire whose hunting ground is a If you want the thread’s story structure to be
nightclub. The scene controller chooses the different, set the stages of the scene backwards.
scene location “the night club” and the thread CRGE merely provides a handful of tools to
“chasing down the vampire”. She imagines make it easier to have GM-free tabletop
heavy-thumping techno, lots of strobe lights, and roleplaying.
a line out the door with a hardened bouncer. A
good rule of thumb is to springboard off the

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 CRGE Scene Setup
A scene in CRGE is a specific portion of the roleplaying game having necessary elements:
(a) the scene must have at least a scene controller’s PC;
(b) the scene must have a main thread;
(c) the main thread must set the stage of the scene;
(d) the scene must have a location; and
(e) the scene will likely have other PC’s or NPC’s.

0. Choose the order of play. Each player will get a turn to be the scene controller. Clockwise is a good
default, or choose a static order of players (e.g., alphabetical order or youngest to oldest). For solo
players: congratulations, you control every scene.

1. Choose the main thread, stage of the scene, and scene location. The scene controller has absolute
power in this regards. However, suggestions by other players are welcome, and any threads that could
also become part of the scene should be noted.

2. Choose which PC’s and NPC’s will be instantly present. The main rule is a scene controller’s PC
must be present. Everything else is optional including other PC’s. If the players are unsure if an NPC (or
PC) would be present, consult the Loom of Fate as necessary.

3. Play out the scene. Be sure to watch for things that will affect the main thread in addition to the thing
that might affect other threads.

4. Close the scene. The most important thing to ask when closing is “what effect did this scene just
have?” Pay careful attention to how the scene affected the main thread and any other or new threads.

Bookkeeping
Notecards are possibly the best friend to any RPG table. It’s helpful to have them in
abundance so they can be made, edited, and recycled at a whim.
Each thread and scene should have its own notecard. Put the name of the thread or scene at
the top, and then put notes below it. On a thread notecard good things to keep track of in addition
to the facts that “answer” the thread are visited scenes, related NPC’s, and the stage of the thread.
On a scene notecard note all the information from the necessary elements above. Lay out each
notecard on the table so that it is visible. Put a marker, such as a poker chip, on the main thread.
Individual notecards are also great for important things that accrue a lot of facts, such as
NPC’s, McGuffins, or locations.
A lot of success in bookkeeping GM-free games also comes from using dry erase boards,
mats, or cards. This allows for table space for map layouts as well. Some players just use a
computer or a notebook. Personal wiki software or GM software, such as Zim Desktop Wiki or
The Keep, can also help maintain very deep, connected records of the game.

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 Multiplayer Social Contract expound on that fact making it a friendly
In a group, the default is to take turns with slugman or a wounded slugman. However, the
scene setup. This gives players time to each pre-existing fact cannot be simply overwritten or
control their PC’s story, personal quest, or ignored.
aspirations. A player should only create a scene,
with a thread, that their PC is directly tied to. Meeting of Minds
Even with the responsibility placed on a single It is also part of the social contract to play
player, that role is not in a vacuum. The scene within the accepted social and cultural
controller should feel free to collaborate or boundaries of the game. Many games have many
corroborate any decision making. different themes that can be explored, and it is a
Not every scene requires every PC. With good idea when setting up a multiplayer CRGE
group play there is usually some sort of “party” game to make sure that everybody is on the
to keep players together so that a GM, in a same page. Players may wish to create a list with
conventional game, would not be splitting a focus column and banned column of themes,
everything up. With CRGE, players whose PC is ideas, etc.
not present in the scene is still very much part of The goal of roleplaying is to create and have
the game. They can ask questions of the world. fun, and each player should be promoting
They can take control of NPC’s. They can still another player’s fun as much as their own. Like
collaborate in the storytelling. a GM, each player in CRGE has a responsibility
Collaboration is the key to a multiplayer for all other players. The game can only benefit
CRGE game, but it does not mean a unified when a player acts unselfishly in creating
mind. Players are going to ask questions that stories. For instance, it is a great idea to pick up
perhaps other players didn’t want asked. These the mantle of an NPC important to the player’s
are still actual decisions and facts. They must be PC so that the PC can have a multiplayer
taken in to consideration. If one player finds out discussion, rather than a single player playing as
through the Loom of Fate that the thing lurking both NPC and PC for a conversation.
outside is a slugman (assuming proper for the
game’s setting), it is thus. Other players might

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 Storyspinning
Frameworks for CRGE

A short story is something that you can hold in your mind.

-- Chuck Palahniuk

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 Storyspinning –Frameworks for the Tales to be Told

Stories, Stories from Threads Vignette Framework

The basic format in roleplaying can often be The basic finite framework of CRGE is to
to just keep going. Start the party in a tavern, determine a single waylay, theme, or question
and then head out to find adventure in the whole within the setting. Examples: in Wild Talents it
wide world. In CRGE it can be much the same. could be the waylay of finding a nemesis’s
Continue following Thread after Thread and the hideout, in Earthdawn it could be the theme of
stories can continue indefinitely. This can be the kaer discovery, or in Werewolf: the Apocalypse
sandbox that never ends. it could be the question of what is it like learning
Much of the time the indefinite continuity in a new gift from a spirit. Whatever the case, the
RPG’s is broken up in to “campaigns” or framework should follow that subject, and there
“chronicles”, which are large stories sometimes has to be a finality to the subject.
running the life of the game. These can be
further broken down in to things like “arcs”, The vignette framework occurs within
“chapters”, etc. The lexicology for discrete units approximately three scenes or small acts:
of story goes far and wide in the roleplaying
hobby. (1) Exposition - The first scene should
While stories in CRGE can be run under any be the scene that sets the PC’s on the path to
of these monikers, CRGE also operates under finding the answer. Even though this is the
story frameworks to keep everybody on the exposition scene, it is still a scene that is being
same page, including a solo player unaware played. Make the scene dramatic from the start,
where the game is going to go. This is not the and focus the questions on setting the stage for
same as deciding on the story ahead of time, but the rest of the arc.
it is acknowledging that when the framework
concludes that discrete unit of the story should (2) Rising Action - By the end of the
close (helpful also to XP rewards). For example, Exposition scene there will be a handful of
it was understood that each Harry Potter book threads to explore (including any from previous
would occur in one school year even if the adventures). Pick one that makes most sense
adventure during the year was unknown. towards the theme. Again, this is a dramatic
vignette – a slice of life where something
Hooks happens. Things should be heading towards
A big mechanical feature of CRGE some conflict or challenge, and the questions
frameworks are the obscured hooks, which you want to ask are the troublesome ones that
subtly guide the story. They can oblique such as take you straight towards that conflict or
a framework where the protagonist dies in the challenge of the theme.
first scene and then you assume the role of the
killer. Another hook might be where you aspire (3) Climax - This is the scene where
to have a certain scene with your PC, such as answers are found, the conflict is met, or the
meeting royalty. Why would your PC meet challenge is overcome. Threads should be
royalty? Who knows! But, you can get there by fighting for the limelight, and pick the one that
continuing to keep the desired hook in mind. It will lead towards closure.
doesn’t even have to be a thread, but it can be if
you want it to be more concrete. (Optional) Epilogue - Wrap things up in
Frameworks are where CRGE substantially a montage-style format for this “scene”, as
departs from sandbox gaming. Frameworks are necessary. Narrate any fall-out.
where discrete stories are going to be told. They
guide the story without rails. In the vignette
framework the hooks are the dramatic structure.

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 After that, use the framework again, but with This goes for any “and unexpectedly”
a new focus. The hideout has been found. What derailments. If there are a multiple threads that
has the nemesis been up to? The kaer has been must be followed in the Rising Action sequence
discovered. What horrors or survivors are found so that multiple scenes are required to tie them
therein? The gift has been learned. What tale can all together for the Climax, then follow the
stem from the spirit’s problems or using the gift? Rising Action in a small act of multiple scenes.
Consider each cycle of the framework to be a If another Exposition scene is required because
chapter. the threads in the first scene just weren’t there,
It is critical to understand that this there is nothing stopping another Exposition
framework, and frameworks in general, do not scene.
owe allegiance to a single thread. In the vignette The idea of the vignette framework is that
framework a new thread may be the main thread there is somehow going to be a short arc with
for each of the three scenes, or there might be heading and finality. If the Exposition scene is
one thread for all the scenes. It is best to decide wrapping up, it is known that things are heading
which active thread is most pertinent at the time towards a Rising Action, even if the particulars
of needing the thread. aren’t known. At the final scene it is known that
Follow what makes sense for scene’s the vignette’s theme is going to end even if the
direction. If at the beginning of the Rising entire story is just beginning.
Action scene the scene abruptly ends, this does
not mean the next scene must be the Climax
scene.

Origins of CRGE
The vignette framework was the idea that became the first
concrete element of CRGE. I was unhappy with my meandering
solo RPG play because, unlike in a GM-run RPG, there never
seemed to be a conclusion. Things were more like real life where
the “sandbox” never ended. The “sandbox” play is totally valid,
but I needed something more conclusive and dramatic for my own
solo RPG play.
At the time, I was using Mythic, and my idea was to use the
framework of a “Three Scene RPG”, which also had a nice ring to
it. That way I could play so many of my RPG’s. I could run a tale
of the Arab Spring in Cairo with Werewolf: the Apocalypse, and
then I could fly in to Atomic Robo RPG with a brainstormed
session involving Mayan pyramids and the vampire dimension.
All the story hooks in the Monster Manuals and friends could be
utilized!
I then moved onward from this Three Scene RPG to see how I
could use the dramatic structure and finite story chunks in a whole
GM emulator system. The culmination was CRGE.

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 Vignette Framework Tutorial – Being Burglarized
This tutorial will walk you through a session of Step 3: Create the second scene, Rising Action,
CRGE roleplaying under the vignette with a main thread and location of the scene.
framework. It is slightly more heavy-handed in Use a new scene notecard. More than likely you
focusing the vignette to a tutorial. However, will want to set the stage “To Conflict”, but you
you should feel free to take control at any point might want to keep it at “To Knowledge” if you
and ignore the guidance. For an example of this feel you need to learn more.
tutorial see Appendix II, pg. 28.
Step 4: Play out the second scene, Rising
Step 0: Pick a broad context or system, such as Action, until the problem or conflict is about to
steampunk or Middle Earth. Otherwise, just use climax. The goal here is to find a deeper
the real world as the context. Quickly envision a problem or more conflict with the main thread.
PC for the context. You can use your favorite If the Exposition scene is learning and the
role-playing game system if you want, or just Climax scene is confrontation, the Rising Action
use CRGE to determine success or failure of PC scene is the use of the knowledge to lead to a
actions. Also, grab a couple notecards (see final showdown. It’s plan preparation, putting
Bookkeeping, pg 18) or a sheet of paper for this the knowledge to use, or lining up the dominoes
tutorial to write down facts. just so. For example, if Rising Action was
chasing down [this guy], the Rising Action
Step 1: Write down the vignette’s theme of scene could end just before confrontation with
“being burglarized” in big letters on one [this guy]. Close out the scene notecard when
notecard. Take two more notecards, and on each finished, and update any affected thread
write the threads (1) “what have we lost (and notecards.
why)”, and (2) “who burglarized us”. Create a
scene by choosing (1) or (2) as a main thread, set Step 5: Create the final scene, Climax, with a
the stage “To Knowledge”, and set the location main thread and location of the scene. Use a new
of the scene. Write this down on a scene scene notecard. The scene of the stage will likely
notecard. be “To Conflict” or “To Endings”. The goal is to
Remember that the main thread is the one resolve the theme with some sort of resolution,
that you are mainly focusing on to move along even if the resolution is not particularly happy
in story fashion. for those burglarized.

Step 2: Play out the first scene, Exposition, of Step 6: Play out the final scene, Climax, until a
the vignette, until it is determined that enough major portion of the theme resolves. Feel free to
has been learned to take action. Update the montage the falling action or closing portion of
threads as necessary, which could be (1) “we the dramatic structure.
need to get our [thing] back”, or (2) “[this guy]
burglarized us”. Close out the scene notecard. For a complete example of this framework
tutorial see Appendix II.

For a more CRGE frameworks check out conjecturegames.com!

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 Tapestry
Multiplayer CRGE Module

Life is more fun if you play games.

-- Roald Dahl

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 Tapestry – Multiplayer CRGE Module
Tapestry is a roleplaying overlay for use in GM-free multiplayer games, especially play-by-post
(PbP) games, which are roleplaying games played on an internet forum. Tapestry is used to define a
rotating “hat of responsibility”. It is not players rotating absolute GM responsibilities, but each turn in
Tapestry a player is taking the mantle of the game. Players in the collective game will be ensured to have
screen time and personal progression for their own characters.
The goal of Tapestry is also to reduce the incidental deaths many PbP games face where a lot of work
is aimed at a GM and a single player quitting can destroy the whole game. With Tapestry, as long as there
are players willing to continue the game there is no reason the game has to end.

Scene Holder
Each turn a different player sets the scene. The scene holder’s responsibilities are to:
(1) Set the scene in terms of location, main thread, and time frame;
(2) Include or exclude any other NPC’s; and,
(3) Clean up the scene when it ends.

Other Players
The non-scene holding player must:
(1) Proclaim whether they are going to be part of the main scene. (The default being that they will be.)

Decisive Movement and Fade Combat

In a PbP CRGE game, the biggest detriment Combat can be a large part of a roleplaying
from the real time communication of a tabletop game. Let’s step back in to the realm of a
game is that back and forth collaboration in conventional GM. The goal of roleplaying is to
play-by-post style will slow the game to a halt. have fun. The goal of a GM is not [usually] to
In a PbP game without a GM, an acting player destroy the PC’s. It depends on the accepted
must act decisively, which applies to both asking social contract at the table.
questions of the Loom of Fate and interpreting With that in mind, let’s step back to CRGE
the results. This also allows other players to where there is no GM to rule the table and fudge
react as players to the decision. the dice. There are a bunch of enemy NPC’s that
In a GM-run game it is often the GM’s want to dish pain to the PC’s, or vice versa. How
responsibility to move things forward. If a can this play out with a supreme arbiter?
conflict or interest in a scene has been resolved, The first suggestion is to give each player
the GM would either add a new conflict or responsibility for some of the NPC action
interest or change the scene. Every player in determinations. When a player acts for the PC,
Tapestry should feel like they have the same the player will also then subsequently act for a
responsibility and power. fraction of the enemy NPC’s. If one player does
However, there is the concept of “fade”, not have a PC present and then that one player
which allows for collaboration between players can control the NPC’s. It is still a good idea to
all having said responsibility. If a player lump all NPC actions together in one post if
introduces something that requires reaction, the possible.
player (and her PC’s) should fade to the back to That takes care of when the enemy NPC’s
allow the other players (and their PC’s) a chance act, but it is more important to determine how
to react. Once it appears the other players have they act. A good starting point is to be fair in
had a chance to make their mark, the faded divvying up attacks. If there are 6 NPC’s and
player returns to find that something different two PC’s have each PC take two NPC’s attacks.
from what they expected. Don’t throw the The big “unless” is if there are facts that would
grenade and then cover it yourself. shape how the NPC’s should act. For example, if
a PC is holding the thing the NPC’s want, well,
the NPC’s will probably be focusing on that PC.

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 Finally, PC damage. It’s going to suck when modify the active scene. The sidebar scene,
your PC gets damaged in a detrimental way by however, can create facts that modify future
another player’s control of an NPC or scenes. The sidebar scene will largely ignore
environment. The social contract at hand many “unexpectedly” modifiers.
requires that you accept the action in some form. The sidebar scene is generally only going to
However, it is largely not fun to be taken out of be one post long. It is a time for the PC to go off
play (and possibly the game with that PC). In and take care of some other business. Combat,
such a case, offer to make a concession. Perhaps heavy conflicts, and generally anything that
your PC runs away or gets knocked over board would take away the focus of the main scene
rather than simply dying. Make it dramatic and should be avoided in sidebar scenes.
consequential. Losing can create great stories. The sidebar scene player should still be
The best thing to do is create a Meeting of active, as much as possible, in the main scene by
Minds (pg. 19) so that everybody is on the same collaborating with Loom of Fate questions and
page when damage is going to be served. taking NPC roles.

OOC Communication A Return to Notekeeping

The game should also have a venue for out- It is critical to CRGE in any aspect of play
of-character communication in a PbP game, to take notes. After all, how will one get to a
usually in a forum PbP environment a separate point of glorious conjecture if there isn’t a
forum thread will suffice. This is helpful in pyramid base of facts to rest upon? In a tabletop
getting clarifications and discussing where each game there should be notecards all around with
player wants to head in the game. threads, scenes, NPC’s, etc.
The most important piece of OOC In a PbP game it gets a little trickier in
communication is asking when to move on. It is finding a common place for the notecards. A
the scene holder’s responsibility to clean up the wiki is usually a pretty good start, but it can be a
scene, but it is not the scene holder’s chore to update it. A shared document, such as a
responsibility or power to end it at any moment. Google Doc, is also a good idea, but formatting
Make sure that each player is at least implicitly can be an issue. There is no perfect answer, but
done with the scene, but an explicit deadline by it is necessary in some form to have some sort of
the sceneholder (“please let me know by bookkeeping to keep every player on the same
tomorrow night if you want the scene to page.
continue, otherwise I will close out the scene”) Whatever players choose for a shared PbP
is not a bad idea either. notetaking format, it is also a great idea to keep
a set of physical notes at home. The ease of
Elsewhere accessibility of dead-tree notes cannot be
In a PbP game, a non-scene holding player underestimated, especially when one computer
whose PC is not present in the main scene can window is already being given to writing the
set a sidebar scene with another thread (different online post. It is also far easier to give thought-
from the scene holder’s chosen thread). The weight to a fact created by another player when
guideline is that this sidebar scene is not a scene you are writing it down as well.
to resolve threads, have focused activity, or

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 Appendix I: Tables and Quick Guides

Table 1: Loom of Fate roll d100

Result To Knowledge To Conflict To Endings
Yes, and unexpectedly 96-100 99-100 100
Yes, but 86-95 95-98 99
Yes, and 81-85 85-94 81-98
Yes 51-80 51-84 51-80
No 21-50 17-50 21-50
No, and 16-20 7-16 3-20
No, but 6-15 3-6 2
No, and unexpectedly 1-5 1-2 1

Stage of the Scene

To Knowledge – use if the main thread is new and just
beginning to be explored to create a lot of surprises. The Surge Count
focus of the questions should be one of information Use a d20, and for every question
gathering. answered “yes” or “no” add +2 to
To Conflict – use if the main facts of the thread are the Surge Count on the d20. Add
known so that this stage cements the facts and pushes the (roll 51+) or subtract (roll ≤50) the
story forward. The focus of the questions should be one of Surge Count from the roll. When
finding conflict. the answer is not just “yes” or
To Endings – use if the main thread is nearing the end of
“no”, reset the Surge Count to
its journey, which keeps things simple as the story heads
towards falling action and resolution. The goal of this stage is zero (0).
to promote PC action towards resolution of a thread.

Table 2: Unexpectedly roll d20, see pg. 10 for explanations

1 foreshadowing 6 to knowledge 11 limelit 16 cross-stitch
2 tying off 7 framing 12 entering the red 17 six degrees
3 to conflict 8 set change 13 to endings 18 re-roll/reserved
4 costume change 9 upstaged 14 montage 19 re-roll/reserved
5 key grip 10 pattern change 15 enter stage left 20 re-roll/reserved

Scene Recipe
(a) the scene must have at least a scene controller’s PC;
(b) the scene must have a main thread;
(c) the main thread must set the stage of the scene;
(d) the scene must have a location; and
(e) the scene will likely have other PC’s or NPC’s.

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 Appendix II: “Being Burglarized” Example

This is an actual, randomly-rolled example of the “Being Burglarized” tutorial above (pg. 23). Text and
numbers in bold are Loom of Fate questions and rolls unless specified otherwise. Hypertext is the Surge
Count. And underlines are facts that the Loom of Fate creates.

Step 0: I like the idea of a burglary into a secure location. I am going to go with a burglary into a secret
spy agency. My PC is going to be one of the spies that works out of the agency’s location. To give it more
context I am going to set this in the Cold War, and I also make the spy agency a U.S. facility.

Step 1: I make my notecards, and my scene is going to be at the U.S. facility with the main thread “what
have we lost (and why)”. I set the stage at “To Knowledge”.

The first thing I want to ask is how concealed was the burglary, which will help me set the scene. Was it
so well done that only a few in the agency are aware of it? 17 = No, and… the burglary has caused
such an uproar that the whole agency is in a chaotic frenzy. No Surge Count since the first roll was not a
vanilla “no” answer. I make notes on the threads since this answer seems pretty important.

Vignette Framework Theme Thread: What Have We Lost (And

Why)
Being Burglarized

Scene I – Exposition Thread: Who Burglarized Us

Main Thread: What Have We Lost -smash and grab burglars
(And Why)

Location: U.S. Spy Facility

-was a smash and grab burglary

Step 2: I decide my PC, Bernard Fulcher, has been tasked with writing a report on the burglary. He’s a
pedantic paper-pusher to say the least, and the agency has given this desk jockey this task to keep him
busy.

Remember that instead of promoting “who” as the main thread, I promoted “what have we lost (and
why)”. So instead of focusing on whodunit, I am going to help Bernard along the way towards his report.

Did the burglars steal sensitive documents? 84. Yes, and… they got more than they were looking for. I
am going to say that the more sensitive stuff was what they accidentally nabbed. This way the agency has
that time to respond before the bad guys realize what they have.

Was the more sensitive stuff a spy non-official cover (NOC) list? 39. No.2 I want to say that the stuff
they came for was some mission files, and they also got something better. It wasn’t the names of the
operatives. I’ll go with nuclear launch codes.

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 With Bernard’s details-focused nature, I’m sure that he has figured out that the mission files were right
next to the nuclear launch codes, perhaps on the Director’s desk. I can envision Bernard asking a new
operative what they put on the Director’s desk and getting the response “yeah, I put the mission files right
on top of the nuke codes.”

Were the operation files they stole related to nuclear missiles? 22 – 2 = 20. No, and… they are not in a
position to use that information. This is starting to feel like the burglars “got more than they bargained
for”. Yet, why did the burglars still go after some mission files?

Was it Mafia related? 14. No, but… it is crime related. I think it was the Triad that contracted the
burglars. If they were actual Triad members, I feel they wouldn’t be so smash-and-grab (at least in this
pulp spy world).

“What were the mission files?”, responds Bernard to the new operative in a face palm manner.

“We were going to assault Triad operations that were funneling Soviet money,” says the new operative.

“They got the nuke codes too.” Bernard relays this information to the new operative just to see the
expression.

I decide to end that scene since I got the Exposition of the theme pretty much covered. I update the
threads and the scene notecard.

Vignette Framework Theme Thread: What Have We Lost (And

Why)
Being Burglarized
-Triad targeted mission files and
accidentally got nuke codes

Scene I – Exposition Thread: Who Burglarized Us

Main Thread: What Have We Lost -smash and grab burglars
(And Why)
-don’t know what to do with nuke
Location: U.S. Spy Facility
codes
-was a smash and grab burglary
-Triad contracted
-Triad stole mission files and
accidentally got nuke codes

Step 3: I decide that Bernard is sick of paperwork and wants some fieldwork. The agency’s HQ is in San
Francisco, and the burglars are probably still in town. Anyway, Bernard doesn’t tell anybody so he can go
off and do some detective work on his own.

Scene II – Rising Action This scene is going to be about town. The main thread
is going to be “who burglarized us”. I could rename
Main Thread: Who Burglarized Us both threads since I’ve kind of answered the questions,
but right now it would just be the same to me. I am
Location: Chinatown going to keep the stage “To Knowledge” since with
-smash and grab burglars working Bernard I’d rather learn more than chase down the bad
for Triad guys and kick down the door.
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 Knowing what he knows, Bernard is able to go off in an unexplored direction that the agency hotshots
have so far overlooked. He says he is taking a long lunch at Chinatown since he plans on working through
the night figuring out the files situation. No one responds to his out loud “request”. Off he goes to
Chinatown.

Step 4: Do the Soviets know of this break in? 59. Yes2. I am going to say that they are after the burglars
as well. This might put the burglars in hiding.

Bernard goes to his favorite noodle shop. Does he hear anybody talking about the burglars? 79 + 2 =
81. Yes, and… the person talking is one of the burglars. This is much more direct than I intended, but
sometimes the story is very direct.

Here is Bernard in his favorite noodle shop, and fate just dumps this right in to his lap. One of the
burglars is picking up food to take back to the hiding place. The facts fall in to place. The burglar is
asking about Russians looking around Chinatown for them, or something similarly obvious to Bernard.
The burglar leaves the noodle shop, and Bernard tries to follow as nonchalantly as he can.

Does the burglar notice Bernard trying to tail him? No.2 As poor as Bernard is at trying to read his
newspaper and smell the roses, the burglar is too spooked to notice a desk-worker tailing him. The burglar
is watching for people that look like Russians, spies, or worse.

Does the burglar lead Bernard to the hideout? Natural 1. No, and unexpectedly… 12. Entering the
Red. The Russian spies show up! I guess I could have asked if it was the Triad instead, but I went with
my gut. This way it’s bad for Bernard, and bad for the burglar.

Does Bernard notice the Russians? 39. No.2 I accidentally asked the wrong question. I meant to ask if
the Russians noticed Bernard. If Bernard is watching the burglar, then I am assuming that the Russians
are watching both Bernard and the burglar since they are not making their move yet.

Does the burglar notice the Russians? 51 + 2 = 53. Yes.4 This is interesting. I think that the burglar is
taking the Russians on a wild goose chase in the hopes he will lose them.

I have had a pretty good Rising Action scene. Things went haywire pretty quickly, and I feel that a climax
is coming pretty quickly. I update my notecards.

Scene II – Rising Action Thread: Who Burglarized Us

Main Thread: Who Burglarized Us -smash and grab burglars holed up

in Chinatown
Location: Chinatown
-don’t know what to do with nuke
-smash and grab burglars working codes
for Triad
-burglars don’t know what to do -Triad contracted
with nuke codes
-Russians are after the burglars -Russians are after them for nuke
-Russians tailing Bernard and codes
burglars

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 Scene Notes: For this tutorial example, I am keeping things pretty confined to the two original threads. In
another game, I might have already created a thread for both the Triad and the Russians. Neither is the
right way, but if I did create a thread for the Triad, I would be asserting that I want the Triad to become a
stronger story element. Right now they are not an active player.
By keeping to the original threads I am saying I want to learn more about why the mission files were
targeted and who burglarized us. I still don’t know much about either. I could have decided that I don’t
care anymore about “who burglarized us” and modified the thread to “smash and grab burglars on the run
from Russians”.

Step 5: The showdown happens at an old cemetery park. In my mind I am picturing something small like
the Alexandria National Cemetery with a Chinese angle. Anyway, with the three parties present there will
be some kind of conflict (even if just social), and I still want to know more about the burglars. I promote
the thread “Who Burglarized Us” as the main thread.

I’m initially not sure whether to set the stage of the Scene III – Climax
scene “To Conflict” or “To Endings”. The conflict
Main Thread: Who Burglarized Us
is here, in a sense. Ultimately, it feels like all the
dominos are in place for this vignette so I go with Location: Chinatown Cemetery
“To Endings”.
-Bernard stalking unaware burglar
Everybody is in the cemetery park at the start of the -Russians stalking Bernard and
scene. burglar
-burglar trying to lose Russians
-burglar has food for friends
Step 6: I think a cloud has passed over, or the
weather has changed. I picture it as bright and sunny when Bernard set out on his grand adventure, but
now the mood has changed. Something bad is going to happen. I don’t see a great ending for anybody
here (except perhaps the Russians).

Do the Russians lose sight of Bernard and the burglar? 9. No, and… they are basically in tactical
control. With this box in, I am going to say Bernard has the chance to approach the burglar since the
burglar was watching the Russians anyway.

“Ahem,” Bernard says nonchalantly to the burglar, “seems like we’re in a bit of a pickle.”

“Who’re you,” the burglar is watching the exits to the cemetery park get sealed up by Russians standing
guard.

“I work for the agency, which seems a bit more friendly to your cause at the moment than our friends.”
Bernard is channeling as much of his spy colleagues demeanor as he can. “Who are you, thief?”

“A pickle.”

Does the thief think he can escape the Russians? 6. No, and… he’s ready to bring them down with him.

He pulls out a pistol, and starts using the old grave stones as cover.

Bernard backs up. The day away from his desk has just gone horribly awry. His senses go hyperalert, and
the musk of the graveyard is combined with the Chinese carry-out. The air around them is silent, waiting
for the gathering storm.

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 Does Bernard get out during a commotion? 93. Yes, and… he gets away completely.

As if in unison the Russians start moving towards the burglar. Bernard sees the movement, and trips over
a gravestone. As he hits the ground, he hears silenced bullets start whizzing around the graveyard.

Bernard scampers along the ground, and runs through a heavy brush wall back to the street. The bullets
sound syncopated to the raindrops that are just beginning to fall.

Bernard gets back to the office unsure of whether to tell anybody what happened. He never got lunch.

I end the scene. I make a new thread “Race Against the Russians” because that sounds like where the
story is going. I modify the notecard of the thread “Who Burglarized Us” to note that one burglar is MIA.

Final Notes: The

dice, especially in
the last scene,
really seemed
erratic, which is
great! I set out with
Bernard likely
doing an
information type
vignette, and it
turned completely
action-oriented. I
am a little
disappointed that,
for this example,
the initial threads
did not get
modified or
resolved as much
as I wanted.
However, that’s
partly what solo
roleplaying is all
about: having your
best intentions go
awry. So, in my
mind, this vignette
was a success for
me. I really
enjoyed the story
that occurred.

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