TEXT: ISSN 1994-1250 
  J I D 
  Journal of Interactive Drama 
   
  A Multi-Discipline Peer-Reviewed Journal of 
  Scenario-Based Theatre-Style Interactive Drama 
  Freeform Live Action Roleplaying Games 
   
   
   
   
   
   
   
   
  Volume Two, Issue One 
  January 2007 
   
  Interactive Drama Archive 
   
  
   
   
   
   
   
   
   
   
   
   
   
   
  J I D 
   
  Journal of Interactive Drama 
  http://www.interactivedramas.info/journal.htm 
   
  A Multi-Discipline Peer-Reviewed Journal of 
  Scenario-Based Theatre-Style Interactive Drama 
  Freeform Live Action Roleplaying Games 
   
  Volume Two, Issue One 
  January 2007 
   
  Interactive Drama Archive 
  http://www.interactivedramas.info 
  ISSN 1994-1250 
  
   
   
  Journal of Interactive Drama 
  A Multi-Discipline Peer-Reviewed Journal of 
  Scenario-Based Theatre-Style Interactive Drama 
   
  Volume 2.1, January 2007 
   
  Contents 
   
  The Psychological Power of the Roleplaying Experience 
  Sarah Lynne Bowman 
  University of Texas at Dallas, United States 
   
   
  1 
  Tranceplay: Experimental Approaches to Interactive 
  Drama employing Experiential Trance 
  Brian David Phillips 
  National Chengchi University, Taiwan 
   
   
  15 
  Crossing the Threshold: Tensions of Participation in 
  Community-Based Playback Theatre Performance 
  Rea Dennis 
  University of Glamorgan, United Kingdom 
   
  56 
  Tempus Frangit 
  An Interactive Drama Scenario 
  Mike Young 
  Interactivities Ink, United States 
   
   
  71 
  Call for Papers and Notes for Contributors 
  Journal of Interactive Drama 
   
  157 
   
  
   
   
  
  J I D 
  Journal of Interactive Drama 
   
  A Multi-Discipline Peer-Reviewed Journal of 
  Scenario-Based Theatre-Style Interactive Drama 
  Freeform Live Action Roleplaying Games 
   
   
  Editor 
  Scott Beattie, PhD 
  Staff and Curriculum Development, Victoria University, Melbourne, Australia 
  Associate Editor 
  Brian David Phillips, PhD, CH  
  Associate Professor, National Chengchi University, Taipei, Taiwan  
  Editorial Board 
  Michael C. Cheng, MA  
  Lecturer, National Chengchi University, Taipei, Taiwan  
  Jonathan Elcock, PhD  
  Field Chair of Psychology, University of Gloucestershire, United Kingdom  
  Steve Meaney, PhD  
  Karolinska Institutet, Sweden  
  Alan Schwartz, PhD  
  Associate Professor, University of Illinois at Chicago, United States  
  Kreg Segall, PhD  
  Lecturer, Suffolk County Community College, United States  
  Allen Stroud, MA  
  Senior Lecturer in Creative Writing and Video Production, Buckinghamshire Chilterns 
  University College, England  
   
   
  Editorial Policy 
   
  The Journal of Interactive Drama is an international journal dedicated to the publication 
  of critical discussion and scenarios related to Scenario-Based Theatre-Style Interactive 
  Drama Freeform Live Action Roleplaying Games and welcomes contributions in all 
  areas of the study, design, and creation of stand-alone scenario-based LARPS as well as 
  Scenario-Based Learning related to interactive dramas of this type. Review articles of 
  books related to interactive drama and informal book announcements are also welcome. 
  Critical pieces on scenarios or convention events are welcome. Stand-alone scenarios are 
  encouraged for submission with designer notes and running commentary. Submissions 
  
  are peer-reviewed. Contributions may be submitted from all countries and are accepted 
  all year round. The language of publication is English. There are no restrictions on 
  regular submission; however, manuscripts simultaneously submitted to other publications 
  cannot be accepted without express notice and permissions for simultaneous publication. 
  Submissions by regular mail and electronic mail are both accepted.  
   
   
  Distribution and Community 
   
  The Journal of Interactive Drama is published online at 
  http://www.interactivedramas.info/journal.htm and in press format using pdf distribution 
  media. The journal is normally published regularly as an ongoing concern with 
  submissions considered as they are received. You may find the current issue and past 
  issues archived at http://www.interactivedramas.info/journal.htm on the world wide web. 
  The journal is associated with the scenario archive at http://www.interactivedramas.info. 
  The online discussion forum associated with the journal and the scenario 
  archive/workshop is at http://groups.yahoo.com/group/InteractiveDramatist. This forum 
  includes online workshop for interactive dramatists to post draft versions of scenarios for 
  community comments as well as for them to share their material with other directors to 
  run in different venues. 
   
   
  
   
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
  Vol. 2.1, January, 2007 
  1 
   
   
   
   
   
   
   
   
   
   
   
   
   
  THE PSYCHOLOGICAL POWER 
  OF THE 
  ROLEPLAYING EXPERIENCE 
   
  Sarah Lynne Bowman 
  PhD Candidate, Arts and Humanities 
  University of Texas at Dallas 
   
   
  ABSTRACT 
  Many mainstream critics dismiss the practice of participation in roleplaying 
  games as “mere escapism” from the pressures of reality. Though players often 
  find the RPG experience enjoyable, the process of assuming an alternate identity 
  in a world parallel to the mundane can produce powerful psychological effects. 
  RPGs are used widely in various applications, including theater, therapy, 
  education, military training, and leisure and possess the capability to transform 
  human interactions and enhance valuable skill sets. Engagement in roleplaying 
  creates the potential for self-exploration in the form of identity alteration, 
  problem-solving in the form of scenario building, and establishment of 
  communitas as a modern-day ritual practice. 
   
   
  Many mainstream critics dismiss the practice of participation in 
  roleplaying games as “mere escapism” from the pressures of reality. 
  “Gamers” who play specifically for enjoyment purposes have 
  traditionally been labelled as outcasts who have difficulties socially 
  integrating without the crutch of character embodiment. William Shatner, 
  made famous through his role in the original Star Trek series, implored 
  his overzealous fans to “Get a life!” on an episode of Saturday Night 
  Live, criticizing their hyper-involvement with the alternate worlds of the 
  show and their propensity to dress like characters on the Enterprise at 
  conventions. Even the documentary Uber Goober pokes fun at the 
  
   
   
   
   
   
   
   
   
   
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  subculture it attempts to sympathetically rehabilitate, as the very title 
  suggests. 
   This lack of mainstream comprehension results partially from the 
  often overwhelming and exclusionary process of learning roleplaying 
  systems. Indeed, many gamers feel they hold membership to a secret 
  society, with special language, codes, and ritual practices unique to the 
  practice of roleplaying. Gamers may relay information between 
  themselves about real-life interpersonal and tactical situations through 
  the semantics of gaming or through the metaphors of imaginary 
  characters. In this way, gaming functions as a shared personal mythology, 
  in the words of my good friend and Storyteller, Walter Gammel. 
  Roleplaying allows participants to inhabit a space somewhere between 
  subjectivity and objectivity, experience and examination, resulting in a 
  form of double consciousness. 
   This paper will explore the deeper psychological power of 
  roleplaying, a departure from the usual explanations of escapism or 
  entertainment. While gaming can indeed be a fun diversion from the 
  pressures of the mundane world, I submit what many gamers, 
  psychologists, educators, and drama therapists already know, that 
  roleplaying also accesses the potent reaches of the unconscious and 
  allows a creative relationship between fantasy and reality, between the 
  self and the alterego, and between the individual and the group. The 
  practice of roleplaying can educate, transform, and illuminate. It can 
  provide valuable training for real-world social and tactical scenarios. 
  Perhaps most importantly, the liminal space of the roleplaying game can 
  enhance social cohesion through shared activity and experience, building 
  potent bonds through the creation of communitas. 
  MANIFESTATIONS 
  THEATER 
  Roleplaying manifests in many forms in Western culture. The most 
  common form may arguably be improvisational acting in traditional 
  theatrical performance. Drama instructors across the world encourage 
  
   
   
   
   
   
   
   
   
   
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  their students to “think outside the script,” to move beyond the creative 
  control of the author or director and access their own wells of creativity. 
  Improv acting is often freeform, requiring only the barest suggestion of a 
  framework; in this way, improvisation evolves in an organic way from 
  the combination of the quick wittedness of individual players and the 
  interpersonal dynamic of the other performers and the audience. In an 
  important sense, though, all acting can certainly be considered a form of 
  roleplay; the mere adoption of a persona, setting, and scenario outside 
  the realm of the mundane involves the temporary suspension of the ego 
  and a certain investment in the world of the play. 
  Furthermore, as Erving Goffman asserts, social interaction itself 
  even in a mundane context is a form of performance, requiring the 
  suppression of authentic expression in order to control public perception 
  and suit societal expectations. The act of dressing for work, family 
  engagements, or leisure activities involves donning a costume, working 
  to enhance the illusory social role the individual seeks to inhabit. 
  Performers behave differently depending on expectation; the actions, 
  gestures, tone of voice, and costume of a wife may be different from that 
  of a mother, a teacher, a daughter, or any number of other roles we must 
  assume in daily life. These external manifestations of identity both 
  reflect and inform the internal self, which remains conflicted and 
  contradictory in its unconscious state. 
  DRAMA THERAPY/EDUCATION 
  Some directors take the improv process further and utilize 
  roleplaying as a form of drama therapy, as do some psychologists and 
  educators in an effort to help people develop interpersonal skills. 
  Psychotherapist Raymond Corsini advocates the use of role-playing in 
  clinical practice in order “to better understand the patient, to instruct him, 
  or to give him new experiences in behaving” (Corsini 146). Corisini 
  emphasizes that the procedure “is a natural method of interaction used by 
  all children in their play,” but that it can be equally effective if utilized in 
  adult therapy. Furthermore, psychologist John Ratey described how 
  roleplaying scenarios in schools can: 
   
  
   
   
   
   
   
   
   
   
   
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  Help children learn how to be friends, how to recognize and talk 
  about different feelings, how to handle anger or pain, and how to 
  express what they like and dislike. Teachers will act out situations 
  – such as one child picking on another in the playground – and ask 
  the children how each part of the episode made them feel and how 
  they think the teachers could have acted differently. In another 
  exercise, they ask the children to act out an incident, such as 
  meeting a new child on the bus. By making believe that they are 
  actually saying hello and trying to become friends, the children are 
  actually practicing the techniques they will use on the real bus later 
  in the day. This learning is invaluable to good development of the 
  social brain. (Ratey 299) 
   
  I recently took part in a multimedia, interactive performance entitled 
  There is Never a Reference Point, directed by Thomas Riccio. The script 
  evolved from the journal writings of Jamie Dakis, a woman with 
  multiple personalities (also know as Dissociative Identity Disorder). The 
  performers each embodied one of ten “alters,” and the audience was 
  forced to occupy the stage as the cacophonous voices and bodies of the 
  personalities surrounded them, approximating the experience of being in 
  Dakis’ own mind. Dakis herself participated in each performance. 
  Instead of feeling overwhelmed and alienated by her own internal 
  struggle, she participated in the externalization of her personal reality. 
  The actors, crew, and audience not only served the role of bearing 
  witness and providing sympathy for her, but in an important sense, her 
  private world became symbiotically shared by the larger unit of the 
  group. 
   
  Individuals with DID often describe their mental state as a war 
  between opposing factions, all vying for control of the body, and 
  the ultimate goal for those who endeavor to face this conflict 
  head on is the dream of integration, where each of the alters can 
  coexist peacefully. Through regular therapy sessions and the 
  interactive process of the play, Dakis felt far closer to 
  integration; each alter was allowed the respect of equal 
  representation. The most fascinating part of each performance 
  for me was the ten minute interlude in the middle of the 
  
   
   
   
   
   
   
   
   
   
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  hour-long play in which the alters were allowed “free reign” of 
  the stage, utilizing live action roleplaying to enact spontaneous 
  scenarios with each other and with audience members. Alters 
  who normally conflict with each other in Jamie’s consciousness 
  would be allowed to interact through the bodies and minds of the 
  actors, each bringing his or her own personal interpretation and 
  energy 
  to 
  the 
  encounter, 
  visually 
  forging 
  bonds. 
  Out-of-character, each of us interacted with Jamie in our own 
  way, providing support through the sometimes painful and 
  difficult process of facing and exposing her (and our own) 
  demons.  I will discuss ego alteration and DID more 
  extensively in the section on identity formation. 
  MILITARY 
  The military utilizes roleplaying – particularly scenario simulations – 
  in order to train soldiers and prepare for potentialities. These games tend 
  to focus less on the assumption of alternate identities and more on 
  building tactical skills. According to Marc Prensky, the U.S. military is 
  the biggest spender in the world on training simulation games and 
  holding conferences for conversation between armed forces trainers and 
  game developers, film studios, theme park executives, and universities 
  (Dovey and Kennedy 12). Prensky elaborates: 
   
  The military uses games to train soldiers, sailors, pilots, and tank 
  drivers to master their expensive and sensitive equipment…it uses 
  games to teach senior officers the art of strategy. It uses games for 
  team work and team training of squads, fire teams, crews, and 
  other units; games for simulating responses to weapons of mass 
  destruction, terrorist incidents, and threats; games for mastering 
  the complex process of military logistics  and even games for 
  teaching how not to fight when helping maintain peace. (quoted in 
  Dovey and Kennedy 12) 
   
  The University of Texas at Dallas recently held a conference on 
  “Virtual Worlds, Simulation, and Game Technologies,” presenting a joint 
  
   
   
   
   
   
   
   
   
   
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  project between the university’s Art and Technology program and the 
  U.S. Army. The Far Future Conflict Game is a MMOG (Multi-User 
  Online Game) designed to allow millions of players the ability to play 
  out potential scenarios with world wide consequences, the results of 
  which will be tracked by the government for research purposes. Each 
  character will have a certain set of skills, as he or she would in a normal 
  MMORPG, somewhat akin to a “real world” World of Warcraft. General 
  Thomas Metz also lectured at the conference, urging the academic and 
  artistic community to help develop games for military training intended 
  to help soldiers understand and adjust to certain culturally specific 
  scenarios, such as interactions with devout Muslims in the Middle East. 
  Metz expressed a strong need for roleplaying games that would teach 
  proper etiquette and help the U.S. achieve their goals effectively and 
  diplomatically. In this way, roleplaying games can potentially have a 
  profound impact on global relations others; a successful training game 
  may mean the difference between life and death for thousands of 
  individuals. A more narrative-based, character driven roleplaying 
  scenario may prove useful in this goal. 
  RPGs 
  Though improv acting may prove the most common form of 
  roleplaying due to its institutional integration in theater classrooms, 
  surely the most popular forms are commercially-produced RPGs. 
  Multiplayer roleplaying rose to amazing popularity after the publication 
  of Dungeons and Dragons in 1973, paving the way for other popular 
  RPGs (Roleplaying Games) such as GURPS, Shadowrun, and Vampire: 
  the Masquerade. RPGs were initially played “tabletop”; that is to say, 
  players gather around a table or on the floor. In tabletop, each player 
  creates his or her own character, invented based on the rules outlined in 
  the books. This character is logged on a single page character sheet, 
  which details all the physical, mental, social, and supernatural skills the 
  character possesses. One player acts as the Storyteller (or Dungeon 
  Master/Game Master), guiding the characters through the universe and 
  setting up storylines for the players to follow. Though the Storyteller 
  controls the world of the game, the players have quite a bit of influence 
  
   
   
   
   
   
   
   
   
   
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  over the events of the “scene” based on how they verbally relay their 
  character and his or her actions. The success of one’s actions is a result 
  of the combination of the strengths of their character’s skills added with 
  an element of luck: the rolling of several-sided dice. RPGs also can be 
  played online with people all over the country on MOOs, MUDs, 
  MUSHs, and MMORPGs (the most popular currently being World of 
  Warcraft) and in person donning full dress, a practice called LARPing 
  (Live Action Role Playing). 
  If the world is itself an elaborate game, and each of us struggle 
  throughout our lives to learn the rules and find ways to succeed, 
  roleplaying can be viewed as a microcosm of that process. By allowing 
  individuals the freedom to embody whichever characters they desire and 
  placing them in bizarre, often drastic situations, roleplaying becomes a 
  form of interpersonal problem-solving. 
  PSYCHOLOGICAL PROCESSES 
  The three primary psychosocial results of the roleplaying process are 
  identity alteration, scenario building, and the establishment of 
  communitas. While most recreational roleplayers claim they game solely 
  “for fun,” the deeper psyche responds to the process in remarkable ways. 
  IDENTITY ALTERATION 
  In identity alteration, the individual sets aside the “main” ego and 
  adopts another. This new identity generally possesses qualities the 
  original lacks or feels uncomfortable expressing in daily life, such as 
  mastery of a particular skill or talent, exceptional charisma, remarkable 
  beauty, a strong, capable physique, etc. The alterego alternately may fail 
  to display characteristics the actual character possesses. The alternate 
  identity allows the player to explore possibilities otherwise unavailable 
  to him/her in the mundane world, such as possessing the ability to wield 
  magic or master weapons or the influence to exert control over 
  large-scale events. 
  The alterego developed over the course of a RPG may also reflect 
  
   
   
   
   
   
   
   
   
   
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  repressed or desirable character attributes previously unexplored by the 
  player. Some gamers enjoy playing villains or thieves, finding pleasure 
  in the ability to break rules and trick people. Others enjoy playing 
  powerful heroes or influential aristocrats who wield immense power over 
  others. These personality aspects articulate themselves through 
  archetypes that players channel and adapt to their particular purposes. 
  According to Carl Jung, our minds contain a certain set of archetypal 
  symbols embedded within our psyches from the inception of 
  consciousness in the evolutionary process and that these symbolic 
  systems possess fundamental, transcendental meanings. This collection 
  of symbols arises from what he terms the collective consciousness. When 
  individuals roleplay, they draw from this unconscious well of symbols in 
  order to project a new, idealized self-image. This character may prove 
  fundamentally flawed or imbalanced, but gamers will rarely choose to 
  embody someone less remarkable than themselves. 
  The adoption of the alternate identity allows the player to fulfill 
  several emotional needs. Characters who master a particular skill transfer 
  the feeling of expertise to the player, regardless of that person’s “real 
  life” skill set. A warrior vanquishing a dragon confers upon the player 
  the elation of an earned victory, even if that success was won by rolling 
  dice or playing rock-paper-scissors. A socialite who wins the esteem of a 
  high-ranking member of the alternate world experiences the triumph of 
  increased social status. Gamers enjoy a strange symbiotic relationship 
  with their characters, as they experience the game world both 
  subjectively and objectively; in some sense, what occurs in-game 
  transpires for the players as well, however detached they might try to 
  remain. 
  Some gamers use the relatively safe world of roleplaying for 
  personal investigation, allowing their alternate identities to truly take on 
  a life of their own. These players may spend hours out-of-character 
  pondering the psychological and spiritual development of their alteregos 
  and discussing their findings with others. These players heavily invest 
  themselves in their character’s timelines, often creating elaborate 
  back-stories or artistic images to accompany the experience of the actual 
  game. The alternate identity becomes a conduit for untapped secrets of 
  the player’s psyche and some players remain hyperaware of this process 
  and proactive in their own self-analysis. 
  
   
   
   
   
   
   
   
   
   
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  The study of DID (Dissociative Identity Disorder) might help 
  illuminate the underlying motivation for producing alternate identities. 
  Children often adopt new personas in play as a pleasurable exercise, but 
  why? The impulse to conform in day-to-day life is considered a psychic 
  imposition to the child, who wishes to break free from the constraints of 
  the imposed reality, often to relieve tension and anxiety. Children who 
  experience intense traumatic moments at a young age will dissociate, or 
  discover a way to mentally disconnect from themselves, their 
  environment, and the people around them. Those who experience trauma 
  on a regular basis will often create a new space in their minds to inhabit, 
  and over time, that space will start to develop its own personality 
  characteristics. The “alter” will take control of the body and bear the 
  brunt of the traumatic situation, quarantining the painful memories so the 
  main consciousness need not experience them. 
  Often, the alter possesses characteristics the main identity envies. 
  For instance, Jamie is not Ms. Dakis’ original name and the alter “Jamie” 
  only developed in adulthood, named after a particularly strong and 
  beautiful dancer Dakis admired. The “Jamie” identity was capable of 
  harnessing the strength to mediate between the others in her mind and 
  thus took the role of Integrator. Alters have their “own name, memories, 
  style of dress, speech pattern, handwriting, even physical ailments like 
  headaches and allergies” (Steinberg and Schnall 108). Some alters will 
  possess skills the main identity has no memory of learning, like the 
  ability to speak a different language (111). 
  What can DID tell us about role-playing? As Goffman suggests, we 
  perform different roles every day in everyday life. Maxine Steinberg, an 
  expert on DID, insists: 
   
  Whether or not we switch roles easily between our “work” 
  personality and our “private” personality, most of us experience 
  this mild form of identity alteration in the course of ordinary life. 
  These transitions are usually made consciously and perceived as 
  being under our control and are not normally associated with 
  amnesia and dysfunction. (105) 
   
  Thus, not only is switching between social roles necessary for 
  day-to-day life, but perhaps fundamental to our psyches. As we mature, 
  
   
   
   
   
   
   
   
   
   
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  we perfect the social games, though on some level, our identity remains 
  fragmented, as evidenced by the unconscious land of dreams and 
  creative work. 
   Roleplaying is a form of self-conscious ego alteration in which the 
  performers no longer change identities subtly, as they must do in the 
  mundane world. Gamers become hyperaware of their own personality 
  manifestations, adopting alternate vocal patterns, attitudes, and histories 
  for their characters. Roleplayers experience something akin to a “double 
  consciousness”; in-game decisions are made by the character, but the 
  player is cognizant during the whole process and realizes the 
  discrepancies and similarities between the behavior of the two selves. 
  Immersion into character becomes even more intense when players 
  physically “act out” their characters actions and don costuming in Live 
  Action roleplaying games and at conventions. 
  SCENARIO BUILDING 
  Roleplayers often cite “problem solving” as their primary motivation 
  for gaming. Not only does the game world allow them to embody 
  someone they could never be in “real life” and possess attributes, 
  abilities, and status they would normally be denied, but roleplaying 
  campaigns force the players to find solutions to extraordinary challenges. 
  Problems in the social sphere are often best handled through effective 
  ego alteration: adopting the personality traits necessary for success. 
  However, many challenges in role-playing occur in the realm of tactics. 
  The Storyteller informs the players of the circumstances, such as setting, 
  limitations, potential threats; the gamers must find ways around these 
  problems using the limited skills and talents allotted by the system. 
   During in-game situations like combat, the play becomes 
  “turn-based.” Players must decide swiftly how they will attempt to 
  eliminate the threat. Choices made in these crisis situations may affect 
  the timeline of the entire game and the individual players. In a sense, 
  gaming allows players to act out potentially dangerous scenarios in a 
  safe setting, presenting them with the opportunity to positively influence 
  the situation. Many dismiss these narratives as “escapist” due to their 
  
   
   
   
   
   
   
   
   
   
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  speculative content and yet speculation itself offers fascinating 
  possibilities for modeling real-world solutions. 
  Business modellers and military tacticians often prepare for future 
  trends or complications by a process known as scenario building, “which 
  seeks to give dramatic life to strategic plans by extending previous 
  observations into predictions about the future” according to Richard 
  Buchanan (Buchanan). He insists that scenario building is an ancient 
  process, theorized by Greek and Roman philosophers by delineating 
  possibilities through three distinct iterations: 
   
  First, we talk about what has happened, using the literary form of 
  history to describe and explain actual events. Second, we talk 
  about what could have happened, using the literary form of drama 
  to portray conflict, express character, and demonstrate the 
  probabilities and necessities that shape human action. Third, we 
  talk about what could never happen, using the literary form of 
  fantasy to probe ideas and ideals as well as loves, desires, fears, 
  hatreds, and perversions in impossible settings that nonetheless 
  give insight into human reality. (Buchanan) 
   
   
  Humans use storytelling as a means to understand the past and 
  present and prepare for the future. Roleplaying takes this process a step 
  further, allowing individuals to interactively engage with the narrative in 
  a process of continuous co-creation. This creative output becomes useful 
  not just in the game world, but also in the “real world,” as Jerzy 
  Kociatkiewicz suggests: 
   
  . . . we have no direct access to any objective reality "out there," 
  and our ideas about it are determined and mediated by our 
  language, communication, and contacts with other players in the 
  grand game of reality. RPGs therefore come out as simply being 
  much more explicit in their presentation of participants 
  co-operating in creation than is the case in the "usual" 
  constructions of reality… the ideas taking shape in the common 
  imagination of the session participants need not be dismissed as 
  distant and disconnected from our everyday experiences. 
  (Kociatkiewicz, my emphasis). 
  
   
   
   
   
   
   
   
   
   
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  COMMUNITAS 
  If we consider roleplaying as a form of continuous co-creation, than 
  the process can be viewed as ritual in nature. The first anthropologist to 
  truly acknowledge the significance of ritual behavior was Arnold Van 
  Gennep, who published The Rites of Passage in 1909.  Van Gennep 
  delineated a stage theory in an attempt to describe the psychological 
  effects of enacting ritual. He describes these three major phases in the 
  following way:  the pre-liminal phase, in which the individual or group 
  symbolically separates from the previous world, the liminal (or threshold) 
  rites, in which the individual or group encounters a powerful transition, 
  and the post-liminal, in which the individual or group enacts certain 
  ceremonies of incorporation and reintegration (Van Gennep 21). This 
  theory provided future researchers such a Victor Turner with a model for 
  understanding all ritual activities, regardless of the particular cultural 
  significance individuals might place on specific symbols or 
  performances. For Van Gennep, ritual functions as a means to transform 
  the individual and – by extension – the group from one stage of social 
  life to another. This process emphasizes a certain shedding of previous 
  skin in preparation, entering a threshold into a new world, and 
  returning/reintegrating with newly-gained knowledge through the 
  experience. 
   For Victor Turner, the crossing of the threshold inherent in the first 
  stage is not just metaphoric; the group itself creates a liminal space in 
  which the individual loses all sense of previous ties to the self and the 
  social structure. Whatever place in the hierarchy the individual might 
  previously have occupied is temporarily negated through a series of 
  ordeals and symbolic representations, and the entire group not only bears 
  witness to this transformation, but takes part in a form of it themselves. 
  Thus, ritual as Turner understands it represents not only a sense of 
  personal psychological passage, but the building of community inherent 
  in the enactment of the ritual itself, also known as communitas. 
   Roleplaying, like many other social performances, takes on a ritual 
  character. The donning of costuming, applying of makeup, and travel to 
  the gaming space all enhance the process of separation from the 
  
   
   
   
   
   
   
   
   
   
  The Psychological Power of 
  the Roleplaying Experience 
   
   
   
   
   
   
   
   
   
   
  13 
  mundane and entrance into the liminal space.1 In-game, a player whose 
  real-life occupation may be a janitor can become King or Storyteller; 
  status hierarchies are reformulated based on seniority, game knowledge, 
  force of will, and actions in-character. At the end of the ritual, the 
  original social roles resume, but the group has established a newfound 
  experiential understanding of each other and themselves, of the game 
  world and of the real. Lessons are learned, bonds are broken and 
  reformed, and life is breathed into new creations. 
  CONCLUSION 
  This paper has provided a general overview of the scope of 
  roleplaying environments in varying contexts, focusing specifically on 
  commercially-produced RPGs intended for “leisure.” Though gaming can 
  indeed be enjoyable, this ritual practice possesses the potential for 
  far-reaching psychological effects and remains a powerful vehicle for 
  expression. Individuals can explore deeper aspects of their own psyches 
  through ego alteration, build scenarios for potential future crises through 
  problem-solving, and establish a sense of communal cohesion through the 
  liminal space of the game-world. Exposure to roleplaying games at any 
  age can encourage collaborative creativity and enhance the experience of 
  “real life” in its many facets. 
  WORKS CITED 
  Buchanan, Richard. “Children of the Moving Present: The Ecology of Culture and the 
  Search for Causes in Design,” Design Issues. 17.1 (Winter2001): 67-83. 
  Corsini, Raymond. Roleplaying in Psychotherapy: A Manual. Chicago, IL: Aldine 
  Publishing Co., 1966. 
  Dovey, Jon and Helen W. Kennedy. Game Cultures: Computer Games as New Media. 
  Maidenhead, Berkshire, UK: Open University Press, 2006. 
  “Episode 12.8.” Saturday Night Live. NBC, New York. 20 Dec. 1986. 
  Goffman, Erving. The Presentation of Self in Everyday Life. New York: Anchor Books, 
  1959. 
                                                   
  1 Online games may not require the physical application of costuming, but the entrance 
  into virtual reality certainly constitutes a liminal space. 
  
   
   
   
   
   
   
   
   
   
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  14 
  Jung, Carl G., et al. Man and His Symbols. Ed. Carl G. Jung and M.-L. von Franz.  
  London, UK: Dell Publishing, 1964. 
  Kociatkiewicz, Jerzy. “Dreams of Times, Times of Dreams: Stories of Creation in 
  Roleplaying Game Sessions,” Studies in Cultures, Organizations & Societies 6.1 
  (Mar2000): 71-79. 
  Ratey, John J. [2001]. A User’s Guide to the Brain: Perception, Attention, and the Four 
  Theaters of the Brain. New York: Vintage Books, 2002. 
  Metz, Thomas. Virtual Worlds, Simulation, And Game Technologies. The Institute for 
  Innovation and Entrepreneurship at UTD Quarterly Research and New Venture 
  Showcase, University of Texas at Dallas, Richardson, TX. 19 Jan. 2007. 
  Schnall, Maxine and Marlene Steinberg. The Stranger in the Mirror. New York: 
  HaperCollins, 2001. 
  There is Never a Reference Point. By Jamie Dakis. Dir. Thomas Riccio. University of 
  Texas at Dallas, Richardson, TX. 16-19 Feb. 2006. Southside on Lamar Underground 
  Theater, Dallas, TX. 24-26 Feb. and 3-5 Mar. 2006. 
  Turner, Victor [1969]. The Ritual Process: Structure and Anti-Structure. New York: 
  Aldine De Gruyter, 1995. 
  Van Gennep, Arnold [1909]. The Rites of Passage. Trans. Monika Vizedom and Gabrielle 
  Caffee. Chicago, IL: University of Chicago Press, 1960. 
  Uber Goober. Dir. Steve Metze. Scum Crew Pictures, 2004. 
  CORRESPONDENCE 
  Sarah Lynne Bowman is a PhD candidate in Arts and Humanities at the University of 
  Texas at Dallas. She holds a BS and an MA in Radio-TV-Film from the University of 
  Texas at Austin. Her dissertation focuses on an ethnographic exploration of role-playing 
  games and their psychological benefits and ramifications. Her interests include gender 
  and sexuality, critical theory, psychoanalysis, evolutionary psychology, comparative 
  religion, popular culture, and reception studies. 
  E-mail address: singingyoutoshipwreck@hotmail.com 
   
   
   
  
   
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
  Vol. 2.1, January, 2007 
  15 
   
   
   
   
   
   
   
   
   
   
   
   
   
  TRANCEPLAY 
  Experimental Approaches to 
  Interactive Drama employing 
  Experiential Trance 
   
  Brian David Phillips 
  National Chengchi University 
   
   
  ABSTRACT 
  As more multi-disciplinary cross-over occurs in using interactive drama in new 
  contexts and as more work is being done in enhancing roleplay experience, rather, 
  the experience of roleplay, using multi-media and multi-modal methods, 
  equipment, and technique, the crossover into the actual experience of the scenario 
  as if it were more realistic, not only at the level of gameplay, but at the level of 
  experience becomes a new and interesting area of research.  While it is unlikely 
  we will see fully realized holodecks anytime soon, it is an interesting affective 
  experience to utilize experiential trance and hyperempiric techniques to simulate 
  and stimulate such experiences.  The suspension of disbelief can be augmented 
  within appropriate contexts so that the scenario is experienced as if it were real, 
  appropriately real, following certain procedures to ensure a safe and pleasant 
  roleplaying experience.. 
  1. INTRODUCTION 
  Tranceplay is the combination of recreational guided storytelling, 
  such as interactive drama roleplay, with experiential trance techniques 
  to create an affective context wherein the participant feels as if the 
  roleplayed experience is real, at the cognitive and feeling level.  As 
  
   
   
   
   
   
   
   
   
   
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  interactive drama scenarios become more complex and as they 
  compete with the growing sophistication of computer and table top 
  based roleplaying games, this sort of experimental experiential trance 
  based roleplay becomes more interesting.  It is certainly not 
  common nor is it particularly mainstream, but the experimental 
  approaches to interactive drama are quite interesting in that they do 
  reflect a growing aspect of the interactive drama experience. 
  Experimental approaches to making the interactive drama play 
  experience more realistic at an affective level are not new, the 
  Australian Short Sharp Scenario (SSS) freeforms of the 1980s 
  certainly do reflect this experimental model (albeit at a more 
  affectively limited level). 
  As more multi-disciplinary cross-over occurs in using interactive 
  drama in new contexts and as more work is being done in enhancing 
  roleplay experience, rather, the experience of roleplay, using 
  multi-media and multi-modal methods, equipment, and technique, the 
  crossover into the actual experience of the scenario as if it were more 
  realistic, not only at the level of gameplay, but at the level of 
  experience becomes a new and interesting area of research. 
  While it is unlikely we will see fully realized holodecks anytime 
  soon, it is an interesting affective experience to utilize experiential 
  trance and hyperempiric techniques to simulate and stimulate such 
  experiences.  The suspension of disbelief can be augmented within 
  appropriate contexts so that the scenario is experienced as if it were 
  real, appropriately real, following certain procedures to ensure a safe 
  and pleasant roleplaying experience. 
  This paper has been a response to a number of queries about my 
  work with experiential trance for recreational roleplay and has been 
  compiled by request.  It is predominately a discussion based upon 
  my own work employing experiential focused trance (hypnotic and 
  otherwise) toward enhancing the affective experience of guided 
  experiences in recreational, therapeutic, entertainment, and 
  introspective meditative contexts.  The paper is a discussion of 
  multi-disciplinary approaches to experiential trance while touching 
  upon particular use in the context of interactive drama. 
  Much of this paper is based upon a series of essays I have written 
  for the trance, hypnosis, and neurolinguistic programming 
  
   
   
   
   
   
   
   
   
   
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  practitioner community on my work with experiential trance as I have 
  developed and taught these techniques for a number of years within a 
  variety of contexts.  A number of these essays originally appeared in 
  post form in the Life of Brian blog archived online at 
  http://briandavidphillips.typepad.com/brian blog in the Experiential 
  Trance category.  Much of the informal language and structure of the 
  original discussion is preserved here.  For this presentation, these 
  essays have been topically arranged here rather than chronologically.  
  The bibliography provides further references for those wishing to 
  explore the subject further. 
  Note that some specific sources are mentioned but not fully cited 
  in the text but are rather referenced in category collections in the 
  bibliography.  This citation format is used to preserve flow within 
  the paper as well as original textual form. 
  2. TRANCEPLAY 
  One of the best metaphors for the tranceplay experience is as an 
  imaginative holodeck such as the recreational computer simulations 
  found in the Star Trek television programs in which the characters enter 
  into a game world in which everything feels as if it is real – physically 
  and affectively.  With tranceplay, the experience of the holodeck is 
  simulated using experiential focused trance or experiential hypnosis in 
  which the mind perceives the story and events to be real and even 
  experiences them at fully-realized sensory levels of taste, touch, hearing, 
  sight, as well as emotionally and more but the experience is simulated 
  and created mentally.  Another literary similarity might be the 
  recreational experiences of the characters in the film Total Recall or even 
  the memory replacement and adjustments found in the film Eternal 
  Sunshine of the Spotless Mind (albeit, less nefariously so).  Of course, 
  our goals when incorporating experiential trance with the interactive 
  drama or other recreational guided story experience is to do so safely and 
  within limits to enhance the experience of the roleplay or story but to do 
  so without any interference or dangers (safeguards are easily put into 
  place as the mistakes and problems of the film world are more cinematic 
  than realistic – particularly when we take into account Hull’s “hidden 
  observer” phenomenon as well as the recreational context of the 
  
   
   
   
   
   
   
   
   
   
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  experience, more akin to that of the stage hypnotist’s entertainment than 
  the therapist’s couch, a context that allows the mind to adapt very 
  healthily to the experience. 
  2.1 TRANCEPLAY: HYPNOTIC HOLONOVELS AND 
  GAMES AND ART (TRANCE-BASED VIRTUAL 
  REALITY) 
  Discussing a response to his book on using hyperempiria/hypnosis 
  for consensual adult sexual imagery, Dr. Don Gibbons wrote in the 
  Hypnosis Technique Exchange: 
   
  Voila, mes amis. We have all the mastery we need right now to 
  knock the socks off of Hollywood! We can not only guide our 
  participants through an experience of being Harry Potter 
  jousting on his broom, or Indiana Jones in pursuit of hidden 
  treasure, or Juliet on her balcony, or anything else the 
  participant would care to experience, we can also tell them how 
  it will feel, how it will be remembered, and how much they will 
  enjoy (and want to repeat) this kind of experience. And, just as a 
  little child needs to be cautioned, as I was at that age, “It’s only 
  a movie,” so that they don’t become too frightened or otherwise 
  emotionally involved, we can caution our participants in the 
  same way so that the experience does not affect their personality 
  in the same way that a therapeutically-motivated one might. 
   
  Gibbons is the author of a number of books and papers on 
  hyperempiria, to be discussed more fully later in this paper. 
  Take a look at the following discussions related to using hypnosis to 
  intensify experience related to literature, games, and roleplay . . . an 
  hypnotic holosuite a la Star Trek, if you will: 
   
  • 
  http://briandavidphillips.typepad.com/brian/2004/07/vicario
  us_exper.html 
  • 
  http://www.briandavidphillips.com/scrypnosis/rpg.html 
  • 
  http://www.briandavidphillips.com/scrypnosis/reality.html 
  
   
   
   
   
   
   
   
   
   
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  • 
  http://www.geocities.com/dibragerowtcom/realityr.htm 
   
  Do keep in mind that while some of this may not jibe with one’s own 
  ideas about appropriate, the basic concepts are worth consideration. 
  I have used the “vicarious memory machine” technique on a number 
  ot times to increase a subject’s experience of films, photographs, or prose 
  fiction. For those familiar with my MP3s, the DTM Memory Machine 
  piece at http://www.briandavidphillips.com is based in part on this 
  process, albeit my personal experience has been more successful with 
  face-to-face sessions to establish the trigger into the experience 
  (although a few folks have reported good results with the audio 
  recording alone . . . I would be interested in feedback from those who 
  use it). The basic technique is to place a person into somnambulism 
  (high imaginative involvement within a trance-based experience) and to 
  create an affective link to the experience (for instance “the images you 
  are watching are your own memories of an experience, or you are 
  experiencing everything and feel everything the character is feeling” and 
  the like), that link carries visual, auditory and sensory hallucinations 
  including everything from kinesthetic hallucinations of feeling 
  movement or touch and the like to taste and smell . . . full on 
  hypersensory experience. While I do NOT recommend doing this with 
  realistic war movies or the like, it has been done with a number of video 
  games (for someone like me, our television is a home theatre setup with 
  surround sound DTS and dolby and the works with a large projection 
  screen so when you’re playing a PS2 or X-Box game with an hypnotic 
  hyperaffective link to the experience, it can be very very powerful . . . 
  particularly when using First Person Shooter type games . . . ALWAYS 
  have rider suggestions to remind the person THIS IS ONLY A GAME 
  and that if at any time the experience becomes too intense they can 
  dissociate from it easily and quickly . . . I also strongly suggest giving 
  rider suggestions of SAFETY, COMFORT, AND PLEASANT 
  ENJOYMENT of this UNUSUAL AND FASCINATING experience. 
  You really don’t want to repeat David Brager’s initial mistake of telling 
  someone he sees a Balrog with no safety suggestions or you might end 
  up having to look for them under every bush in the neighborhood, not to 
  mention the laundry bill from cleaning their shorts.  Brager first wrote 
  of his experiments with using experiential type hypnosis with 
  
   
   
   
   
   
   
   
   
   
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  roleplaying games with an example of a negative and poorly setup 
  experiment in which he had hypnotized a trance partner to take on the 
  persona of a warrior and then gave the fellow the suggestion that the tree 
  in front of him was now a Balrog.  Rather than an experiential 
  imaginary heroic battle as Brager had expected, the “warrior” turned and 
  fled in a blind panic.  Brager did not even know what a Balrog “was” at 
  the time and he had not installed positive rider experience suggestions or 
  safety controls to allow the trance partner to know he could terminate or 
  tone down the experience at any time he felt uncomfortable or that it was 
  too intense.  While most people will react appropriately to suggestions 
  within a context that is comfortable for them (many studies have backed 
  this up), there are a few who are so gifted with trance states that they 
  allow themselves to uncritically accept suggestions they might normally 
  prefer not to – in that they take on the suggestions before filtering them 
  for comfort.  So, it is important to phrase things and contextualize them 
  appropriate to the context.  By creating playful rider suggestions and 
  the like, then negative abreactions or responses are less likely to occur.  
  Of course, making sure the person guiding the experience is both an 
  engaging storyteller and director as well as a competent hypnotist is also 
  important. 
  ALWAYS USE SAFEWORDS AND AUTOMATIC SWITCHES TO 
  A DETACHED EXPERIENCE OR SANCTUARY FEELING, regardless 
  of whether or not YOU feel there would be anything untoward in the 
  images, the participant needs to be able to stop it at any time just like 
  Star Trek characters saying “Computer, End Program.” Engage safeties 
  and give full control of the experience levels to the players, so to speak. 
  Seriously, rider safety and comfort suggestions are very important 
  and NEVER push a person’s comfort levels. So, while it might be very 
  interesting to you to have your significant other experience a lesbian 
  threesome via this technique by watching the newest Lesbian Leather 
  Fetish Bad Girls in Bondage video in state, if she has no bicurious 
  interests she’s going to be pretty pissed at you for throwing the tape in. 
  Likewise, if you’re uncomfortable with your spouse having virtual 
  hypnotic sex with Ron Jeremy or some other porn stud then either 
  suggest that the other performer in the video is you for the sake of the 
  experience or DON”T use that sort of material and stick to interesting 
  hypnotic affective experiences of the latest National Geographic or 
  
   
   
   
   
   
   
   
   
   
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  IMAX nature vista film. Yes, for the adult material, one really DOES 
  feel a physical sensation . . . for all aspects of the material, what the mind 
  sees it then creates full sensory effects to coincide. This is also true for 
  other types of material, of course. 
  However, once you’ve got the basics down, the method is quite easy 
  and works very well with many people. Not everyone experiences 
  full-on hypnotic hallucinations the first go, but most will experience 
  heightened pleasure and imaginative involvement with the material that 
  makes it worthwhile to them. 
  My process is usually to start with the Phillips-Elman hypnotic 
  induction (an adaptation of the classic Elman rapid induction that I have 
  developed and use in my own sessions as well as teach in trainings that I 
  conduct), that’s often my default start for most trancework and then to 
  test for imaginative involvement and critical factor bypass through an 
  eyes-open number amnesia suggestion. “When I count to three, your 
  eyes open and you have forgotten the number six.” When I’ve 
  established that they have indeed lost the number six, pop ‘em back 
  down (really, just eyes closed as they’re already hooked in and having 
  the eyes open or closed does not change that level imaginative 
  involvement, albeit since most folks expect to close their eyes, I let 
  them). Then I run through a series of tests and demonstrations geared 
  toward increasing imaginative involvement and hypnotic response to 
  suggestions specifically to elicit sensory attachment and hallucinations 
  of various types. Sight, sound, smell, taste, the whole shebang. The baby 
  purple fairie dragon resting on the palm of your hand is a good one in 
  that it is cute and unusual and you can attach different senses to the 
  illusion and build response (yes, the old stage hypnosis “bird” gag is the 
  inspiration . . . but I like purple and I like dragons . . . they lend a 
  magickal quality to the experience I enjoy). Once I’ve done these setups 
  and built sensory response, I will do my suggestions for the vicarious 
  experiential memory machine which is really the visually-oriented deep 
  trance identification experience . . . or, if you want a science fiction 
  metaphor . . . a hypnotic holosuite . . . we don’t have full-on holographic 
  technology a la Star Trek yet but we can recreate the experience in our 
  minds via trancework and that’s pretty gosh-darned kool. 
  BTW, this isn’t just appropriate to the folks looking for 
  hyper/hypno-sex (which is what a whole bunch of folks reading my 
  
   
   
   
   
   
   
   
   
   
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  22 
  original treatment of this process were looking to get to along with the 
  interactive drama or fully realized roleplay contexts) or to enhance their 
  gaming or cinematic or literary experiences. It can have therapeutic or 
  intuitive uses as well. It can be used as a form of Deep Trance 
  Identification via visual stimulus. When working with a young man who 
  is a competitive swimmer, I used a similar method where he brought in 
  videos of worldclass swimmers performing the strokes he wished to 
  work on. Using the hypnotic processes and triggers I taught him, he was 
  able to enter state and watch the videos very intensely while 
  experiencing muscle movements (although his body never moved) and 
  imaginative involvement. We then did a collapse burst process whereby I 
  counted backwards from twenty to one and with each number his 
  imagination ran the entire series of videos in his head and he felt the 
  entire series of muscle movements automatically with each number so it 
  happened very quickly in his imagination but it was complete . . . when I 
  reached the number one, his imagination took the suggestion that the 
  entire set would burst or explode into his subconscious as a natural 
  automatic system when actually swimming. Using the process, he was 
  able to markedly improve his performance in competitive swimming 
  events (albeit, he still had to practice). He now has a habit of entering 
  state whenever he enters the pool and just enjoying the feeling of letting 
  himself automatically complete every move and he now swims very 
  naturally and in a far superior fashion to previous performance. 
  I do believe that the imaginative involvement is easier to achieve for 
  this sort of eyes-open hypnotic experience with videos or films or video 
  games than with photographs or prose but they are still useful.  For 
  interactive drama, costumes and rudimentary props are very helpful in 
  creating setpoints or handles for the mind to play off of to then create 
  fully realized experiential imaginative experiences.  For the young man 
  who wished to improve his Tai-Chi skill levels used, I initially used a 
  book with a photoset of a master doing all the moves and ran the process 
  with the subject so that as he looked at every photograph in turn he could 
  feel the process and that each move would simply occur naturally as part 
  of an automatic response system. He could really feel his muscles 
  reacting to the suggestion. In his class the next week, his master 
  remarked that he had progressed in a single week well past anyone he’d 
  seen before. To the teacher, it was suddenly as if he were performing at a 
  
   
   
   
   
   
   
   
   
   
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  23 
  level of someone who had been practicing for five years when just a 
  couple weeks before he had been progressing at a very slow rate and was 
  considered a rank beginner, and a slowly progressing one at that. 
  While this demonstrated to me that photographic sets can be used, 
  and I’ve used similar approaches for other skills, when the young man 
  moved to videos, his progress was even further. I do use a single 
  photograph approach with this process with Tarot decks for folks 
  wishing to explore them for intuitive imagery and the like but the 
  endgame and goals are different so the process is more freeform and 
  visionary (of interest to some of our readers, the Tarot Trance process I 
  have developed is actually inspired by the fantasy novels of Piers 
  Anthony). 
  For an initial experience with videogames and this sort of hypnotic 
  conditioning, I’d suggest snowboarding or the like or say something like 
  Crimson Skies on the X-Box without an opponent (then let the person 
  experience virtual flying, assuming there are no phobic issues involved). 
  I would not jump into a game of Halo 2 in Full-On Violence and Blood 
  Bath Nightmare Extreme difficulty mode in the first go (although once a 
  trance partner has appropriately gained experiential trance practice and 
  skill with appropriate controls in place that remind one that the 
  experience is not to simulate horror or the reality of war or the like but 
  rather to stimulate adrenalin in much the same way amusement park 
  rides do so). 
  Of course, one can achieve a great deal of the same results without 
  the difficulty of eyes-open hypnotic affective processes simply by using 
  somnambulism and eyes-closed hypnosis with imagery . . . in much the 
  same way many of the guided imagery scripts I’ve written and published 
  in a number of forums are structured. However, I also like to play with 
  new approaches and effects and find this to be one worth a go. 
  I would be VERY interested to learn how others approach this same 
  sort of concept. I know there are a number of folks here with similar 
  interests . . . so, it might make for an interesting discussion for all of 
  us . . . even though our specific takes on the process or goals of the 
  experience may be different. 
  I’ve pretty much explained the premise and spilled most of my 
  secrets here so folks with the background should be able to find the basic 
  concepts enough to get started on their own. If there’s enough interest, 
  
   
   
   
   
   
   
   
   
   
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  perhaps I’ll finally run that hypnotic roleplaying game seminar a few 
  folks have been asking for – contact me if you’re interested in further 
  discussion or even the experience itself. 
  2.2 TRANCEPLAY WORKSHOPPING: 
  IMPROVISATIONAL CREATIVE PLAYFULNESS 
  AND HYPNOTIC INDUCTION AND IMAGERY 
  On 16 January 2005, the Taipei Experimental Hypnosis Workshop 
  held a meeting with the topic of TRANCEPLAY (Improvisational 
  Creative Playfulness and Hypnotic Induction and Imagery). 
  The Taipei Experimental Hypnosis and Trancework Workshop is the 
  largest English-language hypnosis practice group in Taiwan. 
  For this session, the workshop expanded upon some of the things we 
  established previously with our discussion and practice in 
  improvisational creation of instant and rapid inductions by delving into 
  Tranceplay: Improvisational Creative Playfulness and Hypnotic 
  Induction and Imagery. 
  As instructor, I reviewed the principles of instant and rapid hypnotic 
  inductions and then we will PLAY by applying these principles in 
  creative ways. Dave Elman once said that ANYTHING can become a 
  hypnosis induction and we will PLAY with the truth behind that 
  statement so we can and will create your own instant and rapid 
  inductions and we will all share our own “creations” with the group! 
  Once you grasp the principles, you will find it is very simple and a lot of 
  fun! It should be very enjoyable for all of us. 
  In order to facilitate the idea of playfulness and creativity – the 
  ability to improvise methods in any context – I introduced the group to a 
  number of hypnosis training and practice games. The first two were 
  Robert Anue’s Zebu playing card set for learning and practicing 
  Ericksonian hypnosis language patterns. The second was Trevor 
  Silvester’s Wordweaving game and concept which can be adapted to 
  Ericksonian or direct approaches. Third, I taught the group a couple 
  games of my own design for fostering improvisational and creative 
  approaches to hypnosis. The games themselves are playful but the 
  principles and experience can then be taken into any hypnotic context. 
  
   
   
   
   
   
   
   
   
   
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  The relevant games were Improvise Trancercise Hypnotize (an 
  induction game for creating instant and rapid inductions on the spot 
  based upon a creative challenge system), Trance Tag (a fast-paced 
  imagery creation experiential game), and Trance-based RPG (a 
  roleplaying game using trance experience). 
  2.3 VIRTUAL REALITY PREPARES SOLIDIERS FOR 
  REAL WAR 
  Jose Antonio Vargas has written an excellent piece for Washington 
  Post on how Virtual Reality Prepares Soldiers for Real War. More and 
  more, the military used video games - particularly first person shooters - 
  to prepare soldiers for actual combat. More and more young men are 
  attracted to the military because of combat video games. Many active 
  duty soldiers compare their real life combat experiences to their gaming 
  experiences and feel the real war work is an extension of the gaming or 
  at the least the gaming prepared them to react immediately in their real 
  life encounters. The comment by retired Marine Col. Gary W. Anderson, 
  former chief of staff of the Marine Corps Warfighting Lab, that today’s 
  soldiers, having grown up with first-person shooter games long before 
  they joined the military, are the new Spartans is very insightful and 
  seems to be exactly part of what these young men are experience . . . 
  albeit, perhaps less intentionally as in Spartan culture. 
  The idea that simulations hone skills is an important one, particularly 
  given what we now know about mirror neurons which imply that even 
  observed skills enhance observer skill use but when someone has 
  empathy or experiential emotional involvement in the activity or 
  simulation it becomes even more powerful. This obviously relates to 
  what I do with experiential trance, albeit I’ve never worked with 
  someone for soldiering skills or combat (actually, I would be very 
  cautious about experiential trance methods for such training unless one 
  follows the safety precautions I’ve discussed here before). Experiential 
  trance added to gaming makes the experience seem very very real so 
  combat games would be more realistic at not only the visual level 
  (stereoscopic gaming helps that) but also at the emotionally experienced 
  level. 
  
   
   
   
   
   
   
   
   
   
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  Vicarious experience can be very powerful and experiential trance 
  based simulations more so. I am currently unaware of anyone using 
  experiential trance in this context but would imagine it would be helpful 
  as long as the safeguards are in place and the experience is monitored by 
  an appropriately qualified individual. Rider suggestions would be very 
  important. I would not recommend that sort of program at this time 
  unless it were designed with those riders and safeguards in mind. 
  3. HYPEREMPIRIA 
  Hyperempiria, the term, was coined by Dr. Donald Gibbons to 
  describe the state of trance and the modality he developed to reach it.  
  Conceptually, many people consider hypnosis to be a relaxed state – this 
  is erroneous but quite pervasive, even among hypnotists – but Gibbons 
  developed a trance induction that relied upon active awareness rather 
  than relaxation.  Within this state of aware trance he found he was able 
  to suggest physical and sensory sensations that were experienced as if 
  they were real but within a very active context.  Others consider this to 
  be merely a form of hypnosis with a suggested awareness state.  I 
  consider hyperempiria to be a form of experiential hypnosis.  However, 
  Gibbons maintains it is substantially enough different from what is 
  traditionally considered hypnosis to require or deserve a particular 
  descriptive term, a conclusion I do not disagree with. 
  3.1 WHAT IS HYPEREMPIRIA? 
  On the Hypnosis Technique Exchange, the following is asked: 
   
  What the hell is hyperempiria? and what can it be used for? 
   
  While this is not a very endearing way to ask a question, here’s a go 
  at a simple and straightforward answer in my very own rambling and 
  obtuse style. 
  In any case, there are a number of ways you can find some good 
  solid high content little noise information about hyperempiria via the 
  
   
   
   
   
   
   
   
   
   
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  technique exchange list and elsewhere. Do keep in mind, that the search 
  functions of the group may not be the best but they do work well enough 
  to get an idea if a subject has been discussed before, especially if it’s 
  been discussed very recently such as hyperempiria (albeit, we’re always 
  happy to talk about new aspects of a topic to add to our understanding 
  and knowledge - not so much interested in rehashing the same old same 
  old over and over though), and barring that, Google is still pretty easy to 
  use for most folks. 
  For those who might be less familiar with it, hyperempiria is a 
  focused trance modality similar in many respects to traditional hypnosis 
  with hyperacuity or heightened sensory experience. Gibbons, the 
  “hyperempiria guy” characterizes it as “hypnosis awakened” or “alert 
  hypnosis” on his webpages and that’s a pretty fair take on it. 
  There are some differences in how the induction is run (rather than 
  using relaxation or inward focusing patter as done with many of the 
  classic hypnosis inductions, the hyperempiric induction uses sensory 
  extension and the like and rather than using simple relaxation to tie into 
  trance it uses heightened awareness). Personally, I feel the are other ways 
  to achieve the same outcome but this is one very interesting approach in 
  and of itself. I also feel that it is a form of formal focused trance just as 
  classical formal hypnosis is, but given a tendency by some to think of 
  hypnosis as a relaxed state, it is useful to differentiate focused trance that 
  utilized heightened awareness with a different term. If you eliminate the 
  idea of relaxation from the equation and consider focused trance to be 
  “guided intensified imaginative involvement to bypass the critical factor 
  of the conscious mind and establish appropriate selective thinking via 
  forms of influence and suggestion through formal and informal ritual 
  induction procedures within variable contexts for entertainment, 
  recreational, therapeutic and educational objectives” as I do then the 
  imaginative involvement and critical factor bypass and selective thinking 
  via suggestion are all that really matters . . . the rest become breeds of 
  focused trance rather than species. However, when discussing one 
  general approach compared to another, the differentiation based upon 
  type becomes useful . . . just as the notion of depth is useful in some 
  ways and less useful in others. It’s all about using the models in a helpful 
  way rather than proving the models as absolute. 
  
   
   
   
   
   
   
   
   
   
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  In any case, hyperempiria has become something rather in fashion of 
  late and a number of the concepts are valuable to anyone doing 
  trancework of whatever modality. 
  First, go to 
  http://groups.yahoo.com/group/HypnosisTechniqueExchange/messages 
  and do a search for hyperempiria and you will find a number of posts in 
  the archives that discusses the use of this process. 
  Second, go to 
  http://groups.yahoo.com/group/HypnosisTechniqueExchange/files/ and 
  download the book Hyper-Sex by Don Gibbons, PhD, which is a 
  discussion of use of hyperempiria for consenting adult couples both for 
  therapeutic and recreational sexuality enhancement. However, please do 
  not download this book unless you’re actually going to read it . . . and, if 
  you read it, you MUST send feedback to Gibbons. He was kind enough 
  to upload it here for folks to read but only in so far as they would 
  provide feedback as he goes through the re-editing process for the new 
  edition. You will want to also read the various posts by Gibbons in the 
  group’s archives related to hyperempiria (he kindly posted a couple 
  advanced articles on this and other subjects as well). Be sure to let him 
  know how useful or not you have found the material. 
  Third, as you are asking specifically about hyperempiria, then I 
  would suggest going to the horse’s mouth. Don Gibbons wrote about 
  hyperempiria formally many moons ago and his books on the subject are 
  still considered the classics on the subject. Go to the hyperempiria pages 
  at http://hometown.aol.com/gibbonsdon/ and read the FAQ. You might 
  also want to get one or the other of the seminal works by Gibbons either 
  “Applied Hypnosis and Hyperempiria” or “Experience as an Art Form” 
  both of which are available from Amazon and other online booksellers 
  (albeit, I would suggest the “Experience as and Art Form” book would 
  be more appropriate to your needs as your description of your experience 
  levels and your questions implies a more basic understanding of 
  trancework. Actually, the Hyper-Sex book in the files section at the 
  Hypnosis Technique Exchange is probably even closer to your 
  understanding levels (while it is not a general book and is intended 
  specifically for erotic recreational or therapeutic applications, the 
  concepts are easily applied to more vanilla pursuits). 
  
   
   
   
   
   
   
   
   
   
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  Fourth, there are a few posts that either mention or are about 
  hyperempiria and similar subjects on the Life of Brian blog: 
   
  • 
  http://briandavidphillips.typepad.com/brian/2005/01/t_r_a_n
  _c_e_p_l.html  
  • 
  http://briandavidphillips.typepad.com/brian/2004/09/hyperac
  uity_and.html  
  • 
  http://briandavidphillips.typepad.com/brian/2003/11/sex_tra
  nce_or_h.html  
  • 
  http://briandavidphillips.typepad.com/brian/2004/07/hypnosi
  s_for_in.html  
  • 
  http://briandavidphillips.typepad.com/brian/2004/12/interest
  ed_in_e.html 
   
  Fifth, read a post by Wilma Keppel on Informal Hyperempiria 101 on a 
  couple of the general trancework discussion lists and crossposted by the 
  author to the Hypnosis Technique Exchange and READ IT. 
  That seems like a full enough response to your question . . . for now. 
   
  Also, I’m working on some scripts for myself (for studying, 
  insomnia, etc), and I’m wondering how I can induce 
  somnambulism in myself... 
   
  Personally, I am of the persuasion that unless someone is already an 
  experienced hypnotist who knows how to guide others into 
  somnambulism or a natural somnambule who goes happily into 
  somnambulism at the drop of a hat, the best route for this is to find a real 
  live hypnotist and have them guide you into real hypnosis - not just 
  relaxation, but the real deal - and then have ‘em give a posthypnotic 
  suggestion that makes it easy to return to the state. Gerry Kein has a 
  wonderful protocol for establishing somnambulistic self-hypnosis that I 
  highly recommend. To get somnambulism reliably (the key word is 
  “reliably”), one just be an experienced and competent hypnotist. Learn to 
  do the work, get some real training and appropriate experience. Don’t 
  just read about it, do it . . . preferably in a guided setting with a good 
  quality competent trainer. Once you’ve got that, then Kein’s protocol or 
  that of another high quality teacher will take you a loooonnnng ways to 
  
   
   
   
   
   
   
   
   
   
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  consistent and reliable high-quality results. However, be sure to learn to 
  walk before you start trying to fly. In my opinion. 
  You could also go to my webpages at 
  http://www.briandavidphillips.com and learn quite a bit about focused 
  trance, hypnosis, guided imagery, and a whole lot more. Or, join my 
  workshop group in Taipei (in English). If you would like to take part in a 
  formal seminar or workshop on trancework, hypnosis, or hyperempiria, 
  contact me. The same goes for anyone interested in professional 
  hypnosis, guided imagery, focused trance or entertainment hypnosis 
  services (see my webpages for information). 
  3.2 HYPERACUITY AND HYPEREMPIRIA 
  Hyperacuity is the heightened sensitivity of the senses. This is often 
  found in trance subjects and can be increased through the use of 
  suggestion (a few folks have done some really interesting work with 
  blindfolds and hearing or with sight and memory). 
  Hyperempira is a system based on suggestions of enhanced 
  awareness, mind expansion, and increased alertness and sensitivity. It is 
  often presented with a general hyperempiric induction followed by 
  imagery of some sort. 
  The primary source for information on hyperempira is Don E. 
  Gibbons who wrote the seminal works on the method. 
  The inductions by Gibbons are pretty straightforward. His take on 
  “imaginative involvement” as a factor in hypnosis is very very much 
  worth taking a look at. 
   
  Applied Hypnosis and Hyperempira . . . this is the most formal 
  of his books. There are a number of example session models 
  as well as numerous approaches for a wide range of issues. 
  Experience as an Art Form: Hypnosis, Hyperempiria, and the 
  Best Me Technique . . . this one is shorter than the former 
  and repeats the basic material. The Best Me approach is a 
  mnemonic by Gibbons for approaching issues. There are 
  new example scripts and session models. 
  
   
   
   
   
   
   
   
   
   
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  Hypper-Sex: The Sublime Art of Sexual Suggestion. . . Gibbons 
  found out that his graduate students were taking the 
  hyperempiria approach and applying it in a way he had not 
  thought of . . . sex and sexual fantasy . . . it always amazes 
  me the number of folks who are professional hypnotists who 
  have no idea this stuff can be used in an erotic context 
  among consenting adults (I was talking once with a friend 
  who is an experienced hypnotist and certified trainer and 
  mentioned a twist on an erotic induction I had seen that I 
  liked and would give a go and he was at first shocked that 
  anyone would or could use hypnosis that way . . . then he 
  begged me to teach him how . . . any hypnotist should be 
  able to wrap their head around this concept and figure it out 
  but so many think there’s some magic fairy dust to the whole 
  process). So, digressions in porn aside . . . Gibbons was a bit 
  inspired by his students and he looked into it and 
  “experimented” . . . this book has erotic session script 
  models and ideas. I haven’t read the entire book, it’s hard to 
  find, but I have about sixty pages of material Gibbons posted 
  from the book at various times. If you have either of the first 
  books, you can figure it out. It is not rocket science but it 
  certainly is fun science. 
   
  Other than what Gibbons has written, there isn’t really a lot out there on 
  hyperempiria (aka hyper-empiria). You will find he’s written a few 
  journal papers as well but the basic book is fine. 
  My take is that the technique isn’t difficult at all and that there are 
  easier more straightforward ways to get the effect, once you wrap your 
  head around it and really get a feel what you’re doing, so will your 
  subjects . . . albeit, I did enjoy reading the Gibbons material and found it 
  provided me with several touchstones as jumping off points for playing 
  with some interesting ideas . . . and if something inspires you to play 
  around a bit, then it’s good stuff. 
  
   
   
   
   
   
   
   
   
   
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  3.3 MULTIMODAL HYPEREMPIRIA 
  More on hyperempiria . . . a process that works well for a wide 
  variety of trancework contexts . . . therapeutic imagery and changework, 
  simple recreational relaxation and imaginary freedom, entertainment, 
  and more. 
  In an essay posted to the Hypnosis Technique Exchange, Dr. Don 
  Gibbons wrote about some very interesting therapeutic and recreational 
  adaptations or processes for Multimodal Hyperempiria which 
  incorporates imagery of film as therapeutic jumpstart. If you are 
  unfamiliar with hyperempiria and it’s applications for therapy, 
  changework, recreation, and plain ol’ entertainment, take a look at the 
  umpteen million posts I’ve made on this and related subjects, starting 
  with this simple answer to the question of What Is Hyperempiria? and 
  that will get you started with links to other discussions with some very 
  powerful and incredibly unique applications (all of my posts to this blog 
  related to the topic are here. If you’re unfamiliar with Gibbons, he is the 
  man who coined the term hyperempiria and began the first formal 
  discussion of this type of induction. While I tend to use the term in 
  reference to highly associated suggested sensory experiences, there may 
  be some variations in our approaches. 
  In any case, as part of my response to the essay by Gibbons where he 
  discussed using a suggested sensory association into a scene from the 
  film Black Beauty for a therapeutic change, I suggested some further 
  adaptation for both therapeutic and recreational trance work . . . 
   
  Gibbons, if you have access to an X-Box or a PS2 or some 
  other console game or computer game, you might give a 
  variation of the film piece you did a try. First setup a 
  posthypnotic reinduction trigger that when they begin playing 
  the game, they will become associated to the character in the 
  game so that they experience everything the character 
  experiences. 
  Now, be sure to setup positive rider suggestions so 
  everything is appropriately experienced as a fun game and 
  positive recreational activity, we don’t want anyone REALLY 
  experiencing exploding ships or zombie attacks. 
  
   
   
   
   
   
   
   
   
   
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  I would suggest start with something simple but nonviolent 
  to get a feel for how to handle the environment. 
   
  When playing X-Box Live, I put in my copy of Crimson Skies and did a 
  session with someone to experience that game. Of course, as that game 
  involves a LOT of flying and aerial combat I didn’t want to associate 
  anyone into real dogfights or the like that become hyper-real in 
  hyperempirial or hyperacute hypnotic experiences, so we setup the game 
  to dogfight mode and I ran one plane just to fly around and the subject 
  was in the other plane and he experienced real flying and real maneuvers 
  without the added initial stress of dodging bullets or missiles. 
  Obviously, never do this with someone who has a fear of flying or of 
  heights (use hypnotherapy or the like and get rid of those issues first) 
  albeit, it is a real eye opener as ratification of therapeutic success for 
  those who used to have such fears to show them how successful they 
  have been. 
  For the daring, once they’ve gone through initial experience training, 
  you can switch to simple combat mode with suggestions that it’s just a 
  really intense and fun game just as a roller coaster is perfectly safe but 
  very exciting. 
  It is very immersive and very experiential. 
  Of course, you could also do the visual association method with a 
  film or video . . . with the appropriate person, have them watch the film 
  and then associate the experiences and feelings of the subject to one 
  character in the video . . . appropriately, of course . . . also with the 
  positive rider suggestions. Those who wish to do modelling work could 
  model via video in this way . . . I have used it with very good results for 
  folks working on Tai-Chi, Aikido, swimming, dance, skiing, and running 
  skills . . . for deep trance identification type work, it really is a wonderful 
  tool (works with photo books as well, one young man who used a series 
  of photos of martial arts moves felt as if his muscles had gone through 
  intense workout after the experience) . . . for recreation, it can be a 
  thrilling experience . . . depending upon film choice . . . let the person 
  being hypnotized choose the film though . . . while you may like the 
  “artistic” and highly entertaining “Leather Bound Bisexual Babes in 
  Prison” . . . your straight and decidedly non-bicurious wife may not 
  want to be “surprised” by such an experience. :-) Very bad idea for a 
  
   
   
   
   
   
   
   
   
   
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  relationship to slip in that sort of surprise. However, there are plenty of 
  interesting experiences that can be shared and experimented with that 
  would be very welcome for many folks. 
  As I have discussed this type of an approach to trancework and 
  exactly how to achieve it in the past, folks are free to explore the 
  archives for more . . . I am creating a category link specifically for 
  hyperempiric type entries to make searches more convenient as I do 
  seem to post on this a lot . . . see Hyperempiria, Hyperacuity, and 
  Suggested Amplified Sensory Association. 
  If anyone else does the videogame or film bit, please let me know. I 
  include it in the SET (Society of Experiential Trance) curriculum and 
  demonstrated it as part of a modelling technique in one of my recent 
  workshops with a young man who studies Tai-Chi so at least the folks 
  participating in that could see how it works (and interview him 
  afterwards regarding what he felt in his body and how his muscles feel 
  during the process - quite “worked out” as part of my process is to have 
  him associate into the person in the video and then close his eyes and “as 
  I count from twenty down to one, with each number I say, it feels as if 
  you have done the entire form ten times, and at the last number, this 
  knowledge and experience becomes a permanent part of yourself, twenty, 
  etc.”). I haven’t taught this as a “recreational” activity . . . yet 
  (sometimes I do regret not moving to LA as we have considered as the 
  possibilities for certain types of workshops - even of a couples affirming 
  nature as I present it - are limited here . . . honestly, while I LOVE a lot 
  about living here, there is so much very kool very powerful stuff I would 
  love to do live workshops on and share with real live persons that aren’t 
  really possible in context here and now so I have to content myself with 
  writing and sharing in other less immediately gratifying ways) . . . but I 
  have done “personal” research and the results can be quite . . . um . . . 
  interesting. I would be very interested in the experiences of others in this 
  regard. I know a number of you are also gamers or enjoy a good film 
  now and again, so if you could run an “experiment” with a willing cohort, 
  your results would be of interest. Those who use the method as a DTI 
  technique, I would also love to hear your results. It has worked very well 
  with the folks I’ve worked with but I would like to know how it works 
  for others. 
   
  
   
   
   
   
   
   
   
   
   
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  Of course the “Bisexual Leather-Bound Babes in Prison” is not 
  something you would want to spring on your wife . . . it’s not an 
  experience anyone should “spring” on their wives as “springing” 
  something like that inappropriately can lead to some very very 
  bad juju in a relationship, not to mention potentially missing 
  “members” the next time one falls asleep :-) . . . but I am certain 
  there are wives – and others – our there for whom a consensual 
  experience of that type would be . . . interesting. However, such 
  relationships are also of the non-”spring” on ‘em type. 
   
  In one of his later responses in the thread, Gibbons suggested that while 
  the “Bisexual Leather-Bound Babes in Prison” experience may not be 
  appropriate for most folks, he is certain that many men would find their 
  wives would be a willing partner if they asked . . . as they are lying in 
  bed together . . . whether or not their wives would like to go back and 
  re-experience their wedding (wedding, not wedding night . . . that comes 
  later). 
  While I agree with Gibbons that many wives would find this to be 
  very worthwhile . . . it needs to be clear that one’s wife actually enjoyed 
  the wedding before asking. Some folks may assume their wives had a 
  wonderful wedding day but some women don’t. There are also a certain 
  number of women who marry as part and parcel to their view that they 
  are “settling” for this guy rather than marrying for love or other good 
  feelings or reasons. In such a case, it might come as a shocker for the 
  husband to discover that his wife doesn’t want to re-experience the 
  wedding (whether or not she has now learned to love him despite her 
  poor reasons for marriage). If you’re not absolutely certain that your 
  wife had an incredibly wonderful experience when she married you 
  (regardless of context or reasons for those feelings which may range 
  from she just doesn’t like you to her mother objected to the color of the 
  dresses). 
  So . . . as Gibbons says . . . ask. 
  If your wife is less than enthusiastic, then let her choose another 
  event to relive or imagine or experience (real or imagined events are 
  fine). DON’T PUSH IT as that’s a whole bad idea and a half. Sometimes 
  feelings are private, so let them stay that way. If she wants to tell you 
  why she likes this or that experience, she will. 
  
   
   
   
   
   
   
   
   
   
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  While I have great confidence that such an image would be fine with 
  MY wife . . . :-) . . . I’ve met some folks who have had godawful 
  wedding experiences and even worse honeymoons. So, keep things 
  context specific to your own relationship and experience. 
  For the appropriate persons . . . one could suggest reliving the 
  wedding night but experiencing it in an even more positive, even more 
  romantic, and much more passionate way. This can be done by future 
  pacing to knowing the wonderful experiences in store for her or him that 
  are now a shared past and knowing that by rekindling this passionate 
  flame that even more wonderful experiences are in store for the future . . . 
  and escalate those feelings, really make ‘em “wow” feelings through 
  building suggestions and even simple count ups “as I count from one to 
  ten, with each number, feel this wonderful passion, romance, and 
  dynamic positive feeling much more powerfully, really feel it double 
  with each number as the love washes through you and around you within 
  you and through you . . . one, etc.” and when you get to the last number 
  do a “ten, explode, feel your entire, body, mind, and spirit explode with 
  joy, explode with love, explode with passion, EXPLODE, etc.” or 
  whatever. It’s kind of like the recent announcements from James 
  Cameron that he will no longer make 2D films but that all of his new 
  movies will be produced in full stereoscopic 3D and from George Lucas 
  that he is also producing 3D films and that beginning in 2007, he is 
  going to re-release all of the Star Wars films in enhanced versions in full 
  stereoscopic 3D . . . so too with consensual hypnotic enhancement of 
  positive memories . . . why settle for simply reliving an old experience 
  when you can really relive it in a full-on raging passionate WOW 
  experience! 
  Gibbons suggests that when a couple explore this process in the 
  context of re-living a wedding, one can then note that with the love and 
  romance at the highest possible level, one can then easily move on to the 
  wedding night experience and re-experience it too, prefaced with what 
  he would suggest as all the aphrodisiac enhancement that a blissful 
  wedding experience can bring to the heart of a woman. 
  See my statements above regarding context and individual response 
  to the setting. Either be sure to enhance the experience to make certain it 
  is a positive one you are amplifying or rewrite history as a romantic 
  
   
   
   
   
   
   
   
   
   
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  imagery to emphasize the positive elements of the experience rather than 
  the negative ones that may be in there. 
  Another thing you can do is a process I usually refer to as “open 
  imagery” . . . I’ve talked about it here somewhere but can’t think of the 
  specific reference off-hand with the description, surf the categories to 
  find it . . . but, basically, do an open invitation to the subconscious to 
  create a positive, romantic, passionate fantasy image that is experienced 
  fully but which is undirected . . . the hypnotist partner simply suggests 
  “in a moment, I will count from five to one and at the number one find 
  yourself in a beautiful romantic passionate moment [note: you can add 
  “with me” or leave it open, depending upon context] . . . real or 
  imagined . . . fantasy or experienced . . . no need to think about it, your 
  unconscious will provide a time, place, and context . . . and as you 
  experience this moment, this special passionate loving moment or desire, 
  passion, and raw sexual energy, allow yourself to experience it fully, feel 
  what you feel in this fantasy, hear what you hear, smell, taste, experience 
  everything within this special passionate moment AS IF IT IS REAL 
  AND HAPPENING RIGHT NOW . . . as I count from five to one feel 
  the passion and sexual energy building and building, stronger and 
  stronger with each number, stronger than you have ever felt it before . . . 
  five, etc.” 
  During the experience, the hypnotist can throw in deepening 
  suggestions to increase the sensory depth and sensuality of the 
  experience. However, at no time direct the experience. Don’t tell him or 
  her what to experience, just deepen it. Then, as is often nice for many 
  folks, after you’ve gone into it for awhile, throw in a “and as I count 
  from one to five, with each number the 
  sexual-romantic-passionate-whatever feelings increase [whatever is 
  appropriate to the context - this is NOT a covert seduction technique, it is 
  a consensual method for appropriate imagery within a context-specific 
  relationship] and at the number five, explode” (there’s that word again) 
  in whatever way is appropriate for the situation. Then do the count up, 
  explode for the big climax, then “and as you . . . relax . . . let a gentle 
  wave of love, romance, and gentle deep relaxing love wash over you and 
  through you as it is now time to return to the here and now . . . as I count 
  from one to five with each number coming back to the here and now 
  
   
   
   
   
   
   
   
   
   
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  remembering this wonderful positive experience and feeling comfortable, 
  relaxed and deeply loved . . . etc”. 
  Then . . . shut up. IF she or he wants to talk about what exactly 
  happened, then she or he will. If not, then shut up and let your partner 
  have that private experience, you are reaping the benefits of the 
  emotional experience and have provided your partner with a wonderful 
  fantasy experience. Don’t go pushing into the experience unless she or 
  he is interested in sharing right then. 
  Certainly . . . never suggest other partners or the like or leave that 
  possibility open for the imaginary experience if you’re going to go all 
  jealous on ‘em later (sad but true . . . a fellow asked his wife to imagine 
  making love with Brad Pitt and then he became rather jealous when she 
  climaxed with Pitt in her imagination which caused him to feel that she 
  had been cheating on him . . . it was his suggestion in the first place . . . 
  but even if it hadn’t been, treat these experiences as playful imaginary 
  games and don’t take them beyond the comfort level of both partners . . . 
  this sort of thing should ONLY be used to strengthen your relationship 
  not to create experiences that might weaken or destroy trust) . . . so, no 
  “Bisexual Leather-Bound Babes in Prison” unless that is explicitly what 
  both partners would be interested in and only if it’s REALLY something 
  both partners are absolutely comfortable with and be very very sure of 
  that as there’s no going back later. If you’re not sure, it means “no” . . . if 
  there’s any doubt, then “no” . . . that means stick to vanilla monogamous 
  fantasy . . . which can still be EXTREMELY rewarding. You can always 
  try new things later when you’re more secure in the method or with your 
  relationship. In the meantime (or, forever, if that’s your preference), 
  enjoy the possibilities of just exploring one another’s joy and happiness 
  and passion with one another. 
  4. EXPERIENTIAL TRANCE AND VICARIOUS 
  EXPERIENTIAL PROCESSES FOR FULLY 
  REALIZED EXPERI3ENCE 
  Experiential trance is any form of focused trance or hypnosis in 
  which the subject experiences suggestions as full-range sensory events.  
  Suggested sights, sounds, smells, touches, tastes, and more are all 
  
   
   
   
   
   
   
   
   
   
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  experienced as if they are real.  I have found in my own work that if a 
  trance partner can fully realize suggestions in this way they are more 
  positive and long lasting in therapeutic terms and they are much more 
  likely to engender positive recreational experiences.  This is closely 
  related to the phenomenon of focusing found in therapeutic 
  cross-modality studies where it was found those who are more successful 
  at FEELING their reactions to issues and ideas within their bodies are 
  more likely to be successful in changework.  However, for our purposes, 
  experiential trance can be considered an effect of somnambulism, a 
  “depth” of hypnotic trance in which suggestions are non-critically taken 
  on board and accepted by the unconscious so that the experience is 
  perceived as real.  The suggestions given by a performance hypnotist 
  are often of this nature (I have performed stage hypnosis shows of many 
  types and normally consider such a depth the required minimum level of 
  volunteer responsiveness). 
  4.1 EXPERIENTIAL HYPNOSIS 
  The “official” definition of experiential hypnosis as used by the 
  Society of Experiential Trance (SET) is as follows: 
   
  Experiential Hypnosis . . . when the trance experience is so 
  deep and so vivid and so powerful that a person experiences all 
  of the suggestions as if they are happening right now! 
  Experiential Hypnosis relies upon Instant and Rapid Hypnosis 
  Induction techniques that take a person from full alert 
  consciousness to complete deep trance in a matter of a few short 
  minutes or instantly, right then, right there, right now. These 
  powerful techniques can be used within any context . . . 
  entertainment, recreation, therapy, changework . . . and more. 
  Any context. Learn how to instantly create deep trance 
  phenomena and how to deepen the experience as you guide 
  others into very vivid and very powerful trance that can lead to 
  wonderful recreational experiences or very powerful permanent 
  positive change. Dr. Brian David Phillips is a recognized leading 
  internationally known expert in Experiential Hypnosis based 
  
   
   
   
   
   
   
   
   
   
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  upon very powerful and very very fast instant and rapid deep 
  hypnosis techniques that lead to powerfully realized and fully 
  experienced trance states including fully experienced regression, 
  parts therapy, and imagery so vivid it is experienced as if it is 
  completely real . . . right now in the present moment . . . all of 
  which can be utilized for recreation, entertainment, education, 
  or therapeutic permanent positive change. This is the real deal. 
  In addition to being a fully hands-on competence-based 
  comprehensive instruction in Experiential Hypnosis, this course 
  can lead to full certification with the Society of Experiential 
  Trance for those who pass the final competence component. Join 
  us. Seating is limited. First come, first served. Don’t miss out on 
  your opportunity to learn and experience full Experiential 
  Hypnosis with an acknowledged master. Beginning and 
  advanced hypnotists are all welcome. 
  4.2 VICARIOUS EXPERIENTIAL MEMORY 
  MACHINE PROCESS 
  Vicarious Experiential Memory Machine . . . real experiences 
  through Hypnotic Games and Films and Literature and Entertainment . . . 
  and a whole lot more! 
  You want to play a game? How about if you could play a video game 
  or watch a movie or look at a photo album or read a good story and 
  really feel like you are really in the action . . . that what you are seeing 
  on the screen or page is actually happening, right there, right here, right 
  then, right now . . . to you? The ultimate virtual reality entertainment 
  protocol may just be helped along with trancework. 
  Through hypnosis . . . real hypnosis, not just imagination . . . this is 
  entirely possible. Been there, done that. 
  Once, on the Marknosis email list, the question of using hypnotic 
  language within a game as well as using hypnosis as a frame for a game 
  in order to increase the player’s associated experience while playing the 
  game came up and this happens to be something I am very interested in. 
  I also have some modicum of experience experimenting with just this 
  issue. 
  
   
   
   
   
   
   
   
   
   
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  I love video games and I love games and I love hypnosis. 
  When I first started playing with the “Vicarious Experiential 
  Memory Machine” games and hypnosis was one of the areas I was 
  interested in, albeit in terms of using hypnosis to intensify the game 
  playing experience rather than using games to induce hypnosis. 
  Basically, the idea behind my approach is similar to the old stage 
  hypnosis bit with the voodoo doll where the subjects are hypnotized to 
  feel and do everything they see the doll do. I then used it with television 
  so that the subject would feel and experience everything on the screen as 
  if it’s her own memory (okay, some of the early experiments were with 
  adult entertainment but that’s pretty intense stuff and the research was a 
  LOT of fun). 
  Anyhow, I’ve used it with videogames as well with some good effect. 
  However, you MUST make certain to keep a certain degree of 
  dissociation there so that the terror of playing Doom doesn’t freak a 
  person out. You want to put in a LOT of rider suggestions of “enjoying” 
  the experience but knowing and realizing it’s just a game at all times . . . 
  like a ride at an amusement park . . . keeping a vicarious or dissociated 
  level within the associative experience. 
  I also love 3D photography (I have around fifteen or so vintage and 
  contemporary stereocameras) and love true stereoscopic 3D gaming as 
  well . . . add some hypnosis into the mix and that’s a full-on associated 
  experience. 
  Here are some articles by David Brager which deal with similar 
  ideas (including a bit on live RPGs - which I wrote my doctoral 
  dissertation on): 
   
  • 
  Hypnosis with Virtual Reality - 
  http://www.geocities.com/dibragerowtcom/realityr.htm  
  • 
  Adventure Roleplaying Games (Reality Replacement with 
  Eyes Open) - 
  http://www.briandavidphillips.com/scrypnosis/rpg.html  
  • 
  Reality Rendering and Temporary Replacement for Fun - 
  http://www.briandavidphillips.com/scrypnosis/reality.html 
   
  If one is considering rather than hypnosis that makes for good narrative 
  but narrative that makes for good hypnosis, then I would suggest taking a 
  
   
   
   
   
   
   
   
   
   
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  look at the critical response to The Woman in White (book and video - 
  albeit the book is much more satisfying than the video). When it came 
  out in the Nineteenth Century, many folks were shaken and addicted to 
  the hypnotic elements in the prose. There’s an excellent write up on it 
  and some nice analysis of some of the excerpts in Mesmerized: Powers 
  of Mind in Victorian Britain by Alison Winter. 
  As to some of the specifics of how I run my Vicarious Experiential 
  Memory Machine method, the process I use is outlined in brief in a short 
  essay I wrote for Zali Segal’s Hypnotize This! - an excellent 
  comprehensive textbook on hypnosis - but the basic approach is pretty 
  straightforward. You don’t need the essay to understand the process as 
  it’s pretty easy for anyone with a modicum of experience at creating 
  physical or experiential imaginative effects with hypnosis. When 
  working with a client, I will use a standard induction set (usually Elman 
  or something along those lines). I then establish and test for 
  somnambulism (usually through a number-amnesia test, NOT the Elman 
  test but something more dramatic along the lines of a stage show “forget 
  the number seven” with eyes-open tests). I like this as it increases 
  imaginative involvement and assures the client that something “real” is 
  going on while training fully involved response. Then I pop ‘em back 
  into things and run the patter for the machine. Compound, test, 
  compound. I would normally have some images to model or a video or 
  game right then to run the process with as a deepening and training tool 
  to increase involvement and reliable response to the process. 
  I have been asked if I do an induction prior to sitting a person down 
  in front of the television or a computer. Yes, no, and maybe. 
  There are different routes to this. I have done an induction while the 
  person was playing the video and I’ve done a setup with a post-hypnotic 
  trigger that allows the person to go into state (imaginative involvement) 
  on their own without the induction guiding (there are a couple MP3s for 
  conditioning to do something to this effect on my DRTRC site at 
  http://www.briandavidphillips.com which some folks use as a start-off 
  point, not as good or as complete as real-life sessions with a qualified 
  competent hypnotist but certainly a lot better than nothing). For certain 
  individuals, I’ve also prepared videos of sports, dance, taichi, swimming 
  and other activities the clients wished to work on (works with other 
  recreational videos of the more adult kind for the right sort of folks) . . . 
  
   
   
   
   
   
   
   
   
   
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  that would include an induction with trigger phrases for deepening 
  before the clips, with audio mixed in during the clips, and in between the 
  clips for deepening the experience. 
  As to doing something within the medium itself and ensuring a safe 
  level of dissociation, I would start off as above . . . induction as part of 
  the preset and then run the medium with reinforcement and 
  compounding suggestions under the sound. I would suggest dropping the 
  text-based game medium though and opt for something with live video 
  and live audio as it’s more involving. I’ve no doubts that a text-based 
  adventure game would work (see some of the stuff I wrote on hypnotic 
  hypnosis letters for some ideas of one approach, either here or on my 
  group or in the chapter I wrote for Wendi Friesen’s Hypnotize Your 
  Lover book). Basically though, get state, train for responsiveness and 
  follow-through to suggestions and then run with the suggestions while 
  firing in reinforcement compounding. 
  Some folks doing this sort of work feel that one can increase 
  dissociation safety for the scary material in a game or story by adding in 
  a humorous tag at the end of a scene or via a catch-phrase from a 
  character. If you’re doing full-on experience, the scary stuff can be a bit 
  much for some folks. Sometimes, what you might consider within 
  tolerable range may not be for someone else and this is even more fully 
  true when we’re talking about full-on experiential trance stuff of this sort. 
  When I took my family to see Spiderman 2, we went with a few friends. 
  While my daughter was perfectly okay with the movie (she’s ten), the 
  son of a friend was really overwhelmed by it and his mother was 
  partially freaked out. Imagine if she were experiencing all that stuff 
  full-on. Some folks found the Dementors in Harry Potter and the 
  Prisoner of Azkaban (the third Harry Potter movie) to be more than 
  they’d like to handle. Now, imagine playing a video game with those 
  beasties coming right at ya. Kool, but needs a backdoor escape hatch. 
  Heck, when I saw the twister scene in The Day After Tomorrow it 
  snapped me back to my boyhood in Kansas . . .yes, Dorothy’s Kansas . . . 
  and seeing real twisters lift real houses. Imagine what someone watching 
  the more intense scenes in Resident Evil or it’s sequel Resident Evil: 
  Apocalypse might go through . . . or, perhaps something without zombies 
  but certainly very horrifying . . . Full Metal Jacket or any number of 
  similar films or something like Caligula (I know, some readers are 
  
   
   
   
   
   
   
   
   
   
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  thinking to themselves, kool, but others will note the point). Humor at 
  the end of a scene isn’t going to be enough . . . as the scary stuff is going 
  to be experienced quite viscerally before that so by the end the damage 
  or thrill has already happened . . . make sure you have some sort of safe 
  word or dissociation key so that folks can pull out of the 
  in-your-face-full-on-virtual-reality-experiential-mode anytime they wish. 
  By the way, only partially on topic due to the current discussion but 
  far enough off that it won’t count as self-promotion . . . but folks 
  interested in virtual reality and stereophotography may want to join the 
  http://groups.yahoo.com/group/3D-StereoviewXchange as we share our 
  stereo 3D photos there with members from all over the globe (while 
  most of the stuff is pretty regular mundane stuff do be forewarned that 
  some of the images are by folks who hang out on adult film sets and are 
  inappropriate for some viewers). I shoot with a stereo attachment on my 
  Digital Rebel and with an old Realist and take hundreds of photos. 
  I have a stereovideo attachment for my camcorder as well but the 
  flicker on the television made me abandon it. I am hopeful that the new 
  Sharp 3D computer will bring back full-on interest in 3D and we’ll see 
  some better LCD monitor and projector options for stereopresentation. 
  4.3 EXPERIENTIAL TRANCE 
  If you can imagine it, then you can experience it . . . anything you 
  can imagine can be powerfully felt as if it is real and happening right 
  now via Experiential Hypnosis or Experiential Trance . . . that’s right, 
  anything you can imagine . . . and I mean anything. 
  As it is something I do a LOT of and will be doing much more with 
  in future with more essays and mp3s and books and teaching . . . not to 
  mention it is both a valuable skillset and a lot of fun . . . presented 
  appropriately contexts for recreation, entertainment, and therapy . . . I 
  have added a new category to Life of Brian . . . Experiential Trance 
  which covers the topic of Experiential Hypnosis and Focused Trance. 
  There is some overlap with the hyperempiria, hyper-acuity, and 
  associated sensory experience set but eventually you will see more and 
  more on my take on experiential hypnosis which is one of my crusade 
  areas, so to speak. 
  
   
   
   
   
   
   
   
   
   
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  What is Experiential Hypnosis and what’s it used for?  Within 
  Experiential Trance, anything you can imagine can be fully experienced 
  as if it is real . . . powerfully real . . . anything you can imagine . . . and 
  that means anything.  Applications are primarily for therapy, recreation, 
  and entertainment but the contexts it can be used for are pretty much 
  limited only to one’s imagination and ingenuity.  When I teach 
  Experiential Hypnosis I train students in both how to do it as well as how 
  to apply it creatively with a number of examples but without locking into 
  scripts or models but learning underlying processes behind the 
  demonstrations or examples so they can apply it to anything they wish 
  to . . . anything. 
  Experiential hypnosis or experiential trance is when the trance 
  experience is so deep and so vivid and so powerful that a person 
  experiences all of the suggestions as if they are happening right now! My 
  take on Experiential Hypnosis relies upon Instant and Rapid Hypnosis 
  Induction techniques that take a person from full alert consciousness to 
  complete deep trance in a matter of a few short minutes or instantly, right 
  then, right there, right now. These powerful techniques can be used 
  within any context . . . entertainment, recreation, therapy, changework . . . 
  and more. Any context. People can learn how to instantly create deep 
  trance phenomena and how to deepen the experience as they guide others 
  into very vivid and very powerful trance that can lead to wonderful 
  recreational experiences or very powerful permanent positive change. I 
  do a lot of work in this area and am well known within the hypnosis 
  community for this particular approach or modality of experiential 
  hypnosis and trance based upon very powerful and very very fast instant 
  and rapid deep hypnosis techniques that lead to powerfully realized and 
  fully experienced trance states including fully experienced regression, 
  parts therapy, and imagery so vivid it is experienced as if it is completely 
  real . . . right now in the present moment . . . all of which can be utilized 
  for recreation, entertainment, education, or therapeutic permanent 
  positive change. 
  Those interested in learning the techniques can read Life of Brian 
  and take any of the trainings I offer, including certification with the 
  Society of Experiential Trance (see the Brian David Phillips Waking 
  Dreams webpages for more information). 
  
   
   
   
   
   
   
   
   
   
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  4.4 HYPEREMPIRIA AND EXPERIENTIAL 
  HYPNOSIS (DIFFERENCES, SIMILARITIES, AND 
  SAMENESS) 
  On a few of the email lists I belong to, there has been some 
  discussion of the nature of hypnosis and whether or not trance or critical 
  factor bypass are the same or different monkeys. One part of the thread 
  has been regarding hyperempiria which gets discussed quite a bit here on 
  the technique exchange. A disagreement has come up as to whether 
  hyperempiria is indeed a different state than hypnosis, a specific form of 
  experiential hypnosis but hypnosis nonetheless. 
  The following is an extension of my line of thought that incorporates 
  and expands upon a few of my posts within the discussion thread. 
  If it makes it easier to digest . . . preface all of my responses below 
  with “in my opinion based upon my experience and understanding” . . . 
  those who wish to disagree are free to do so. This is my response to the 
  topic based upon my understanding from direct experience and study. 
  Take it or leave it. 
  I’m of the hyperempiria is a form of experiential hypnosis ilk . . . it’s 
  merely directing the suggestions toward awareness rather than 
  relaxation . . . at least that’s the original intention of the hyperempiric 
  inductions. The model of doing hypnosis this way and of using a 
  different term than hypnosis is useful to distinguish the effects from 
  those achieved in the progressive relaxation set, but the utility and effect 
  is not substantially different from straightforward somnambulism-based 
  “experiential” hypnosis as has been discussed here. 
  One advantage of using a different vocabulary is to avoid the 
  baggage associated with “hypnosis” in much the same way the term 
  “hypnotism” was coined to be more descriptive of the state (albeit, Braid 
  regretted the term later and belatedly wished to change it to monoideism 
  which is certainly more descriptive as hypnosis had NOTHING 
  whatsoever to do with genuine hypnos, sleep) and to avoid the negative 
  baggage and sloppy thinking that had grown up around “animal 
  magnetism” and “Mesmerism.” Certainly, in recent years, a great deal of 
  negative baggage and sloppy thinking has become associated with 
  hypnosis so hyperempiria becomes a term that both is descriptive of the 
  desired outcome state as well as one that has no negative associations 
  
   
   
   
   
   
   
   
   
   
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  attached to it. Some folks who might object to undergoing hypnosis will 
  be perfectly happy to enjoy or undertake a hyperempiric experience. I 
  will use “focused trance” with folks for much the same reasons 
  (descriptive, associative, and legal - focused trance, like hyperempiria, is 
  currently not regulated in most locales while hypnosis is). 
  When Dr. Don Gibbons started performing hyperempiric inductions 
  (he’s the gentleman who coined the phrase and you can find his 
  academic and practical books online . . . it never ceases to amaze me 
  when I come across so many folks who bandy about the term 
  hyperempiria who have never read or even given credit to the good 
  doctor who is the originating pioneer of the techniques others are 
  teaching . . . one woman I came across was claiming hyperempiria was 
  some sort of access system to one’s higher self and a means for humans 
  to communicate with spiritual beings having been given to humans via 
  mediumship . . . uh, not really on the same page there). Go to the source 
  and read these books: Beyond Hypnosis: Explorations in Hyperempiria, 
  Applied Hypnosis and Hyperempiria, and Experience As An Art Form: 
  Hypnosis, Hyperempiria, and the Best Me Technique. You will also find 
  that Gibbons has kindly put an electronic copy of the original edition of 
  his book on hyperempiria for sexuality (therapeutic and consenting adult 
  recreational purposes, which he is currently editing for a new, much 
  more powerful, edition) in the files section of the Hypnosis Technique 
  Exchange which is one of the email discussion lists I moderate . . . btw, 
  for those unfamiliar with the term, it was Gibbons who first encouraged 
  me to start an association for experiential hypnosis as he has followed 
  my work as I have followed his . . . his positive opinion means a great 
  deal to me), it was specifically to work with folks who found classic 
  “relaxation” inductions unsettling. I respect Gibbons a great deal for 
  what he has done and his innovation within a community that is resistant 
  to the idea that hypnosis does not require relaxation (he was doing a 
  great deal of his work within a community, academic and otherwise, 
  where progressive relaxation was considered the standard and 
  requirement for induction), but basically the effective processes are the 
  same except that the hyperempiric induction focuses on alertness and 
  awareness with full sensory association into the imagery. When one 
  reads the classic inductions for hyperempiria, they read much the same 
  as classic hypnosis inductions with the exception that they focus on 
  
   
   
   
   
   
   
   
   
   
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  alertness and sensory experience rather than relaxation and dilution of 
  experience. They are two aspects of the same quality . . . engaged 
  imagination, suggestion, and compliance . . . within intensified 
  imaginative involvement to bypass the critical factor of the conscious 
  mind in order to establish desirable selective thinking. They are both 
  forms of focused trance and hypnosis. Of course, it is unfair to look at 
  someone’s work and point at flaws if that is an ongoing work . . . a life’s 
  work still in process . . . Gibbons is continually updating his ideas and 
  theories so it is important not to take the older pieces out of context but 
  to see them as part of a continuing chain of progress and improvement 
  (I’ve seen some of his more recent essays and he continues to be 
  innovative and contributes much to the field). 
  I have found that the same results that can be had through 
  hyperempiria can be achieved through experiential hypnosis with the 
  suggestions for full-on sensory association (which is how I get the same 
  effects). The hyperempiric inductions or processes are not innovative as 
  a new state but as an original route of achieving state to increase sensory 
  affect. They are indeed very innovative, but they provide a new construct 
  for achieving certain effects, not a new state in and of itself. 
  Obviously, if you consider hypnosis to rely upon relaxation with 
  decreased physical sensation and the like - lethargy and dullness of 
  thought or consciousness - then hyperempiria must be something other 
  than hypnosis in that it relies upon alertness and focus as well increased 
  sensation . . . full-on sensory experience . . . or, as Gibbons described my 
  take on using hypnosis to accelerate and build intense sensory affect 
  related to imagery and the like . . . experiential hypnosis. 
  Of course, some folks make the erroneous assumption that 
  hyperempiria is the same as the various higher-self or ultra-height 
  processes or that somehow these are co-dependant . . . they are not. 
  Certainly, they can be used in conjunction with one another, but neither 
  depends upon the other and can be used independently (and usually are 
  as the originators of both streams had very different and specific 
  intentions for the processes). Any effect you can achieve in one form of 
  hypnosis can be achieved in others . . . eyes open, waking state, eyes 
  closed, relaxation, hyperempiric, whatever . . . because those are 
  induction contexts . . . the key is the engagement of the imagination to 
  bypass the critical factor and then start running your compliance patterns 
  
   
   
   
   
   
   
   
   
   
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  for suggestions, building and compounding within context to create an 
  environment in which the desired results are achieved. It is still critical 
  factor bypass, intensity of the imaginative involvement, and 
  establishment of the appropriate selective thinking. It is a form of 
  hypnosis, but different in a way that eyes-open hypnosis or waking 
  hypnosis or relaxation hypnosis are different but they all share in the 
  quality of being a form of trance-based critical factor bypass. Once 
  you’ve got the compliance pattern, you can also pop a person back and 
  forth through any of these so-called different forms as the critical factor 
  bypass and engagement and intensification of the involvement of the 
  imagination is maintained. So, I can use my modified Elman induction 
  and guide a person into somnambulism, compound the compliance and 
  affective responses, then go directly into the various hyperempiric 
  suggestions and achieve the same results. The uniqueness of 
  hyperempiria is not in the sense of being different from hypnosis in 
  terms of critical factor bypass but in that it is hypnosis associated with 
  sensory phenomena and the induction set, hyperempiria is a subset of 
  hypnosis rather than being completely unique. In my opinion. Albeit, I 
  do agree that some forms of trance may not be “hypnosis” . . . but . . . 
  hyperempiria is not one of those forms. At least, in my opinion. 
  In response to my view, some have said that they believe hypnosis 
  includes somnambulism in its definition and that as fellow 
  Neo-Elmanian hypnotists (a label that fits a great deal of my own 
  hypnobias), we are constantly testing for somnambulism rather than 
  critical factor bypass. As some folks take the root parts of the word 
  somnambulism to be literally walking while one sleeps, they miss the 
  historical context for why the word has been misapplied and is now 
  generally accepted to mean something the roots have nothing to do with. 
  I have been asked if I also test for somnambulism when inducing 
  hyperempiria and the answer is, yes. Somnambulism is hypnosis is 
  engagement of and intensification of imaginative involvement, critical 
  factor bypass, and establishment of desirable selective thinking to a 
  degree that appropriate signs are present and one has automatic 
  compliance to suggestion. 
  Somnambulism has nothing to do with sleep or wakefulness. It is 
  merely critical factor bypass and desired suggestion compliance through 
  imaginative involvement with appropriate signs. 
  
   
   
   
   
   
   
   
   
   
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  In my opinion, critical factor bypass is the key between trance and 
  forms of hypnosis. In my opinion, that’s it. Yes, when I induce 
  hyperempiria, or rather, induce hyperempiric phenomena through a form 
  of hypnosis . . . or, rather, when I do ANY form of hypnosis . . . I test for 
  somnambulism . . . that’s pretty much my standard “working state” for 
  trancework . . . I may not do the same tests as in the Elman induction or 
  elsewhere, but I test and make sure I have “state” . . . whatever that may 
  mean. 
  Rather than believing, as some do, that somnambulism distinguishes 
  hypnosis from hyperempiria, I believe somnambulism is the same for 
  either as hyperempiria should display the same compliance set . . . albeit, 
  the tests will be different (rather than lethargic catalepsy, one might test 
  for the other bits) . . . the signs of hypnosis are all present in 
  hyperempiria . . . or, at least, they should be if one is having full effect. 
  At least one person in the discussion characterized somnambulism as 
  the state everyone naturally goes through between being awake and 
  asleep and back and that as hypnotists we guide folks through and into 
  that state. For these folks, hyperempiria must be different from hypnosis 
  because of the lack of sleeplike state. When Gibbons first began working 
  with hypermpiric inductions and when he coined the term, he also 
  characterized hypnosis as a sleeplike state that included drowsiness and 
  relaxation rather than alert or full sensory experience. This is a fallacy 
  that has deep historical basis but is not based upon what’s actually going 
  on – albeit, there are practical reasons to hang on to a new term to 
  describe the hyperempiric experience and differentiate it from other 
  forms of hypnosis or experiential hypnosis. 
  In any case, regardless, somnambulism as the term is used to 
  describe certain hypnotic stages (deep trance), has nothing to do with 
  sleep or wakefulness. One does not have to be guided into wakefulness 
  from sleep or sleep from wakefulness to get it. The state between sleep 
  and wakefulness is the hypnoidal state which actually has very little or 
  nothing to do with hypnosis. It is merely the twilight state. It is a time 
  when folks can be roused into hypnosis because of some increased 
  susceptibility to suggestion, but it is not hypnosis in and of itself. 
  At least that is MY UNDERSTANDING of and my BELIEF 
  regarding hypnosis, experiential hypnosis, hyperempiria, and 
  somnambulism. 
  
   
   
   
   
   
   
   
   
   
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  4.5 VICARIOUS EXPERIENCE AND REAL 
  EXPERIENCES (OF MIRROR NEURONS AND 
  TRANCE PROCESSES) 
  In the Hypnosis Technique Exchange there was once a heads up post 
  about recent work on Mirror Neurons and how their discovery helps 
  explain why we do some of the things we do. 
  The poster reports on a recent Public Broadcasting Service segment 
  about a recent discovery of a set of Neurons related to socialization and 
  learning from others. A very interesting observation they found was that 
  this set of neuron can not tell the difference between seeing the action 
  being done and doing the action. 
  See the online article at 
  http://www.pbs.org/wgbh/nova/sciencenow/3204/01.html and be sure to 
  both read the background material as view the video which is quite 
  interesting. I also enjoyed the followup material. 
  That is an interesting segment. Perhaps it explains why methods like 
  ideokinesis or sense memory work for dancers, athletes, and actors or 
  why a process like the vicarious experiential machine are effective for 
  some folks and the mechanism for how they work (see here for related 
  essays in the Experiential Trance category here at Life of Brian). In my 
  own vicarious experiential machine (aka, vicarious experiential memory 
  machine) process, one enters trance and then powerfully associates to 
  images such as television or film or even a series of photographs and 
  then experiences the actions or feelings of the subject as if one were 
  performing or feeling the actions themselves. 
  The monkey’s neurons firing when observing as if doing an action 
  tells us the mechanism of seeing or imagining is as real as doing. When 
  the host performed the actions he felt emotional state changes as well. 
  The followup study on dancers who were proficient in skill sets 
  compared to untrained dancers watching videos of dance moves also 
  tells us that skill levels can affect how the mechnism works . . . so, 
  practice and imagination are important. Those who try to simply imagine 
  themselves proficient aren’t going to be as successful as those who 
  actually do the practice and get the physical skills. Perhaps reminding 
  those of us who do sports or performance hypnosis or trancework to be 
  sure to include actual physical skills practice along with the guided 
  
   
   
   
   
   
   
   
   
   
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  imagery and experiential trance experiences. Of course, those doing 
  recreational, entertainment, and even erotic experiential hypnosis (such 
  as the course I will be teaching on this subject in February) are reminded 
  that imagined experiences are processed neurologically the same as real 
  experiences so it is important to keep sessions clean of inadvertent 
  negative suggestions and the like or suggested imagery that might not be 
  pleasant or helpful in the long term. 
  What we can imagine, we can realize and vicarious experience is 
  neurologically similar to lived or real experience. 
  That autistics tend to have “broken mirror neurons” tells us 
  something about their experience of the world and may lead to 
  treatments - both medical and non-medical - that will help them become 
  more in touch with experience and empathy which allows us to adapt 
  and socially interact as well. 
  Knowing there is some basis for what we do imaginatively, can help 
  us develop more effective trance processes to help folks . . . for therapy, 
  for sports, for recreation, for entertainment, for education, for a wide 
  variety of context-based applications of the concepts. 
  Eventually this material will have very practical application, in the 
  meantime, it is food for thought and certainly interesting to know. 
  5. CONCLUSION 
  Interactive drama is not a static artform, nor is it contextually isolated 
  from other disciplines.  Just as there are intersections with experiences in 
  other game forms as well as literary forms, the intersection with 
  experimental approaches to gameplay and experiential forms will 
  continue.  While experiential trance approaches to story and interactive 
  drama is certainly not likely to become a common form, it is still quite 
  interesting and deserving of further work. 
  Those with interest, may wish to explore the resources listed within 
  the paper proper as well as the bibliography.  Feel free to contact me 
  with queries.  I am always happy to discuss this aspect of experiential 
  trance.  On occasion, I do offer trainings or host events on this and 
  related subjects as well. 
  
   
   
   
   
   
   
   
   
   
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  BIBLIOGRAPHY 
  Agelasto, M. (1991). Roleplaying helps inactive students. English Teaching Forum, 29(1), 
  32-33. 
  Boyne, G. (1989). Transforming Therapy: A New Approach to Hypnotherapy. Glendale: 
  Westwood Publishing. 
  Brown, D. (2000). Pure Effect: Direct Mindreading and Magical Artistry. Humble: H&R 
  Magic Books. 
  Cowling, M. (1989). Writing your freeform. The Freeform Book (pp. 25-34). Australian 
  Games Group. 
  Dayan, D. (1986). Review essay: Copyrighted subcultures. American Journal of 
  Sociology, 91(5), 1219-28. 
  Dean, S.O. (1998)  Live Roleplaying Frequently Asked Questions.  
  news:rec.games.frp.live-action. 
  Debetz, B. & Baker, S.S. (1985). Erotic Focus. New York: Signet. 
  DeRenard, L. A.& Kline, L.M. (1990). Alienation and the game dungeons and dragons. 
  Psychological Reports, 66(3-2), 1219-1222. 
  Di Pietro, J. J. (1983). Scenarios, discourse, and real-life roles. In J.W. Oller, Jr. & P. 
  Richard-Amato (Eds.), Methods that Work: A Smorgasbord of Ideas for Language 
  Teachers, (pp. 226-237). Rowley: Newbury House Publishers. 
  Douglas, J., Douglas, M., Doyle, M., Fountain, J., & Moores, L. (1994). Unscripted 
  Theater: Guidelines for Running Cross-Genre Live Action Role Playing Games. 
  Newark: Dead Earth Productions. 
  Dutton, R. & Freitag ,W.O. (1994). Nexus: Live Action Roleplaying (Play This Book, 
  Volume One). Oakland: Chaosium, Inc. 
  Elman, D. (1964). Hypnotherapy. Glendale: Westwood Publishing. 
  Gibbons, D.E. (1979). Applied Hypnosis and Hyperempiria. New York: Author’s Choice 
  Press. 
  Gibbons, D.E. (2001). Experience as an Art Form: Hypnosis, Hyperemperia, and the 
  Best Me Technique. New York: Author’s Choice Press. 
  Gredler, M. (1992b). Other Interactive Exercises. Designing and Evaluating Games and 
  Simulations: A Process Approach, (pp. 160-69). Houston: Gulf Publishing Company. 
  Holger. (2000). Cultured gaming. Gaming Outpost. Retrieved August 30, 2006 from 
  http://www.gamingoutpost.com/articles/holger_nahm/390/cultured_gaming/ 
  Holmes, J.E. (1980). Confessions of a dungeon master. Psychology Today, Nov. 1980, 
  84-94. 
  Jones, K. (1982). Simulations in Language Teaching. Cambridge: Cambridge University 
  Press.  
  Jones, T. (1996)  The Great Pretenders.  Washington Post 14 July 1996: F01. 
  Judd, E. (1999). Some issues in the teaching of pragmatic competence. In E. Hinkel (Ed.), 
  Culture in Second Language Teaching and Learning. Cambridge: Cambridge 
  University Press. 
  Kodotchigova, M. (2002). Role play in teaching culture: Six quick steps for classroom 
  implementation. The Internet TESL Journal, 8 (7). Retrieved August 30, 2006 from 
  http://iteslj.org/Techniques/Kodotchigova-RolePlay.html 
  
   
   
   
   
   
   
   
   
   
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  Ladousse, G.P. (1987) Role Play. Oxford: Oxford University Press. 
  Levin, I. & Levin, I. (2002). The Stanislavsky Secret. Colorado Springs: Meriwether 
  Publisher. 
  Lightbown, P. & Spada, N. (1999). How Languages are Learned, 2nd Edition. Oxford: 
  Oxford University Press.  
  Masters, P. (2001). Look Into My Eyes: How to Use Hypnosis to Bring Out the Best in 
  Your Sex Life. Emeryville: Greenery Press. 
  McGill, O. (1996). The New Encyclopedia of Stage Hypnotism. St. Clears: 
  Anglo-American Book Company. 
  McGill, O. (1977). Professional Stage Hypnotism. Glendale: Westwood Publishing. 
  Mugglestone, P. (1977). The Primary Curiosity Motive. ELT Journal, 31(2), 111-116. 
  Phillips, B.D. (2006). Entertainment Hypnosis. Taipei: Waking Dreams Hypnosis 
  (International Applied Experiential Trance Society). 
  Phillips, B.D. (2005). Erotic Experiential Hypnosis: Super Secret Sexual Suggestion 
  Techniques. Taipei: Waking Dreams Hypnosis (International Applied Experiential 
  Trance Society). 
  Phillips, B.D. (2005). Experiential Hypnosis. Taipei: Waking Dreams Hypnosis 
  (International Applied Experiential Trance Society). 
  Phillips, B.D. (1995). Foreign language education and role playing games. The Journal 
  of Role-Playing and Story-Making Systems 1(3), 96-103. 
  Phillips, B.D. (1999). Improvisational language structures: improving conversational 
  spontaneity through ILS theatre games. Proceedings of the Sixteenth Conference on 
  English Teaching and Learning in the Republic of China. Taipei: Crane Publishing, 
  (p. 551-565). 
  Phillips, B.D. (1994). Interactive Literature and the Teaching of English as a Foreign 
  Language: History, Theory, and Application (Roleplaying Games in the Language 
  Classroom). Taipei: The Crane Publishing Company, Ltd. 
  Phillips, B.D. (1999). Interactive drama: Act I, scene one (The Taipei Interactive Theatre 
  Society brings a hybrid form of entertainment to Taiwan). China Post (Prime Time 
  supplement), Taipei, Friday 02 July 1999 (p. 1). 
  Phillips, B.D. (1996). Interactive drama: Deconstructing theatre. Theatre Central Journal 
  1(2). 
  Phillips, B.D. (2006). Speed Hypnosis. Taipei: Waking Dreams Hypnosis (Society of 
  Experiential Trance). 
  Phillips, B. & Cheng, M. (2004). Interactive drama: Freeform live action role playing 
  games for the classroom (adapting unscripted theatre methods to language learning). 
  Selected Papers from the Thirteenth International Symposium on English Teaching, 
  (pp. 236-248) Taipei: English Teacher’s Association of the Republic of China. 
  Phillips, B. & Cheng, M. (2005). Writing interactive drama role plays for the language 
  classroom: Bridging the gap between learning and teaching (teacher-centered and 
  learner-centered methods for creating role plays). Selected Papers from the 
  Fourteenth International Symposium on English Teaching. Taipei: English Teacher’s 
  Association of the Republic of China. 
  Rodriquez, R.J. & White, R.H. (1983). From role play to the real world. In J.W. Oller, Jr. 
  & P. Richard-Amato (Eds.), Methods that Work: A Smorgasbord of Ideas for 
  Language Teachers, (pp. 246-255). Rowley: Newbury House Publishers. 
  
   
   
   
   
   
   
   
   
   
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  Scarcella, R.C. (1987). Socio-Drama for Social Interaction. In M.H. Long & J.C. 
  Richards (Eds.), Methodology in TESOL: A Book of Readings, (pp. 208-213). New 
  York: Harper and Row Publishers. 
  Simon, A. (1987). Emotional stability pertaining to the game of Dungeons & Dragons. 
  Psychology in the Schools, 24, 329- 332. 
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  P. Richard-Amato (Eds.), Methods that Work: A Smorgasbord of Ideas for Language 
  Teachers, (pp. 207-225). Rowley: Newbury House Publishers. 
  Swink, D.F., & Buchanan, D.R. (1984). The effects of sociodramatic goal-oriented role 
  play and non-goal-oriented role play on locus of control. Journal of Clinical 
  Psychology, 40(5), 1178-1183. 
  Valley, J. (1998). Inside Secrets of Stage Hypnotism. Methuen: National Guild of 
  Hypnotists. 
  CORRESPONDENCE 
  Brian David Phillips is the founder and chief archivist of the Interactive Drama Archive 
  (http://www.interactivedramas.info) and is the President of the Society of Experiential 
  Trance.  Dr. Phillips is an Associate Professor in the Department of English, National 
  Chengchi University, Taipei, Taiwan, as well as a professional hypnotist. 
  Waking Dreams Hypnosis, http://www.BrianDavidPhillips.com 
  E-mail address: phillips@nccu.edu.tw 
   
   
  
   
   
   
   
   
   
   
   
   
   
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  Vol. 2.1, January, 2007 
  56 
   
   
   
   
   
   
   
   
   
   
   
   
   
  CROSSING THE THRESHOLD 
  Tensions of Participation in 
  Community-Based 
  Playback Theatre Performance 
   
  Rea Dennis 
  University of Glamorgan 
   
   
  ABSTRACT 
  Contained by a simple accessible ritual structure playback theatre offers a 
  unique audience experience with the possibility of participation. The 
  opportunity to participate introduces a challenge for some. This can be further 
  compounded by the central place of personal storytelling. It is the repeated 
  invitation to tell a story that drives the ritual momentum in the playback theatre 
  performance. Audience members sit with the constant possibility of 
  volunteering, while some are preoccupied with a persistent reluctance to tell. 
  This 'tension of participation' could be considered the more potent tension 
  underpinning audience members' experiences in the playback theatre event - 
  perhaps more than the dramatic tensions emerging from the performative acts 
  of storytelling and enacting. 
  INTRODUCTION 
  Playback theatre is a hybrid performance form blending 
  non-traditional theatre and ritual. Significant to defining it as 
  nontraditional are things like the placement in nontraditional theatre 
  venues or locations, the participation of audience members, and the 
  
   
   
   
   
   
   
   
   
   
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  emergent nature of the content1. The method is designed as a collective 
  experience and is mediated through a patterned, sequential, theatrical 
  process. It is these key features that render it ritual in form2. This article 
  explores the phenomenon of the tension of participation for audience 
  members of playback theatre. It proposes that this tension is contingent on 
  audience members' initial response to the nontraditional nature of 
  playback theatre as a theatre event and the ritual momentum that arises 
  from the way in which it is framed. A strong ritual containment is an 
  essential aspect of fostering and facilitating audience participation during 
  playback theatre. It is this that compels storytelling. The momentum built 
  through the ritualised method, the repeated invitation to tell and the 
  evocation of a heightened theatrical environment can be challenging for 
  audience members and cause them to resist participation. The discussion 
  herein has emerged from my interactions with audience members during a 
  three-year research project3 in Brisbane, Australia. Excerpts from 
  audience members' stories are interwoven throughout to illustrate the 
  ways in which the tension of participation builds during performance. 
  PUBLIC PERFORMANCE: THEATRE OR RITUAL 
  Interactive theatre processes like playback theatre demand the 
  removal of the traditional notion of aesthetic distance and therefore 
  promote an ongoing uncertainty as the fourth wall disintegrates into a 
  blurred threshold for both performer and audience. This is the vitality of 
  such a form. The intersection of personal story with this theatrical 
  uncertainty generates further complexities for participants and introduces 
  additional avenues for the tension of participation. The nontraditional 
  nature of the playback theatre event can shift audience members into a 
  sophisticated process of engagement that demands they undertake a 
  meta-process alongside the fundamental spectating role they are familiar 
  with. For the purposes of this discussion, I will call this process reflective 
  distance. Reflective distance involves a metaphorical move into and out of 
  the real-time aspects of the event as participants weigh up how what they 
                                                   
  1 Bennett (1990) 
  2 Cabral (2001) 
  3 This project was the central project in my PhD research at Griffith University. 
  
   
   
   
   
   
   
   
   
   
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  are encountering differs from what they had expected, for example. A 
  similar shift can occur in ritual processes. After van Gennep, Turner4 
  proposes that the ritual event proceeds in three phases5: separation; 
  transition; and incorporation or re-entry. The separation or pre-liminal 
  phase involves participants leaving behind of the real-time and real-space 
  dimensions of their daily lives. It enables them to shift to a more "sacred 
  space and time from profane or secular space and time"6. This phase 
  coincides to the pre-show period at playback theatre and can begin days or 
  weeks before as the purpose and context of the performance are 
  established and the gateway by which participants will enter is initiated. 
  The shift to separation opens a performance arena that exists in-between 
  rather than set-apart from ordinary life, a space on the "border, a margin, a 
  site of negotiation"7. Within this, participants encounter the second phase, 
  the liminal or transition phase8. The liminal phase induces the potential 
  for anti-structure and ambiguities, a space where past and future can 
  merge. Interestingly, Cabral constructs this in-between time and space as 
  a bridge into "situations that would be tense in the real context"9. Crossing 
  this bridge, the threshold into a social context that has the potential to 
  disturb the social status quo, and contravene the protocols of political 
  correctness, presents a challenge for many audience members. Such a 
  shift is compelled by the potency of ritualised time and space. It is this 
  shift between the separation and liminal stages that are a key site for the 
  tension of participation and can trigger shifts into reflective distance. The 
  third stage, incorporation, coincides with the post-show period of the 
  playback theatre event10. 
                                                   
  4 Turner (see 1969, 1986, 1990) has been a seminal thinker in bringing ritual theory to 
  bear in contemporary western performance theory. While very much predicated on the 
  notion of performance as a culturally conservative activity in tribal and agrarian societies 
  it is useful when discussing public ritual. 
  5 These stages are derived from van Gennep. The van Gennep schema derives from the 
  idea that performance occurs in the context of everyday life, in in-between spaces, rather 
  than the idea implicit in the frameworks of Singer, Hymes, Bauman and Barba that 
  performance is "set apart" (Carlson, 1996, p.20). 
  6 p.24, Turner (1982) 
  7 p. 20, Carlson (1996) 
  8 Van Gennep referred to this as 'margin' or 'limen' (meaning threshold in Latin).  
  9 p.56, Cabral (2001). 
  10 Here participants begin to integrate their experiences, making sense of what they have seen, heard, felt, and remembered. 
  Reflective integration can continue well after the show as people resume their everyday social roles becoming aware of the new 
  
   
   
   
   
   
   
   
   
   
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  SHOCKS AND SURPRISES – ARRIVING, READY OR 
  NOT! 
  Initial perceptions of the playback theatre event can be surprising for 
  audience members as they come to some realisation that separation is 
  imminent. An audience member's expectations and initial perceptions of 
  the playback theatre performance might need to be met or transformed in 
  order for them to effect separation and be freed to enter into the spirit of 
  the performance. When Darren arrives at a playback theatre event by 
  himself he looks around in the hope of meeting a friend there. He is a 
  performer himself and has been at a Company performance some years 
  back. As he takes in the surrounds he is more than surprised by what he 
  observes. This is how he describes it: 
   
  I was expecting a different venue. Some place more neutral. 
  [When] I came in and realised that it was a community … I felt 
  really apart from that, and that worked against me feeling at 
  home because a lot of people seemed to know each other and I 
  didn't know anyone. I found myself doing some 
  social-environmental (analysis), who are these people? I felt 
  quite outside. And I was expecting to see [a friend] there, and 
  she wasn’t … The thing that struck me was that, there were 
  three women on stage, or four women on stage, and two of 
  them were older women, and I was quite surprised by that 
  (Darren11, independent street performer). 
   
  Darren's experience reveals significant tension due to unexpected 
  elements about the venue, the company and the audience composition. 
  These perceptions of the place of the performance, the history of the 
  Company, and his socially formed cultural values and personal ideas all 
  converge and threaten to overwhelm him. At a certain level, the mounting 
  tension he feels stimulates a shift to reflective distance. While this serves 
  to dispel the tension of participation somewhat it impedes Darren's 
                                                                                                               
  perspectives they may have from the experience. 
  11 Darren is a fictionalised name; while all interview participants have given permission 
  for their testimony t be included, their names have been anonymised. 
  
   
   
   
   
   
   
   
   
   
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  separation and minimises his capacity to participate further until he finds a 
  moment of re-entry. 
  Being surprised by elements of a theatre event is not uncommon. The 
  participatory nature of playback theatre can up the ante with regard to how 
  a participant manages such surprises. In stark contrast to Darren some find 
  surprises stimulating and delightful and respond to the tension of 
  participation by anticipating greater involvement. Far from overwhelming 
  the participant, the quality of this tension is appealing and comes when an 
  encounter with the unexpected engenders intrigue. Craig arrives at the 
  same event Darren describes above. His first impressions follow: 
   
  There was a wonderful sense of community. There were people 
  walking up, shaking hands, and introducing themselves. People 
  felt very comfortable to do this. It wasn’t contrived and it 
  wasn’t forced. … There was individuals, groups, couples … It 
  reminded me of an old town public meeting, ‘let’s gather’ let's 
  we - the community - gather, and let’s talk about what’s on. … 
  There was a sense of event, but not in a traditional (theatre) 
  sense. It even has its own rituals. It’s not like we’re going to see 
  play [at] ‘the theatre’ [yet] there is a set of rituals that take 
  place. … [W]hen the performance began, there was immediate 
  silence when the actors entered (Craig, High School Drama 
  Teacher). 
   
  Craig appears ready for whatever comes next. His response is more in line 
  with what Coppieters12 predicts of audience members at the 
  non-traditional theatre event, who suggests that they are likely to be 
  interested and playful and take more of a risk. This risking takes the form 
  of becoming "a tangible active creator of the theatrical event13". They 
  embrace their pivotal role in what happens next and trust that this role is 
  guided by the way the ritualised framing of the process points to specific 
  gaps in the action that invite genuine participation. 
  It is likely that most audience members have experienced a degree of 
  separation by the time the players take the stage in a playback theatre 
  event. There can be further jolts at this stage as the central place of 
                                                   
  12 Bennett (1990) 
  13 p.10, ibid 
  
   
   
   
   
   
   
   
   
   
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  61 
  personal story is highlighted, and again, when this personal dimension is 
  juxtaposed with the revelation that participant's are to join players on 
  stage in a public performance as a storyteller. These transitions are likely 
  sites for the tension of participation and can serve to further inhibit the full 
  separation of audience members. Unlike Darren and Craig, Eloise draws 
  little conclusion from initial perceptions of the venue and audience. She 
  arrives at the performance with friends who are familiar with playback 
  theatre and feel well hosted. It is in witnessing the actions of the first few 
  storytellers that she begins to feel uneasy. She shares her experience: 
   
  I wasn't used to that kind of theatre. I found it quite confronting 
  that this was on an emotional level … I was watching, looking 
  back to see whose story it was, seeing if they were reacting in 
  the right way, the traditional way, and that was good. I was 
  trying to understand what was going on. I got more involved, 
  got more carried away, with some of the longer stories at the 
  end (Eloise, young woman new to playback). 
   
  The tension she is feeling about the way in which the playback theatre 
  moment contravenes her values shifts Eloise to reflective distance. She 
  needs to gather information about the unfamiliar form and is able to 
  observe the process and assess the consequences of participation on 
  others. After stepping back, Eloise is able to surrender or renegotiate her 
  expectations of the theatre event and her idea about what constitutes 
  performance or public gatherings and move toward being more involved. 
  Eloise uses her moment of retreat to reflective distance to integrate 
  unexpected emotions she is experiencing. She states that at some point she 
  is carried away signaling her growing ease with the experience, a growing 
  recognition of the ritual pattern, and a move toward the liminal. 
  Earlier, Craig names what he sees as a "set of rituals" at play in the 
  opening sequence of the playback theatre event. He appears very 
  comfortable with the way in which this start might diverge from a 
  traditional theatre event. Fox (1999) summarised the ritual dimension of 
  playback theatre highlighting five specific elements: keeping to rules, 
  ecstatic emotion, transpersonal dimension, goal of transformation, 
  spellbinding language. It is the fundamental simplicity of the first element 
  that could be responsible for creating the conditions for the other four. The 
  
   
   
   
   
   
   
   
   
   
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  62 
  repetitive nature of the form gradually reveals the rules of the frame. It is 
  not that there are rules as such, but that the implicit rules are made known 
  in some way. In observing the patterns in the form, Eloise has become 
  freer to enter the ritualised frame. This does not automatically translate 
  into a desire to participate more publicly, however. 
  LIMINAL MOMENTS – ENGAING WITH 
  UNCERTAINTY 
  As the performance progresses, the personal stories that are told are 
  animated on-the-spot. As the players improvise, the audience members 
  are exposed to the possibilities of participation as they observe the actors 
  giving full expression to the characters and explore the emotional texture 
  of the tellers' experiences. There is time to watch the immediate impact on 
  participants of telling and of watching the subsequent enactment, as Eloise 
  does. As familiarity builds comfort with the form grows. Establishing a 
  ritual frame serves to announce that a certain set of rules are at play and 
  releases participants to act beyond their constrained domestic roles and 
  engage in other ways with themselves, with each other, and with the social 
  environment14. The potential of this released state equates to the liminal or 
  transitional moment and frees participants to dare and to risk as they move 
  toward an experience of flow15. However, the tendency for audience 
  members to respond to the tension of participation by shifting to reflective 
  distance continues. 
  In many ways, the move into and out of flow (and into and out of 
  reflective distance) constitutes the occurrence of micro ritual-phase 
  cycles: separation-transition-integration where the micro integration 
  phase coincides with the next separation phase. The way in which Clare 
  speaks about her first experience of playback theatre reveals a number of 
                                                   
  14 Turner (1982) and Schechner (1985). 
  15 Flow provides another way in which to speak of the liminal experience. 
  Csikszentmihalyi (1990, 1992, 1997) writes of activities where we experience flow. He 
  shows that the degree of difficulty of a sporting event must not exceed the level at which 
  it becomes unachievable (too hard) for the individual. He proposes that we desire to feel 
  stretched to the limit and yet simultaneously feel as though we are somehow "master of 
  our own fate". 
  
   
   
   
   
   
   
   
   
   
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  micro cycles as she prepares to enter more fully into the spirit of the event. 
  She admits: 
   
  At first we didn't know what to expect. We watched and tried to 
  catch on. I really started to get into the last part of it. The 
  beginning was confusing. We didn't know what to expect or 
  what to think. We had to wait and see. We started getting into it 
  more toward the end … After a while, when I realised that I 
  wasn't going to have to speak, or be made to, and that I could 
  watch other people's stories I was OK. But for quite a while I 
  was worried I would be picked out (Clare, first-time playback 
  theatre go-er). 
   
  Clare's comment suggests that she is feeling anxious about what is 
  required of her and is not particularly confident that she is up to the 
  challenge. Tension of participation is linked participant anxiety. Clare's 
  concern is compounded by the realisation during one of her integrative 
  moments, that her story includes her husband. The idea of revealing 
  intimate details and possibly embarrassing her husband is a 
  values-conflict for her. This provides another surge of anxiety and further 
  tension around whether she will consent/choose to tell her story. Clare's 
  admits to feeling resistant to participating due to her anxiety about 
  exposing her husband. Self-regulation such as this occurs frequently 
  during the playback theatre performance and impedes experiences of flow 
  for individuals. Spectators are known to shift to reflective distance to 
  release a growing tension of participation and engage in inner dialogues 
  with themselves as they develop reasons not to tell, for example, that 
  others are more interesting, or that others have a greater need. These shifts 
  represent micro-integrative moments that move a participant to a place of 
  re-separation and subsequently enable re-entry. Schechner16 states that 
  "in all kinds of performances a certain definite threshold is crossed at 
  which time participants attain a state of flow." Flow coincides with those 
  times when participants feel some resolution with respect to values 
  conflict or risk challenges arising during the performance. This is most 
  often with respect to whether to participate as a storyteller yet could also 
                                                   
  16 p.10, Schechner (1985) 
  
   
   
   
   
   
   
   
   
   
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  be connected to the experience that Clare alludes to of reaching a new 
  level of understanding about the rules of engagement and the collective 
  culture of the audience; information that emerges as the performance 
  proceeds. 
  RESISTING THE LURE OF THE LIMINAL 
  Ritualising time and space brings with it an inherent counterpoint to 
  the expected social structure of a public event. Even mild resistance to the 
  ambiguities inherent in the "anti-structure" evoked by the ritual frame 
  stimulates tension of participation. Despite this the ritual momentum 
  builds and the lure of the liminal can feel like a loss of autonomy or an 
  interruption of personal agency and can lead to an experience of terror for 
  some. If the liminal pull accelerates in such a way that a participant 
  becomes frightened or confused they will do more than shift to reflective 
  distance, they will resist the desire to participate at all costs. Let us return 
  to Darren who is still recovering from the disappointment he felt about the 
  venue, the audience and the players on arrival. He has found a seat in the 
  third row near the aisle. This positioning enables him to continue his 
  observation of the audience as they arrive, and gives him an excellent 
  view of the stage area. As the show gets underway he maintains his 
  observational stance. He is determined to overcome his earlier 
  disappointment and discomfort yet he is immediately besieged by a totally 
  unexpected story: 
   
  I entered with the idea that I didn't have any experiences that 
  related to the theme. Then had a whole lot of things go 'Bop! 
  Bop! Bop!' (a sound representing each story). That really struck 
  me about the night, we were telling stories like when a bunch of 
  people sits around a table. It was a dynamic process. … I had a 
  bunch of things come up - personal stories - and I didn’t really 
  know there were issues there (Darren, independent street 
  performer). 
   
  He is highly resistant to telling his personal story in this public place to 
  this gathered public audience. Darren's resistance is more complex than 
  
   
   
   
   
   
   
   
   
   
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  Clare's and in turn leads to a greater generation of the tension of 
  participation as he battles the persistent story. As the performance 
  proceeds he is constantly distracted by the inner tension he experiences 
  yet continues to resists telling his story. He admits that he does not feel 
  that he can relax and surrender to the ritual moment. He spends the 
  performance vacillating between the persistent urge to participate and 
  share his story, and his reflective reasoning that it is not the time or place 
  for him to tell. This decision not to tell has demanded his full attention as 
  he has been gripped by the tension of participation, teetering on the verge 
  of the ritual threshold. Darren's reluctance to tell could be interpreted by 
  considering a number of impediments to his capacity to release. Firstly, he 
  admits that he does not feel he can succeed in participating in a way that 
  does not contravene his values. He feels he will be over-exposed as he 
  endeavours to construct a story that he feels is poorly formed and is 
  breaking out in such an unexpected and discomforting way. As he resists, 
  his confusion grows and he feels further excluded. It is only after the event 
  that Darren can appreciate how determined he was not to yield. He is left 
  feeling disappointed and isolated until he is able to chat with other 
  audience members during the after-show period and integrate the 
  experience. 
  It is not clear what might have happened had Darren succumbed to the 
  persistent story. One possibility is that he would have relaxed. When 
  Helen attempts to resist the story that bubbles up about ten minutes into 
  the performance, she too is continually distracted by it. She recounts her 
  experience: 
   
  I thought 'oh it'll go away' [laugh] but then it was too insistent, I 
  could feel it, I can't remember how, but I was connecting with 
  other responses. I thought 'I have to say something.' …  I 
  couldn't hold it anymore (Helen, regular playback 
  theatre-goer). 
   
  Unlike Darren she eventually succumbs and shares her story in the public 
  arena. She consents to the ritual momentum compelling her and the 
  tension she is harboring dissipates. Helen is able to relax into another level 
  of flow in the performance and enjoy the chance to listen to others. The 
  shift in attention that occurs when a volunteer teller comes to the stage can 
  
   
   
   
   
   
   
   
   
   
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  dispel tension in participants who have chosen not to tell. Tension of 
  participation appears to be a uniquely individual experience and is 
  transformed when the individual shifts attention from him/herself to 
  another and engages more intimately in the collective experience of the 
  ritual event. It is during these experiences of flow, of unselfconscious 
  engagement, and collective listening that the tension of participation can 
  be released. 
  FLOW – THE MOMENTUM OF THE RITUAL 
  An experience of flow occurs when our "body or mind is stretched to 
  its limits in a voluntary effort to accomplish something difficult and 
  worthwhile17". It equates to attaining a sense of mastery over something 
  that presents a challenge. The reframing this "sense of mastery" to "a 
  sense of participation" is perhaps more meaningful in the context of the 
  playback theatre ritual. Within the magic of ritual anxiety can quickly 
  move to arousal. Between flow and anxiety, arousal occurs where the 
  participant's skills may not be immediately sufficient but there is scope for 
  them to engage in the challenge. The following excerpt from Hillary's 
  story demonstrates one teller's experience of moving beyond resistance 
  and concern about what others think and surrendering to the growing 
  momentum that delivers her to the stage. She says: 
   
  I was thinking 'how can you possibly reflect this story that I 
  have so heartfelt, inside my belly that makes me feel the way I 
  do, and express it, like that, in all these little stories.' [At that 
  moment] I was thinking 'they can do this (the little stories), can 
  they do that (my heartfelt-inside-my-belly-story)?' In a way, 
  those first few stories were weaving the test of you. [As I 
  watched] I thought, 'OK, they got part of it right, pretty well - 
  and I had doubted you would get it right - [it was] close enough. 
  You were touching everything. That was great. … I thought, 
  'It's going well. Now, what's going to happen next? 
                                                   
  17 p.3 Csikszentmihalyi, (1997) 
  
   
   
   
   
   
   
   
   
   
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  67 
  You had that space for people to decide whether or not they 
  wanted their story to be out there. I had heavy legs, and inside 
  was about the burst, whether I was going to run away or run up 
  to you [laughs]. It was a pretty shaky moment. But once I got 
  up, I could feel the strength of others, and I thought, 'Go for it 
  Hillary!' (Hillary, community worker). 
   
  When Hillary becomes aware of her desire to tell she is a little 
  overwhelmed. Yet she launches herself across the threshold harnessing all 
  the tension that is arising from the interaction of her urgent story with her 
  reflective assessment of the likely risks. As she gathers herself she moves 
  toward flow and becomes, in Csikszentmihalyi's (1992) words, "master" 
  of her own "fate" (p.3). Hillary is besieged by her compelling need to tell. 
  She makes a different choice to that of Darren. Her story as an example of 
  those audience members who yield fully to the ritual pull taking great 
  risks and delivering the performance more fully into the hands of the 
  audience. This notion of personal (and collective) agency is embedded in 
  the participatory opportunities in the ritual process where the involvement 
  of the individual cannot be cannot be forced only invited or sought18. The 
  way in which playback theatre draws on personal stories and theatrical 
  form within a ritual performance process expands the potential for 
  engagement in the public event and encourages individual and group 
  agency and responsibility. This renders the tension of participation a 
  potential desirable element for maximising the performance energy and 
  the audience experience. 
  TENSION OF PARTICIPATION – MAKING IT WORK 
  The stories shared here suggest that through the ritualised structure of 
  the playback theatre form, participants seem empowered or challenged, or 
  stimulated to be involved. Unlike some traditional ritual performances, 
  the liminal opportunity afforded through the ritualised structure of the 
  playback theatre performance does not necessarily induce deep trance 
  states for audience members. Audience experiences are predicated on the 
                                                   
  18 p.246 Myerhoff (1990). 
  
   
   
   
   
   
   
   
   
   
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  way in which they negotiate the initial unfamiliarity of the form and the 
  uncertainty of the separation and liminal phases of the ritual. This is 
  helped or hindered by individuals' responses to the invitation to tell a 
  personal story in the context of a public performance. Sitting with the 
  constant possibility of volunteering to participate can be a preoccupation. 
  Participants can become occupied by their repeated preparation to tell a 
  story and for some, feel compelled to participate. Others experience a 
  persistent reluctance to tell. The dynamic of reflective distance appears to 
  enhance the engagement of the audience and provide and outlet for the 
  tension of participation. The question remains as to whether the 
  dissipation of the tension of participation through the move to reflective 
  distance hinders the possibilities for the performance (and audience). 
  This article has explored the tension of participation confronting 
  audience members as they contend with the ritual momentum of playback 
  theatre. It has focused on storytelling as the primary avenue for 
  participation. In performances where the tension of participation is the 
  more potent tension underpinning audience members' experiences 
  conductors and ensembles need to work with a greater sensibility to 
  enable individuals to negotiate the shift to the liminal experience. To 
  ensure that the liminal phase of the playback theatre performance is 
  characterised by moments of unselfconsciousness, high spontaneity and 
  experiences of flow certain elements in the form have to converge to 
  enable participants to join in. This usually means that the challenge 
  present in the task of participating is not too difficult for the individual. 
  The improvised nature of the performance can represent too great a 
  challenge for some audience members and lead to anxiety or confusion. 
  Any factor that induces fear, uncertainty or anxiety acts to inhibit flow for 
  the audience. Other barriers to participation arise from a lack of 
  familiarity with the rules of engagement, concerns about of exposing self 
  of another, concerns about being judged, boredom, disappointment, and 
  feelings of alienation. Similarly, concern about others' safety, 
  dissatisfaction with the quality of the artistry, and discomfort arising from 
  emotional responses could limit an individual's capacity to surrender. It is 
  the responsibility of the conductor and the ensemble to work to maximise 
  the conditions required for greatest participation by the greatest number 
  over the course of the performance. Inability to overcome barriers to 
  
   
   
   
   
   
   
   
   
   
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  69 
  participation could result in individuals excluding themselves from the 
  activity altogether. 
  The conductor's role is subtle here as she works with the audience to 
  maximise the agency of the participant to generate the "text," through the 
  volunteering of and performance of the stories that are told and enacted. 
  Maximising theatricality and working to create an environment in which 
  adults are enticed to playfulness are primary factors if the performance is 
  to ride the tension of participation wave. The process is dialectic and calls 
  forth the agency of the participant as risk-taker and storyteller and the 
  agency of the conductor as ritual shaman, theatre producer and host19. 
  BIBLIOGRAPHY 
  Bennett, S. Theatre audiences: A theory of production and reception. NY: Routledge, 
  1990 
  Cabral, B.A.V. Ritual and ethics: Structuring participation in a theatrical mode. Research 
  in Drama Education 6(1), 2001, pp.55-67. 
  Carlson, M. Performance: A critical introduction. London: Routledge, 1996 
  Csikszentmihalyi, M. Flow: The psychology of optimal experience. NY: Harper Perennial, 
  1990 
  Csikszentmihalyi, M. Flow: The psychology of happiness. London: Rider, 1992 
  Csikszentmihalyi, M. Finding flow: The psychology of engagement with everyday life. 
  NY: BasicBooks, 1997 
  Fox, J.  Acts of Service: Spontaneity, Commitment and Tradition in the Non-scripted 
  Theatre. New Platz, NY: Tusitala Publishing, 1994 
  Fox, J. A Ritual for our Time. In J. Fox & H. Dauber, Gathering voices Essays on 
  Playback Theatre, New Platz, NY: Tusitala Publishing, 1999, pp.116-134. 
  Good, M. The Playback conductor: How many arrows will I need? Unpublished paper 
  submitted for Certification as a Psychodrama Director. Melbourne: ANZPA, 
  September, 1986. 
  Myerhoff, B. The transformation of consciousness in ritual performance. In R. Schechner 
  & W. Appel (Eds.). By means of performance: intercultural studies of theatre and 
  ritual, Cambridge: Cambridge University Press, 1990, pp.245-249. 
  Moreno, J.L. The Theatre of Spontaneity. (3rd Ed) Ambler, PA: Beacon House, 1983 
  Nolte, J. Re-experiencing life: Realigning art with therapy and education. In J. O'Toole & 
  M. Lepp (Eds.), Drama for life: stories of adult learning and empowerment. 
  Brisbane, Australia: Playlab Press, 2000, pp.209-224. 
  O'Toole, J. & Lepp, M. Art and artistry in education. In J. O'Toole & M. Lepp (Eds.), 
  Drama for Life: stories of adult learning and empowerment. Brisbane, Australia: 
  Playlab Press. 2000, pp.27-35. 
                                                   
  19 Fox (1994), Good (1986). 
  
   
   
   
   
   
   
   
   
   
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  Schechner, R. Performance Theory. NY: Routledge. 1988 
  Spolin, V. Improvisation for the theatre (3rd Ed.). Evanston, Illinois: Northwestern 
  University Press, 1999 
  Turner, V. The ritual process. Chicago: Aldine Publishing Company, 1969 
  Turner, V. From ritual to theatre: the human seriousness of play. NY: PAJ Publications, 
  1982 
  Turner, V. The anthropology of performance. PAJ Publications, NY, 1986 
  Turner, V. Are there universals of performance in myth, ritual, and drama? In R. 
  Schechner & W. Appel (Eds.), By means of performance: Intercultural studies of 
  theatre and ritual. Cambridge: Cambridge University Press, 1990, p.8-18. 
  CORRESPONDENCE 
  Formerly from Australia, Rea Dennis teaches drama and performance at the University 
  of Glamorgan, South Wales, UK. She completed her doctoral studies on audience 
  experiences of playback theatre at Griffith University, Brisbane Australia in 2004. Her 
  research interests include playback theatre and other forms of interactive and applied 
  theatre in reconciliation and peacebuilding contexts, the improvisational performer and 
  ensemble, and physical theatre languages in community theatre.  Acknowledgements: I 
  wish to acknowledge my gratitude to the players and audience members from the 
  Brisbane Playback Theatre Company who gather together regularly to listen to one 
  another and dare to be changed. Special thanks to those whose stories are recounted 
  here. 
  School of Creative & Cultural Industries, University of Glamorgan, United Kingdom 
  E-mail address: rdennis@glam.ac.uk 
   
   
  
   
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
  Vol. 2.1, January, 2007 
  71 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  TEMPUS FRANGIT 
  An Interactive Drama Scenario 
   
  Mike Young 
  Interactivities Ink 
   
   
  INTRODUCTION 
  In the fall of 2005, the Live Action Roleplayers Association ran its 
  first Iron GM contest.  Two teams were given three elements 24 hours before 
  their games were to be run.  They each had to write an entire two-hour live 
  action roleplaying game for 5-10 players using those elements.  They were 
  judged on writing, timeliness, creativity, and runtime experience. Mike Young 
  was the entirety of one of those teams.  Using the elements of The Kaballa, the 
  Illuminati, and Enhanced Humans, he wrote Tempus Frangit literally 
  overnight.  Tempus Frangit went on to win the competition.  The version 
  published here as been modified slightly to flesh out the background of one of 
  the characters. 
   
  WARNING: THIS GAME DEALS WITH ADULT THEMES 
  AND SITUATIONS AND MAY NOT BE APPROPRIATE 
  FOR CHILDREN. 
   
   
  Tempus Frangit 
   
  Well, we know where we’re going 
  But we don’t know where we’ve been. 
  
   
   
   
   
   
   
   
   
   
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  And we know what we’re knowing. 
  But we can’t say what we’ve seen. 
  And we’re not little children. 
  And we know what we want. 
  And the future is certain. 
  Give us time to work it out. 
  -- Road to Nowhere, The Talking Heads 
   
  Idea: The illuminati has been working on methods of creating the next 
  generation of humans, in a secret research facility.  Some of these 
  experiments have escaped and have wandered into a cabin in the woods 
  near Boulder.  The people in the cabin have found a book on the Kabala 
  and cast a spell.  They think the escapees are the result of the spell.   
   
  The spell has fractured time.  The escapees have flashbacks that explain 
  who they are and what they are.  Also, something is coming from 
  n-time, a part of time that is orthogonal to our own.  The players must 
  figure out how to defeat the creature from n-time using the Kabala, the 
  secret Illuminati knowledge, and the enhanced humans.   
   
  If they succeed, then time is realigned so that it all never happened.  If 
  they fail, then time is realigned such that they are stuck in a dystopia 
  where the Illuminati rules all with an iron fist. 
   
  Characters: 
   
  Mordechi (Morrey) Saltzberg:  The son of an Orthodox Jewish rabbi 
  from Denver.  He found the book in his father’s collection and was 
  curious.  He was raised Orthodox, but was disowned when he took a 
  non-jewish lover.  He is Pagan curious, but has little experience outside 
  of Judaism. 
   
  Felicity Chilton:  Morrey’s lover.  She is a new-age mystic and is into 
  the Kaballah, but hates the way Madonna is cheapening it for everyone.  
  She discovered the Kaballah first.  Likes Morrey because he’s Jewish 
  and that is soooo spiritual. 
   
  
   
   
   
   
   
   
   
   
   
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  Raventooth:  A creepy goth who is a dark Pagan.  Owns the cabin in 
  the woods, which is why the other hang around him.  Always overly 
  dramatic.  In love with Candice.  (Can be either gender).  Randy 
  Thurston. 
   
  Candice Brookward:  She is a Pagan and has a good head on her 
  shoulders.  She is far more pragmatic than the others. 
   
  Saul Flockman:  He is half Jewish and was raised without religion.  
  He is a conspiracy theorist and has actually had brushes with the 
  Illuminati.  He is concerned about the “research facility” a few miles 
  away from the cabin.  He is also in love with Candice. 
   
  Notes:  The enhanced do not know they have super powers at all.  
  While they are literate and intelligent, they have no real memories before 
  the middle of the experiment process. They wear jumpsuits with the 
  Illuminati logo and the hebrew symbol. 
   
  Aleph א:  Enhanced Male.  Super Strength and Fortitude.   Was a 
  security guard in Denver named Albert Tussard.  He has a wife and 
  child and they needed money.  He signed up to have the money to 
  afford an operation for his wife. 
   
  Bet ב:  Enhanced Female.  Super Dexterity.   She has been trained 
  as a professional assassin and has codewords in her head that would 
  cause her to kill without remorse.  She was a drug addict, a prostitute 
  who ran away from home when she was 16. Gayle Ermis.  Been at 
  facility for a year. 
   
  Gimmel ג:  Enhanced Male.  Super Speed.    However, his 
  metabolism is sped up and he must constantly eat food.  He was a 
  basketball player for University of Colorado at Boulder.  Taken two 
  months ago.  Keith O’Brien. 
   
  Daled ד (Dead):  Another child, a female. 
   
  He ה:  Enhanced Child.  Sensor.  Can sense the emotions of others 
  
   
   
   
   
   
   
   
   
   
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  and dangers.   (can be either gender).  He was in a halfway house 
  after his/her illegal immigrant parents were deported.  However, he/she 
  joined a gang and killed a rival gang member (still as a child, remember).  
  The illuminati representative gave him/her the option to join or go to jail.  
  Hernandez. 
   
  Vav ו:  Enhanced Female:  Failed experiment.  Dying.  She is Judy 
  from Candice’s character sheet.  She has some telepathy and mind 
  control.  If she overexerts her powers, she gets headaches or even mini 
  strokes. 
   
  Flashbacks 
   
  Well, the flashbacks aren’t really flashbacks.  They are fragments of 
  time.  Sometimes the players have free will and sometimes they are 
  stuck to an improvised script.  If you are given a script, you are free to 
  improvise within the bounds of the script. 
   
  How flashbacks work.  First, the players experience a bright flash.  
  The next thing they know, they are elsewhere.  Sometimes they have 
  new character sheets.  If not, they are themselves as they most recently 
  remember them.  After the flashbacks, the players involved are returned 
  and they remember everything that happened if they played their same 
  characters.  Otherwise, they do not remember.   
   
  There are a lot of flashbacks.  For some of the smaller ones, if you have 
  a full cast, do two flashbacks at once.  If a character is not in the game, 
  do not put the flashbacks in for that character.  If a flashback for 
  another character requires a character not in game, substitute with a 
  different character. 
   
  Do the flashbacks in order for the characters, that is do not do flashback 
  A2 until you have done flashback A1.  but you can do flashback B3 
  even if you haven’t done A1, as long as you have done B1 and B2. 
   
  Note that flashbacks may be repeated if the players involved just don’t 
  get it from the first flashback. 
  
   
   
   
   
   
   
   
   
   
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  Characters must leave any items they have behind when they go on 
  flashbacks. 
   
  The rules of combat remain during flashbacks.  All other relevant game 
  rules are in effect during flashbacks. 
   
  Before the first flashback starts, have a quick flashback briefing and 
  explain the flashback rules to the players. 
   
  Misc Notes 
   
  The book is gone, lost in time.  It can be recovered in a flashback 
  midway through the game.  Then they get a puzzle to solve to stop the 
  fractured time. 
   
  What happened: the group met Morrey and had lunch.  Candice looked 
  at the book and realized that it was a tome of great power.  She got in 
  an argument with Morrey about it.  Raventooth was nasty and got in an 
  argument with Felicity.  They decided to prove that it was ok, by 
  casting a spell.  The spell they cast unlocked a gateway into n-space 
  which has caused time to become fractured. 
   
  There are two cars in front of the cabins.  Felicity and Mordechi’s car 
  and one for the other three.  Both cars were severely damaged in the 
  time fracture and neither one works. 
   
  If the players decide to leave the cabin, have them walk for a bit, put 
  them through a flashback and end them back up at the cabin afterwards. 
   
  Setup:  Start the normal humans in the game space (a room) and the 
  enhanced humans just outside.  Give them a few minutes to interact 
  with each other, then tell the enhanced humans that they see the cabin 
  and there are people inside and they can knock on the door if they wish. 
   
  Endgame.  After the players get the book and have the flashback where 
  they can – hopefully – rewrite the spell.  They can cast the new spell.  
  
   
   
   
   
   
   
   
   
   
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  This will repair time, but will allow a cadre of Illuminati agents to 
  surround the place.  If the characters decide to fight it out, have the 
  players playing students be the Illuminati agents.  See their sheets 
  below. 
   
  Casting 
   
  Level 1:  These characters must be in the game: 
  Mordechi 
  Saltzberg 
  Male.  Ideally, the player should know something 
  about Judiasm. 
  Felicity Chilton 
  Female.  Ideally, the player should know 
  something about Wicca. 
   
  Saul Flockman 
  Male.  Ideally, the player should know about 
  conspiracy theories and/or be able to quickly 
  extemporize about them. 
  Aleph א 
  Male 
  Vav ו 
  Female.  This character will die during the game. 
   
  Level 2:  these characters should  be in the game: 
  Cast the character in the order below 
  Candice 
  Brookward 
  Female.  Ideally, the player should be well versed 
  in Paganism. 
  Raventooth 
  Either Gender.  Ideally, the player should know 
  something about Paganism, Emo, and the Goth 
  scene. 
  He ה 
  Either gender.  The character is a child. 
  Bet ב 
  Female 
  Gimmel ג 
  Male 
  
   
   
   
   
   
   
   
   
   
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  Illuminati Agents. 
   
  You are an agent for the Illuminati.  You have been slightly enhanced to 
  be able to fight better.  Your job is to surround the cabin and capture or 
  eliminate all the inhabitants.  You all have submachine guns. 
   
  One of you will be chosen as a leader.  You must obey that person’s 
  orders without question, even if they are downright stupid. 
   
  Abilities: 
   
  You are Excellent at Combat. 
   
   
  Illuminati Agents. 
   
  You are an agent for the Illuminati.  You have been slightly enhanced to 
  be able to fight better.  Your job is to surround the cabin and capture or 
  eliminate all the inhabitants.  You all have submachine guns. 
   
  One of you will be chosen as a leader.  You must obey that person’s 
  orders without question, even if they are downright stupid. 
   
  Abilities: 
   
  You are Excellent at Combat. 
   
   
  Illuminati Agents. 
   
  You are an agent for the Illuminati.  You have been slightly enhanced to 
  be able to fight better.  Your job is to surround the cabin and capture or 
  eliminate all the inhabitants.  You all have submachine guns. 
   
  One of you will be chosen as a leader.  You must obey that person’s 
  orders without question, even if they are downright stupid. 
   
  
   
   
   
   
   
   
   
   
   
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  Abilities: 
   
  You are Excellent at Combat. 
   
   
  Illuminati Agents. 
   
  You are an agent for the Illuminati.  You have been slightly enhanced to 
  be able to fight better.  Your job is to surround the cabin and capture or 
  eliminate all the inhabitants.  You all have submachine guns. 
   
  One of you will be chosen as a leader.  You must obey that person’s 
  orders without question, even if they are downright stupid. 
   
  Abilities: 
   
  You are Excellent at Combat. 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  WARNING: THIS GAME DEALS WITH ADULT THEMES 
  AND SITUATIONS AND MAY NOT BE APPROPRIATE 
  FOR CHILDREN. 
   
  This a typical simulated combat adventure style LARP.  Don’t 
  physically hit other players.  Keep all abuse in-game.  Yadda yadda 
  yadda. 
   
  Most of the mechanics are GM adjudicated, but if you feel your 
  character could do something or would know something, go ahead and 
  do it.  We trust you.  If an ability says that you need a GM to use it, 
  see a GM before trying to use it. 
   
  In general, abilities have five levels:  Horrible, Below Average, Average, 
  Above Average, and Excellent.  You cannot win single combat against 
  someone with a higher level, although if you are Average or higher and 
  the other person is one level more than you, you can get your licks in.  
  Ganging up may change things. 
   
  Combat.  To attack someone, point at that person and say “combat.”  
  This will create a combat bubble.  The GM will listen to what people 
  want to do and then will explain what happens as a result.  There is 
  only one combat “round.”  After the GM explains what the results of 
  combat are, act out the combat in slow motion, then once the combat is 
  acted out, resume in real time.  The bubble is over. 
   
  Contingency envelopes:  You may be given contingency envelopes 
  throughout the game.  Do not open them until you are told to.  Once 
  you do open them, follow the instructions inside as if told hem by a GM. 
   
  Thunder:  If you hear the thunder special effect, stop what you are 
  doing and freeze in place.  Wait for further instructions.  This will 
  signal a flashback.  If you play your main character in a flashback, you 
  remember what happened when you return from the flashback; otherwise 
  you do not. 
   
   
   
  
   
   
   
   
   
   
   
   
   
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  WARNING: THIS GAME DEALS WITH ADULT THEMES 
  AND SITUATIONS AND MAY NOT BE APPROPRIATE 
  FOR CHILDREN. 
   
  This a typical simulated combat adventure style LARP.  Don’t 
  physically hit other players.  Keep all abuse in-game.  Yadda yadda 
  yadda. 
   
  Most of the mechanics are GM adjudicated, but if you feel your 
  character could do something or would know something, go ahead and 
  do it.  We trust you.  If an ability says that you need a GM to use it, 
  see a GM before trying to use it. 
   
  In general, abilities have five levels:  Horrible, Below Average, Average, 
  Above Average, and Excellent.  You cannot win single combat against 
  someone with a higher level, although if you are Average or higher and 
  the other person is one level more than you, you can get your licks in.  
  Ganging up may change things. 
   
  Combat.  To attack someone, point at that person and say “combat.”  
  This will create a combat bubble.  The GM will listen to what people 
  want to do and then will explain what happens as a result.  There is 
  only one combat “round.”  After the GM explains what the results of 
  combat are, act out the combat in slow motion, then once the combat is 
  acted out, resume in real time.  The bubble is over. 
   
  Contingency envelopes:  You may be given contingency envelopes 
  throughout the game.  Do not open them until you are told to.  Once 
  you do open them, follow the instructions inside as if told hem by a GM. 
   
  Thunder:  If you hear the thunder special effect, stop what you are 
  doing and freeze in place.  Wait for further instructions. This will signal 
  a flashback.  If you play your main character in a flashback, you 
  remember what happened when you return from the flashback; otherwise 
  you do not. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  81 
  Mordechi “Morrey” Saltzberg (Age 17) 
   
  You never had the good life growing up.  Sure your father, Herman 
  Saltzberg, was one of the most respected Rabbis in the Denver Jewish 
  community.  And sure, your mother was as caring as she could be with 
  eight children.  But your father worked hard and had responsibilities 
  and since you were the eldest, it quickly became your job to be the man 
  of the house while your father was away. 
   
  It isn’t easy keeping control of seven kids, especially when they see you 
  as a sibling and not as an authority figure.  Your parents worked hard to 
  instill an Orthodox education in your head.  You went to Shul every 
  Shabbat and Sunday morning and you prayed every day.  You said your 
  blessings before meals, before you went to bed, and many other times 
  during the day.  
   
  On Sundays, after service, you would volunteer in the Mizel Museum, 
  Denver’s museum of Jewish culture and history.  It was there you 
  discovered the book.  It was an old book from Europe about the 
  Kaballah, the secret Jewish mysticism.  You had learned a few things 
  about the Kaballah; it was supposedly mostly about numerology and a 
  sort of self-affirming philosophy about how to be better connected to 
  G-d.   
   
  But this book was different.  It started with the philosophy of Ein Sof, 
  that each an every thing in the universe is G-d, but it continued with an 
  explanation that words, true words have value and power and if the true 
  name of G-d could be found then true power would follow. 
   
  The book went on to explain about the Sepheroth, the Tree of Life, and 
  the different parts of it.  It explained that by manipulating the various 
  Sepherot that comprise the Tree and by speaking the true words, you 
  could manipulate various powers.  But most interestingly of all, it 
  claimed to have some of those words.  With this book, you could learn 
  the secrets of the Kaballah.  You borrowed it from the museum.  As 
  far as you know, nobody knows that it is missing. 
   
  
   
   
   
   
   
   
   
   
   
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  But before you could delve into the book, things went horribly wrong 
  with your family.  You had already started to have a crisis of faith.  
  You had just started going to the University of Colorado at Boulder and 
  were planning to major in Philosophy.  It was your first real experience 
  outside of the Jewish community (something your father already 
  frowned upon) and it was a real eye opener. 
   
  You never realized how conservative your family was.  The people here 
  in college are so open, so free.  They didn’t let centuries old traditions 
  guide their path or way of thinking.  And it started you pondering.  
  Maybe these traditions were good back in the old country, but here they 
  are outdated.   
   
  And you wanted to blend in, to make new friends.  You stopped 
  wearing your yarmulke (except when you went home).  You didn’t say 
  the Sh’mah when you woke up or went to bed.  You even tried a 
  cheeseburger (although you couldn’t bring yourself to try bacon or ham).  
  And you started to associate, to flirt with non-Jewish girls. 
   
  You met Felicity Chilton in your Philosophy 101 class.  She is so cute, 
  and so unlike the Jewish girls your mother tries to set you up with.  She 
  is carefree, dresses in fancy wild dresses, her blond hair is tinted pink  
  She goes to raves.  She always wears crystals of some sort, and she 
  even experiments with alternative religions. 
   
  Felicity is a Wiccan.  Wicca is an ancient pagan religion that Felicity 
  claims is completely misunderstood.  Apparently they even burned 
  Wiccans at the stake in the 1600s in New England.  Wiccans use magic, 
  but they never never use it to hurt people.  They are bound by the 
  threefold law which says that anything bad they do will be done back to 
  them three times as bad.  She says a lot more, but a it is often jumbled 
  and confused, and you are so mesmerized by her beauty.   
   
  And Felicity likes you too, a lot.  She is especially interested in your 
  Jewish background.  She has a set of tarot card which she used to tell 
  your future.  She pointed out that the cards have the Hebrew alphabet 
  on them.  It’s true, but you couldn’t see any sort of relationship to the 
  
   
   
   
   
   
   
   
   
   
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  83 
  letters and the cards other than the straight one to one relationship of the 
  letter and the number on the card.  Then again, that might be part of the 
  numerology part of the Kaballah, but you can’t really see why, for 
  example, The Star is number 17. 
   
  But you didn’t care.  You and Felicity were in love.  But love blinded 
  you, it caused you to make your critical mistake.  You introduced 
  Felicity to your parents.  You knew they might not take it well, but you 
  had expected them to be hospitable.  But your mother broke down 
  crying and your father yelled at you, “how dare you bring that shicksa 
  into this house?”  He threw the two of you out of the house and 
  practically disowned you. 
   
  You were sick with guilt.  How could you do that to them?  But that 
  quickly turned into anger!  How could they do that to you?  Felicity 
  tried to calm you down, and back in your dorm room, one thing led to 
  another and your anger turned to passion and there in your bed your lost 
  yourself to her.  It was incredible. 
   
  When you woke the next morning, Felicity was already up, wearing one 
  of your t-shirts.  She was leafing through the old book you had found in 
  the museum.  “What is this?”  You explained where you had gotten the 
  book, and then Felicity got very excited.   
   
  “I just have to show this to the rest of the coven!”  You wouldn’t let her 
  take the book, but she made a few calls with her cell phone.   
   
  “It’s all arranged,” she said, “Raventoon can use his parents’ cabin.  
  You’ll finally get a chance to meet the rest of my friends this weekend.” 
   
  And that’s how you found yourself in a cabin in the middle of nowhere.  
  One of Felicity’s friends, a woman named Candice, brought some wine 
  and you were drinking and you brought the book and 
   
  SOMETHING WENT WRONG 
   
  You know that you had to have spent some time in the cabin.  You 
  
   
   
   
   
   
   
   
   
   
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  remember drinking some wine and eating lunch.  You know you’ve met 
  these people (other than Felicity) some time today, but you aren’t sure 
  when.  The whole day is hazy.  Didn’t you read the book and draw 
  something on the floor?  Did you have a fight with Felicity?  Candice?  
  You can’t remember.  Your watch has stopped.  Is it broken?  Was it 
  raining?  You remember a storm, a bright flash of light in any case.    
   
  And there is something…  something in the woods. 
   
  Skills And Abilities 
   
  You are Average in Combat. 
   
  You are Very Smart, but you are Naive and could be talked into things 
  easily. 
   
  You are very knowledgeable about Judaism. 
   
  You can read Hebrew. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  85 
  Felicity Chilton (Age 18) 
   
  You are a Libra.  Like, it explains sooo much about you.   
   
  You were born in Marin County, California to aging hippies who moved 
  north from Haight Ashbury to the wine country.  They are cool, but a 
  little spacy.  On the other hand, they let you get away with stuff most 
  kids don’t.  Hey, how many other kids would say that the first joint they 
  smoked was with their mom? 
   
  Your parents always encouraged exploration and creativity.  They were 
  very supportive in helping you find yourself.  You’re still looking; 
  there’s a lot of self possibilities right now.  But there are a few things 
  you are certain of.  You know there is far more to the world than just 
  your parents’ lifestyle.  They may not understand your penchant for 
  techno music or why you would want to color your hair with pink 
  highlights, but dad still drove you to raves and mom helped you with the 
  coloring. 
   
  The other thing you are positive about is your spirituality.  You are 
  Wiccan.  You feel a deep, personal connection to Gaia, Mother Earth.  
  You revel in nature (you love to walk barefoot on the grass) and you feel 
  very spiritual about it.  Further, you know that in a past life, you were 
  one of the witches that was burned at Salem.  You have done a lot of 
  reading about Wicca on the internet and you are certain it is your calling.  
  And again, your parents were supportive.  Your father is somewhat 
  anti-religious, but even he agrees with your choice.  You love your 
  parents very much. 
   
  Your folks were even supportive when you decided to go to college half 
  a continent away.  You now go to the University of Colorado in Boulder.  
  You love it here.  Boulder is a little island of sanity inside the 
  ultraconservative Midwest.  You are majoring in Philosophy and you 
  are learning sooo much. 
   
  You’ve even made a small group of likeminded friend, and have formed 
  a cousin.  The leader of your cousin is Raventooth.  Raventooth is a 
  
   
   
   
   
   
   
   
   
   
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  bit creepy, sometimes more goth and sometimes more emo, but you all 
  tolerate Raventooth because of the cabin.  ‘Tooth’s parents own a cabin 
  in the woods halfway up the Rockies.  It’s far away from anything 
  except  a government facility a few miles away, so it’s pretty private.  
  You all go up there most weekends to practice the craft and debate the 
  finer points of paganism. 
   
  The other two members of the coven are Candice Brookward and Saul 
  Flockman.  They are both seniors, which is cool, because they can buy 
  alcohol and always share it up at the cabin.  Canidice is smart and 
  practical and knows more about the craft than anyone.  Which is useful 
  since she usually can mediate it when someone else gets in an argument 
  with Raventooth.   
   
  Saul is just weird.  He isn’t really into the religion; you think he might 
  just have a crush on Candice.  Saul is a history major and a conspiracy 
  theorist.  He is convinced that the major governments of the world are 
  working to form a New World Order.  You don’t understand half of 
  what he says, but he brings the booze, so you haven’t said anything 
  against him. 
   
  But the big news is your new boyfriend, Morrey Saltzberg.  Morrey is a 
  Jew.  You’ve always been impressed with the Jewish people; they have 
  such energy about them, you know?  You met Morrey in your 
  Philosophy 101 class and the two of you hit it off so well, like you were 
  meant for each other.  It’s weird, though, because you come from such 
  different worlds.  You learned that when you met his parents. 
   
  What a fiasco.  You knew that Morrey’s parents were unlike yours, but 
  you never even suspected that people this close minded could have 
  existed in this day and age.  When Morrey introduced you to his mother, 
  she broke into tears.  His father threw you out of the house.   
  At first, Morrey was devastated, then he was just angry!  You went back 
  to his dorm room and tried to calm him down.  And, well, one thing led 
  to another, and you spent the night there.  He was pretty good; you 
  never did it with a Jewish boy before.  (And, you aren’t certain, but you 
  don’t think he had done it with anyone ever before). 
  
   
   
   
   
   
   
   
   
   
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  87 
   
  You woke before Morrey did and, pulling on one of his t-shirts, decided 
  to explore his dorm room.  Your eyes alighted on an old, worn tome.  
  You were amazed.  You knew that Morrey was interested in your 
  religion, but you didn’t know he had and old grimoire.  You were 
  leafing through it when Morrey woke up.  You couldn’t tell a lot about 
  it – it was mostly in Hebrew – but it looked like a spellbook from the 
  Kaballah.   
   
  You were so excited.  You needed to show the book to the rest of the 
  coven.  But Morrey wouldn’t let you take the book with you then and 
  there.  A few cell phone calls later and it was all arranged.   Morrey 
  and the book would be joining the rest of the coven this weekend at 
  Raventooth’s cabin.   
   
  You all got there this morning.  Candice brought wine.  You showed 
  off the book and 
   
  SOMETHING WENT WRONG 
   
  You know that you had to have spent some time in the cabin.  You 
  remember drinking some wine and eating lunch.  You think you had a 
  fight with Raventooth.  The whole day is hazy.  Didn’t Morrey read 
  the book and ask you to chant something?  You think you had a circle 
  of protection.  Was it broken?  You can’t remember.  Your watch has 
  stopped.  Was it raining?  You remember a storm, a bright flash of 
  light in any case.    
   
   
  And there is something…  something in the woods. 
   
  Skills And Abilities 
   
  You are Below Average in Combat. 
   
  You are of average Intelligence, but are not very Knowledgeable. 
   
  While you have an Above Average Knowledge in New Age and Pagan 
  
   
   
   
   
   
   
   
   
   
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  religions, there are some things that you are completely wrong about. 
   
   
  You tend to keep your head, even in stressful or bizarre situations. 
   
  You can do magic.  All spells must be resolved by the GM. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  89 
  Raventooth (Age 20 or so) 
   
  Note: This character can be played as male or female.  No gender is 
  specified in the other character sheets. 
   
  Life is pain.  You first heard that in a movie (The Princess Bride), and 
  you later realized how true it was.  As you grew older, you got involved 
  with the local goth and emo scene.  You dress in all black, to reflect the 
  dark nature of your soul.  You paint your fingernails black and wear 
  your died-black hair in a frollet, covering your left eye.  Sure you go to 
  the raves and take the X, but you know that those aren’t really your 
  people.  You reflect the sadness that is in people’s souls. 
   
  Your were born Randy Thurston; how you despise that name.  Your 
  parents are rich.  They do not understand you.  You do not pierce 
  yourself to get their attention; you wish they would leave you alone.  
  You are an adult now, on your own at the University of Colorado at 
  Boulder and you have the right to make your own decisions.   
   
  You hate your parents.  Not because they are cruel, objectively they 
  aren’t.  Not because they have no taste in music, which they don’t.  
  Not because they don’t understand you, although the certainly do not.  
  No, you hate your parents for their banality.  They are so plain, so 
  vanilla, so white bread, so, so, boring.  You cannot stand the legacy 
  they are providing for you.  You hate them. 
   
  Still, the wealth comes in handy at times. 
   
  For example, your ‘rents own a secluded cabin in the woods halfway up 
  the Rockies.  They always keep the larder and fridge well stocked, 
  although you bring your own wine.  You and the few friends you have 
  go up there most every weekend to hang out, drink, and practice your 
  craft.  You are a Pagan, although you follow your own solitary path.  
  You have done research and work to learn what you know, and you are 
  frankly disgusted by some of the neo-Pagans you know. 
   
  Take Felicity Chilton, for example.  Not a brain in her head.  She is 
  
   
   
   
   
   
   
   
   
   
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  convinced that she was burned in Salem in a prior life.  You haven’t had 
  the heart to tell her that nobody was ever burned at the stake for 
  witchcraft in America.  She claims to be a Wiccan, but  she doesn’t 
  know the details of her path.  She walks barefoot through the grass and 
  calls it spiritual.   
   
  True spirit, true belief calls for sacrifice, a sacrifice of will and energy.  
  You must spend time honing your craft.  You must learn the true nature 
  of what you summon and you must know the true history of the words 
  you speak.  Otherwise, you are just a Beltane and Samhain poseur, a 
  wannabe who is just in it for the scene. 
   
  The craft is a religion, and requires the duty and seriousness of any true 
  calling.  You cannot stand anyone who doesn’t have the appropriate 
  commitment to their path.  And that is why you cannot stand Felicity.  
  Although, truth be told, she is still better than the majority of people out 
  there, the mundanes who mock and torture you.  Life is pain. 
   
  You also do not care for Saul Flockman.  He is relatively new to 
  Paganism.  He was brought up without much religious training and he 
  considers himself an agnostic.  You hate agnostics.  Their surety that 
  they are not sure rubs you exactly the wrong way.  He claims that he is 
  in the process of discovering his own path, but you think he really is in it 
  for Candice.  
   
  Ah, Candice.  She is so sure, so levelheaded.  She is everything you 
  are looking for in a life companion.  She knows her stuff. She is 
  dedicated to her path.  She is beautiful.  And you think she cares for 
  you too.  Unfortunately, Saul is also interested in Candice.  You need 
  to win her heart, although you will probably loose.  Life is pain. 
   
  In any case, you received a phone call from Felicity earlier this week.  
  Apparently her boy toy of the month has some sort of “ancient 
  grimoire.”  Sure, like you can find powerful books of ancient magicks 
  sitting around in a dorm room.  In any case, she asked to bring her 
  friend and his book with her this weekend.  You agreed even though 
  you doubt this will come to anything – most likely she found a 
  
   
   
   
   
   
   
   
   
   
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  91 
  paperback copy of the fake Necronomicon they sell at science fiction 
  conventions. 
   
  You all got there this morning.  Candice brought wine.  You were 
  introduced to Morrey and 
   
  SOMETHING WENT WRONG 
   
  You know that you had to have spent some time in the cabin.  You 
  remember drinking some wine and eating lunch.  You think you had a 
  fight with someone.  The whole day is hazy.  You know you were 
  drawing a symbol of some sort on the floor in chalk.  You think you 
  called some ancient power.  Did it come?  You can’t remember.  Your 
  watch has stopped.  Was it raining?  You remember a storm, a bright 
  flash of light in any case.    
   
   
  And there is something…  something in the woods. 
   
  Skills And Abilities 
   
  You are Below Average in Combat. 
   
  You are of Above Average Intelligence. 
   
  You have an Above Average Knowledge in Pagan religions. 
   
  You have an Above Average Knowledge in the Goth and Emo scenes. 
   
  You know how to perform hermetic magic.  No magick you have ever 
  performed before today has had a direct noticeable physical effect.  All 
  spells must be resolved by the GM. 
  
   
   
   
   
   
   
   
   
   
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  92 
  Candice Brookward (age 21) 
   
  You are down to earth.  Grounded.  You are, perhaps, the most 
  practical of your group of friends.  Well, that’s because sometimes your 
  friends are a group of loons.  Not that you blame them, they are the 
  products of their environment.  Also, they are your loons, and as loons 
  go are pretty cool to hang around. 
   
  Except when they argue. 
   
  Which is nearly constantly. 
   
  You first discovered Paganism in high school.  You were a sophomore 
  and your best friend, Judy, was a senior.  You met each other in theatre, 
  performing on the school play.  You remarked to her about the cool 
  malachite pentacle she wore around her neck.  She explained that for 
  her it was a religious symbol, not one of evil, but one of the more ancient 
  gods that were around before Christianity. 
   
  Judy taught you a lot about Paganism, its rituals and its beliefs.  She 
  taught you how to invoke the four elements, how to protect a room from 
  evil, and how to focus your energy.  She explained the main law of her 
  path, “An it harm none, do as thou wilt shall be the whole of the law.”  
  It is taken from the words of Aleister Crowley one of the most prominent 
  of the Edwardian occultists.   
   
  Judy explained that religion, especially Paganism, is a deeply personal 
  choice, that two people may claim to follow the exact same path, but in 
  their hearts it is wildly different.  She explained that you have to be 
  tolerant of all of those around you, celebrate with them, but do not let 
  their idiosyncrasies drag you down.  You do your best, but some of your 
  friends can get to you. 
   
  Take Felicity Chilton.  She is only 17, in many ways still a child.  Her 
  spirituality is like a game to her.  She goes through the motions without 
  really understanding what they mean.  But the actions, the belief give 
  her comfort.  She is shallow, yes, but she is happy, and you cannot fault 
  
   
   
   
   
   
   
   
   
   
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  93 
  her for that. 
   
  At the extreme other end is Raventooth.   Religion holds great meaning 
  for Raventooth, to the point that it is a source of arrogance.  “I am so 
  different, I am better than you, especially those of you who do not 
  worship as fervently as me.”  Raventooth wears depression and angst as 
  a badge of honor, dressing in all black, half goth half emo.  You know 
  that it is an act, that there is a good, kind person down deep inside, but 
  Raventooth does everything to hide it. 
   
  As you may expect, Raventooth and Felicity fight like cats and dogs. 
   
  The final person in your current circle of friends is Saul Flockman.  
  You met Saul in college – you are currently a senior at the University of 
  Colorado in Boulder, finishing up a major in comparative religions.  
  Saul is great; he is funny, kind, and curious.  He was raised without any 
  sort of religious guidance and is interminably curious about your faith.  
  You find his thirst for knowledge energizing.  It really gets you to 
  consider your religious beliefs, you know? 
   
  But Saul also has his obsessions.  He is what is commonly known as a 
  conspiracy theorist.  He believes in secret societies and shadow 
  governments.  He will rant endlessly about it if given the chance.  It’s 
  a real turn off, really destroys the mood.  You try hard to be accepting 
  and tolerant, but he really tries your patience.   
   
  Ah well, back to Judy.  You really miss her.  She was your wisest 
  friend.  She’s dead now, been dead for nearly four years.  You do a 
  small ritual for her every Samhain.  She was killed by a drunk driver as 
  she was coming home from rehearsal.  She hung on for nearly a week. 
  You tried to visit her in the hospital, but her injuries were so bad that you 
  weren’t allowed entry. 
   
  For nearly a month afterwards you were inconsolable.  You could not 
  believe that the Fates would allow such a thing to happen to such a good 
  person.  You loved her, you really did  She was your strength, your 
  backbone.  You gave up your faith.  You vowed never to drink and to 
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  94 
  stop all around you from drinking.  You were a tyrant and a rage and 
  impossible to be around. 
   
  But then one day your mother asked you, “look at how you are behaving.  
  Is that what Judy would have wanted?”  It was a slap to the face.  You 
  woke up, then, as if out a trace.  You realized that no.  Judy would 
  have wanted you to get on with your life, to mourn her and miss her 
  surely, but not at the expense of your world.  She would not want you to 
  give up on your path.  She would not want you to be so intolerant 
  toward alcohol. 
   
  Chastened, you renewed your faith and ceased your crusade.  And 
  eventually, you even came to enjoy the odd glass of wine now and then.  
  But you will never ever forgive those who drive drunk and you will 
  never ever allow those you are with to do so either.  The man 
  responsible for Judy’s death had his license revoked, and went to prison 
  for 3 years.  You console yourself that even though he is out of jail, his 
  sentence could have been much lighter.   
   
  In any case, you have continued on with your life, learning what you can, 
  and helping who you can.  You have never allowed anyone to get as 
  close to you as Judy, not even Saul.  Earlier this week you received a 
  phone call from Felicity.  You lead a sort of coven-like retreat into the 
  woods most weekends at Raventooth’s parent’s cabin and Felicity 
  wanted to bring her new boyfriend and a book she had found.   
   
  Intrigued, you naturally accepted.  You try to welcome anyone who 
  wishes to come to your retreats.  You all got there this morning.  You 
  brought some wine since people would be sleeping over.  You were 
  introduced to Morrey and 
   
  SOMETHING WENT WRONG 
   
  You know that you had to have spent some time in the cabin.  You 
  remember drinking a glass of wine and eating lunch.  You think you 
  had a fight with someone about the book.  The whole day is hazy.  You 
  know the others were doing a ritual while you watched.   You can’t 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  95 
  remember exactly.  Your watch has stopped.  Was it raining?  You 
  remember a storm, a bright flash of light in any case.    
   
   
  And there is something…  something in the woods. 
   
  Skills And Abilities 
   
  You are Below Average in Combat. 
   
  You are of Above Average Intelligence. 
   
  You have an Excellent Knowledge of most religions. 
   
  You tend to keep your head in times of crisis. 
   
  You know how to perform assorted magicks.  All spells must be 
  resolved by the GM. 
   
  You can puzzle out Hebrew, Latin, and Greek. 
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  96 
  Saul Flockman (Age 21) 
   
  You have two interests of equal fascination: religion and politics.  The 
  former you can blame on your parents.  The latter, well… more on that 
  in a bit.   
   
  You were born and raised in Boston, Massachusetts.  Your parents are 
  fairly upper class folks, white collar professionals.  Your father is a 
  lapsed Jew who comes from a very Reformed family.  Your mother 
  comes from Episcopalian stock.  You were raised without any religious 
  guidance at all.  Oh, you got Christmas presents from your Mom’s 
  family and Chanukah presents from Dad’s, but the significance of those 
  holidays was never really explained to you.  You never even set foot in 
  a house of worship until you turned 13 and one of your friends was 
  bar-mitzvoted.    
   
  You find religion fascinating because you come from it from a 
  completely objective position.  You’ve seen how blind faith can warp a 
  person causing them to hate for no apparent reason.  But you have also 
  seen the positive side of religion, how it can create communities and give 
  people the strength to go on when they have nothing but faith to sustain 
  them. 
   
  Yes, religion has been responsible for more bloodshed than any other 
  reason known to man, but it also has been responsible for some of the 
  greatest creations, some of the more touching works of art and literature 
  in the world.  It’s a double sided coin with a razor’s edge.  And while 
  you have no faith of your own, you find the subject completely 
  absorbing. 
   
  You weren’t even aware of the multitude of religions until you got to 
  college (you are currently a senior at the University of Colorado in 
  Denver).  Before you arrived at college, you were aware of Christianity, 
  Judaism, and of the Muslim faith in an abstract sense.  But it wasn’t 
  until you started matriculating that you learned of Buddhism, Hinduism, 
  and that there are people who still practice faiths you thought were long 
  dead.   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  97 
   
  And that is how a good agnostic like you found yourself in a coven of 
  Pagans.  You are still trying to understand their faiths.  Unlike the 
  more structured religions, Pagans have a multitude of different paths; 
  you have yet to find two who believe exactly the same thing, even if they 
  claim that they do.  You wonder if that is true of the organized religions, 
  if the deeply held beliefs of the individual practitioners of the same 
  congregation differ to the same degree of those of Pagans. 
   
  In any case, you like to pester your friends with questions about the faith.  
  Your closest friend, Candice, enjoys your questions.  She finds them 
  challenging and a reaffirmation of her faith.  You like Candice a lot; she 
  is practical and trusting.  However, she has never really welcomed your 
  romantic advances.  Pity. 
   
  Your other two friends, Felicity and Raventooth, do not like your 
  questions quite so much.  Felicity just isn’t that deep; she doesn’t 
  question why she believes what she believes.  She just believes because 
  it feels right to her.  And Raventooth is absolutely convinced that there 
  is only one correct path and any questions about it are a direct challenge 
  to Raventooth’s right to exist.  Still, it is fun to send a probing question 
  once in a while to see which way Raventooth jumps. 
   
  Your other obsession is with unconventional politics, specifically 
  conspiracy theories.  You love reading about faked moon landings, 
  rehashing of who shot JFK, and about the secret cabals of power around 
  the globe.  Sometimes, you think the theories are crazy, and then other 
  times you have to wonder, say, why is the government really implanting 
  RFID chips in elementary school students?  Did the trilateral 
  commission really disband?  Why is there a blatant illuminati symbol – 
  the eye in the pyramid – on the back of the one dollar bill?  Who really 
  rules America? 
   
  You like to regale your friends with your theories, some of which you 
  believe, some you think are laughable, and some you are just testing to 
  see how they’ll react.   
   
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  98 
  The current theory is that the Amero-European cabals are ramping up 
  their attempt to forge a new world order.  They fear the globalization 
  that is turning India into a major power, the Chinese and Russian mafias 
  that are rising to international power since the fall of the Soviet Union, 
  and the small but growing threat of South American street gangs. 
   
  That’s the real reason why the US invaded Iraq.  Not because of WMDs, 
  not to oust Saddam for his crimes, not even because a cowboy president 
  felt he had to finish what his father started.  No, it was to gain a second 
  foothold of power in the only small battleground left: the mideast.  
  (Well, there is no strong secret society controlling most of Africa, but 
  that is because Africa has no resources that the big boys care about).   
   
  The World Zionist Conspiracy has been in the pocket of the Bavarian 
  Illuminati since the First World War when England signed the Balfort 
  Declaration.  The Illuminati all but controls Israel via the Elders of Zion, 
  but the rest of the middle east was starting to become organized under a 
  new Muslim conspiracy bringing in funding from oil rich countries like 
  Saudi Arabia and countries like India which are bringing in great strides 
  in technological prowess.  The invasion of Iraq was a show of force by 
  the Illuminati.  If they can use their Halliburton operatives to control 
  the area, they could be well on their way to a true foothold in complete 
  world domination.  They’ll at least have enough power and resources to 
  hold off the Triads, the Russian Mafia, and MS-13, should they all 
  decide to gang up together. 
   
  But that isn’t all.  You are certain that the European cabals are working 
  on other secret unethical projects: mind control, genetic engineering, 
  computer hacking, germ warfare and worse.  You aren’t certain if 
  anything can be done to stop them should they decide to show their hand 
  instead of working from the shadows.  The thought has caused you 
  many sleepless nights.  But as long as they remind in power behind the 
  scenes, you’ll just see the gradual decline of your civil liberties until they 
  swoop in and take over. 
   
  Ahem.  In any case, you find the whole topic fascination and you 
  cannot understand why your friends don’t want to hear about your latest 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  99 
  find or supposition.  That doesn’t stop you from regaling them with 
  theories, though. 
   
  That’s why you were so surprised to get a phone call from Felicity earlier 
  this week.  Felicity wanted to bring her new boyfriend and a book she 
  had found to the coven this weekend.  Since you feel more like a guest 
  than an actual member, you agreed.  The coven gatherings are held at 
  Raventooth’s parents’ cabin deep in the heart of the woods, about 
  halfway up the Rockies.  The closest buildings are a government 
  complex a few miles away. Candice brought some wine and you all had 
  lunch.  You were introduced to Felicity’s boyfriend and 
   
  SOMETHING WENT WRONG 
   
  You know that you had to have spent some time in the cabin.  You 
  remember drinking some wine and eating lunch.  You think there were 
  several yelling matches about the book.  The whole day is hazy.  You 
  know the others were doing a ritual while you watched.   You can’t 
  remember exactly.  Your watch has stopped.  Was it raining?  You 
  remember a storm, a bright flash of light in any case.    
   
   
  And there is something…  something in the woods. 
   
  Skills And Abilities 
   
  You are Average in Combat. 
   
  You are of Above Average Intelligence. 
   
  You have an Excellent Knowledge of conspiracy theory. 
   
  You have Above Average Knowledge of how to operate a computer. 
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  100 
  א (Male, Mid 30s) 
   
  You remember nothing before you came to the institution.  No, that 
  isn’t true.  You can understand (and read and write) English.  You 
  know that you are in America, that it is the current year, and are up on 
  current events, circa about a month ago.  But you remember none of 
  your personal life before you came to the facility. 
   
  Your earliest memories are of pain, of being awake inside a tank of some 
  sort.  You were undergoing injections, operations, tests.  You know 
  that, but you do not know why, or who was doing them on you.  You 
  feel … different.  No, you don’t feel inhuman, just odd.  You can’t see 
  your reflection, but you can see the other four and they look like normal 
  people. 
   
  Well, even that you aren’t sure about.  Whoever did what they were 
  doing in the facility might have altered your perceptions like they altered 
  your memory.  You aren’t sure what is real and what isn’t any more. 
   
  What you are fairly sure of, what your senses and memory tell you is that 
  you were at the facility and aware for about a week.  You may have 
  been there longer, but you were only awake for the past week.  You 
  were being fed and given injections.  You were, essentially, a prisoner.  
  You weren’t allowed news about the outside world, but then again, it 
  never occurred to you to ask.   
   
  There were men there and women in lab coats, and you were – and are – 
  dressed in jumpsuits, giving you the impression that you were in a 
  hospital of sorts or a research lab, not a prison.  There were armed 
  guards, but you never saw them until the escape earlier today. 
   
  You had a regular regimen of meals, injections, exercise, and tests.  
  There were a number of tests, mental, physical, and psychological, and 
  some that you just didn’t understand at all.  At the time you didn’t think 
  anything odd about it; it was life, the way things should be.  But then 
  came the blackout and the fire. 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  101 
  About an hour ago, a huge storm tore over the mountains – the facility is 
  about halfway up a large mountain, part of a chain.  It knocked out 
  power to the facility, although the backup generators came on less than a 
  minute later.  But then, with a crash, there was a huge lightning strike 
  directly on one of the outside walls, which crumbled and started to burn. 
   
  The fire was spreading quickly, and something told you to use the 
  opportunity to slip outside.  After a bit of stumbling around, you met up 
  with the others.  There are five of you all told. 
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ג is a tall man, even taller than you.  But the majority of his height 
  is his long, muscular legs.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much, but you get the feeling that she has 
  other ways of communication. 
   
  The five of you haven’t had much time to talk.  Soon after you met up, 
  a group of armed guards arrived and started shooting.  You ran, but you 
  got winged in the arm.  The shots missed ג and ב.  You carried ו 
  and the other two took turns carrying ה until you were out of harm’s 
  way. 
   
  After about an hour of stumbling around in the woods, you came across 
  a cabin in the woods.   There are two cars out front, but you can tell 
  they are damaged beyond repair.  You can hear voices inside.  You’d 
  like to go in – your arm stings to hell – but you are concerned about your 
  safety.  You should consult the others and make a decision. 
   
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  102 
  Skills And Abilities 
   
  You don’t know how good you are in Combat.  Have a GM adjudicate 
  your combats. 
   
  You are of Average Intelligence. 
   
  You may have other abilities, of which you are unaware.  The GM will 
  be keeping an eye on you, but if you think you’re going to attempt 
  something that based on what you have figured out you would be 
  especially good at, you may want to talk to a GM.   In general, going to 
  a GM asking “can I do this,” is not recommended. 
   
  Your right arm is injured.  You have been shot and are in some pain (not 
  debilitating; it stings).  You should get a medical professional to look at 
  it.  
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  103 
  ב (Female, Early 20s) 
   
  You remember nothing before you came to the institution.  No, that 
  isn’t true.  You can understand (and read and write) English.  You 
  know that you are in America, that it is the current year, and are up on 
  current events, circa about a year ago.  But you remember none of your 
  personal life before you came to the facility. 
   
  Your earliest memories are of pain, of being attached to a machine with 
  electrodes all over your body, burning your muscles.  You were 
  undergoing injections, operations, tests.  You know that, but you do not 
  know why, or who was doing them on you.  You feel … different.  No, 
  you don’t feel inhuman, just odd.  You can’t see your reflection, but you 
  can see the other four and they look like normal people. 
   
  Well, even that you aren’t sure about.  Whoever did what they were 
  doing in the facility might have altered your perceptions like they altered 
  your memory.  You aren’t sure what is real and what isn’t any more. 
   
  What you are fairly sure of, what your senses and memory tell you is that 
  you were at the facility and aware for nearly half a year.  You may have 
  been there longer, but you were only awake for the past six or so months.  
  You were being fed and given injections.  You were, essentially, a 
  prisoner.  You weren’t allowed news about the outside world, but then 
  again, it never occurred to you to ask.   
   
  There were men there and women in lab coats, and you were – and are – 
  dressed in jumpsuits, giving you the impression that you were in a 
  hospital of sorts or a research lab, not a prison.  There were armed 
  guards, but you never saw them until the escape earlier today. 
   
  You had a regular regimen of meals, injections, exercise, and tests.  
  There were a number of tests, mental, physical, and psychological, and 
  some that you just didn’t understand at all.  At the time you didn’t think 
  anything odd about it; it was life, the way things should be.  But then 
  came the blackout and the fire. 
   
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  104 
  About an hour ago, a huge storm tore over the mountains – the facility is 
  about halfway up a large mountain, part of a chain.  It knocked out 
  power to the facility, although the backup generators came on less than a 
  minute later.  But then, with a crash, there was a huge lightning strike 
  directly on one of the outside walls, which crumbled and started to burn. 
   
  The fire was spreading quickly, and something told you to use the 
  opportunity to slip outside.  After a bit of stumbling around, you met up 
  with the others.  There are five of you all told. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much, but you get the feeling that she has 
  other ways of communication. 
   
  The five of you haven’t had much time to talk.  Soon after you met up, 
  a group of armed guards arrived and started shooting.  א got winged in 
  the arm.  You ran; it was funny, but you know how time seems to slow 
  when you are under stress…  You could almost swear that you were 
  dodging the bullets, but that is crazy talk.  א carried ו and you and ג 
  took turns carrying ה until you were out of harm’s way. 
   
  After about an hour of stumbling around in the woods, you came across 
  a cabin in the woods.   There are two cars out front, but you can tell 
  they are damaged beyond repair.  You can hear voices inside.  You 
  aren’t sure.  This could be an outpost of the facility.  You know you 
  are in America, but you aren’t sure how long you’ve been the facility.  
  It probably has only been a week or two, but it might have been years.  
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  105 
  You should consult the others and make a decision. 
   
  Skills And Abilities 
   
  You don’t know how good you are in Combat.  Have a GM adjudicate 
  your combats. 
   
  You are of Average Intelligence. 
   
  You may have other abilities, of which you are unaware.  The GM will 
  be keeping an eye on you, but if you think you’re going to attempt 
  something that based on what you have figured out you would be 
  especially good at, you may want to talk to a GM.   In general, going to 
  a GM asking “can I do this,” is not recommended. 
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  106 
  ג (Male, Early 20s) 
   
  You remember nothing before you came to the institution.  No, that 
  isn’t true.  You can understand (and read and write) English.  You 
  know that you are in America, that it is the current year, and are up on 
  current events, circa about two months ago.  But you remember none of 
  your personal life before you came to the facility. 
   
  Your earliest memories are of running a treadmill.  You ran that 
  treadmill for what seemed to be hours at a time.  You were undergoing 
  injections, operations, tests.  You know that, but you do not know why, 
  or who was doing them on you.  You feel … different.  No, you don’t 
  feel inhuman, just odd.  You can’t see your reflection, but you can see 
  the other four and they look like normal people. 
   
  Well, even that you aren’t sure about.  Whoever did what they were 
  doing in the facility might have altered your perceptions like they altered 
  your memory.  You aren’t sure what is real and what isn’t any more. 
   
  What you are fairly sure of, what your senses and memory tell you is that 
  you were at the facility and aware for about a month.  You may have 
  been there longer, but you were only awake for the past month or so.  
  You were being fed and given injections.  You were, essentially, a 
  prisoner.  You weren’t allowed news about the outside world, but then 
  again, it never occurred to you to ask.   
   
  There were men there and women in lab coats, and you were – and are – 
  dressed in jumpsuits, giving you the impression that you were in a 
  hospital of sorts or a research lab, not a prison.  There were armed 
  guards, but you never saw them until the escape earlier today. 
   
  You had a regular regimen of meals, injections, exercise, and tests.  
  There were a number of tests, mental, physical, and psychological, and 
  some that you just didn’t understand at all.  At the time you didn’t think 
  anything odd about it; it was life, the way things should be.  But then 
  came the blackout and the fire. 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  107 
  About an hour ago, a huge storm tore over the mountains – the facility is 
  about halfway up a large mountain, part of a chain.  It knocked out 
  power to the facility, although the backup generators came on less than a 
  minute later.  But then, with a crash, there was a huge lightning strike 
  directly on one of the outside walls, which crumbled and started to burn. 
   
  The fire was spreading quickly, and something told you to use the 
  opportunity to slip outside.  After a bit of stumbling around, you met up 
  with the others.  There are five of you all told. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much, but you get the feeling that she has 
  other ways of communication. 
   
  The five of you haven’t had much time to talk.  Soon after you met up, 
  a group of armed guards arrived and started shooting.  א got winged in 
  the arm.  You ran; it was funny, but you were constantly outdistancing 
  the others.  א carried ו and you and ב took turns carrying ה until 
  you were out of harm’s way. 
   
  After about an hour of stumbling around in the woods, you came across 
  a cabin in the woods.   There are two cars out front, but you can tell 
  they are damaged beyond repair.  You can hear voices inside.  You 
  need to go inside.  You are fatigued and very hungry.  You should 
  consult the others and make a decision, but you want in. 
   
  
   
   
   
   
   
   
   
   
   
  Mike Young 
   
   
   
   
   
   
   
   
   
   
  108 
  Skills And Abilities 
   
  You don’t know how good you are in Combat.  Have a GM adjudicate 
  your combats. 
   
  You are of Average Intelligence. 
   
  You may have other abilities, of which you are unaware.  The GM will 
  be keeping an eye on you, but if you think you’re going to attempt 
  something that based on what you have figured out you would be 
  especially good at, you may want to talk to a GM.   In general, going to 
  a GM asking “can I do this,” is not recommended. 
   
  You are tired and very hungry.  If you do not eat something within the 
  next hour, you will start to take damage.  Note that the cabin is fully 
  stocked with food. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  109 
  ה (11 years old; can be played by either gender) 
   
  You remember nothing before you came to the institution.  No, that 
  isn’t true.  You can understand (but not read or write) English.  You 
  know that you are in America, that it is the current year, and are up on 
  current events, circa about three months ago, inasmuch as an 11 year old 
  might care about current events.  But you remember none of your 
  personal life before you came to the facility. 
   
   
  Your earliest memories are of floating around outside of your body.  
  There were people talking about tests and control factors.  They were 
  claiming that the wipe had taken effect and that they were enhancing 
  esper talents.  You still aren’t sure what an esper talent is.  You 
  eventually woken up and haven’t had any floaty episodes since.  You 
  feel … different.  No, you don’t feel inhuman, just odd.  You can’t see 
  your reflection, but you can see the other four and they look like normal 
  people. 
   
  What you are fairly sure of is that you were at the facility and aware for 
  about a month.  You may have been there longer, but you were only 
  awake for the past month or so.  You were being fed and given 
  injections.  You were, essentially, a prisoner.  You weren’t allowed 
  news about the outside world, but then again, it never occurred to you to 
  ask.   
   
  There were men there and women in lab coats, and you were – and are – 
  dressed in jumpsuits, giving you the impression that you were in a 
  hospital of sorts or a research lab, not a prison.  There were armed 
  guards, but you never saw them until the escape earlier today. 
   
  You had a regular regimen of meals, injections, exercise, and tests.  
  There were a number of tests, mental, physical, and psychological, and 
  some that you just didn’t understand at all.  At the time you didn’t think 
  anything odd about it; it was life, the way things should be.  But then 
  came the blackout and the fire. 
   
  About an hour ago, a huge storm tore over the mountains – the facility is 
  
   
   
   
   
   
   
   
   
   
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  about halfway up a large mountain, part of a chain.  It knocked out 
  power to the facility, although the backup generators came on less than a 
  minute later.  But then, with a crash, there was a huge lightning strike 
  directly on one of the outside walls, which crumbled and started to burn. 
   
  The fire was spreading quickly, and you felt a presence in your mind.  It 
  was a woman named ו.  ו told you to use the opportunity to slip 
  outside.  You could sense that there were other people like you in the 
  facility, so you reached out with your mind to relay ו’s message.  After 
  a bit of stumbling around, you met up with as many of the others as 
  could escape.  There are five of you all told, although there are still 
  dozens more locked up in the facility.  You could feel them at the time. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder.  
  He is very strong, and you can trust him. 
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.    She may be trustworthy, but she 
  would not hesitate to kill if given the order. 
   
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.    He is fast, but is being eaten up by his 
  insides. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She communicates with you in your mind.  She is dying and will be 
  dead within a few hours. 
   
  The five of you haven’t had much time to talk.  Soon after you met up, 
  a group of armed guards arrived and started shooting.  א got winged in 
  the arm.  The rest of you ran, but you couldn’t keep up with א ב and ג.  
  ג and ב took turns carrying you
   
   until you were out of harm’s way. 
   
  After about an hour of stumbling around in the woods, you came across 
  
   
   
   
   
   
   
   
   
   
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  a cabin in the woods.   There are two cars out front, but you can tell 
  they are damaged beyond repair.  There are five people inside, and you 
  are far safer inside the cabin than without.  You should go in. 
   
  Skills And Abilities 
   
  You don’t know how good you are in Combat.  Have a GM adjudicate 
  your combats. 
   
  You are of Exceptional Intelligence. 
   
  You may have other abilities, of which you are unaware.  The GM will 
  be keeping an eye on you, but if you think you’re going to attempt 
  something that based on what you have figured out you would be 
  especially good at, you may want to talk to a GM.   In general, going to 
  a GM asking “can I do this,” is not recommended. 
   
  You may communicate telepathically with ו.  You can simulate this by 
  passing out of game notes or by using a set of radios. 
   
  
   
   
   
   
   
   
   
   
   
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  ו (Female, Mid 20s) 
   
  You remember nothing before you came to the institution.  No, that 
  isn’t true.  You can understand (and read and write) English.  You 
  know that you are in America, that it is the current year, and are up on 
  current events, circa about four years ago.  But you remember none of 
  your personal life before you came to the facility. 
   
   
  Your earliest memories are of pain, of being awake inside a tank of some 
  sort.  You know that, but you do not know why, or who was doing them 
  on you.  You feel … different.  No, you don’t feel inhuman, just odd.  
  You can’t see your reflection, but you can see the other four and they 
  look like normal people. 
   
  Well, even that you aren’t sure about.  Whoever did what they were 
  doing in the facility might have altered your perceptions like they altered 
  your memory.  You aren’t sure what is real and what isn’t any more. 
   
  You were only awake for, what, a week?  Then you were put back to 
  sleep again, and you slept for quite a while. You are in pain and can 
  barely move.  But then came the blackout and the fire. 
   
  About an hour ago, a huge storm tore over the mountains – the facility is 
  about halfway up a large mountain, part of a chain.  It knocked out 
  power to the facility, although the backup generators came on less than a 
  minute later.  But then, with a crash, there was a huge lightning strike 
  directly on one of the outside walls, which crumbled and started to burn. 
   
  Either the fire or the blackout knocked out power to whatever was 
  keeping you asleep.  There were some guards in your room and you 
  looked at them and they fell unconscious although you had a splitting 
  headache for a minute afterwards. 
   
  The fire was spreading quickly, and you used the opportunity to slip 
  outside.  You could …feel… that there was someone in there who could 
  hear your thoughts.  You called out to that person, and you felt that 
  person echo your call to many others within the facility.  After a bit of 
  
   
   
   
   
   
   
   
   
   
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  waiting, you met up with the others.  There are five of you all told. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ג is a tall man, even taller than א.  But the majority of his height 
  are his long, muscular legs.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much, but was the one who answered your call. 
   
  The five of you haven’t had much time to talk.  Soon after you met up, 
  a group of armed guards arrived and started shooting.  א got winged in 
  the arm.  You couldn’t run.  א carried you and ג and ב took turns 
  carrying ה until you were all out of harm’s way. 
   
  After about an hour of stumbling around in the woods, you came across 
  a cabin in the woods.   There are two cars out front.  There are five 
  confused people inside.  You should probably go in, but you aren’t sure 
  if it is safe. 
   
   
  Skills And Abilities 
   
  You are Horrible at combat. 
   
  You are of Excellent Intelligence. 
   
  You may have other abilities, of which you are unaware.  The GM will 
  be keeping an eye on you, but if you think you’re going to attempt 
  something that based on what you have figured out you would be 
  especially good at, you may want to talk to a GM.   In general, going to 
  
   
   
   
   
   
   
   
   
   
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  a GM asking “can I do this,” is not recommended. 
   
  You may communicate telepathically with ה.  You can simulate this by 
  passing out of game notes or by using a set of radios. 
   
  You are in great pain.  You need hospital quality medical treatment, 
  although there is nothing overtly physically wrong with you.  
   
    
   
  
   
   
   
   
   
   
   
   
   
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  Flashback A1 
   
  Scene:  A doctor’s office. 
   
  Doctor:  You are playing a completely different character.  You are a 
  professional doctor.  You have just received the results of a biopsy for 
  Mrs. Veronica Tussard.  Mrs. Tussard has advanced lung cancer.  She 
  needs an operation and chemotherapy.  This is expensive, but if she 
  does not get the operation, she will die within the month.  You are 
  meeting with Mr. and Mrs. Tussard to discuss the results of her biopsy.  
  You are a good person and hate to have to break the bad news to them. 
   
  א:  You are yourself, three months ago.  You have no memories of the 
  game-time events.  You are married to a wonderful woman named 
  Veronica.  Lately, she has been having coughing fits and been feeling 
  week.  Even though you have no medical insurance (you work as a 
  security guard), you took her to a clinic where a biopsy was ordered. You 
  are now meeting with the doctor to discuss the results of the biopsy. 
   
  Veronica:  You are playing a completely different character.  You are 
  Mrs. Veronica Tussard.  You are here with your husband, Albert.  
  Lately, you have been having coughing fits and been feeling week.  
  Even though you have no medical insurance (Albert works as a security 
  guard), he took you to a clinic where a biopsy was ordered. You are now 
  meeting with the doctor to discuss the results of the biopsy. 
   
   
   
   
  Flashback A2 
   
  Scene:  A small apartment. 
   
  א:  You are yourself, three months ago.  You have no memories of the 
  game-time events.  You are married to a wonderful woman named 
  Veronica and have a five year old boy named Joeseph.  You work as a 
  
   
   
   
   
   
   
   
   
   
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  Security Guard, but do not bring in enough money.  It is two days after 
  the meeting with the Doctor.  Your wife has to have the operation or she 
  will die.  You want to sign up for a medical test your company is 
  offering, but it would mean leaving your wife and family, perhaps 
  forever.  However, your family would be well compensated and your 
  wife would live.  You are adamantly in favor of this and need to 
  convince your wife.  This must escalate into a shouting match. 
   
  Veronica:  You are playing a completely different character.  You are 
  Mrs. Veronica Tussard.  You live here with your husband, Albert and 
  your five year old son Joseph.  You found out two days ago that you 
  have lung cancer and will die without an operation.  Your husband 
  wants to take part in a medical experiment his work is offering.  But it 
  would mean you might never see him again.  You are adamantly against 
  this, even if it means you will die.  You will find the money somehow.  
  This must escalate into a shouting match; afterwards, you will have a 
  coughing fit and faint. 
   
  Joseph:  You are playing a completely different character.   You are a 
  five year old boy.  Mommy and daddy are arguing in the other room.  
  You should stay out of the scene until they start shouting at each other, 
  after which you should run in crying and sobbing for your mommy.   
   
  
   
   
   
   
   
   
   
   
   
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  Flashback A3 
   
  Scene:  A small, cramped room somewhere in the back of a restaurant 
  in what used to be LoDo (a trendy area of Denver). 
   
  Candice:  You are yourself, from some time in the future.  You have 
  no memories of the game-time events.  You are the second in command 
  of a paramilitary resistance cell working with your husband Saul and 
  your best friend Randy.  The Illuminati have taken over in a show of 
  force.  They already blatantly control the government as well as the 
  governments of Canada, the European union, most of Central America, 
  and the Middle East.  They are involved in a war with the Triads of 
  China and the Russian Mafia.  However, you are part of the resistance 
  that will see this dictatorship fall.  You are at a secret meeting to discuss 
  plans. Saul is just about to make an inspirational speech.  At some point, 
  if someone seems to recognize you from the modern day events, you 
  immediately remember everything your character would remember so 
  far. 
   
  Saul:  You are yourself, from some time in the future.  You have no 
  memories of the game-time events.  You are in command of a 
  paramilitary resistance cell working with your wife Candice and your 
  best friend Randy.  The Illuminati have taken over in a show of force.  
  They already blatantly control the government as well as the 
  governments of Canada, the European union, most of Central America, 
  and the Middle East.  They are involved in a war with the Triads of 
  China and the Russian Mafia.  However, you are part of the resistance 
  that will see this dictatorship fall.  You are at a secret meeting to discuss 
  plans. You are about to begin an inspirational speech (feel free to just 
  reiterate everything you know about the Illuminati, including what is 
  written here, but forcefully, in a “we will defeat this enemy” sort of way).  
  At some point, if someone seems to recognize you from the modern day 
  events, you immediately remember everything your character would 
  remember so far. 
   
  Raventooth:  You are yourself, from some time in the future.  You 
  have no memories of the game-time events.  You have resumed using 
  
   
   
   
   
   
   
   
   
   
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  the name Randy.  You are part of the command structure of a 
  paramilitary resistance cell working with your friends Saul and Candice.  
  The Illuminati have taken over in a show of force.  They already 
  blatantly control the government as well as the governments of Canada, 
  the European union, most of Central America, and the Middle East.  
  They are involved in a war with the Triads of China and the Russian 
  Mafia.  However, you are part of the resistance that will see this 
  dictatorship fall.  You are at a secret meeting to discuss plans. Saul is 
  just about to make an inspirational speech.  At some point, if someone 
  seems to recognize you from the modern day events, you immediately 
  remember everything your character would remember so far. 
   
  א:  You are yourself, from some time in the future.  You have no 
  memories of the game-time events.  You are Agent Aleph.  You are the 
  leader of a team of enhanced humans there to protect the New World 
  Order from traitors and terrorists.  You have gotten word that there is a 
  terrorist cell meeting in a back room of a run down restaurant here.  
  You are leading your elite team to arrest these terrorists.  You have been 
  authorized to use deadly force.  You start outside the room and burst in 
  on the GMs command.  However, once you get within five feet of 
  Candice, Saul, or Raventooth, you immediately remember everything 
  your character would remember so far. 
   
  Resistance Fighter:  You are playing a completely different character.  
  You are part of a paramilitary resistance cell working with your friends 
  Saul and Candice.  The Illuminati have taken over in a show of force.  
  They already blatantly control the government as well as the 
  governments of Canada, the European union, most of Central America, 
  and the Middle East.  They are involved in a war with the Triads of 
  China and the Russian Mafia.  However, you are part of the resistance 
  that will see this dictatorship fall.  You are at a secret meeting to discuss 
  plans. Saul is just about to make an inspirational speech.   
   
   
   
   
  Resistance Fighter:  You are playing a completely different character.  
  
   
   
   
   
   
   
   
   
   
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  119 
  You are part of a paramilitary resistance cell working with your friends 
  Saul and Candice.  The Illuminati have taken over in a show of force.  
  They already blatantly control the government as well as the 
  governments of Canada, the European union, most of Central America, 
  and the Middle East.  They are involved in a war with the Triads of 
  China and the Russian Mafia.  However, you are part of the resistance 
  that will see this dictatorship fall.  You are at a secret meeting to discuss 
  plans. Saul is just about to make an inspirational speech.   
   
  Resistance Fighter:  You are playing a completely different character.  
  You are part of a paramilitary resistance cell working with your friends 
  Saul and Candice.  The Illuminati have taken over in a show of force.  
  They already blatantly control the government as well as the 
  governments of Canada, the European union, most of Central America, 
  and the Middle East.  They are involved in a war with the Triads of 
  China and the Russian Mafia.  However, you are part of the resistance 
  that will see this dictatorship fall.  You are at a secret meeting to discuss 
  plans. Saul is just about to make an inspirational speech.   
   
   
  Elite Force:  You are playing a completely different character.  You are 
  an enhanced human, part of an elite force there to protect the New World 
  Order from traitors and terrorists.  You have gotten word that there is a 
  terrorist cell meeting in a back room of a run down restaurant here.  
  You are leading your elite team to arrest these terrorists.  You have been 
  authorized to use deadly force.  You start outside the room and burst in 
  on the GMs command.  Your leader is א, a man with enhanced strength 
  and durability.  You will follow his orders blindly no matter what they 
  may be. 
   
  Elite Force:  You are playing a completely different character.  You are 
  an enhanced human, part of an elite force there to protect the New World 
  Order from traitors and terrorists.  You have gotten word that there is a 
  terrorist cell meeting in a back room of a run down restaurant here.  
  You are leading your elite team to arrest these terrorists.  You have been 
  authorized to use deadly force.  You start outside the room and burst in 
  on the GMs command.  Your leader is א, a man with enhanced strength 
  and durability.  You will follow his orders blindly no matter what they 
  
   
   
   
   
   
   
   
   
   
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  may be. 
   
  Elite Force:  You are playing a completely different character.  You are 
  an enhanced human, part of an elite force there to protect the New World 
  Order from traitors and terrorists.  You have gotten word that there is a 
  terrorist cell meeting in a back room of a run down restaurant here.  
  You are leading your elite team to arrest these terrorists.  You have been 
  authorized to use deadly force.  You start outside the room and burst in 
  on the GMs command.  Your leader is א, a man with enhanced strength 
  and durability.  You will follow his orders blindly no matter what they 
  may be. 
   
  Elite Force:  You are playing a completely different character.  You are 
  an enhanced human, part of an elite force there to protect the New World 
  Order from traitors and terrorists.  You have gotten word that there is a 
  terrorist cell meeting in a back room of a run down restaurant here.  
  You are leading your elite team to arrest these terrorists.  You have been 
  authorized to use deadly force.  You start outside the room and burst in 
  on the GMs command.  Your leader is א, a man with enhanced strength 
  and durability.  You will follow his orders blindly no matter what they 
  may be. 
   
  
   
   
   
   
   
   
   
   
   
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  Flashback B1 
   
  Scene: a doublewide trailer in a trailer park outside of Colorado Springs.  
  It is 1 AM. 
   
  Verna:  You are playing a completely different character.  You are a 
  woman in your mid thirties with a 17 year old daughter you had when 
  you were her age.  Her father left you and you have had to shack up 
  with a number of increasingly awful men just to make ends meet.  You 
  are scraping the bottom of the barrel.  Luke is an abusive alcoholic, but 
  he brings in money and keeps you and Gayle off the streets.  Gayle is a 
  handful; you have done all you can think of to keep her from turning out 
  like you did, but she still runs off with boys.  She is a constant reminder 
  of how you have failed, and it makes you so ashamed.  You don’t mean 
  to lash out at her, but you do.  Gayle has just come home.  Her clothes 
  are in disarray; it is obvious she has been running wild with boys again.  
  You don’t want her to end up like you did.  This should escalate into a 
  screaming match.  When Luke comes home drunk, he will start yelling 
  at Gayle and you will try to protect her.  He will argue with you and 
  then backhand you with force and you will collapse, sobbing. 
   
  ב:  You are yourself from five years ago.  You have no memories of 
  the game-time events.  You hate your mother.  She thinks she knows 
  best, but she made so many mistakes with her own life.  And now she 
  has shacked up with Luke who comes home drunk every night.  You are 
  afraid to come home, sometimes because you don’t know if he will try to 
  fuck you or beat the living shit out of you.  Nobody at home loves you, 
  but Petey does.  Sure, he’s only 17, but he owns a truck and has a job 
  down at the Circle K.  You have been out with Petey.  You have been 
  drinking a bit, too.  He told you he loved you and you had sex.  
  Someday you will run away with Petey to a better place.  You hate your 
  mom, that bitch.  She will try to tell you what is best, but she is an idiot 
  and you are in love (and a bit tipsy).  This should escalate into a 
  screaming match.  At some point, you will be directed to leave the 
  trailer never to return. 
   
   
  Luke:  You are playing a completely different character.  You are a 
  
   
   
   
   
   
   
   
   
   
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  man in his late 30s.  You are shacking up in your double wide trailer 
  with Verna and her frigid bitch of a 17 year old daughter, Gayle.  Verma 
  is a sweet gal; she does what you tell her and doesn’t give you any shit 
  the way your ex-wife did.  But Gayle doesn’t appreciate all you and 
  Verna do for her.  You work hard at the machine plant so you can but 
  some fucking bread on the table and that ungrateful bitch won’t even kiss 
  her new step daddy.  You are stinking drunk; you were out drinking 
  with the boys, one of the few highlights in this hellhole of your life.  
  You arrive in the scene when Verna and Gayle are really going at it.  
  That little bitch, talking back to her momma like that.  You will start 
  going in screaming drunk at Gayle.  At some point, Verna will try to 
  defend Gayle.  How dare she talk back to you like that!  You will start 
  going at it verbally with Verna and then backhand her.  She will 
  collapse sobbing.  You are to break character quickly to give Gayle the 
  cue that she is to flee the trailer, then get back into character and turn 
  your attention to her.  The scene ends when Gayle exits the trailer. 
   
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  123 
  Flashback B2 
   
  Scene:  A command room in a bunker somewhere.  A number of men 
  sit around a table.  There are two guards (one guard if we only have 5 
  players). 
   
  Arabic Man:  You are playing a completely different character.   You 
  are sitting around a table arguing in Arabic about your plans to destroy a 
  power station in Tirkut to throw off the infidel’s attempt to gain control 
  of that part of your territory.  You should argue until ב enters.  When 
  she does, yell and scream.  She will kill you all, one by one.  You can 
  try to fight back, but she kills with superhuman ease. 
   
  Arabic Man:  You are playing a completely different character.   You 
  are sitting around a table arguing in Arabic about your plans to destroy a 
  power station in Tirkut to throw off the infidel’s attempt to gain control 
  of that part of your territory.  You should argue until ב enters.  When 
  she does, yell and scream.  She will kill you all, one by one.  You can 
  try to fight back, but she kills with superhuman ease. 
   
  Arabic Man:  You are playing a completely different character.   You 
  are sitting around a table arguing in Arabic about your plans to destroy a 
  power station in Tirkut to throw off the infidel’s attempt to gain control 
  of that part of your territory.  You should argue until ב enters.  When 
  she does, yell and scream.  She will kill you all, one by one.  You can 
  try to fight back, but she kills with superhuman ease. 
   
  Arabic Man:  You are playing a completely different character.   You 
  are sitting around a table arguing in Arabic about your plans to destroy a 
  power station in Tirkut to throw off the infidel’s attempt to gain control 
  of that part of your territory.  You should argue until ב enters.  When 
  she does, yell and scream.  She will kill you all, one by one.  You can 
  try to fight back, but she kills with superhuman ease. 
   
  Arabic Man:  You are playing a completely different character.   You 
  are sitting around a table arguing in Arabic about your plans to destroy a 
  power station in Tirkut to throw off the infidel’s attempt to gain control 
  
   
   
   
   
   
   
   
   
   
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  of that part of your territory.  You should argue until ב enters.  When 
  she does, yell and scream.  She will kill you all, one by one.  You can 
  try to fight back, but she kills with superhuman ease. 
   
  Arabic Man:  You are playing a completely different character.   You 
  are sitting around a table arguing in Arabic about your plans to destroy a 
  power station in Tirkut to throw off the infidel’s attempt to gain control 
  of that part of your territory.  You should argue until ב enters.  When 
  she does, yell and scream.  She will kill you all, one by one.  You can 
  try to fight back, but she kills with superhuman ease. 
   
  Arabic Guard:  You are playing a completely different character.   
  You are here to guard your leaders as they plan the next holy attack 
  against the infidel Americans.  When ב enters, shoot at her, but she 
  will dodge your bullets.  She will kill you all, one by one.  You can try 
  to fight back, but she kills with superhuman ease. 
   
  Arabic Guard:  You are playing a completely different character.   
  You are here to guard your leaders as they plan the next holy attack 
  against the infidel Americans.  When ב enters, shoot at her, but she 
  will dodge your bullets.  She will kill you all, one by one.  You can try 
  to fight back, but she kills with superhuman ease. 
   
  ב:  You are yourself, but you have no conscious thoughts.  You are 
  like a machine, programmed to kill.  You are a super gymnast and an 
  assassin.  You are to kill everyone in the room, which you will do, one 
  at a time with ease.  They cannot run from you and their attacks are 
  ineffectual.  You can dodge their bullets.  After you have killed them 
  all without emotion, you should leave the room. 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback B3 
   
  Scene: A welfare motel room in the seedy part of downtown Denver. 
   
  Man:  You are playing a completely different character.   You have 
  just finished having sex with ב; she is in her late teens.  It was OK.  
  You get dressed and get ready to leave $50 in cash on the bed.  It was 
  supposed to be $100.  You have the other $50, but the sex wasn’t very 
  good and you are feeling cheap.  If things get rough, you have a gun, 
  which will cower her enough that you can leave. 
   
  ב:  You are yourself last year.  You have no memories of the 
  game-time events.  You have just finished having sex with this man.  It 
  was a typical transaction.  He owes $100.  You need this money.  
  After paying off José, you’ll have just enough to get your next fix.  You 
  are seriously jonesing for some smack.  You started taking it for the 
  thrill once Petey left you, but now you’re hooked.  If he manages to 
  leave without paying the full $100, you will be despondent and angry.   
  José will take it out of your hide, or by trade, and you won’t get your 
  smack. 
   
   
   
   
   
  Flashback B4 
   
  Scene: What seems to be a hospital room.  ב is lying on a bed.  There 
  are several (up to 4) medical personnel there.   
   
  Medical Personnel One:  You are playing a completely different 
  character.   You have just been brought in to give this woman a 
  complete physical.  She is malnourished, filthy, and has track marks 
  indicating intravenous drug use.  However, she is still in general good 
  health.  You should explain this to the other personnel using as much 
  
   
   
   
   
   
   
   
   
   
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  technobabble as you can.  If asked, she would be a good candidate for 
  the program, assuming she could be weaned off the drugs. 
   
  Medical Personnel Two:  You are playing a completely different 
  character.   You have the lab results for this woman.  She has 
  managed to avoid the hepatitis and aids bullets.  She does have genital 
  herpes, but that is basically irrelevant.  She shows no signs of diabetes, 
  or genetically transmitted diseases.  If asked, she would be a good 
  candidate for the program, assuming she could be weaned off the drugs. 
   
  Medical Personnel Three:  You are playing a completely different 
  character.   You are here to hear the results of the examinations.  After 
  hearing the results, you should consult with any other people playing 
  “Medical Personnel Three” and after a brief discussion decide that she is 
  acceptable.  You are to order the techs to “begin the wipe procedure.”  
  This ends the flashback. 
   
  ב:  You are yourself, from some time in the past.  You have no 
  memories of the game-time events.  You are not certain where you are; 
  you think you are supposed to be unconscious.  You are lying naked on 
  a bed of some kind, with just a thin sheet over your body (not over your 
  face).  You cannot move or speak.  You can only see in a haze, but you 
  can see that the medical personnel are wearing lab coats emblazoned 
  with the same symbol that is on your jumpsuit. 
   
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback G1 
   
  Scene:  A lounge in the rec center of the University of Colorado in 
  Boulder.  (ג must be at this flashback). 
   
  Candice:  You are yourself two months ago.  You have no memories 
  of the game-time events.  You are listening to the TV in the student rec 
  center on campus with a few classmates.  After hearing the report, you 
  should react to their conversation. 
   
  Classmate 1:  You are playing a completely different character.   You 
  are listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should start a conversation 
  with classmate 2 on drunk drivers.  You feel that all drunk drivers 
  should be locked up (and the key should be thrown away) after the first 
  offense, even if they don’t hurt anyone. 
   
  Classmate 2:  You are playing a completely different character.   You 
  are listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should start a conversation 
  with classmate 1 on drunk drivers.  You feel that drunk drivers need to 
  be rehabilitated.  Your mother is an alcoholic.  It is a disease, not a 
  crime.   
   
  Classmate:  You are playing a completely different character.  You are 
  listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should react to their 
  conversation.  You may join in, but try to keep the sides even or come 
  up with a new perspective.   
   
  Classmate:  You are playing a completely different character.  You are 
  listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should react to their 
  conversation.  You may join in, but try to keep the sides even or come 
  up with a new perspective.   
   
  Classmate:  You are playing a completely different character.  You are 
  
   
   
   
   
   
   
   
   
   
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  listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should react to their 
  conversation.  You may join in, but try to keep the sides even or come 
  up with a new perspective.   
   
  Classmate:  You are playing a completely different character.  You are 
  listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should react to their 
  conversation.  You may join in, but try to keep the sides even or come 
  up with a new perspective.   
   
  Classmate:  You are playing a completely different character.  You are 
  listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should react to their 
  conversation.  You may join in, but try to keep the sides even or come 
  up with a new perspective.   
   
  Classmate:  You are playing a completely different character.  You are 
  listening to the TV in the student rec center on campus with a few 
  classmates.  After hearing the report, you should react to their 
  conversation.  You may join in, but try to keep the sides even or come 
  up with a new perspective.   
   
  TV Announcer (or GM):  You are playing a completely different 
  character.  You are offscreen, but can be heard.  Read the following:  
  Star collegiate basketball player, Keith O’Brien of the University of 
  Colorado All-Stars died this morning after being struck by an allegedly 
  drunk driver last night.  His loss will be mourned by the entire 
  university.  O’Brien was well known as a jovial athlete, and the best 
  player on the team.  There will be a memorial service in the fieldhouse 
  on Tuesday at 1 PM. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback G2 
   
  Scene:  A basketball game with 1 minute left. 
   
  Announcer: You are playing a completely different character.  You are 
  there to announce the play of the game.  Lead the action of what is 
  happening, balls being passed, shots being tried and so forth.  However, 
  with 4 seconds left to go, newcomer Keith O’Brien will make a difficult 
  shot and win the game.  Be excited that he won.   
   
  ג:    You are yourself a year ago.  You have no memories of the 
  game-time events.  You are a sophomore in college and are on the 
  basketball team.  Although you warmed the bench most of last year, 
  this year the coach is giving you a chance and it is your first game.  The 
  game is tied with one minute left.  Listen to what the announcer calls 
  and do what he says.  After the game ends react appropriately. 
   
  Basketball player:  You are playing a completely different character.  
  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder).  The game is tied with one minute 
  left.  Listen to what the announcer calls and do what he says.  After 
  the game ends react appropriately. 
   
  Basketball player:  You are playing a completely different character.  
  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder).  The game is tied with one minute 
  left.  Listen to what the announcer calls and do what he says.  After 
  the game ends react appropriately. 
   
  Basketball player:  You are playing a completely different character.  
  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder).  The game is tied with one minute 
  left.  Listen to what the announcer calls and do what he says.  After 
  the game ends react appropriately. 
   
  Basketball player:  You are playing a completely different character.  
  
   
   
   
   
   
   
   
   
   
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  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder).  The game is tied with one minute 
  left.  Listen to what the announcer calls and do what he says.  After 
  the game ends react appropriately. 
   
   
  Basketball player 2:  You are playing a completely different character.  
  You are a college basketball player on the opposing team of ג (Montana 
  State University).  The game is tied with one minute left.  Listen to 
  what the announcer calls and do what he says.  After the game ends 
  react appropriately. 
   
   
  Basketball player 2:  You are playing a completely different character.  
  You are a college basketball player on the opposing team of ג (Montana 
  State University).  The game is tied with one minute left.  Listen to 
  what the announcer calls and do what he says.  After the game ends 
  react appropriately. 
   
   
  Basketball player 2:  You are playing a completely different character.  
  You are a college basketball player on the opposing team of ג (Montana 
  State University).  The game is tied with one minute left.  Listen to 
  what the announcer calls and do what he says.  After the game ends 
  react appropriately. 
   
   
  Basketball player 2:  You are playing a completely different character.  
  You are a college basketball player on the opposing team of ג (Montana 
  State University).  The game is tied with one minute left.  Listen to 
  what the announcer calls and do what he says.  After the game ends 
  react appropriately. 
   
   
  Basketball player 2:  You are playing a completely different character.  
  You are a college basketball player on the opposing team of ג (Montana 
  State University).  The game is tied with one minute left.  Listen to 
  what the announcer calls and do what he says.  After the game ends 
  react appropriately. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback G3 
   
  Scene:  A bar in LoDo, a trendy part of Denver. 
   
  ג:    You are yourself a year ago.  You have no memories of the 
  game-time events.  You are a sophomore in college and are on the 
  basketball team.  You are out drinking with your teammates celebrating 
  your 21st birthday.  You are already a bit drunk and as the scene goes on, 
  you should get more and more drunk. 
   
  Basketball player:  You are playing a completely different character.  
  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder), although you know him as Keith 
  O’Brian.  He turned 21 today and you are all taking him out to get 
  drunk and to get him to hit on women.  Bring him drinks and be 
  obnoxious. 
   
  Basketball player:  You are playing a completely different character.  
  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder), although you know him as Keith 
  O’Brian.  He turned 21 today and you are all taking him out to get 
  drunk and to get him to hit on women.  Bring him drinks and be 
  obnoxious. 
   
  Basketball player:  You are playing a completely different character.  
  You are a college basketball player on the same team as ג (the 
  University of Colorado at Boulder), although you know him as Keith 
  O’Brian.  He turned 21 today and you are all taking him out to get 
  drunk and to get him to hit on women.  Bring him drinks and be 
  obnoxious. 
   
  Bar patron (female):  You have come to the bar for a girl’s night out 
  with your female friends.  The annoying and drunk basketball players 
  should hit on you and your friends.  React accordingly. 
   
  Bar patron (female):  You have come to the bar for a girl’s night out 
  
   
   
   
   
   
   
   
   
   
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  with your female friends.  The annoying and drunk basketball players 
  should hit on you and your friends.  React accordingly. 
   
  Bar patron (female):  You have come to the bar for a girl’s night out 
  with your female friends.  The annoying and drunk basketball players 
  should hit on you and your friends.  React accordingly. 
   
  Flashback G4 
   
  Scene:  The back of an unmarked van. 
   
  ג:    You are so very drunk.  You hit the bars in LoDo this evening to 
  celebrate your 21st birthday.  You start not remembering what is going 
  on and think the others are your buddies on the team.  As the scene 
  continues, you remember all that has happened so far, and can kinda 
  figure what is going on although you are still very drunk. 
   
  Tech:  You are playing a completely different character.  You are a 
  medical tech.  You have done a number of quick tests on this drunk 
  teenager.  He is a perfect specimen for your program.  Let the 
  Administrator know that. 
   
  Thug:  You are playing a completely different character.  You are a 
  thug, working for the Administrator.  You are there in case the subject 
  gets violent.  You can easily beat him in combat and knock him out.   
   
  Administrator:  You are an Administrator for the project.  These techs 
  are here to inform you if the subject is suitable for the program.  After 
  they have given their report, nod sagely and say that he is suitable.  
  Then say, “prepare the standard hit and run story.”  That ends the 
  flashback. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback H1 
   
  Scene:  A halfway house in one of the worse areas of Denver.  
  Everyone here is speaking Spanish 
   
  Worker Drone:  You are playing a completely different character.  You 
  are here to say the following speech to the kids who live here and then 
  leave.  “Gentlemen.  Ladies.  This is Hernandez.  He will be living 
  with us for a few weeks as the courts figure out his status.  Please treat 
  him well; he’s seen some hard times lately.  Remember dinner is at 6.  
  Welcome Hernandez.”  Then leave. 
   
  ה:  You are yourself from about a year and a half ago; you are about 9.  
  You have no memories of the game-time events.   Two days ago, men 
  from INS busted your father as he was waiting for the truck for work.  
  They took him and your mother away and brought you here.  You don’t 
  know what happened to them.  You are scared and alone.   (Note: 
  Despite any protests you may have, and you should protest, you must 
  eventually accept what is offered to you.  The scene ends when you 
  accept). 
   
  Predatory Teen/Gang Member:  You are playing a completely different 
  character.  You are a member of MS-13, a San Salvadorian Gang that 
  runs drugs in the area.  This new kid would make the perfect runner and 
  watch.  You need to bully and coerce Hernandez to join the gang.  If 
  the promise of being cool and safety in numbers don’t work, maybe 
  threats will.  You’re willing to back up those threats if necessary and 
  make Hernandez’s life here a living hell.  You should wait patiently for 
  the Worker Drone to leave before trying to recruit Hernandez. 
   
  Predatory Teen/Gang Member:  You are playing a completely different 
  character.  You are a member of MS-13, a San Salvadorian Gang that 
  runs drugs in the area.  This new kid would make the perfect runner and 
  watch.  You need to bully and coerce Hernandez to join the gang.  If 
  the promise of being cool and safety in numbers don’t work, maybe 
  threats will.  You’re willing to back up those threats if necessary and 
  make Hernandez’s life here a living hell.  You should wait patiently for 
  
   
   
   
   
   
   
   
   
   
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  the Worker Drone to leave before trying to recruit Hernandez. 
   
  Predatory Teen/Gang Member:  You are playing a completely different 
  character.  You are a member of MS-13, a San Salvadorian Gang that 
  runs drugs in the area.  This new kid would make the perfect runner and 
  watch.  You need to bully and coerce Hernandez to join the gang.  If 
  the promise of being cool and safety in numbers don’t work, maybe 
  threats will.  You’re willing to back up those threats if necessary and 
  make Hernandez’s life here a living hell.  You should wait patiently for 
  the Worker Drone to leave before trying to recruit Hernandez. 
   
  Predatory Teen/Gang Member:  You are playing a completely different 
  character.  You are a member of MS-13, a San Salvadorian Gang that 
  runs drugs in the area.  This new kid would make the perfect runner and 
  watch.  You need to bully and coerce Hernandez to join the gang.  If 
  the promise of being cool and safety in numbers don’t work, maybe 
  threats will.  You’re willing to back up those threats if necessary and 
  make Hernandez’s life here a living hell.  You should wait patiently for 
  the Worker Drone to leave before trying to recruit Hernandez. 
   
  Predatory Teen/Gang Member:  You are playing a completely different 
  character.  You are a member of MS-13, a San Salvadorian Gang that 
  runs drugs in the area.  This new kid would make the perfect runner and 
  watch.  You need to bully and coerce Hernandez to join the gang.  If 
  the promise of being cool and safety in numbers don’t work, maybe 
  threats will.  You’re willing to back up those threats if necessary and 
  make Hernandez’s life here a living hell.  You should wait patiently for 
  the Worker Drone to leave before trying to recruit Hernandez. 
   
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback H2 
   
  Scene:  A street corner in a bad area of town.  It is night. 
   
  ה:  You are yourself from about a year ago; you are about 10.  You 
  have no memories of the game-time events.   Shit, where are they?  
  You were supposed to deliver the goods a half hour ago.  You are alone 
  and nervous.  You have confidence in your brothers in MS-13, but you 
  are supposed to be selling he crack to some punk ass n****rs.  Luckily, 
  you are armed.  You’ve never shot a gun, but you need it for protection 
  and to show you are a man.  Ah, here they come. Shit.  They’re 
  drawing on you.  (Note; as part of this flashback, you should have a 
  combat, and shoot at the other two characters; the other players know 
  the result of the combat). 
   
  Crazed Druggie 1:  You are playing a completely different character.  
  You two are supposed to buy some crack off a beaner, but you don’t have 
  the funds.  Well, you need the junk.  Time to cut and run.  You’ve got 
  a gun and it’s just a kid.  The kid’ll probably shit when you draw.  No 
  problems.  You should allow yourself to be killed in the ensuing 
  shootout.  You miss the kid.   
   
  Crazed Druggie 2:  You are playing a completely different character.  
  You two are supposed to buy some crack off a beaner, but you don’t have 
  the funds.  Well, you need the junk.  Time to cut and run.  You’ve got 
  a gun and it’s just a kid.  The kid’ll probably shit when you draw.  No 
  problems.  You miss the kid in the ensuing shootout.  He will kill the 
  other Druggie.  You should run away. 
   
   
   
   
   
  Flashback H3 
   
  Scene:  An interrogation room. 
   
  Official (may be a GM):  You are playing a completely different 
  
   
   
   
   
   
   
   
   
   
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  character.  You are here to offer this kid a chance.  Say the following 
  speech to the kid, “… so Hernandez.  The choice is yours.  We have 
  your fingerprints on the weapon.  The ballistics match.  We have Mof’s  
  testimony that you pulled your gun first and shot in cold blood.  We’re 
  going to try you as an adult.  You could end up in jail for the rest of 
  your life, which could be a short eight years if we can get the death 
  penalty.  But you have a choice.  I represent an organization that could 
  save your life, protect you from retribution on the street, and make a new 
  person out of you.  What do you say Hernandez?”  After which, 
  Hernandez will hopefully ask you all sorts of questions.  You will feel 
  compelled to answer them truthfully.  If you don’t know the true answer, 
  please ask the GM. 
   
  ה:  You are disoriented and confused.  You don’t know where or when 
  you are.  When the Official has finished making his speech, you 
  remember.  This was just before you were put on trial for first degree 
  murder.  You eventually agreed to his program, and that’s when you 
  were taken to the facility.  But, you have your full memories now, or at 
  least you remember everything that has happened so far.  You have your 
  abilities too.  You can make the man trust you, make him answer your 
  questions.  This is your big chance to learn a great deal of what is going 
  on. 
   
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback Z1: 
   
  Scene:  A car. 
   
  ו:  You are yourself from about five years ago.  You have no 
  memories of the game-time events.  You are in high school and are 
  driving home from theater rehearsal.  The radio is playing a slow 
  dreamy song.  Suddenly there are headlights right in front of you.  You 
  hear a screech and a crash.  Something big smashes through your 
  windshield.  Glass and metal fly everywhere.  You are in pain, worse 
  pain than you have ever felt.  You are cut and bleeding and your bones 
  are all broken.  You cry in pain and for help, and then pass out.  When 
  you return from this flashback, you will have a faint memory of Candice, 
  but you cannot place her. 
   
   
   
  Flashback Z2/CB2: 
   
  Scene:  A hospital-like room. 
   
  Note to GM:  If ו is holding the clipboard at the end of the flashback, 
  she gets to keep it.  This flashback must happen after Z1, and CB1. 
   
  ו:  You are yourself from some time ago.   You are lying on a bed, 
  conscious, although you think you are supposed to be asleep.  You 
  cannot move or speak.  You have full memories of everything you 
  would have remembered so far.  When the other people in the room 
  leave, you may move, albeit with great pain. 
   
  Tech 1:  You are playing a completely different character.  You are a 
  medical tech.  You have done a number of procedures on this woman.  
  They are detailed in the clipboard you are holding; make sure that the 
  clipboard is seen as important.  But the procedures aren’t working.  
  The woman’s internal injuries are too great.  You need to explain this to 
  the administrator.  You leave when he leaves.  Leave the clipboard 
  
   
   
   
   
   
   
   
   
   
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  behind.   
   
  Tech 2:  You are playing a completely different character.  You are a 
  medical tech, working for Tech 1.  You have done a number of 
  procedures on this woman.  They are detailed in the clipboard Tech 1 is 
  holding.  But the procedures aren’t working.  The woman’s internal 
  injuries are too great.  You need to explain this to the administrator.  
  You leave when he leaves.  Leave the clipboard behind.   
   
  Administrator:  You are an Administrator for the project.  These techs 
  are here to fill you in on the progress of the subject in bed.  After they 
  have given their report, nod sagely and say that she should be put on 
  indefinite S.A. until such time as she can be of use.  Then leave the 
  room with the techs.  Leave the clipboard behind. 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
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  Flashback MS1 
   
  Scene:  This very cabin.  Earlier today.  GM announcement:  For 
  the purposes of this flashback, the book does not have a monster coming 
  out of the cover. 
   
  Mordechi:  You have no memories of the game-time events.  You 
  have just had an argument with Candice.  She said that the book was a 
  tome of great and evil power, which you find hard to believe.  This 
  argument set Raventooth and Felicity against each other as well, but that 
  was brief and they recovered.  You were certain that a book of Jewish 
  mysticism would be beneficial.  Well, to prove it, you had Raventooth 
  and Felicity help you with a spell from the book.  You chose one at 
  random.  Candice had Felicity draw up protections just in case, while 
  you had Raventooth draw the Sepheroth on the floor.  You placed the 
  offerings on the floor, some salt in Keter, a bowl of wine in Yesod, and 
  your watch in Netsah, You are now ready to chant in Hebrew.  (make 
  something up). 
   
  Felicity:  You have no memories of the game-time events.  Morrey 
  just had an argument with Candice.  She said that the book was a tome 
  of great and evil power, which Morrey scoffed at.  This argument set 
  Raventooth and you against each other as well, but that was brief and 
  you recovered.  To prove his point, Morrey had Raventooth and you 
  help with a spell from the book.  Candice had you draw up protections 
  just in case, Raventooth drew the Sepheroth on the floor.  Morrey 
  placed the offerings on the floor, some salt, a bowl of wine, and his 
  watch You are now ready for him to chant in Hebrew.   
   
  Raventooth:  You have no memories of the game-time events.  
  Morrey just had an argument with Candice.  She said that the book was 
  a tome of great and evil power, which Morrey scoffed at.  This 
  argument set Felicity and you against each other as well, but that was 
  brief and you recovered.  To prove his point, Morrey had you and 
  Felicity help with a spell from the book.  Candice had Felicity draw up 
  protections just in case, You drew the Sepheroth on the floor.  Morrey 
  placed the offerings on the floor, some salt, a bowl of wine, and his 
  
   
   
   
   
   
   
   
   
   
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  watch. You are now ready for him to chant in Hebrew.   
   
  Candice:  You have no memories of the game-time events.  Morrey 
  just had an argument with you.  You said that the book was a tome of 
  great and evil power, which Morrey scoffed at.  This argument set 
  Felicity and Raventooth against each other as well, but that was brief and 
  they recovered.  To prove his point, Morrey had Raventooth and 
  Felicity help with a spell from the book.  You had Felicity draw up 
  protections just in case.  You wanted nothing to do with this.  
  Ravenwood drew the Sepheroth on the floor.  Morrey placed the 
  offerings on the floor, some salt, a bowl of wine, and his watch. He is 
  about to begin to chant in Hebrew.   
   
  Saul:  You have no memories of the game-time events.  Morrey just 
  had an argument with Candice.  She said that the book was a tome of 
  great and evil power, which Morrey scoffed at.  You have trouble 
  believing that yourself.  This argument set Felicity and Raventooth 
  against each other as well, but that was brief and they recovered.  To 
  prove his point, Morrey had Raventooth and Felicity help with a spell 
  from the book.  Candice had Felicity draw up protections just in case.  
  Ravenwood drew the Sepheroth on the floor.  Morrey placed the 
  offerings on the floor, some salt, a bowl of wine, and his watch. He is 
  about to begin to chant in Hebrew.   
   
  GM Note:  As this chanting in Hebrew goes on, inform the players that 
  the world seems to be swirling as if reality were caught in a tornado.  
  However, they have free will and all of their memories.  Make the book 
  move in a circle inside the players circle.  Hopefully, one of them will 
  think to grab the book.  The scene ends when that happens.  They get 
  to keep the book, but when they get back, the book has the monster in the 
  cover. 
   
  This flashback should happen in the last third of the game. 
   
  
   
   
   
   
   
   
   
   
   
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  141 
  Flashback MS2 
   
  Scene:  The private study of a Talmudic Scholar, circa mid-1400s. 
   
  Mordechi:  You are a Jew living in Spain in the 1400s.  No, wait, you 
  have full memories of where you have been and what has happened.  
  You don’t know exactly where you are now.   
   
  Saul:  You are playing a completely different character.  You are a 
  learned man of the Talmud who is penning a book of the practical 
  Kaballah.  You have the book in front of you, but it is incomplete.  
  Your best friend, Reb Mordechi, has come to see you.  He has 
  information.  He has just come in and sat down, when you felt a 
  moment of disorientation.  Mordechi seems confused.  Note: After this 
  flashback, you will remember everything that happened in this flashback.  
  There should be a GM nearby to answer questions. 
   
   
   
  Flashback FC1 
   
  Scene:  A Jewish household in Denver about 30 odd years ago.  
   
  Saul Saltzberg:  You are playing a completely different character.  You 
  are a ten year old by, the only son of hard working Jewish immigrants.  
  You come from a strictly religious, Orthodox family.  They have taught 
  you the old ways, that the Jews are G-d’s chosen people and that other 
  people hate and fear the Jews.  And that Jews shouldn’t even attempt to 
  associate with non-Jews.  That way leads to assimilation, the diluting of 
  Jewish blood and Jewish heritage.  Your heritage is all your parents 
  have as their parents fled Eastern Europe with practically nothing.  
  Your parents are away at a shiva house (paying their respects to a woman 
  whose husband has died) and you have been left at home in the care of 
  your older sister Rachel. 
   
  Felicity:  You know who you are supposed to be, but you also have the 
  complete memories of Felicity so far.  You are Amy, the eldest child of 
  
   
   
   
   
   
   
   
   
   
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  142 
  the Saltzberg family.  You are watching your younger brother, Saul.  
  You come from a strictly religious, Orthodox family.  They have taught 
  you the old ways, that the Jews are G-d’s chosen people and that other 
  people hate and fear the Jews.  And that Jews shouldn’t even attempt to 
  associate with non-Jews.  That way leads to assimilation, the diluting of 
  Jewish blood and Jewish heritage.  Your heritage is all your parents 
  have as their parents fled Eastern Europe with practically nothing.  
  Your parents are away at a shiva house (paying their respects to a woman 
  whose husband has died).  But you also have all of Felicity’s memories 
  and knowledge.  This is the perfect opportunity to change Saul’s years 
  of xenophobia.  Maybe when this is all over, you can be accepted by 
  Morrey’s father. 
   
  Flashback CB1: 
   
  Scene:  A teenage girl’s room, circa five years ago. 
   
  ו:  You are playing a completely different character.  You are Judy 
  Sinclaire.  You are in your room with your best friend, Candice.  You 
  need to leave in a few minutes to go to rehearsal for the school play.  
  Candice is not only your best friend, she is a fellow Pagan.  You have 
  taught her all you know.  You have taught her to be tolerant and to hurt 
  no one.  No matter what, you must end this scene by leaving for 
  rehearsal. 
   
  Candice:  You are yourself.  Judy is about to leave to go to rehearsal 
  and will be hit by a drunk driver on the way home.  You never had a 
  chance to say goodbye, or to tell her how much you care for her.  Out of 
  game note:  you will be unable to keep her from leaving for rehearsal.  
  You may try in-character, of course, but you must accept out of character 
  that she will leave. 
   
  Flashback R1 
   
  Scene: A public gathering, several decades in the future. 
   
  Raventooth:  You are yourself from some time in the future.  You 
  
   
   
   
   
   
   
   
   
   
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  143 
  have no memories of the game-time events.  You are the supreme leader 
  of the world, having joined the Illuminati and been granted great 
  charisma and magical powers from their Enhanced Human program.  
  You are here to make a speech to the adoring masses (adoring magically 
  enhanced, of course).  You should give the last paragraph or so of a 
  charismatic and forceful speech.  When the flashback ends, you will 
  know: This could be your fate, but you would need to sabotage the efforts 
  of your friends to do so.  The choice is yours. 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  
   
   
   
   
   
   
   
   
   
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  144 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
   
  Onlooker:  You are playing a completely different character.  You are a 
  citizen of the New World Order.  Yu love your leader, Raventooth.  
  After he gives his speech you should cheer loudly and chant, 
  “Raventooth!  Raventooth!  Raventooth!” 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  145 
  All college students.  Open when you meet the 
  rest of the characters. 
   
  These are five people dressed in grey jumpsuits.  The jumpsuits have a 
  label on them which is represented by the tag in their badge. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.   
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much. 
   
   
  All college students.  Open when you meet the 
  rest of the characters. 
   
  These are five people dressed in grey jumpsuits.  The jumpsuits have a 
  label on them which is represented by the tag in their badge. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.   
  
   
   
   
   
   
   
   
   
   
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  146 
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much. 
   
   
   
   
  All college students.  Open when you meet the 
  rest of the characters. 
   
  These are five people dressed in grey jumpsuits.  The jumpsuits have a 
  label on them which is represented by the tag in their badge. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.   
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  147 
   
   
  All college students.  Open when you meet the 
  rest of the characters. 
   
  These are five people dressed in grey jumpsuits.  The jumpsuits have a 
  label on them which is represented by the tag in their badge. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.   
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much. 
   
  All college students.  Open when you meet the 
  rest of the characters. 
   
  These are five people dressed in grey jumpsuits.  The jumpsuits have a 
  label on them which is represented by the tag in their badge. 
   
  • א is a large man in his early 30s, perhaps six and a half feet tall, and 
  not an ounce of fat on him.  He has the physique of a bodybuilder. 
   
  
   
   
   
   
   
   
   
   
   
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  148 
  • ג is a tall man, even taller than א.  But the majority of his height is 
  his long, muscular legs.   
   
  • ב is a slender female, also in seemingly perfect shape, although not 
  overtly muscular.  She seems to flow with the grace of a ballet 
  dancer rather than simply move.   
   
  • ה is a young child of perhaps 11 or 12 with big piercing brown eyes.  
  ה doesn’t say much. 
   
  • ו is a female in her mid 20s.  She is rake thin, and moves with pain.  
  She also does not talk much.  
   
   
  ג.  Open halfway through the game. 
   
  You are getting hungry again.  Time to eat.  If you don’t eat, you start 
  to take damage. 
   
   
   
   
  ו.  Open an hour into the game. 
   
  You have a huge attack of pain.  It feels like your insides are tearing up.  
  Anyone who touches you during this attack also feels the same thing.  
  This lasts for a couple of minutes. 
   
   
   
   
   
  ו.  Open two hours into the game. 
   
  You have a huge attack of pain.  It feels like your insides are tearing up.  
  Anyone who is within ten feet of you during this attack also feels the 
  same thing.  This lasts for a couple of minutes. 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  149 
   
   
   
  ו.  Open at the end of the game. 
   
  This is it.  You can feel yourself dying.  You have one last chance to 
  say goodbye. 
   
   
   
  ה.  Open when you see the people inside 
  the cabin. 
   
  This is your impression of the people in the cabin: 
   
  Mordechi (Morrey) Saltzberg:  He had a recent personal tragedy, but he 
  is a good person and would be generally helpful.  He needs to retrieve 
  the book. 
   
  Felicity Chilton:  Morrey’s lover.  She does not like to think, but has a 
  good heart. 
   
  Raventooth:  Not evil, per se, but extremely self interested.  Watch out 
  for this one. 
   
  Candice Brookward:  She is pragmatic and can keep her cool in a crisis.  
  You are in a crisis. 
   
   
  Saul Flockman:  He knows the truth, or at least he suspects.  He could 
  be a powerful ally or a powerful enemy. 
   
   
  
   
   
   
   
   
   
   
   
   
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  150 
   
   
   
  Case Study of Subject ז: 
  Judy Sinclaire 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  151 
  Contingency Envelope ז: 
   
  Keep this page if you are ז.  You remember now, although your 
  memory is still a bit splotchy.  Your name is Judy Sinclaire.    You 
  were a high school student.  Your best friend was Candice.  You were 
  teaching her everything you knew about Paganism.  You were driving 
  home from rehearsal and were hit by a drunk driver. 
   
  The Illuminati faked your death and brought you to the facility to cure 
  you and make you better.  But now you can tell that it didn’t work.  
  You are dying and you will not live out the day. 
   
  Your memory still fades in and out.  You will remember more as 
  Candice tells you things. 
   
  
   
   
   
   
   
   
   
   
   
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  152 
  Assorted notes, written in technobabble….. 
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  153 
   
    
   
     א 
   
    
   
     ג 
   
  
   
   
   
   
   
   
   
   
   
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  154 
    
   
     ו 
   
    
   
     ב 
   
  
   
   
   
   
   
   
   
   
   
  Tempus Frangit 
   
   
   
   
   
   
   
   
   
   
  155 
    
   
     ה 
   
    
   
      
   
   
   
   
  
   
   
   
   
   
   
   
   
   
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  156 
   
   
  CORRESPONDENCE 
  Interactivites Ink, United States 
  E-mail address: ambug666@gmail.com 
  WWW: http://www.interactivitiesink.com. 
   
   
   
   
  
   
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
  Vol. 1.2, October, 2006 
  157 
   
   
   
   
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
  A Multi-Discipline Peer-Reviewed Journal of 
  Scenario-Based Theatre-Style Interactive Drama 
  Freeform Live Action Roleplaying Games 
  Call for Papers 
   
   
  The Journal of Interactive Drama is an online peer-reviewed journal on 
  scenario-based interactive drama freeform live action roleplaying games which 
  provides a forum for serious discussion of live roleplaying game theory, design, 
  and practice. The journal is published regularly. The journal provides a forum 
  for the discussion of any of the various scenario-based theatre-style live action 
  roleplaying games, freeforms, and interactive dramas and invites contributions 
  in all areas of literature, theory, design, and practice for educational, 
  entertainment, and recreational roleplay. Formal and informal essays, articles, 
  papers, and critical reviews are also welcome. 
  This is a peer-reviewed journal that may include formal papers and informal 
  essays for and by the roleplaying community from a wide variety of disciplines. 
  The focus is general enough so that authors should feel comfortable submitting 
  material of either a formal or informal nature, albeit all submissions are 
  peer-reviewed and should be appropriate to a serious and thoughtful discussion 
  of that type -- we encourage articles, essays, and formal papers on all manner of 
  live roleplaying, freeform, and interactive drama-related topics. Discussions of 
  related ludology, techniques, and good solid critical book and roleplay scenario 
  or event reviews are quite welcome as well. As this is a multi-disciplinary 
  journal, material related to a wide range of scenario-based learning, social 
  psychology, critical theory, performance studies, popular culture, design, and 
  
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
   
   
   
   
   
   
   
   
   
   
  158 
  more as they intersect with the interactive drama are also welcome. Pure design 
  pieces related to scenario construction and review are also encouraged. Each 
  issue will showcase one to three longform or four to six shortform interactive 
  drama freeform live action roleplaying scenarios; creative scenario submissions 
  of this type are very sought after. Scenarios for submission should include a 
  section of self-reflective critical thought and formal designer’s notes that discuss 
  issues related to the creation of the piece as well as a formal section which 
  reviews the author’s performance experiences with the scenario. 
  As an international journal, the language of publication is English. Submissions 
  are accepted throughout the year. 
   
  Journal of Interactive Drama 
  A Multi-Discipline Peer-Reviewed Journal of 
  Scenario-Based Theatre-Style Interactive Drama Freeform Live Action 
  Roleplaying Games 
  Notes for Contributors 
  The Journal of Interactive Drama is a peer-reviewed journal which publishes 
  one volume per year in an ongoing rollout schedule based upon acceptable 
  submissions.  Both Microsoft Word (6.0 or above) and txt files are acceptable. 
  Once received, manuscripts will be sent to reviewers immediately.  
  1. Manuscripts submitted to Journal of Interactive Drama 
  should follow the style sheet of the current MLA Handbook as 
  appropriate. Scenario submissions may use informal 
  formatting conventions as long as they stay within the 
  guidelines here.  
  2. If your submission has notes, please use footnotes, not 
  endnotes.  
  3. The font used is Times New Roman (11pt) – creative pieces, 
  such as scenarios, may use other font sizes but should stay 
  within the same font type. If you use a special font that is 
  non-system, you must include a copy of the font file with your 
  submission. Please do not use columns in your piece.  
  
   
   
   
   
   
   
   
   
   
  Call for Papers 
  Guidelines for Submission 
   
   
   
   
   
   
   
   
   
   
  159 
  4. Use a separate sheet to include your name, title, affiliated 
  institution, and contact information (email) as well as a brief 
  author’s biography of 150-250 words to be included in the 
  contributor’s notes.  
  5. Include a brief summary or abstract of the submission.  
  6. If you use illustrations or photographs, you must include all 
  pertinent information as well as statements of permissions and 
  copyrights to demonstrate you have the rights to include the 
  images and that they may be published within the Journal of 
  Interactive Drama under the same online and print rights as 
  the accompanying paper. In the event of rights disputes, the 
  author is responsible and liable for any material included in 
  that author’s submission.  
  Publishers wishing their books, products, or other materials reviewed may send 
  hard or soft review copies to the editor's address above and a reviewer will be 
  assigned.  
  The journal is published online at http://www.interactivedramas.info/journal.htm 
  in special press format using pdf file media. 
  Submissions may be sent by regular mail to: 
   
      Dr. Scott Beattie 
      Editor, Journal of Interactive Drama 
      Victoria University Law School 
      Footscray Park Campus 
      PO Box 14428 
      Melbourne Vic 8001 Australia 
      Ph +61 3 9919 4784 
      Fax +61 3 9919 5066 
   
  Please include hardcopy and disk for regular mail submissions.  You may also 
  send submissions in electronic format to Brian David Phillips, Associate Editor, 
  Journal of Interactive Drama at phillips@nccu.edu.tw via email. 
  Visit http://www.interactivedramas.info/journal.htm for more information.  
   
  
   
   
   
   
   
   
   
   
   
  Journal of Interactive Drama 
   
   
   
   
   
   
   
   
   
   
  160 
   
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
SOURCE: textdata/thevault/Old School Revival (OSR(ic))/[Adventure Design & Dungeoncraft]/GM Advice & Writing/JID Journal of Interactive Drama 2.1.pdf