TEXT: Meguey Baker
  
  A Thousand and One Nights
  a game of enticing stories
  ©2006, ©2012 by Meguey Baker
  www.nightskygames.com
  Illustrations by Claudia Cangini
  www.claudiacangini.com
  Book design by Meguey and D.Vincent Baker
  Dedicated
  to my Mother, Barbara R. Threet, in gratitude for a 
  childhood rich in fairytales
  to my sister Serena R. Torrey, in recognition of years of 
  shared imaginary space
  and to my sons Sebastian, Elliot and Tovey in hope for and 
  commitment to wonder
  Vincent, with you all this and more 
  My grandfather would have liked to see this, I think. 
  Albert Walter McKie 1929–2005
  
  Meguey Baker
  Thousand
  A
  and
  OneNightS
  A Game of
  Enticing Stories
  
  This is not a game about Arab culture. I have not set 
  this game in any real Arabic place, nor any real period 
  of history. I have not made note of literature, music, or 
  religion in the text, nor have I made generalizations 
  about the peoples of the Arab world.
  I do not remember a time I did not know the story of 
  Scheherazade and the Arabian Nights. As a girl, I was 
  aware of the subtext of a woman keeping herself alive by 
  her cleverness, and the dangers of abused power. I related 
  strongly to the shared desperate and dangerous plan, 
  executed with the help of a sister. In the tales, I loved 
  the magic and the color and the rich sensual language. In 
  the winters of upstate New York, I loved reading about 
  desert oases, and caravans of camels loaded with silk and 
  jewels. Every lamp might hold a genie, if I rubbed hard 
  enough, and quilts spread on the floor might fly if I knew 
  the secret words. I loved saying the names – Al-Adin, 
  Morgiana, Cassim, Dinrazade – to myself, feeling the 
  odd syllables. And then there was the art – those beautiful 
  drawing of women and men in layers of perfectly draped 
  clothing, turbans, sashes, and curved slippers. 
  That is what this game is about.
  What we make ‘other,’ we find easy to dismiss or 
  abuse. What we try to see as ‘just the same,’ we risk 
  making colorless and bland. We need the exotic, the 
  fantastical, to lift us out of ourselves, out of our everyday 
  experience. We need to delight in what is not familiar, 
  exploring it for what it is – a strange and wonderful 
  world not our own.
  Meguey Baker 2006
  Preface
  bvr
  
  Contents
  pvr
  Introduction 6
  Menu 7
  Courtiers 9
  Names 10
  the Senses 13
  Clothing 16
  Envy 18
  Ambition 19
  Courtiers in Common 19
  Telling Stories 21
  Story Seeds 26
  Layers Upon Layers 27
  Playing the Sultan 30
  Ending Stories 33
  Live Action Support 37
  Violence and Viziers 40
  Subtle Gestures 42
  Example of Play 45
  Summary 57
  
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  In the palace of the Sultan are many rooms. In these 
  rooms are many people, and the people have many 
  stories. Most intriguingly, many of these people cannot 
  leave these many rooms. The ornate carved walls 
  surrounding the fragrant pools and exotic gardens 
  are high; the lace-like doors are webs of iron; the 
  delicately cool tones and publicly refined manners raise 
  the significance of an arched brow to feverish degrees. 
  This place apart holds the Sultan’s peace; to disturb it 
  would be foolish indeed. Yet, beneath the surface of any 
  still pool are many currents, and this is no exception. 
  Nights especially can be long in the desert. The sun 
  sinks, and the relief of evening washes over the palace; 
  the inhabitants stir themselves, bathe, dress, eat, and 
  scheme. Music of cymbals, tambours, strings and drums 
  fills the marble halls. Smoke, perfumed and otherwise, 
  seeps into thick color-soaked carpets. Coriander, dates, 
  wine, cardamom, black pepper, coconut, saffron and 
  mint mingle on the tongue. Oiled skin glows beneath 
  fine cotton and silk, set off by leather and gold. And 
  always, the planets dance overhead, taunting in their 
  freedom high in the cool air. Is it a wonder that those 
  here turn to tales of mystery and magic, beauty and bold 
  adventure, to fly away in thought, if only for a time? And, 
  if one’s tale is well told, and brings a favor of one kind or 
  another, so much the better, is it not so?
  Gather three or more players; you may find more than 
  six unwieldy. Consider the space in which you play: Can 
  you burn incense or candles? Can you have tart grapes 
  and dates and honeyed drink and sharp peppery crackers? 
  Can you have music softly in the background? 
  Introduction
  bvr
  
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  Food and drink you might consider, evocative of the 
  setting and appropriate to eat while you play:
  coffee, raisin wine, shaved ice with fruit syrups
  anise seed drink, mint tea, fruit juices
  dates, figs, cashews, walnuts
  olive oil with crushed garlic and sea-salt, with 
  vegetables to dip
  saffron rice with cashews and raisins
  almond coil cake
  hummus and pita 
  tabouleh – bulgur wheat salad with onions, parsley, 
  lemon, cucumber, mint
  grape leaves stuffed with lamb and rice
  baklava – pistachios and honey pastry
  roast goat or lamb with coriander, cumin and pepper
  babaganoush – roast eggplant purée with spices
  zalata – yogurt, cucumbers, herbs
  lentil and vegetable stew
  fried pudding with syrup
  rabbit or fowl, marinated and roasted, with herbs and 
  couscous or rice.
  oranges, pomegranates, peaches, grapes, apricots
  sugared cubes of jellied fruit
  tagine – meat or vegetable stew on couscous
  grape leaves stuffed with raisins, rice and almonds
  honey candy rich with sesame seeds, almonds, 
  cashews or pistachios
  Menu
  pvr
  
  Farida paused before the crystal palace. Somewhere within, her sister 
  Mariam was captive. The message she had received rang in her mind 
  like a silver bell – “Parham is a monster. I have discovered his secret. 
  Come to me in this manner...”  The directions had been perfect thus 
  far. Her heart pounding, she turned to take a last look around the 
  courtyard before stealing through the open door.
  
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  Give each player a pencil and a character sheet or a small 
  piece of paper. In the middle of the table, put a bowl, 
  pleasing to look at, and fill it with dice of many colors, 
  shapes and sizes. These are the gems of the Sultan. 
  Next, create your characters. There are characters 
  at two levels in 1001 Nights: Court and Story. The 
  Court level character is as we are generally familiar with 
  playing; a character that we give flesh and shape and 
  temperament. Every player chooses a Courtier from the 
  following non-exhaustive list:
  the Captain of the 
  Guard
  the Food Taster
  the Chronicler
  the Sultan’s Newest 
  Wife
  the Midwife
  the Assistant Physician
  the Chief Eunuch
  the Water Boy
  the Assistant Gardner
  the Master of the Hunt
  the Seamstress
  the Favored Musician
  the Favored Dancer
  the Junior Advisor
  the Cook
  the Aged Nursemaid
  the Serving Girl
  the Falconer
  the Perfumer
  the Visiting Scholar
  the Astrologer
  the Scholar of the 
  Koran
  the Chief Poet
  the Historian
  If you do not find your desired Courtier here, discuss 
  it with your fellows, remembering that all the relevant 
  Court members are confined to the Palace. The Headman 
  of the Trade Caravan would not be a likely character for 
  the Court, unless he was the Maimed Ex-Headman, 
  perhaps. There are some, like the Master of the Hunt 
  and the Visiting Scholar, who have greater circles of 
  movement, but are still tethered to the Palace. Consider 
  also social rank: there are many reasons for a Serving 
  Girl, the Astrologer, and the Sultan’s Newest Wife to be 
  together, you’ll just have to discover those reasons. 
  Courtiers
  pvr
  
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  Choose for your Courtier a name. Remember the 
  setting, and choose a name that fits the Palace of the 
  Sultan. Some names are clearly male or female, some are 
  less distinct; make sure all players know the gender 
  of all Courtiers, and remember that some may be 
  eunuchs. You may choose to be precise as to age, 
  but it is enough to say of your Courtier that they are old, 
  young, of middle age, venerable, just past youth, or the 
  like.
  Al-Adin
  Ali Cogia
  Baba Abdalla
  Baba 
  Mustapha
  Nouronnihar 
  Schan
  Ahmed
  Hasad
  Behman
  Schraiaz
  Cassim
  Abdul-Qadir
  Mahmoud 
  Danash
  Abdalla
  Mustapha
  Douban 
  Gifar
  Haroun 
  Marzaman
  Mihrage
  Damriat 
  Perviz
  Firouz
  Rashid 
  Sidi
  Zouman
  Abdul-Latif
  Tayyib
  Wahid
  Female:
  Amira
  Ismalia
  Balsora
  Nisam
  Serendib
  Dinarzade
  Nour
  Imma
  Maimoune
  Melia
  Badoura
  Malika
  Zara
  Nourigan
  Aziza
  Morgiana 
  Parizade
  Maryam
  Serit
  Zoulika
  Dina
  Cala
  Tahirah
  Buthaynah
  Hadeel
  Najla
  Rihana
  Male:
  Names
  bvr
  
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  If you feel the need for a character with a full name, 
  an easy way is to choose ‘Name ibn Father’s Name’ for a 
  man and ‘Name bint Father’s Name’ for a woman. For a 
  man to be known only as ‘Ibn Father’s Name’ would be 
  common and fine. ‘Name al-Adjective’ is very common 
  for men, far less so for women. Adding ‘Baba’ before a 
  name is a handy familiar honorific, as ‘Uncle’ would be. 
  Women are often honored as ‘Umm (mother of) Child’s 
  Name, Name’: Umm Rashid Aziza. For nobility, Emir 
  and Emira, Caliph, Vizier. 
  For ‘al-X’ last names:
  Najjar – carpenter
  Husayn – beautiful
  Rabi – spring
  Abbas – frowner
  Khalil – friend
  Azhar – shining
  Basir – wise
  Fayyad – generous
  Katib – scribe/author
  Hakam – judge
  Walid – newcomer
  Sagher – young
  Awar – one-eyed
  Darir – blind
  Kabib – elder
  Hasib – respected
  Abrash – leper
  Mubarak – lucky
  Quatan – cloth worker
  Hadad – blacksmith
  Rashidi – line of Rashid
  Jahmi – line of Jahm
  Tahiri – line of Tahir
  Ghassani – line of 
  Ghassan
  Suli – line of Sul
  Iskafi – Iskafiyah sect
  Sufi – Sufi mystic 
  Uqlidsi – studier of 
  Euclid 
  Nasrani – Christian 
  Hindi – Hindu/Indian 
  Rawandi – Persian
  Ikmimi – Egyptian
  Ifriqi – North African
  Badawi – Bedouin
  Rumi – Roman
  Sakhawi – Eygptian
  Abartai – near Baghdad
  Samari – from 
  Sammarkand
  Jurashi – Yemen
  Maghribi – West 
  African
  
  With a quick twist, Hanifa released the stopper from the jeweled 
  bottle, her bracelets chiming softly. Scents of cinnamon and sulfur 
  swirled through the air as the mighty djinn took form out of the 
  coppery smoke. Her lips curled briefly at the prospect of victory – the 
  djinn did not know her secret, and best if that remained the case until 
  her task was complete.
  
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  Now, to give your Courtier flesh. Consider the senses 
  – Hearing, Sight, Smell, Taste, and Touch. List these on 
  your paper, and describe each in a short sentence, so: I 
  wear rows of tiny bells in my clothes to announce 
  my presence, I am hard of hearing, I love music 
  – My eyes are warm and smiling, I have a piercing 
  gaze, I have seen death – Cinnamon and cloves scent my 
  skin, I smell always of leather and animals, Strong smells 
  upset me – I love almonds and honey, I can make a rich 
  and savory meal, I smoke a pipe – My hands are delicate 
  but stronger than they look, I can tell a good horse from a 
  bad one by feeling it’s coat, I have deep scars on my arms. 
  Make sure to describe at least one sense as a physical 
  attribute, but not all.
  Hearing:
  My voice has this quality
  I am nearly deaf
  People confide in me
  I am hard to surprise
  I know the people of the Palace by their sounds 
  I can speak many languages
  I have overheard dangerous information
  I speak with authority
  People believe me
  These sounds are most pleasing to me
  I long for this sound
  Sight:
  My eyes are weak
  I have seen this
  Little escapes my notice
  I am oblivious to what does not immediately concern me
  This sight is most beloved to me
  I know the worth of this by sight
  This one thing about me is visually striking 
  People overlook me easily
  I can read more than one language 
  I know what you need by the way you look 
  pvr
  Senses
  the 
  
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  Smell:
  I smell always of this
  The scent of this repulses me
  I can smell a shift in the weather long before others can
  My most favorite scent is this
  I am highly sensitive to others’ emotions
  I am easily influenced
  My nose has been broken
  I am always interested in the lives of others
  I know the scent of (birth, death, fear, war, hate)
  Taste:
  I love this food
  I am disgusted by this food
  I am addicted to this
  I have a taste for forbidden women
  My clothes are of the latest fashion
  Simplicity pleases me
  Subtlety is lost on me
  I am jaded and ever searching for the new and exciting
  My skin tastes of this
  My manners are unrefined
  Touch:
  I have killed someone
  My hands are skilled in this
  I can tell the value of a thing by touching it
  Animals are uncomfortable around me
  I touch things constantly 
  My palms are moist
  I have a diplomatic way about me
  I am connected to many people
  I am warm, friendly and outgoing
  I am chaste 
  
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  The Sultan commands great trade caravans, bringing 
  all manner of things practical and fanciful to the Palace. 
  Cotton, silk, linen, and wool; velvet and gauze and 
  all weights between, in rich reds, blues, blacks, 
  purples and oranges; bright pinks, yellows and 
  greens. Very old cloth wears to soft pastels. Nearly 
  every garment is embroidered – over the chest and upper 
  back, along seams, at cuffs, and hems – in geometric and 
  abstract organic shapes. Everyone who can afford jewelry 
  wears it, in rings, necklaces, bracelets and earrings. 
  Choose for your Courtier a garment that is noteworthy 
  and particular to them.
  Men’s clothing:
  Dishdasha – short sleeved loose v-neck gown
  Sirwal – slim cotton pants, worn as an undergarment
  Thobe – slim gown with a simple sleeve and short collar, 
  usually a light color
  Vest – often matching in material to the kaftan
  Kaftan – long sleeved loose gown with a square neckline 
  or a simple slit neck, often highly embroidered, and 
  usually of wide vertical striped fabric
  Mashala – elbow-length sleeved long robe of heavier 
  fabric, highly decorated through the chest, worn as a 
  coat over a kaftan
  Aba – wide dark-colored rectangular wrap, slit to form 
  a back and two equal front sides, generally trimmed 
  with gold at the neck area
  Taksirah – short sleeved jacket in rich dark color with 
  much gold or silver embroidery, open in the front
  Taquiyah – small white pill-box type cap
  Ghutra – triangular scarf worn over the cap and secured 
  by a band
  Turban – long length of fabric folded, twisted or wrapped 
  around the cap
  Hayim – length of fabric folded and tucked as a belt with 
  pockets, including the dagger
  Khanjar – a broad curved dagger
  Boots – thick-soled leather boots with heels
  Clothing
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  Women’s Clothing:
  Sirwal – slim fitting cotton pants, narrow at the ankles, 
  worn as an undergarment
  Libas – very full pants of fine fabric, gathered at the waist 
  and ankle 
  Karsh – very full skirt, usually in several gathered tiers.
  Thobe – slim gown with a simple sleeve and short collar, 
  usually a light color
  Abaya – gently flaring long gown with flared long sleeves, 
  all with embroideries 
  Sirish – gown with tight elbow-length sleeves and a low 
  scooped neckline, tight to the hips then full, worn 
  over pants
  Suriya Mabdu – rectangular knee length gown with sheer 
  sleeves, worn over pants
  Vest – tight fitting stiffed vest, highly decorated, with any 
  of several necklines, worn over suriya mabdu
  Beladi – long gown with long sleeves, slit on the sides, 
  worn over pants
  Kaftan – long sleeved loose gown with a square neckline 
  or a simple slit neck, often highly embroidered
  Jillayh – gown slightly fitted through the bodice and 
  flaring from the hips to ankles, buttoned down the 
  front, worn as a coat
  Mashala – elbow-length sleeved long robe of heavier 
  fabric, highly decorated through the chest, worn as a 
  coat over a kaftan
  Aba – wide dark colored rectangular wrap, slit to form 
  a back and two equal front sides, generally trimmed 
  with gold at the neck area
  Veil – various lengths of cloth used to cover the hair and/
  or face, can be sheer or not
  Chador – full-body veiling, with a lace, net, or 
  embroidered screen for the eyes
  Slippers (also worn by men) – thin soled, embroidered 
  or decorated leather shoes with slighting up-turned 
  and pointed toes
  Sandals (also worn by men) – leather, with moderate 
  soles and wide straps over the foot leaving the toes 
  bare
  
  “See, Norin, how peacefully he sleeps and how beautiful he is! Surely 
  my prince is more lovely than your princess! Let us devise a way to 
  view them side by side, that you may know for yourself his superior 
  form!” Hakim focused on breathing deep and even, his mind racing. 
  What princess was this the djin spoke of?
  
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  Now consider all the Courtiers together. Each has a 
  place, and skills and connections real and imagined. 
  What must each feel towards the others? What does each 
  wish of the other’s place? Does the Cook envy the 
  Eunuch’s soft hands? Does the Scholar long for the 
  Water Boy’s simple life? Write down what your 
  Courtier envies about each of the others and say it out 
  loud. Note that the Scholar sees only the simplicity of 
  the Water Boy’s tasks, not the heavy, wet buckets and the 
  constantly sore back – what your Courtier envies may 
  not be truth entire. 
  Envies, for example:
  Dauod his well-connected friends
  Cassim his fine clothes
  Aziza her relaxed friendship with others
  Maryam her artistic success
  Abdal his rare jewelry
  Habib his pretty face
  Serit her skill
  Rumah her knowledge of the stars
  Imma her well-favored children
  Tabita her oh-so famous lover
  Ahmed his seemingly unshakable faith
  Yamina her easy confidence
  Mador his access to forbidden things
  Shifha her membership in the Sultan’s inner circle
  Nafi his many admirers
  Umar his memories of battle and glory
  Kalima her innocence and youth
  Yuseff his place by the window
  Tahir his leisure time
  Raziya her position as the Sultan’s wife
  bvr
  Envy
  
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  A Courtier’s envies drive an Ambition, some grand or 
  small thing they wish to achieve: I envy the Gardner his 
  fresh air – I wish for access to the garden; I envy the Chief 
  Eunuch his access to the Sultana’s ear – I want the 
  favor of the Sultana; I envy the Scholar her travels 
  – I wish to see her shown up by one more traveled 
  than she; I envy the Tutor his fine clothes – I want to see 
  them muddied and torn. An Ambition can also elaborate 
  on one of the Courtier’s senses: I long for the sound of 
  my homeland – I want my singing of my native songs to 
  win renown; I have a taste for men forbidden to me – I 
  desire to lie with the Sultan’s own bodyguard; I can smell 
  when you are lying – I want to catch the Accountant in a 
  lie, and be well rewarded for my knowledge.
   Make your Courtier’s Ambition something they must 
  strive to achieve, not some triviality easily obtained. In 
  scope, consider the next week or month or season, such 
  that the desire is pressing and immediate. Each Courtier 
  has one Ambition that drives them onward – write down 
  that thing.
  Courtiers in Common :
  The Courtiers you play are known to each other, 
  as are all in Court, despite differences in rank or 
  station. They are not necessarily allies or friends; 
  yet they are not, at the moment, hostile. If you 
  need other members of Court for a Court scene, 
  call for volunteers – “I need my friend the Chief 
  Gardener in this scene; he is an old man, bent low 
  but always laughing – who will play him?” The player 
  who answers the call does not write up a sheet for the 
  common Courtier, and if that Courtier is called for 
  again, a different player may answer. The player who 
  called for the scene gives a brief and broad outline of the 
  action, and has authority to close the scene or provide 
  guidance for the volunteers.
  Ambition
  pvr
  pvr
  Courtiers 
  in 
  Common
  
  All the long way home, Ivan could not forget the touch of sorrow in 
  the Princess’ eyes. The wonders of the clock-work horse had brought 
  him far more than he expected, and cost him far more as well. There 
  was much to consider and decide. Far below, the peasant boy Asad 
  shouted “Look! There it is again! A star in noonday sky!”
  
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  To pass the time, the Courtiers tell Stories. This is the 
  Courtiers’ opportunity to advance their agendas and 
  achieve their Ambitions. When they are not telling 
  Stories, they are occupied with their varied tasks, 
  and yet, there is plenty of room for a Story over 
  the chessboard, across the bathing pool, or before 
  a heap of onions on a chopping block. In Stories, 
  you have the freedom to insult what you wish to insult, 
  criticize where you wish to criticize, and make yourself 
  look better than your rival. Here is where you may call a 
  dangerous person foolish to their face. 
  When it is your Courtier’s turn to tell a Story, that is 
  when you are the GM.
  Draw lots to determine who begins as GM – the other 
  players will get their turns. Everyone begins with three 
  gems, including the GM. 
  The task of the GM:
  As GM, have your Courtier assign roles to the other 
  Courtiers for the sake of the Story. Here you may further 
  your Courtier’s cause: assign the haughty Astrologer the 
  role of the humble Sheep-boy, tell the quiet Guard she 
  admires to play the role of noble Lord, and cast her 
  rival Handmaid as the Unfaithful Wife. Thus make the 
  roles of the Story shift and illuminate the alliances of the 
  Courtiers. Opening the Story is your responsibility, but 
  have no particular outcome in mind. Cast the Courtiers 
  into the Story and set them together in the scene, and 
  then unfurl the Story just before the feet of the players 
  – this is the GM’s role. 
  Remember the five senses and use them often in your 
  play; they will make for richer gaming. When you are 
  the GM, start each Story by giving the setting: what 
  mood at Court, what physical space, what light, what 
  refreshment, what season and what time of day. Every 
  object has shape and color, weight and texture; there is 
  always scent and sound, or else the notable absence.
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  Telling 
  Stories
  
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  For the start of a Story, you need go no further than 
  the tales of childhood. Fairytales, nursery rhymes, songs 
  and poems are all available to you as the beginnings of 
  Story. Do not have the whole of Humpty Dumpty in 
  mind, only that an object is broken, and needs mending 
  beyond the ability of those present. Do not expect it to 
  be Cinderella, just that it concerns a shoe that will fit 
  the chosen bride. In this way, you have the opening for a 
  Story always at hand, but you are free to allow the Story 
  to unfold into whatever shape it naturally takes. 
  Naming a Story sets the tone. “The Story of the 
  Celebration of the Fairy’s Wedding” is far different from 
  “The Tale of Mustapha the Demon-killer” or “Three 
  Brothers – a cautionary tale.” It can introduce the 
  primary characters and their relationships, giving the 
  Courtiers a moment to grasp their role. Naming a Story 
  “The Woesome Tale of Hakim, a Barber, and his Trusty 
  Camel” lets the players understand that one Courtier will 
  play Hakim, one a barber, and one will most likely play 
  the camel. 
   Begin with the setting of the Courtiers: “The Sultan, a 
  stern man, has just lost an important battle, and his poor 
  temper fills the Court. We are in a small garden in the 
  late afternoon. The leaves overhead are thick and green, 
  the roses nod in the heavy sunlight. A white tray holds 
  silver cups of mint tea, and there’s a rich silk carpet on 
  the grass, but we keep our voices low.” Each player then 
  describes the appearance and action of their Courtier in 
  the scene as set. Allow as many vignettes as needed to 
  hear each Courtier speak and see each Courtier interact 
  with at least one other Courtier. This provides richness 
  and context for the pointed tales to come. This may pass 
  quickly or languidly, as each Court is different. When 
  naturally a moment of tension or a lull in conversation 
  arises, or you are called on to do so by your fellow 
  Courtiers, that is the time for you to step forward with 
  the Name of the Story. Introduce the Story, and as soon 
  as is reasonable, assign Story roles: “Now hear the Story 
  
  The silent princess Noor stood on the balcony as she did every 
  noontime, gazing with sightless eyes across the square. Umm Sadi 
  Binah felt the packet in her pocket and stirred up her courage. She had 
  come this far, she would see it through, and try to gain the reward. 
  From the shadows of the gate, Vasta the palace guard watched the old 
  woman ‘s slow approach. 
  
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  of the Lost Slipper. Our tale begins in the morning in the 
  Lord’s household. He has lost his green jeweled slipper, 
  and is curious where it has gone. He goes to his lovely 
  wife, a woman easily distracted by frivolous things.”
  Continue your Story until there arise in your tale 
  characters equal in number to the other Courtiers in 
  play. Generally, seize the first opportunity to cast your 
  fellows into the Story: “In the fields outside the palace, 
  a humble shepherd taking his sheep to graze stumbles 
  upon a single slipper. Guard Daud, will you play the 
  great and noble Lord? Astrologer Kuziamah will play the 
  Shepherd, and you, Sura the Handmaid to the Sultana, 
  please play the forgetful Wife.” If perhaps at your table 
  there are more players, one might play the capricious 
  Wind, or even the Slipper itself.
  Now wait on the action of the others. 
  As GM, resolve any conflict within the Story by whim 
  and chance. Simply pick any gem of any size, declare the 
  possible outcomes, for example: “on a 1-3 this happens, 
  on a 4-10 this other happens, on a 11-12, this third 
  thing.” You may find it unwieldy to have more than three 
  outcomes. 
  The task of the player:
  As the Story unfolds, you may, once per story, reward 
  the GM for fine work by giving her a gem from the bowl. 
  This can be for a particularly richly defined scene, a 
  cleverly executed plot twist, a deftly played Common 
  Character, or any other thing that inspires your praise. 
  You can do this at your whim, but explain your reason. 
  As the Story unfolds, whenever a situation arises 
  that interests you, take a gem from the bowl and place 
  it before you on the table. Declare your interest: “I’m 
  curious to know if the rabbit got away – I’ll bet it was the 
  elder brother – Well, was it the lost ring of the Princess?” 
  It falls upon you to know what you have declared; any 
  gem whose declaration you have forgotten, return that 
  
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  gem to the bowl unrolled. You and another player can 
  declare interest in the same event, but only if your hands 
  meet in the bowl.
   As the Story unfolds, the events of the Story will 
  naturally resolve. As your declared interests resolve, one 
  by one, roll their corresponding gems. Every gem that 
  rolls Odd, pass these to the GM; every gem that rolls 
  Even, put these in your own bowl. You have not wagered 
  on a certain result, merely invested in a point of interest. 
  Whether the rabbit got away or not, whether it was the 
  brother or not, whether it was the ring of the Princess or 
  not – if it has been made clear, roll the gem. 
  A gem on the table is like a coin in the air; when the 
  coin lands, roll the gem.
  At any given moment, each player may have no more 
  than 5 declared gems. More than this, the declared 
  interests are too small to be of meaning to the Story. If 
  a player cannot recall the interest on a gem they have 
  declared, that gem returns to the Sultan’s Bowl.
  Again, you would do well to keep the five senses in 
  mind, using shape and color, weight and texture, sound 
  and scent and flavor to describe your role in the Story. 
  As GM, you may gain up to 8 declared gems from 
  each Story you tell; after the eighth gem, return the Odd 
  gems to the Sultan’s Bowl.
  After the GM has received the 8th gem, as a player you 
  may declare no new gems. The GM must address all the 
  declared gems on the table, or create an event at Court 
  to interrupt the Story. This event must actually be able 
  to interrupt the Courtiers from their pastime: a letter 
  arrives, a fight breaks out, it suddenly begins to rain. The 
  story in process is cut off – return all unresolved gems to 
  the Sultan’s bowl and go on to the Court scene. 
  As GM, if you chose to cut off your Story with an 
  interrupting event at Court, you must return a gem from 
  your bowl to the Sultan’s.
  
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  In telling the Story, you need only a compelling situation 
  in which the conflict between characters is clear. There 
  are myriad places you may find these, but it is as easy 
  as remembering the first tales you knew as a child 
  – nursery rhymes. Trust your story. You need not 
  create the new and most amazing thing, only show 
  a diverting and interesting facet of something 
  familiar and beautiful to you. 
  Three Blind Mice – The Woeful Tale of the Swordsman 
  beset by Vermin, How the housemaid bested the mouse 
  king, The three brothers and the ogre, The mouse and 
  the cook.
  Tom, Tom, the piper’s son – The thief in the night, The 
  revenge of the pig, How the greedy man was punished 
  for his ways.
  Little Bo Peep – The careless shepherdess, How the 
  djinn stole the Sultan’s flocks, The search for the spotless 
  fleece, A lesson in patience.
  Hickory, Dickory Dock – The Maiden in the Golden 
  Tower, Twelve Brothers, The journey to the edge of 
  Time.
  The Grand Old Duke of York – The Battle of the 
  Doomed Armies, The eight voyages of Saladin the Lucky, 
  How the fairy saved the king of Spain.
  Lucy Locket – The Lost Ribbon, The Careless Maiden 
  and the Wise Maiden, Kindness Repaid.
  Old Mother Hubbard – The Sorceress and the 
  Greyhound, The sad tale of the princess and the terrible 
  famine, The magic cupboard.
  This little piggy – The Five brothers and the djin, How 
  Marjian won the wealth of five counties, The foolish men 
  and the wise pig.
   
  bvr
  Story
  Seeds
  
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  Interests in Court:
  As soon as the chosen storyteller begins the Story, 
  players may begin to declare interests in the scene 
  in Court, as well. Use these interests as connecting 
  threads between the Story and the Court. Some 
  of these very early interests may be among the 
  very last to be resolved. Throughout the Story, 
  players may occasionally declare interest in Court 
  – “Does Behman the scholar find the tale beneath 
  him?” Will the Sultana Aziza smile at me?” “Is Melia the 
  musician embarrassed by the attention?” – all of these 
  are fine. Be more eager to declare interests in the Story 
  – for each gem regarding the Courtiers, have 2 or 3 or 4 
  regarding the Story. Recall that it is only in the Story that 
  you may openly act. Remember also the Courtiers, their 
  appearance and place in the Court. What interests do you 
  have about their actions or reactions, their moments of 
  spite or self-revelation?
  Stories within stories:
  On occasion a story is like a flower opening, with 
  layers inside layers. The great and powerful jiin may agree 
  to help the noble young prince, but only if the prince can 
  bring him the answer to the puzzle of the little bird. And 
  so we set aside the Story of the jiin and the prince to 
  follow the tale of the bird. When this occasion arises, 
  handle it as follows.
  Firstly, the storyteller of the outer story may not 
  begin the inner story. The inner story must arise 
  naturally from the outer, through the actions of the story 
  characters. When a player seizes the moment to being an 
  inner story, the first role she must assign is to the first 
  storyteller – “Hasad, scholar of the Koran, would you 
  please play the little bird?” Then she assigns other roles 
  as she chooses from among the story characters – “Little 
  Kafia the water-bearer, you are playing the noble prince 
  Daud; would you now portray the cat who hunts the 
  vr
  Layers 
  Upon 
  Layers
  
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  bird? And Ibn Shem the historian, you have shown us 
  the haughty princess Aziza; now you will play the kind-
  hearted shepherd Aba who rescues the bird. Our story 
  begins...’ Note that in casting the inner parts, the inner 
  storyteller may counter the pointed commentary of the 
  outer role; clearly this storyteller thinks differently about 
  Ibn Shem than the first!
  Set aside the character sheets, disturbing none of the 
  gems declaring outstanding interests in the first story or 
  in court. Take up a card or a small scrap of paper. Write 
  upon it only the name of the inner Story character and 
  some characteristic that gives this character direction 
  – for example, Mirriam’s player might write “Aba, a 
  simple shepherd”. 
  Secondly, these are smaller tales, by necessity fitting 
  within the arc of the outer story and the time available to 
  the players. Each player may declare up to three interests 
  in the inner story, with gems resolving and moving to 
  the player or the inner storyteller as usual. Further, each 
  player may begin only one inner story during the course 
  of the evening’s play. 
  The inner story teller may receive 4 gems in this 
  way. Gems the outer storyteller receives while playing a 
  role in the inner story do not count toward the 8 gems 
  received for telling the outer story, but do go into that 
  player’s bowl and are useful in avoiding the Sultan’s 
  wrath and striving for the thing desired. 
  Last, a note of caution: As with any unfolding flower, 
  what is inside may be larger that it first appears. If time 
  is a concern, agree between the players that there will be 
  no stories within stories for this session. 
  
   Beset by rogues in her own chambers, Nurinisa, the Queen of 
  Marakanda, stood as tall and still as the evergreen trees in the gardens 
  beyond her windows. Around her feet, her servants shivered, their 
  fear-filled voices shrill as mice. The men before her were greedy-eyed. 
  intent on their presumed prize – and utterly blind to the danger they 
  were in. 
  
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  O great and mighty Sultan, lord of all you survey, by 
  whose whim we breathe, through whose grace we are 
  inspired to tales of wonder and delight, grace us with 
  your presence and walk amongst us! 
  And herein lies the making of the Sultan. The 
  Sultan is noble indeed, but still a mortal. So, the 
  player who portrays the Sultan describes him as any 
  other member of the Court, with the senses and 
  the garments, the envies and the ambition. The Ambition 
  of the Sultan may lie outside the Court, naturally, but 
  there are no doubt things close to home that he wants 
  to achieve that would be politically difficult to do openly 
  – focus on these. He may travel as he wishes, as he is 
  the Sultan, but this is not true freedom – the chains of 
  his rule are ever on him. For Freedom, it is relief from 
  the unwanted obligations and constant observation 
  that he wishes, to move as merely a man, unnoted and 
  unhindered. In the place of Safety, however, he risks 
  an attempt on his life. In the first instance, there is an 
  attempt on his life. In the second, he is wounded. In the 
  third, the attack is successful. And, as he is set somewhat 
  above other mortals, and must safe-guard his person and 
  his realm with care, he must have two dice turn up even 
  to ensure his Safety instead of merely one.
  In the telling of the Story, the Sultan may declare 
  interests as any member of Court, but when his interest 
  is answered, he does not roll. Instead, he decides if 
  the outcome pleases him, and awards the gem to the 
  Storyteller at his whim. If it is not to his liking, he returns 
  the gem to the bowl. The Sultan may declare interests to 
  direct the story, as any Courtier, but he is also watching 
  to discover things about his Courtiers, how they behave, 
  where their secrets lie. If he so chooses, the Sultan may 
  himself offer a Story, commanding a place out of turn to 
  do so. He may receive up to 8 gems as usual while he is 
  the GM, but they act as markers only, and he does not add 
  them to his gems for the sake of divvying between Safety, 
  Freedom, and Ambition. When the Sultan is in play, at 
  bvr
  Playing 
  theSultan
  
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  the close of the Story, all other players roll the dice they 
  have. Any even dice, those that would otherwise return 
  to the Sultan’s gems, go instead to the Sultan, to divide 
  between his Safety, Freedom, and Ambition. Naturally, 
  his numbers are higher, as his reach is greater.
  Sultan, think on your realm. Is it at peace? At war? In 
  a time of plenty or of want? Then think on your person. 
  Are you generous or jealous? A sharp handler of your 
  resources, or prone to vast displays that over-reach 
  for the sake of show? Have you many strong sons and 
  beautiful daughters, or has fate withheld those riches 
  from you? Are you a pious man, temperate and merciful, 
  or are you fallen into vice and vengeance? Decide these 
  things, and note them as needed on your character sheet. 
  Be sure that all present know your nature; it lies with you 
  to describe the situation at Court at the opening of play, 
  and as needed throughout the storytelling. 
  A note: The Sultan is best suited to a game of 5 or 
  6 players; more, and his wealth tends to come easily, 
  keeping him safe and fulfilling his desires. Fewer, and his 
  life hangs on every turn of the tale. 
  It hardly needs saying that a woman may portray the 
  Sultan as well as a man. or that the Sultana may be the 
  one to hold this Court. 
  
  Arianna clasped the fallen Dinrazel in her arms. The blood on the sand 
  was dark and mixed with her tears. The quest for water for her people 
  had taken an unexpected turn, and she was faced with a choice she had 
  not foreseen. A short way off, her loyal servant Basha al-Rumi wept 
  into his worn sleeve.
  
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  At the close of a Story, all players:
  Divvy the gems in your bowl between Safety, Freedom 
  and Ambition.
  Once you have divided your gems, be forthright in 
  your nearness to victory. “Hey, if all these come up 
  Even, I’ll win the game.”
  You may block another Courtier’s Ambition – 
  Ambition only, not Safety or Freedom – by returning any 
  one of your own gems to the bowl, taking with it two of 
  the gems they have assigned to Ambition. More than one 
  Courtier may block any Courtier, but you may not block 
  the same Courtier twice. You must most assuredly frame 
  a Court scene, showing how your Courtier interfered 
  with the other’s Ambition.
  Roll the gems in Safety: At least one must be Even, 
  or the displeasure of the Sultan falls upon your Courtier. 
  The first time there are no Evens, your Courtier loses 
  favor with the Sultan; make one mark on your sheet. The 
  second time, the Sultan is displeased – make a second 
  mark. The third time, make the third mark, and the 
  Sultan has your Courtier beheaded for their offense. 
  Roll the gems in Ambition: For every Even, your 
  Courtier may advance towards their Ambition. Your 
  Courtier needs 5 Even gems over the course of play to 
  achieve their Ambition. 
  Roll the gems in Freedom: Keep track of Evens, in 
  hope of gaining 7 Even gems. Your Courtier needs 7 Even 
  gems over the course of play to achieve the Freedom to 
  leave Court as you wish.
  Discard your Evens back to the Sultan’s bowl; keep 
  your Odds in your own bowl, where they stay through 
  the next Story and into the next Court scene. 
  pvr
  Ending 
  Stories
  
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  Court level:
  Every player now plays their Courtier at Court, 
  showing the effects of the rolls just cast and thus the 
  Story just told. Your Courtier has angered the Sultan? 
  Show how that came to pass. Your Courtier has 
  progressed toward her Ambition? Let us see her success, 
  or the steps she has made on that path. Your Courtier has 
  made a small gain on his road to Freedom? Reveal the 
  hardship he has undergone to reach even this, or the little 
  concessions given him. 
  Begin the next story. Consider first the players who 
  have not yet had a turn as GM. Of them, the player with 
  the least gems becomes the next GM. Should there be a 
  tie, choose the player to the left of the last GM. Turn to 
  that player and have your Courtier invite their Courtier 
  to tell a story. If you like, challenge them to make their 
  story follow from the one before – “but of course that 
  reminds me of the story of Asim and the wild boar, does 
  it not you?” This is also the place for the subtle barbed 
  politeness and carefully veiled comments that Courtiers 
  can say, whereas in the Story, they may speak more 
  freely. 
  The new GM then takes over, and sets the scene in 
  Court for the next Story. The mood may have shifted 
  since the last tale, especially if the Sultan’s peace was 
  disturbed, and someone was reprimanded for it. The 
  new GM may move the whole Court forward in time, 
  eclipsing days or years between the first Story and the 
  next.
   The end:
  Once the Sultan Beheads a Courtier, or a Courtier 
  achieves their Ambition, or a Courtier wins their 
  Freedom to come and go, the game is over. Each of you 
  now narrate an Epilogue for your Courtier – where do 
  we leave them in their envies, their ambitions, and their 
  quest for freedom?
  
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  If you would like to continue playing with the same 
  Courtiers, you may, except the Courtier who is now 
  gone from Court. When you are the player of the 
  Courtier who is Free or Beheaded, choose another 
  character, and devise new Envies and Ambitions between 
  the new and existing Courtiers. All continuing Courtiers 
  may change the Envies they feel towards one another, 
  and Ambitions if they feel so inclined, but all must define 
  what they Envy about the new Courtier. The next GM 
  then sets anew the scene at Court, reflecting the shifting 
  list of Courtiers and the tone at Court.
  
   “Beloved! You have returned at last! Where were you this long month 
  gone?” “Catching rats at the command of the Sultana.” “And was your 
  mission a success?” “Yes my love – the vermin are disposed of, and I am 
  richly rewarded.”
  
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  pvr
  To portray the Court more fully, bringing it to life, follow 
  the steps below. Someone will play the Sultan, and it may 
  be necessary to have some other players portray Viziers 
  to the Sultan – more will be revealed about them 
  soon. Your guests will benefit from a familiarity 
  with the rules beforehand, if possible. If not, tell 
  them to recall the stories of childhood, the rhymes 
  and songs and make-believe, and to think on the 
  Tales of the Arabian Nights, and they will be served 
  well enough. At the back of the book there is a list of 
  supplies you will need as host.
  Gather this information prior to the day, so that you 
  may best consider the feeling at Court: your guests choice 
  of Courtier, the name, and the descriptive phrases for 
  the five senses. If you have some favored dancers, a poet, 
  some foreign princes, and the cook, that reflects perhaps 
  a different Court than one that contains war veterans, 
  hawk-masters, and the sultan’s daughter. Direct them to 
  come attired for the Court of the Sultan, and to perhaps 
  bring a dish appropriate to the theme. Prepare the space 
  in which you are to play in the best ways you are able, to 
  evoke the Palace of the Sultan. You may choose to play 
  the Sultan, but you are not obligated to do so – only be 
  sure that someone with a full understanding of the game 
  does. For a group of up to ten. the Sultan appoints one 
  Courtier a Vizier. For each aditional five players, The 
  Sultan appointes one aditional Vizier.
  When all of your guests have arrived, and as needed for 
  the group, tell to them the rules around the gems of the 
  Sultan, the role of the Storyteller, and the three objectives 
  of each Courtier – Safety, Freedom and Ambition. Allow 
  each player a minute or two to introduce the Courtier 
  they are portraying for the evening, that each will know 
  the other members of the Court. Proceed with the rest 
  of the character creation, what is envied and what is the 
  desired ambition of each Courtier. Have each player 
  write these things on a character sheet, copied from the 
  Live 
  Action 
  Support
  
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  back of this text, that they can keep secret about their 
  person. 
  If you have ample time, have the members of Court 
  introduce themselves, and then simply enact their 
  lives together for half an hour or so, all the envies and 
  ambitions might naturally emerge. Have some chime or 
  bell ring when the time is up, and at that time write out 
  the envies and ambitions. 
  If you are more pressed for time, write out each envy 
  directly after hearing each introduction, and the ambition 
  once all the Courtiers have introduced themselves. Also, 
  if there are a large number of people, perhaps over ten, 
  have each Courtier write out only the four most pressing 
  envies, assuming others to be less urgent. 
  After everyone has written down their envies and 
  ambition, reveal them in the following manner: the 
  Sultan gives one of the Viziers a small hand-mirror and 
  requests the Vizier to use this magic mirror to peer within 
  the hearts and minds of his Courtiers, so that all things 
  are known to the great Sultan. The Vizier then accepts 
  the mirror, and passes it to one of the Court, selected at 
  random by the Vizier. The chosen Courtier then discloses 
  the envies and the ambition written on their sheet clearly 
  for all to hear before passing the mirror on to the next 
  person. This repeats until all present have revealed their 
  envies and ambitions, including the Vizier tasked with 
  this undertaking, who goes last but for the Sultan. For 
  groups of more than ten, consider splitting into two 
  smaller groups for this step. In this case, the Viziers must 
  report all ambitions publicly to the Sultan before play 
  begins.
  When the mirror returns to the hand of the Sultan, 
  he tells his own envies and ambition, and sets aside 
  the mirror, now full of secrets, for safe-keeping. All 
  players now know the hidden side of the Court, but the 
  Courtiers must not assume they know these things told 
  into the Sultan’s mirror. In the stories soon to be told, 
  few or many may be made clear.
  
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  Then, the next phase begins. If there are fewer 
  people, perhaps up to six, consider staying in one room 
  and telling the Stories as in the regular game. If there 
  are many people, split into smaller groups, to better use 
  the time available and to give each tale its chance. Each 
  group must include the Sultan or at least one Vizier. 
  Have bowls of gems in various rooms or locations so that 
  each group may tell a tale complete to the apportioning 
  of gems and noting the Courtier’s safety and progress 
  toward freedom and ambition. 
  As each Story ends, all players in that story return to 
  the main room and continue play as their Courtier. Once 
  everyone has returned from the first round of Stories, 
  the Court scenes take place, following the outcome of 
  the gems. The Sultan’s will is made known in regard to 
  each Courtier; the Viziers report to the Sultan the actions 
  of the Courtiers in the location that Vizier observed, that 
  the Sultan may pass judgement upon the Courtiers as he 
  sees fit.
  An idea of how it might look:
  Habib, Amia, and Daud have finished their story, 
  watched by Vizier Asan. It turns out Habib has done 
  something deserving rebuke, Amia is closer to attaining 
  her ambition, and Daud is closer to winning his freedom. 
  In another room, The Sultan has taken part in the story 
  told by Sulima, who has incurred his wrath for a second 
  time, along with Nizam, who is closer to her freedom. The 
  Sultan receives gems only for Stories in which he takes 
  part. When everyone comes back, Vizier Asan presents to 
  the Sultan the error of Habib, the praiseworthy actions of 
  Amia, and the hard work of Daud. The Sultan then makes 
  judgments accordingly on all Courtiers.
  After passing judgment, and seeing the Court scenes 
  that play out accordingly, the Sultan directs which people 
  go in which groups for the next round of stories. This is a 
  power of the Sultan, to move his Courtiers at whim.
  
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  When a member of Court has won her freedom, or 
  achieved his ambition, or lost their head, this scene must 
  play out. Following that scene, the game naturally ends. 
  Players may decide to continue the game if there 
  is a dominant desire to do so, and the Sultan wills 
  it. If the Courtier can devise another ambition, all 
  carries on as before. If the Courtier is dead or has 
  left Court, this player   becomes a Kapuji, able to declare 
  interests and report to the Sultan, but unable to receive 
  gems, and all else continues as above. This is a dangerous 
  Courtier, for he or she has nothing to lose – be wary of 
  the Kapuji! Further, do not actually commit violence to 
  each other, but let words alone carry the tale, and the 
  Sultan alone decree the death of a player’s Courtier, in 
  keeping with the Story. Note: If a Storyteller chooses 
  to interrupt a story with an event in Court, that event 
  must be conveyed immediately to the Sultan, who then 
  may choose to interrupt the other Stories or not, at his 
  whim.
  Playing a Vizier:
  In a larger group, have one player in five play a Vizier. 
  The Viziers are no different from any other member of 
  Court, they merely have more work to do and more 
  power with which to do it. They are characters as any 
  other, with ambitions and envies. They declare interests 
  and take part in the stories as any Courtier, and they 
  are also the eyes and ears of the Sultan, and the people 
  know it. Be wary, Viziers, that this does not lead you 
  to corruption, for you may find yourselves under the 
  displeasure of the Sultan or the contrivance of your 
  fellows!
  After the Courtiers are introduced publicly, the 
  Sultan decides which characters are the Viziers. The little 
  handmaiden may turn out to be the most trusted Vizier 
  of the Sultan, while the grand philosopher may not be 
  accorded this honor.
  bvr
  Violence 
  and Viziers
  on 
  
  “What have you to offer us, o man?” Maboud gazed at the Serpent 
  Queen in fear and wonder. The snakes of her court swayed, their jewel-
  like scales flickering in the strange light. He swallowed, tasting blood.
  
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  There are times when the Storyteller or the players 
  listening wish a greater degree of description, or to 
  provide other direction. Without disrupting the flow to 
  the tale, these gestures can encourage the speaker 
  to include more of what is wanted. Incorporating 
  this technique provides another way to enrich the 
  experience for all. Teach the gestures first, then use 
  them, reminding each other as needed. 
  These are particular to the characters, their physical 
  expression and their state of mind. This applies to both 
  the Courtiers, the story roles they portray, and any 
  common characters that appear in the scene.
  Two fingers of one hand, tapped twice on the relevant 
  body part to request a focus on that sense: 
  beside the eye – the colors and shapes of a thing
  beside the nose – the smells in the scene
  beside the mouth – flavors if obviously relevant; the tone 
  and manner of the speech if not clearly about food
  beside the ear – the sounds in the scene not related to a 
  person
  on the fingertips of the opposite hand – the texture of a 
  thing, or what the character physically feels
  Two fingers traced vertically down a few inches from 
  the base throat – please describe further the clothing and 
  appearance of the character.
  Two fingers tapped to the heart – please show the 
  emotions of the character.
  Two fingers across the corner of the brow – please 
  share the thoughts of the character. 
  These assist with the overall description of the stories 
  and the actions, being useful to all players :
  Outline the hills – in the air before you, make a series 
  of small arcs with two fingers – please describe the 
  scenery, including such things as the immediate place, 
  the time of day, the season, or anything particular to this 
  setting.
  bvr
  Subtle 
  Gestures
  
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  A knock at the door – knock twice on the table 
  – please move to the action. This is not to be used to rush 
  a scene, but to gently remind a player that each scene has 
  a reason, and to come to the reason.
  Come to stillness – on the table or in the air, make 
  a zigzag that moves towards you and comes to a stop, 
  diminishing as it does – please draw to a close and bring 
  this bit to it’s conclusion
  Step up – extend the hand palm up, and raise it slightly 
  toward another player, as if resting on the next stair above 
  the original place – invite another player who has been 
  quiet for some time to take the floor and contribute.
  Step back – extend the hand palm up and turn it 
  toward your body palm down, as if closing a book – 
  recognize that you have been speaking, and convey your 
  readiness to hear from other players
  
  The three sisters arrived at the garden of their mother, weary from 
  their long flight. “Wait!” cried the youngest. “I hear something!” “Ah, 
  Kalima,” said the eldest, “Do not fuss so! I want to bathe! Come on!” 
  Poor Duban, dirty and bedraggled, hid behind a tree in the garden as 
  the great birds descended. He watched astonished as each bird, on 
  lighting at the edge of the pool, lay aside it’s dusty feathers as if laying 
  aside a cloak, and stepped into the water a beautiful maiden!
  
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  Chris, Robin, Greg and I are starting a game of 1001 
  Nights. We meet at Chris and Robin’s at 6 p.m.. I bring 
  carrots, hummus and pita, Greg brings grapes and 
  peppery crackers, Chris and Robin have almond 
  cake, tea, juice and coffee. The living room has 
  comfortable chairs and a small table, and there’s a 
  faint scent of incense in the air.
  I start by reading the first few paragraphs of this book 
  aloud. “We need a big bowl for the Sultan’s Gems, and 
  a small bowl for each of us.” Chris gets a silver metal 
  bowl and four small glass bowls. “Each person takes 
  three gems, the rest go into the big bowl.” Dice rattle 
  and sparkle as they tumble into the Sultan’s Bowl. “Now 
  we choose our Courtiers.”
  Robin: I want to be the Favored Dancer.
  Chris: I’m going to be an Old Advisor to the 
  Sultan.
  Me: Like an accountant or something?
  Chris: Sure, an Accountant to the Sultan!
  Me: I think I’m going to be a Eunuch, trusted 
  with the Sultan’s womenfolk.
  Greg looks over the list: Hm. I’ll be the Assistant 
  Cook in charge of pastry.
  “Ok, we all need names, and then we write a short 
  descriptive sentence about ourselves for each 
  sense, and describe our most notable item of clothing.”
  The players write and think for a while.
  Chris: Ok, I’m Baba Mubarek. Hearing: My voice is gruff 
  and measured. Sight: I’m slowly going blind due to 
  cataracts. Smell: I smell like old coins. Taste: I have 
  a weakness for candied apricots. Touch: I can tell the 
  number of the coins by the weight of the bag. My aba 
  is dark blue and edged with silver.
  Robin: Nour bint Ahmed ibn Haroun is the current 
  favorite dancer at Court. She has long lustrous black 
  hair and when she dances she seems to shine from 
  Decide in public who is 
  playing which Courtier. 
  While it is reasonable to 
  have two undercooks, there 
  can be only one favored 
  dancer. There can easily be 
  the Favored Dancer and the 
  Former Favored Dancer, 
  however. Also give a little 
  thought to the circumstances 
  that bring these Courtiers 
  together – brainstorm this 
  together until everyone is 
  clear.
  pvr
  Example 
  Play
  of
  
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  within. She loves to walk in the rose gardens… I’m 
  stuck on the hearing bit… She loves the new paisley 
  cottons. She doesn’t like to be touched. She often 
  wears saffron colored libas.
  Greg: How about something to do with music for her 
  hearing?
  Chris: Yeah, like she’s always hearing drums or 
  something.
  Robin: Ok. She often looks like she’s listening to 
  something you can’t hear.
  Me: I am Hasad al-Azhar, a most trusted eunuch 
  of the Sultan’s harem. I have seen a thousand 
  secret things. The scent of raw meat disgusts 
  me. I know the voice of everyone in the Palace. I 
  prefer lovers from outside – travelers, tradesfolk, 
  or visitors. My skin is nearly black and highly 
  polished, accented by brass jewelry. My favorite kaftan 
  is emerald and gold striped silk. And I favor a small 
  checked turban to match.
  Chris: Cool!
  Greg: I’m Umm Sidi Balsora…
  Robin: You’re female?
  Greg: Yes. I’m the assistant cook in charge of pastry. I’ve 
  seen great cities in my childhood. My son’s clean hair 
  is my favorite smell. I sing while I work. Whoever 
  tastes my cooking is content. My arms are strong and 
  my hands are sure. I wear a dark karsh skirt and a loose 
  patchwork shirt in the manner of my homeland.
  Me: Excellent! Now, what do we all envy about each 
  other?
  Robin: Well, Nour envies Umm Sidi Balsora her freedom 
  to eat as much as she likes.
  Greg: Umm Sidi Balsora envies Nour her easy physicality, 
  and imagines her talking with people from all over.
  Robin: I also envy Hasad’s connections; he seems to 
  know everything. And Baba Mubarek’s secure place in 
  the Sultans’ eyes.
  Do all character creation in 
  public, so all players have all 
  the information.
  Take time here to help 
  each other if needed, and 
  make suggestions if asked. 
  Some people will have an 
  easier time than others, and 
  everyone must complete 
  their Courtiers before play 
  can begin.
  
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  Chris: Baba Mubarek envies Nour’s youth and beauty, 
  Umm Sidi’s family, and Hasad’s access to the 
  harem.
  Me: Well, obviously I envy Baba Mubarek’s intact 
  state.
  Chris: Obviously.
  Me: I also envy Umm Sidi Balsora’s security below the 
  Sultan’s gaze, and Nour’s innocence. What else does 
  Umm Sidi Balsora envy, Greg?
  Greg: I envy Baba Mubarek’s leisure time and 
  Hasad’s rich clothes.
  Me: All right. Now, out of these things we envy, 
  figure out what your Courtier’s Ambition is, 
  big or small. My Ambition is to get the dirt on 
  Baba Mubarek.
  Robin: Nour wants power and security; she’s all 
  about Ambition, because she knows this is her 
  moment. She wants her place in Court made 
  sure, so that she doesn’t fall out of favor and 
  get forgotten. Oh, I’ve got it – she wants to be made 
  dancing master.
  Chris: Hmm. Baba Mubarek wants to sleep with Nour.
  Robin: Oh really!
  Greg: My Ambition is to see my son return to my 
  homeland.
  Me: Greg, that seems kinda long-term. What does Umm 
  Sidi Balsora want in the next week?
  Greg: Ok. I want to be paid for my work – right now I 
  get room and board, but I want to save up money to 
  send my son back home. So I want recognition and a 
  stipend...No! I want the Sultan to legitimize our son, 
  and raise him accordingly!
  Chris: Cool!
  Greg: Yeah, as soon as I said ‘recognition’ it was clear.
  I say, “as the first GM, I get to set the scene. You can add 
  to it when it’s your turn to GM.
  What the Courtiers envy can 
  be big or little things, and 
  may not even be true. Envy is 
  in the eye of the beholder.
  Recall that what one envies, 
  they wish for themself. How 
  might Nour gain Hasad’s 
  seeming connections, 
  or Baba Mubarek usurp 
  Umm Ali’s family? Envy is 
  something that builds up 
  over time, and is expressed 
  in a thousand and one small 
  ways; slights, jibes, pointed 
  jests, subtle movements and 
  countermoves. 
  
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  “The Sultan is happy and at peace just now. 
  There have been good rains lately, which means 
  good grazing for the Sultan’s herds, ample food 
  for the people, and lush gardens in the Palace. The 
  rains also have kept any raiders or rebels at bay. 
  It’s been a good time for politics, and there has 
  been a visiting dignitary here for the past week, 
  leaving within a few days. This Sultan is well-
  established and fairly competent; his Court runs 
  smoothly and he deals quickly with any upset in 
  his Palace or his lands. 
  “The Palace reflects that in the décor, which 
  is quiet and strong, showing wealth in excellent 
  wood and stonework more than in bright tassels 
  and flashy ornaments. The colors of the cushions 
  and soft furnishings are deep jewel tones – dark 
  sapphire blues, purples, emeralds, and garnet 
  reds, accented with pearls and small bits of gold. 
  The Sultan has an interest in art, especially hunting 
  scenes, and has a gallery for his collection, which 
  include works from far beyond his own lands. He 
  is also fond of clean scents, so cedar and pine and 
  vanilla and citrus dominate, rather than heavier 
  things like amber and rose and musk.”
  Chris: “So basically it’s too good to last.”
  I laugh. “Ripe fruit ready to go rotten. Ok, 
  we are relaxing towards the end of a feast. Nour 
  danced, Umm Sidi Balsora’s pastries were a hit, 
  and Baba Mubarek got to say something advisory a 
  few hours back. I’m here to look out for anything 
  inappropriate. The Sultan is deep in a game of 
  chess in the adjoining room, watched by half the 
  Court. There’s still food around, and other people 
  talking in groups. There’s a musician playing at the 
  far end of the room. I stretch and settle where I 
  can watch everyone. Where are you all?”
  Be thorough in the first 
  description of the Court 
  setting – the mood, physical 
  health and general outlook 
  of the Sultan, the political 
  scene, and the Palace itself. 
  This gives a good framework 
  for the rest of the game. You 
  do not need to detail every 
  rug and wall, only whether 
  the rugs are new and fine, 
  old and worn, old and rare, 
  new and flashy, muted, soft, 
  uncomfortable on the eyes 
  – that sort of thing. This 
  leaves room for the next GM 
  to add to the Court setting 
  while giving all players a 
  sense of the place. Be sure to 
  include some clear indication 
  of the season and time of day 
  – in the example, it is during 
  the rainy season, just after 
  dinner.
  When setting Ambitions, be 
  specific. “To be happy” is not 
  specific enough. Also, short 
  term Ambitions work better 
  in play than long-term ones. 
  Hasad and Baba Mubarek’s 
  Ambitions will lead directly 
  to character action, whereas 
  Umm Sidi’s is less direct. 
  Very simple things make 
  fine Ambitions – break this 
  person’s nose, be served first 
  at a feast, have nicer shoes 
  than that person. If you are 
  uncertain, think about the 
  next week or month of the 
  Courtier’s life, and what they 
  want in that timeframe.
  
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  Nour (Robin): I’m sitting near Baba Mubarek, as far 
  from Umm Sidi as I politely can. Gotta align myself with 
  the upper folk.
  Baba (Chris): I’m totally checking you out, but 
  only out the sides of my eyes. I don’t want 
  Hasad coming down on me.
  Umm Sidi (Greg): I’m sitting on the floor on a 
  little cushion, by a bowl of fruit and figs. “So, a 
  story! Let’s have a story!”
  Nour (Robin): I look pointedly from the food 
  to Umm Sidi. “Not enough to distract you 
  here tonight, Umm Sidi Balsora?” There’s the 
  slightest hint of disdain in my tone.
  Umm Sidi (Greg): I pop a fig in my mouth and 
  lick my fingers, seeming to enjoy it more than 
  maybe I actually do.
  Baba (Chris): I pat Nour on the knee. “Don’t worry my 
  dear, there are plenty of juicy figs to go around.”
  Umm Sidi (Greg): Oh ho!
  Nour (Robin): Pat me on the knee, is it? I look acid.
  Hasad (me): I clear my throat and look coolly at Baba 
  Mubarek. “I’ll tell a tale. This is the tale of the Sage, 
  the Student, and the Stubborn Camel. Once upon a 
  time, a young student raised an orphan camel. The 
  student, call him Abib, doted on this camel – fed him 
  from a flask, washed him in rosewater, and gave the 
  camel his own robe as a cover against the chill of night. 
  Now, the time came when the student Abib had reason 
  to call on his old teacher. He took the camel 
  with him, as ever he did, and traveled to the 
  cave of the Sage. On arriving, Abib called out ‘O 
  master! I have returned! Please, hear me!’ The 
  Sage bid him enter, and so he did, the half-grown 
  camel following as ever he did. Well! A camel, in 
  the cave of a wise man? It was too much! ‘Out 
  with that beast, Abib! What have you brought 
  me?’ said the sage, his brows knit tight. But the camel 
  sat down, and would not be budged. Baba Mubarek, 
  After you have set the scene, 
  allow your players to place 
  their characters. This is the 
  first time we officially see 
  the characters in play, which 
  can be revealing. The length 
  of this initial Court scene can 
  vary; give everyone a chance 
  to speak and act before the 
  very first Story. Sometimes 
  that’s enough, sometimes 
  you’ll want more interaction 
  to establish the characters.
  With subsequent Stories, 
  though, the GM can launch 
  directly into a Story after 
  describing the setting. Use 
  any of the traditional story 
  opening phrases: Once upon 
  a time, Our story begins, 
  Here is a tale, The story of, I 
  once knew a man who, etc. 
  
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  please play the camel. Nour, you are the young Abib, 
  and Umm Sidi Balsora the sage.”
  Baba (Chris): The camel! Hmph. All right.
  Nour (Robin): I make some reassuring gesture. 
  “That’s all right, I’m sure you’re a most dignified 
  camel. And sweet-smelling, too.”
  Umm Sidi (Greg): Here, boy, take this camel out at 
  once!
  Nour (Robin): But teacher, it is a poor orphan camel that 
  I have raised from a babe. Surely I am right in treating 
  such an unfortunate beast with tenderness.
  Baba (Chris): I break wind.
  Hasad (me): The stench is mighty in the small space, 
  ruffling the curtain at the cave’s mouth.
  Nour (Robin): Ha! I wonder if the sage leaves 
  before the camel! (Robin takes a white gem from 
  the Sultan’s bowl and places it before her.)
  Umm Sidi (Greg): “Ack! Smell what your camel 
  has done!” I wave my hands before my face and 
  back towards the door. “I think you had best leave. 
  You have not the wisdom to let a camel return to 
  it’s own kind; I think you have not the wisdom to 
  continue as my student!” I bet Abib and the sage 
  don’t part well. (Greg takes a yellow gem from the 
  Sultan’s bowl and places it before him.)
  Nour (Robin): I pull on the camel’s lead. “Come, 
  Petal, you must get up.”
  Baba (Chris): I’m tired from the journey here. I 
  pull back, shaking my head and pulling you closer 
  to me. Sand flies everywhere. Does Abib drop the 
  rope? (Chris takes a black gem from the Sultan’s 
  bowl and places it before him.)
  Hasad (me): The sand flies, stinging your eyes, Abib. 
  The rope is rough in your hands and behind you your 
  teacher is growing more angry by the moment.
  Nour (Robin): I drop the rope and turn to prostrate 
  myself at my teacher’s feet “Forgive me! I am at a loss 
  without your guidance!”
  When you choose a Story 
  and assign Story roles, keep 
  in mind what you envy of the 
  other Courtiers and what 
  your Ambition is – the Story 
  is where you can be more 
  pointed, where you can make 
  your attacks on those you 
  wish to bring down or flatter 
  those you wish to use. 
  A Story can be any nursery 
  rhyme, fairytale, song, or 
  poem you know well. In 
  the example, the story is 
  based on Mary Had a Little 
  Lamb.. There is a student, a 
  teacher, and a devoted but 
  unruly pet – the three Story 
  characters needed for the 
  three Courtiers.
  Set the stage for the Story 
  as thoroughly as you did the 
  Court. Again, pay attention 
  to the senses, the season, and 
  the time of day. 
  
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  Baba (Chris): Ha! (Chris rolls the black gem, for “does 
  Abib drop the rope?” Even goes to his bowl, Odd goes 
  to my bowl. He rolls Even.)
  Umm Sidi (Greg): I’m flattered, but still I’m 
  waving my hand by my face. “What were you 
  thinking, that a camel is like a man? A camel is 
  a camel, and should be treated like a camel!” I 
  swat the camel on the rump.
  Baba (Chris): I snort in surprise and ordinance, 
  and bolt from the cave, tearing the curtain in 
  the process.
  Nour (Robin): Drat! (Robin rolls the white gem, 
  for “I wonder if the sage leaves before the 
  camel!” Even goes to her bowl, Odd goes to 
  mine. She rolls Even.)
  Umm Sidi (Greg): Well, the camel is out, but now 
  my curtain is torn. And there goes your spoiled 
  camel, running in the brush.
  Nour (Robin): I run after the camel calling “Petal! 
  Come back Petal!” Do I catch him? (Robin puts 
  forward a brown gem.)
  Hasad (me): Petal, bits of plants get caught in your 
  coat, making you uncomfortable. Abib, your 
  shoes fill with sand as you run. Overhead, clouds 
  begin to gather.
  Baba (Chris): And how soon does it rain? I think Abib gets 
  soaked. (Chris puts forward a sparkly gem)
  Hasad (me): Well, let’s see. (I take a gem from the 
  Sultan’s bowl.) 1 or 2, right now; 4-8, in a bit; 9 or 
  10, it holds off until you get home. (I roll a 3.) Ah, 
  you are in luck. The rain holds until you catch up with 
  Petal, at the bottom of the hill. You come back to your 
  teacher only mostly soaked. (I return the gem to the 
  Sultan’s bowl.)
  Robin rolls the brown gem, for “do I catch him?” Even 
  goes to her bowl, Odd goes to mine. She rolls Odd. It 
  is my 1st gem gained.
  Once the Story roles are cast, 
  give the Story characters 
  a moment to adjust, then 
  follow their lead. Trust 
  your Story, and don’t worry 
  too much – you know this 
  Story well enough to tell it 
  backward. 
  When a gem is declared, 
  that’s a cue to what the 
  player finds interesting. You 
  can use those cues to help 
  drive the Story. Let the Story 
  play out, and most of them 
  should resolve naturally. If 
  your players declare wildly 
  incongruous things, or dull 
  things, or overly simple 
  things (“Is the water wet?”), 
  Remember that you can 
  spend a gem from your bowl 
  to have the Sultan interrupt 
  your Story.
  
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  Chris rolls the sparkly gem, for “I think Abib gets soaked.” 
  Even goes to his bowl, Odd goes to mine. He rolls 
  Odd. It is my 2nd gem gained.
  Umm Sidi (Greg): I throw up my hands “What am I to 
  do with such a student as you? You are soft-hearted 
  to a fault. Fix my curtain, and we shall see about your 
  next lesson.”
  Nour (Robin): I stake Petal’s rope securely outside, and 
  start on the curtain.
  Baba (Chris): I start eating the flowers.
  Umm Sidi (Greg): No! Not my prize apricots! Are you 
  blind, you stupid camel?! Don’t you know too many 
  will make you sick? (Greg takes a blue gem from the 
  Sultan’s bowl and sets it before him.)
  Nour (Robin): I run out holding the curtain. “Petal, what 
  are you doing now?”
  Umm Sidi (Greg): Eating my prize apricots, that’s what!
  Baba (Chris): I keep eating. Do I get sick?
  Hasad (me): You feel a little uncomfortable. The lilies 
  look torn and chewed on, what’s left of them. There 
  are muddy brown puddles around from the rain, and 
  it’s still sprinkling slightly.
  Baba (Chris): When Abib comes over to check on me, 
  I’m going to lean on him. (Chris says to Robin, 
  “Baba’s leaning all over you, brushing your shoulder 
  with his cheek.”)
  Umm Sidi (Greg): Lean on him right into the mud, 
  I bet! (Greg takes a red gem from the Sultan’s 
  bowl.) 
  Nour (Robin): I dodge your head, waving my arms 
  wildly to avoid falling. I drop the curtain, though. 
  (Robin says, “I dodge Baba too.” Robin pantomimes 
  Nour leaning away, her nose wrinkling ever so 
  slightly.)
  Greg rolls the red gem, for “lean on him right into the 
  mud, I bet!” Even goes to his bowl, Odd goes to mine. 
  He rolls Odd. It is my 3rd gem gained.
  Umm Sidi (Greg): I shake my fists. “You foolish young 
  man! Now look at my curtain!”
  Keep in mind other 
  Courtiers’ quirks and bring 
  them into the Story. Greg 
  introduced the apricots here 
  to get at Baba Mubarek; 
  Chris is playing right along. 
  Make broad and pointed 
  references, pointing out the 
  flaws or virtues you see in 
  your fellow Courtiers 
  
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  Hasad (me): The curtain settles gently into a puddle, the 
  water soaking through the colors.
  Nour (Robin): I throw myself in the mud “Oh 
  great teacher! How can I make it up to you? I 
  am not worthy to be your student!”
  Umm Sidi (Greg): I wait a long time before answering. 
  At last I say. “I got that curtain from a certain jinn that 
  lives in the tree by the river of gold, far to the east. 
  If you replace my curtain, you are fit to remain my 
  student. If you do not, I forbid you, and your camel, 
  from setting foot within 500 paces of my home for the 
  rest of your days. Understood?”
  Nour (Robin): I scramble up covered with mud but 
  smiling broadly. “O, you will not be sorry, my teacher! 
  I will return with a new curtain, I swear it! Come, 
  Petal!” I take your lead rope.
  Baba (Chris): No. I look pouty. I’m not feeling well.
  Greg rolls the blue gem, for “don’t you know they will 
  make you sick?” He rolls Odd and gives it to me. It’s 
  my 4th gem gained. He also rolls the yellow gem, for 
  “I bet Abib and the sage don’t part well.” It is Even, 
  and he puts it in his bowl.
  For the sake of brevity, we will skip to the end. Let 
  us assume Abib and Petal made it to the jinn 
  and secured a new curtain for the Sage. Let us 
  further assume that Hasad’s (my) description of 
  the river of gold inspired Robin to reward me 
  with one die.
  Hasad (me): And so the camel learned to stay 
  outside, and Abib managed to learn to treat 
  animals as animals and men as men.
  Me: Now we divvy up our gems between Safety, 
  Ambition and Freedom. I’m putting three in safety, 
  four in Ambition, and five in Freedom.
  Robin: I’ll do four in Safety, six in Ambition, and two in 
  Freedom.
  Greg: Two in Safety, five in Ambition, two in Freedom.
  Remember your Courtier. 
  Speak and act for them, as 
  well as for their Story Role.
  Feel free to add new 
  characters to the Story as 
  needed, played by you or 
  assigned to the Courtiers as 
  you wish. Don’t overload 
  your players, though 
  – they’re already playing a 
  Courtier playing a Story role; 
  more than one or two bit 
  parts might be burdensome. 
  
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  Chris: Boy, I don’t know – three in Freedom, three in 
  Ambition, four in Freedom.
  Robin: Hey Chris, I’m going to spend a gem to return 
  two of your Ambition gems to the bowl; I think 
  Umm Sidi made Nour look foolish in that Story.
  Me: Ok, now we all roll. I got one in Safety 
  – whew! So, I keep the two odd gems, and the 
  even goes back in the Sultan’s bowl. I got three in 
  Ambition, and…two in Freedom.
  Robin: Oh! I have none in Safety! Three in Ambition, 
  though. And two in Freedom.
  Greg: Two in Safety, three in Ambition, and none in 
  Freedom.
  Chris: Two in Safety, one in Ambition thanks to Robin, 
  one in Freedom.
  Me: So, Nour, what happens? How does the Sultan show 
  his displeasure with you?
  Robin: Well. I think someone ratted me out for flirting 
  with Baba Mubarek. I think it might have been Hasad, 
  but I’m not sure. Anyway, I get confined to the harem 
  for the next month. The scene should be between 
  Hasad and a messenger from the Sultan. Who wants 
  to play the messenger?
  Chris: I’ll do it. I’m Cassim the messenger. Hasad knows 
  me because I often bring the Sultan’s wishes to the 
  harem. “Hasad, I have news.”
  Hasad (me): What is it?
  Cassim (Chris): That dancing girl, Nour? The Sultan is 
  displeased with her outrageous behavior at the feast, 
  being so…intimate…with Baba Mubarek.
  Hasad (me): “And what does His Splendid Majesty wish?” 
  I stroke my chin, suggesting that I know already.
  Cassim (Chris): Hm, that flusters me a bit “She’d better 
  be more careful. And she’s to stay within the harem 
  for a full cycle of the moon.”
  Hasad (me): I nod my head courteously “I will be sure it 
  is so.” 
  I ask Robin “Is that enough?”
  Remember that first 
  everyone divvies and says 
  whether they might win, 
  then anyone can block 
  Ambitions, then everyone 
  rolls.
  
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  Robin: Sure, that’s good.
  Me: And how does Nour interfere with Umm Sidi 
  Balsora’s Ambition?
  Chris: Well, I would have maybe been halfway to getting 
  my son acknowledged, but nooooo.
  Robin: Hm. Oh, I know. I exorbitantly praise one of the 
  other children as a gifted dancer, and request that 
  praise be sent to the Sultan on behalf of this child of 
  his Court, with the subtext being that it’s his child, 
  and that’s why it is skilled.
  Me: Do you want to play that out?
  Robin: No, I’m good.
  Me: Cool. Ok, who’s our next GM?
  
  Sharifa held the gem aloft, taunting the guards on the palace wall. She 
  had the gem the wizard Absalam had requested, indeed, but more – she 
  had the Sultan’s cat beside her. “I do not suggest we stop” the cat said 
  calmly as the first of the arrows began to fly.
  
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  Initial Setup (refer to page 6)
  Set the table (refer to pages 6-9):
  Put a bowl full of gems (dice) in the center of the 
  table; this is the Sultan’s bowl.
  Put a bowl in front of each player.
  Create a Courtier (refer to page 9):
  Describe your Courtier with a short sentence for each of the 
  five senses.
  Decide and declare what your Courtier Envies about each 
  other player’s Courtier.
  Decide and declare your Courtier’s Ambition.
  Take three gems from the Sultan’s bowl and put them in your 
  own.
  Choose a starting GM (refer to page 21):
  By lots, or by who best knows the game.
  In Each Story
  GM, start the Story (refer to page 21):
  Set the scene in Court.
  Name your Story.
  Assign a role in your Story to each of the other players’ 
  Courtiers.
  Set the opening scene.
  Do not have a whole story in mind! Launch the scene and then 
  give it its head.
  Do all with your Courtier’s envies and ambition foremost in 
  your mind.
  Players, play your Courtiers in their Story roles 
  (refer to page 24):
  Speak in both your Courtier’s voice and in the voice of the 
  character they’re playing.
  Say both what your Courtier does and what they have the 
  character they’re playing do.
  Try to use your Courtier’s Story role to advance your 
  Courtier’s ambition and express their Envies.
  pvr
  Summary
  
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  In Stories, your Courtiers can be confrontational, rude, 
  aggressive, and blunt, which they cannot be in Court.
  Do not try to adhere to whatever Story you suppose the GM 
  to be telling! Follow your Courtier’s and your Courtier’s 
  Story role’s lead.
  Players, declare gems (refer to page 25):
  Whenever you’re interested in the resolution of some question 
  or circumstance in the story, declare a gem.
  Take a gem from the Sultan’s bowl, say your interest, and place 
  the gem on the table in front of you.
  If another player declares a gem on a point of interest, you 
  may not declare one on the same point of interest, unless 
  your hands met in the bowl.
  When you’ve declared a gem and then that point of gets 
  resolved, roll the gem.
  If it’s odd, put it into the GM’s bowl. If it’s even, put it into 
  your own.
  Once the GM has received eight gems, you may not declare 
  any new gems, but all the gems you’ve already declared 
  remain on the table, in play.
  GM, resolve events in the Story (refer to page 25):
  Resolve them through the story, or by simple whim, or by 
  simple chance.
  GM, end the Story (refer to page 25):
  In any single Story, you can add only eight gems to your bowl. 
  Once you’ve received that eighth gem, you have reason to 
  bring your Story to an end.
  You must resolve the points of interest associated with every 
  gem remaining on the table before you can end your Story. 
  When there are no more gems on the table, you can end 
  your Story however you like.
  Or else, if you prefer not to resolve all the remaining gems, 
  you can declare that the Sultan interrupts the Story. Put all 
  the gems on the table, unresolved and unrolled, into the 
  Sultan’s bowl.
  You must also take one gem from your bowl and put it into the 
  Sultan’s; this is the price you pay for the interruption.
  
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  59
  Between Stories (refer to page  33)
  Divvy your gems:
  Take all the gems from your bowl and arrange them in three 
  piles: Safety, Freedom, Ambition.
  Announce to your fellow players whether you might win on 
  this roll.
  If you’d like to set another Courtier back from achieving their 
  Ambition, discard any one of your gems to the Sultan’s 
  bowl. Your chosen player must discard two of the gems 
  they’ve assigned to Ambition. Describe how your Courtier 
  interferes with theirs.
  Roll your gems:
  For Safety, you need at least one gem to come up even, or 
  your Courtier displeases the Sultan. The third time your 
  Courtier displeases the Sultan, the Sultan beheads them 
  and the game ends. You’ve lost!
  For Ambition and Freedom, keep a running total of how many 
  evens you’ve rolled, over the course of the whole game.
  For Ambition, once you total five or more evens, your 
  Courtier achieves their Ambition and the game ends. 
  You’ve won!
  For Freedom, once you total seven or more evens, your 
  Courtier wins their freedom to come and go, and the game 
  ends. You’ve won!
  Ties are allowed.
  If nobody’s won or lost, discard all the evens you’ve rolled 
  to the Sultan’s bowl. All the odds you’ve rolled, return to 
  your own bowl.
  If the Sultan is in play, he has more to win or lose, so his 
  numbers are higher for each of Safety, Ambition and 
  Freedom.
  
  r
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  60
  Play out Court scenes (refer to page 33):
  Whatever status changes your gems indicate, play out scenes 
  between your Courtiers to reveal them.
  Call upon your fellow players to play the roles of any incidental 
  characters you need.
  Remember the strict bounds of manners and decorum the 
  Sultan imposes.
  For the next story (refer to page 34):
  Consider all of the players who have not yet been the GM.
  Of them, consider the player with the fewest dice in their 
  bowl. That player becomes the GM for the next Story.
  In case of ties, choose the player nearest to the previous GM’s 
  left hand.
  At the End of the Game (refer to page 34):
  Three things can end the game: a Courtier is beheaded by the 
  Sultan; a Courtier wins their freedom; a Courtier achieves 
  their Ambition.
  Go around the circle, giving an epilogue to each Courtier. 
  Everyone can contribute to each epilogue, but the 
  Courtier’s player has the last word.
  
  r
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  61
  There are many I could acknowledge and thank, but 
  these in particular: 
  Joshua A C Newman for encouraging me to publish 
  in the first place.
  Ben Lehman for an hour-long international playtest 
  report which was invaluable.
  Emily Care Boss and Vincent Baker, without whom this 
  game would not exist.
  Julia Ellingboe for being such an enthusiastic playtester, 
  friend and hair guru.
  Rachel and Steven Cronen-Townsend for initial 
  playtesting.
  Ralph Mazza for writing Universalis and inspiring the 
  first spark of this game.
  Paul Czege for his comments on the first text, over 10 
  years ago.
  Moyra Turkington for early encouragement and Matt 
  Wilson for being a steady voice of support.
  The folks at Story Games and the Forge for being 
  generally great people. 
  Specific thanks for the 2nd Edition:
  Fabio Michele Russo and Cristina Recupero played in my 
  game at Lucca 2011. Fabio made a choice in-character 
  that was the key to realizing my vision for nested 
  stories, and the two of them deserve credit and my 
  great thanks.
  The folks who played in my game at InterNosCon 2012 
  inspired me to sit down and finish the 2nd edition. 
  They will recognise their characters within the text.
  And finally, great thanks to Claudia Cangini for her 
  amazing artwork!
  pvr
  Gratitude
  
  j
  The Sultan Rebukes me in private.
  j
  The Sultan Rebukes me publicly in court.
  j
  j
  j
  The Sultan has me beheaded.
  j
  Safety
  Freedom
  I win my freedom from Court.
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  Ambition
  I achieve my Ambition, which is...
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  the Senses
  Hearing –
  Sight –
  Smell –
  Taste –
  Touch –
  Clothing –
  I Envy
  Courtier
  pvr
  bvr
  
  There is an attempt on your life
  You are wounded in an attempt on your life
  The assassin is successful. 
  j
  j
  j
  j
  j
  j
  Safety  
  Freedom
  Ambition
  I achieve my Ambition, which is...
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  the Senses
  Hearing –
  Sight –
  Smell –
  Taste –
  Touch –
  Clothing –
  I Envy 
  the Sultan
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  I gain my Freedom to travel unknown
  pvr
  bvr
  
  the Senses
  Hearing –
  Sight –
  Smell –
  Taste –
  Touch 
  I Envy
  Courtier
  Live Action
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  Safety
  Ambition
  Freedom
  the Senses
  Hearing –
  Sight –
  Smell –
  Taste –
  Touch 
  I Envy
  Courtier
  Live Action
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  Safety
  Ambition
  Freedom
  
  the Senses
  Hearing –
  Sight –
  Smell –
  Taste –
  Touch –
  I Envy 
  the Sultan
  Live Action
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  Safety
  Ambition
  Freedom
  j
  j
  j
  j
  j
  j
  j
  j
  the Senses
  Hearing –
  Sight –
  Smell –
  Taste –
  Touch 
  I Envy
  Courtier
  Live Action
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  j
  Safety
  Ambition
  Freedom
  
  Supplies
  For a table-top game
  Beautiful dice to represent the Sultan’s Gems
  A container for those dice - a dish or tray or cloth that 
  suits the setting
  Pencils and copies of the character sheets
  Tasty things to eat and drink
  For a live-action game
  Beautiful dice to represent the Sultan’s Gems
  One container for each group of five players
  A bell to signal the close of the initial Court scene
  A couple of hand mirrors for the disclosure of  the Envies 
  and Ambitions
  Pencils and copies of the character sheets
  Tasty things to eat and drink
  
SOURCE: textdata/thevault/A Thousand and One Nights.pdf