TEXT:  
  CONJECTURE GAMES PRESENTS: 
   
   
  CRGE 
  conjectural roleplaying gamemaster emulator 
   
   
   
  By Zach Best 
  Artwork by Matthew Vasey 
  The Helldragon (order #6976544)
  
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  “If everyone is thinking alike, then somebody isn’t thinking.” – George S. Patton 
   
   
   
   
   
   
   
   
   
   
   
  Dedicated to Katie. 
  Who shares every step with me. 
   
   
   
   
   
   
   
   
   
   
   
  Written by Zach Best 
  Artwork by Matthew Vasey 
  Published by Conjecture Games (www.conjecturegames.com)  
  Special Thanks to Alex Yari, Francis Flammang, David Dankel, Nicky Tsouklais, Matthew 
  Mooney, Aaron Zeitler, Kenny Norris, Jimmy Williams, and Deathworks for playtesting, editing, 
  and general commenting. 
  Very Special Thanks to Chris Stieha for being the first and most thorough playtester an indie 
  game designer could ever ask for. 
   
  All text is © Zach Best (2014). All artwork is © Matthew Vasey (2014) 
  and used with permission for this work.  The mention of or reference to 
  any company or product in these pages is not a challenge to the trademark 
  or copyright concerned. 
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  Table of Contents 
   
  What is CRGE? pg. 4 
   
  Loom of Fate – Binary GM Emulator, pg. 6 
  The Surge Count, pg. 8 
  Unexpectedly Explanations, pg. 10 
  Loom of Fate Examples, pg. 11 
  Loom of Fate Tutorial, pg. 13 
   
  Conjured Threads – Story Indexing Game Engine, pg. 14 
  Stage of the Scene, pg. 16 
  CRGE Scene Setup, pg. 18 
  Bookkeeping, pg. 18 
   
   
  Storyspinning – Frameworks for CRGE, pg. 20 
   
   
  Vignette Framework, pg. 21 
   
   
  Vignette Framework Tutorial, pg. 23 
   
  Tapestry –Multiplayer CRGE Module, pg. 24  
   
  Appendix I (Tables), pg. 27 
   
  Appendix II (Vignette Framework Tutorial Example), pg. 28
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  What is CRGE? 
  The Conjectural Roleplaying Gamemaster 
  Emulator (“CRGE”) is a supplement for any pen 
  and paper roleplaying game to help facilitate the 
  play of the game without a gamemaster (“GM”). 
  CRGE is universal.  It was designed to be 
  run with every standing genre in the tabletop 
  roleplaying hobby because CRGE runs as an 
  overlay for when the game system would require 
  an answer from a GM. When the game system 
  has objective answers to questions (“do I hit the 
  enemy based on the enemy’s stats?”), CRGE 
  easily moves out of the way. 
  CRGE is dynamic. A GM can use it to shake 
  up his or her own world for her players. A group 
  of players without a GM will find stories that 
  may have never been told with a GM. A solo 
  player can assume all the roles necessary to play 
  a favorite RPG on her own. 
  CRGE is internet friendly. It was partially 
  designed to incorporate play-by-post style 
  roleplaying in addition to playing at the dining 
  room table. CRGE gives guidance as to player’s 
  turns, sharing “GM responsibility” through 
  taking control of NPC’s, and even working in 
  separate scenes. 
   
  When to use CRGE? 
  CRGE is used to answer binary questions 
  that a player would normally ask a GM. CRGE 
  answers these questions, sometimes with a twist. 
  CRGE ultimately leads toward the unexpected. 
  What good GM would not add some surprise in 
  to the story to shake the players off the foreseen 
  path? CRGE makes sure to emulate that GM 
  tool of surprise. 
  In addition, CRGE has a framework where 
  players take turns controlling the flow and 
  scenes of the story. Nobody controls the game 
  like a GM would, but players are given the 
  chance to chase their own vision and make sure 
  their player characters (“PC’s”) have some of 
  the limelight. 
   
  Conjecture 
  “Is the door locked?” This is a very simple 
  question applicable to many RPG adventures. 
  It’s answer seems very simple, but the simple 
  answer ripples outward toward many other 
  follow-up inquiries. 
  Why was the door locked? Who locked it? 
  How difficult would it be to pick the lock?  In an 
  office building where PC’s are breaking in to 
  Mr. Bad CEO’s office to steal important data, 
  many of the answers fall in to obvious place 
  because the door would probably locked for 
  corporate security purposes.. When the PC’s are 
  in an abandoned manor that appears to have 
  been untouched for decades a locked door can 
  make things very interesting. 
  Conjecture is the foundation of all 
  Conjecture Games supplements. The world 
  grows as players ask simple follow up questions 
  to randomly rolled facts.  With the context and 
  the new facts, the logical and imaginative mind 
  begins to fill in all the betweens, and a living 
  world begins to emerge. The mind creatively 
  tries to fill the gaps between the points of data. 
  Using conjecture as a vehicle for 
  imagination is by far the most important aspect 
  of CRGE. 
   
   
   
   
   
   
   
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  Mechanics Primer (in order of appearance) 
   
  Loom of Fate – the binary GM emulator, which answers questions that can be answered with a “yes” or 
  “no”. 
   
  Stage of the Scene – the variable based on the dramatic stage of the story that determines the amount of 
  randomness in the scene. 
   
  Surge Count – an increasing counter that pushes answers towards the unexpected in the Loom of Fate. 
   
  Unexpectedly Modifier – a modifier rolled from the Loom of Fate that changes the gameplay in 
  unexpected ways. 
   
  Scene – a discrete moment in time where the PC’s are played. 
   
  Thread – a plot device that helps to record interesting storylines. 
   
   
   
  Definitions 
   
  GM – gamemaster – in conventional tabletop roleplaying games, the gamemaster runs the game for the 
  players. 
   
  PC – player character – the character that a player controls. 
   
  NPC – non-player character – a character that the GM controls. 
   
   
   
  Developer Notes 
  Usually I dedicate an entire page to design thoughts. For CRGE I felt more explanation of the system 
  was needed in later chapters. 
  Back in 2007, I released the first version of Conjecture Games’ Universal NPC Emulator (UNE) with 
  the company code of CG102 because I always felt that I would be able to create a GM emulator at the 
  head of Conjecture Games’ line. The GM emulator has been a rock tumbling in my brain for over half a 
  decade. 
  Conjecture Games started because of the Mythic Game Master Emulator by Word Mill Games. Tana 
  Pigeon’s foray into the RPG world without a GM was brilliant. The community, especially the Yahoo! 
  Groups community, that built around the Mythic Game Master Emulator pushed the boundaries of GM-
  less gameplay far further than I ever would have imagined.  
  The Tapestry overlay was conceived from the role-playing magic that can come from Chuubo’s 
  Marvelous Wish-Granting Engine and Microscope RPG. My solo RPG sessions would not be nearly as 
  amazing without the teachings of Jenna Moran and Ben Robbins. 
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  The Loom of Fate 
  Binary Gamemaster CRGE Module 
   
   
   
   
   
   
  The true adventurer goes forth aimless and uncalculating 
   
  to meet and greet unknown fate. 
   
  --  O. Henry 
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  Loom of Fate - Binary Gamemaster CRGE Module 
   
  The entirety of CRGE revolves around the Loom of Fate table. It is a table to answer yes/no questions 
  normally given to a GM. However, not all answers are binary, and sometimes the  unexpected takes over. 
  The Binary GM Emulator can be used in games without a GM, or if a GM wants to give up control of a 
  scene the Binary GM Emulator can be overlaid in that instance. 
   
  1. Determine the stage of the scene. Ask the question “where are we heading?” to determine either To 
  Knowledge, To Conflict, or To Endings. See pg. 16, Stage of the Scene, for more discussion.  
   
  2. Ask a question having a “yes” or “no” answer. Roll a d100 (or 2 d10 dice with one die being the 
  10’s) and add or subtract the Surge Count (see pg. 8) to get a response from Table 1. If the “and 
  unexpectedly” result is rolled then continue to Step 3.  Otherwise go to Step 4. 
   
   
   
  3. Unexpectedly. Roll a d20 to gain an unexpected modifier from Table 2 if “Yes, and unexpectedly” or 
  “No, and unexpectedly” are rolled from Table 1. See pg. 10 for explanations.  
   
  4. Interpret the Results. If the binary response (yes or no) is modified answer that as well according to 
  the following: 
   
  And – this modifier reinforces the response of “yes” or “no”. 
   
  But – this modifier diminishes the response of “yes” or “no”. 
   
  And Unexpectedly – this modifies the answer, the scene, or the whole game. 
   
  Table 2: Unexpectedly 
  roll d20, see pg. 10 for explanations
  1 
  foreshadowing 
  6 
  to knowledge 
  11 limelit 
  16 
  cross-stitch 
  2 
  tying off 
  7 
  framing 
  12 entering the red 
  17 
  six degrees 
  3 
  to conflict 
  8 
  set change 
  13 to endings 
  18 
  re-roll/reserved 
  4 
  costume change 
  9 
  upstaged 
  14 montage 
  19 
  re-roll/reserved 
  5 
  key grip 
  10 pattern change 
  15 enter stage left 
  20 
  re-roll/reserved 
   
  5. Follow Up. Ask the question “why?” or “how?” or another pertinent question relating to the 
  interpretation. Answer this question on your own (without rolling on the Loom of Fate). This is also a 
  good time to move the narrative forward, if possible. If the asking player has a strong gut reaction to the 
  answer, go with that. If things are still not clear then consider asking the Loom of Fate the follow-up 
  questions. 
   
   
   
  Table 1: Loom of Fate 
  Roll d100
  Result 
  To Knowledge
  To Conflict 
  To Endings 
  Yes, and unexpectedly 
  96-100 
  99-100 
  100 
  Yes, but 
  86-95 
  95-98  
  99 
  Yes, and 
  81-85 
  85-94 
  81-98  
  Yes 
  51-80 
  51-84 
  51-80 
  No 
  21-50 
  17-50 
  21-50 
  No, and 
  16-20 
  7-16 
  3-20  
  No, but 
  6-15 
  3-6 
  2 
  No, and unexpectedly 
  1-5 
  1-2  
  1 
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  Narrative Momentum 
  The most important aspect to using the 
  Loom of Fate is knowing when to start asking 
  questions and when to stop. On one hand the 
  Loom of Fate can be asked for every minute 
  detail. Are there more than six patrons in the 
  tavern? Is the fire burning brightly? Is tonight’s 
  dinner lamb? Gruel? Do the floor grains run 
  perpendicular to the bar? Asking questions in the 
  Loom of Fate can quickly get out of hand. 
  If a stage is being set it is okay to ask 
  multiple questions in a row. However, once the 
  ball gets rolling and certain facts start becoming 
  likely, don’t stand in the way with more 
  questions. Ask a question and then move the 
  narrative based on the answer (See Follow-
  Up Facts below) before asking more 
  questions. Additional questions to clarify are 
  often necessary, but asking many questions in a 
  row usually grinds game momentum down to a 
  halt. 
   
  Probabilities and Being “Fair” 
  The Loom of Fate operates on a 50% chance 
  of the answer being “yes” or “no” with some 
  twists, of course. If the probability of an answer 
  being known is “very likely” (a very scientific 
  amount) the game will play much faster if the 
  question is not asked to the Loom of Fate. There  
   
   
  will always be more questions to change the 
  course of the game. However, it is up to the 
  player in deciding whether to ask a question 
  with a “very likely” answer because the story 
  may go in an interesting direction. 
  There will also be moments where your gut 
  is answering “yes” but you want to be fair. Your 
  rational mind is telling you that it isn’t that 
  simple. If you do feel conflicted, use the Loom 
  of Fate. 
  However, when the answer goes in the 
  opposite direction be much harder on the follow 
  up. Instead of just asking “why?” also consider 
  asking the question “why not?” For example, if 
  you (the player) really thought the intruder was a 
  zombie, but the Loom of Fate says “no” try and 
  spin what facts you have to answer the question 
  “why not?” Perhaps a zombie-killing NPC has 
  unexpectedly returned. 
   
  Follow-Up Facts 
  Once the game has a strong story 
  momentum, ask a question from the Loom of 
  Fate, record the answer, and then create a few 
  obvious follow-up facts. These follow-up facts 
  are just as important as an answer from the 
  Loom of Fate. For example, if the Loom of Fate 
  says that Mr. Bad CEO’s office door is not 
  The Surge Count  
  The Surge Count is an additional rule on top of the Loom of Fate, which is used to push the game 
  towards the unexpected.  
  When the Loom of Fate is asked a question and the result is a plain “yes” or “no”, use a notecard 
  or a d20 and add two (2) to the notecard or d20 after the question is resolved. This is the Surge Count. 
  When a Loom of Fate question is asked add or subtract the current Surge Count from the d100 
  roll. If the d100 roll is above 50 then add the Surge Count to the result. If the d100 is 50 or lower, subtract 
  the Surge Count from the roll. Then, if the answer is anything other than plain “yes” or “no”, reset the 
  Surge Count. If the resulting answer is just “yes” or “no” add another two (2) to the Surge Count. 
  Any result outside the range of the table (roll of 3 minus a Surge Count of 6) is automatically 
  treated as a corresponding “and unexpectedly” result.  
   
  Example (Stage of the Scene = To Knowledge): 
  Question 1 (Surge Count = 0) – Roll 53 (yes). Add +2 Surge Count. 
  Question 2 (Surge Count = 2) – Roll 45 and subtract Surge Count, result 43 (no). Add +2 Surge 
  Count. 
  Question 3 (Surge Count = 4) – Roll 79 and add Surge Count, result 83 (yes, and). Reset Surge 
  Count. [Note: if the Roll was 82 (yes, and), the final result would be 86 (yes, but).] 
  Question 4 (Surge Count = 0) – Roll 7 (no, but). Reset Surge Count. 
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  locked, a follow-up fact might be that the 
  cleaning crew is around. If the Triad is not 
  chasing the PC’s, decide who is chasing them. 
  There will be a point of conjecture where the 
  answers seem to have a life of their own. A 
  feeling of pattern recognition occurs where all 
  the answers seem pre-ordained to mean one 
  thing. The gut feeling is overwhelming. Take 
  that point and run with it. That is the 
  subconscious finally making sense of all the 
  randomness, and it will create a very strong 
  sense of definition for the game. 
   
  Chipping Questions and Cutting Questions 
  Picture a gem in the middle of a rock. You 
  can carefully chip around the edges of the rock, 
  or you can cut right down the middle to the 
  prize. In CRGE this is a helpful analogy for 
  asking Loom of Fate questions. Do you chip 
  away or cut right to the core? 
  It’s important to understand the benefits of 
  direct cutting answers. In Star Wars, I have 
  Luke battling Darth Vader, and I ask “is Darth 
  Vader Luke’s father?” That question is going to 
  swing the story in extremes. Even if the answer 
  is “no”, it can cut off a large part of “could 
  be’s”, or it can swing my other questions in 
  unforeseen directions.   
  Compare that to the chipping answers in a 
  direction towards the above cutting question, 
  such as: “was Darth Vader a Jedi?”, “is he 
  human?”, “did he know my uncle?”, “has he 
  ever been to Tatooine?” Finally the follow-up 
  fact of “well he must be Luke’s father” just 
  makes sense. There’s a lot more dancing around, 
  and the chipping answers might have never 
  arrived at Darth Vader being Luke’s father. 
  Just like knowing when to ask a question, 
  knowing how direct to ask a question is also a 
  matter of balance and style. A good balance is to 
  always ask questions straight from your 
  subconscious (gut-feeling questions) whether 
  chipping or cutting, and when trying to think of 
  questions, ask a few chipping questions, then 
  lunge for something with a cutting question. 
  The “genre” of the game is also influential 
  in determining how direct to be in asking 
  questions. In a pulp game where pro-action is 
  forefront, direct questions should be the norm. In 
  a mystery, a multitude of slower chipping 
  questions would be better.  
  Player vs. Gamemaster 
  One of the hardest issues with a GM 
  emulator is separating player knowledge from 
  player-character (PC) knowledge. Meta-gaming 
  is where a player has a PC act solely on player 
  knowledge. For CRGE, the easy thing to do is 
  only find answers to questions the PC would 
  know. However, this does not lend itself well to 
  momentum or creating a rich story or world. 
  Again, it’s a balance. 
  For example, I can ask “is there an assassin 
  in the crowd?” I get “yes”. Then I need to decide 
  whether my PC knows or not. I can do this with 
  the Loom of Fate, with an RPG system’s rule 
  (roll a spot check), or just assume. If my PC fails 
  to notice the assassin, I have to split my role as 
  PC controller and GM. I become the GM to facts 
  unknown by my PC, and with an acting fact, 
  such as an assassin, a lot of game movement can 
  occur before my PC can react. These make for 
  some very tense moments. 
  What if the question was based on an 
  “unexpectedly” roll of Entering the Red (see pg. 
  10). My character might live in a world of 
  danger, but I have no idea who would want to 
  assassinate my character. Does my character 
  know? I can choose to stop the immediate action 
  to deeply color the assassin. I can create the 
  assassin’s order, history, and strengths and 
  weaknesses.  
  Perhaps then in the immediate action, where 
  the assassin attacks, my character crits the 
  assassin and kills the assassin dead. Did I waste 
  my time with all the depth to the assassin? In 
  one sense I did and the present story did not 
  move forward much at all. That’s fair enough. In 
  another sense, I have a much richer world. I now 
  know all about the assassin’s order, I probably 
  have a good idea why they were after my 
  character (even if just hired).  I have quite an in-
  depth part of the world for use later on. A future 
  string of Loom of Fate questions might lead me 
  right back towards the assassin’s order or why 
  the PC must die. 
  Ultimately, choosing the amount of depth is 
  a question each player can only answer for 
  themselves, but it is a question that is good to 
  answer before huge tangents are made in to 
  things the PC wouldn’t instantly perceive. Do 
  you, the player, want to move forward with the 
  PC now or deepen the world?
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  19
  Unexpectedly Explanations 
  Scenes and threads are discussed under the sub-heading Conjured Threads (see pg. 15). Otherwise 
  interpret the Unexpectedly modifier with what makes sense. The terms and definitions should be read 
  liberally. The player that was in control of asking the question of the Loom of Fate is in control of any 
  decision making with regard to the unexpectedly modifiers unless otherwise stated. 
  If the current scene (or the next scene) has already been burdened by too many “unexpectedly” rolls 
  from the Loom of Fate then feel free to ignore any further unexpectedly modifiers until a clean scene is 
  started. 
   
  Cross-stitch – choose another thread to be the main thread for the rest of the scene.  
   
  Entering the Red – threat of danger or combat arrives. The premise of the scene gets more dangerous in a way that 
  forces the PC’s to respond by leaving, fighting, or taking their chances. 
   
  Enter Stage Left – a PC or NPC (new or pre-existing) arrives fresh in the scene. 
   
  Costume Change – an NPC drastically changes their mind, motivations, alliances, etc. for better or worse. This 
  could be a big story reveal or a simple change of heart. 
   
  Foreshadowing – set a thread to be the main thread for the next scene. The current scene should then start wrapping 
  up and heading towards the next scene. 
   
  Framing – an NPC (new or pre-existing) or object becomes critical to the main thread. 
   
  Key Grip –set the location or general elements for the next scene. The current scene should then start wrapping up 
  and heading towards the next scene. 
   
  Limelit – the rest of the scene goes great for the PC’s. Assume that the majority of the questions pertaining to the 
  main thread with regard to the scene are answered in a way that benefits the PC’s. 
   
  Montage – the timeframe of the scene changes to a montage of actions set across various scenes to move forward. 
   
  Pattern Change – the main thread gets modified, drastically. Whatever direction the main thread was heading, 
  make a hard left. Use a generator, such as Rory’s Story Cubes, tarot cards or a random Wikipedia page, as 
  necessary. 
   
  Reroll / Reserved – these slots are reserved for specific “GM actions” found in an RPG system, such as a compel 
  action in the FATE system. Specific examples can be found at conjecturegames.com.  
   
  Set Change – scene continues in another location. The current thread remains as much as makes sense. 
   
  Six Degrees – a meaningful, but not always positive, connection forms between two PC’s and/or NPC’s. 
   
  To Endings – the next scene resolves or substantially moves forward a thread of your choosing. Set the main 
  elements of the next scene, and start heading toward them in this scene. 
   
  To Conflict – the next scene centers on a conflict of your choosing. Set the main elements of the next scene, and 
  start heading toward them in this scene. 
   
  To Knowledge – the next scene centers on lore or investigation of your choosing. Set the main elements of the next 
  scene, and start heading toward them in this scene. 
   
  Tying Off – the main thread resolves or substantially moves forward in this scene by narrative decree. This does not 
  mean that the main thread cannot create follow-up threads. 
   
  Upstaged – an NPC makes a big move. If the NPC has any motivations, plot vectors, or goals they go into 
  overdrive.
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  11 
   
  Loom of Fate Examples  
   
   
  Example 1. The PC’s are exploring an abandoned manor. There have been stories of the manor being 
  haunted or occupied by strange things. A player asks if the basement door is locked. 
   
   
  Yes – the door is locked. 
  Why? Perhaps an occupant is 
  away from the basement. 
  Perhaps another person tried 
  to lock something down 
  there. 
   
  No – the door is not locked. 
  Why? Perhaps the basement 
  is irrelevant to the story. 
  Perhaps an occupant is using 
  the basement and would not 
  want the door locked. 
  Yes, and – the door is 
  locked, and… it is also nailed 
  shut. Why? Someone really 
  didn’t want anybody going in 
  the basement. 
   
  No, and – the door is not 
  locked, and… it is about to 
  come off its hinges from 
  disuse. Why? The basement 
  hasn’t been used recently at 
  all, at least not from access 
  through this door. 
  Yes, but – the door is locked, 
  but… the stairwell has holes 
  in the plaster allowing the 
  player to see to the basement. 
   
   
  No, but – the door is not 
  locked, but… the stairs going 
  down the basement are 
  destroyed or opening the door 
  causes a massive shriek to 
  echo throughout the manor. 
   
   
   
  Example 2. The PC’s are in a tavern. One of the players decides to create story momentum and asks if 
  anybody is watching the PC’s. 
   
   
  Yes – someone is watching 
  the PC’s. Why? I would do 
  follow up questions since it is 
  not readily apparent. 
   
   
  No – the PC’s are just part of 
  the crowd. I would go further 
  and say that the PC’s would 
  remain innocuous - this fact 
  holds - unless something 
  significant changes. 
  Yes, and – the person 
  watching them has personal 
  attachment beyond being a 
  mere messenger, hired thug, 
  or private detective.  
   
  No, and – the PC’s are 
  unlikely to be noticed at all 
  unless a major event occurs 
  at the tavern. 
   
   
  Yes, but – perhaps the 
  watcher is mistaken as to the 
  PC’s identities. Perhaps the 
  PC’s are being viewed 
  through a security camera or 
  scrying spell. 
   
  No, but – they might be if the 
  PC’s make a small 
  commotion, or perhaps in a 
  Russian reversal there is 
  somebody there that the PC’s 
  should be watching. 
   
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  12 
   
  Example 3. Here is a completely random stream 
  of questions I had in making up an opening 
  scene where my PC is a castaway on a 
  mysterious island. My PC just wakes up on a 
  beach after the stormy night. I am going to go 
  with “To Knowledge” as the stage of the scene, 
  which is explained in the Conjured Threads 
  section (pg. 15). 
   
  The first question that came to mind was “Is 
  there a shipwreck?” I rolled a 30 (Surge Count 
  2). No. The beach feels lonely in my mind, but I 
  want to ask it as a quick follow up question 
  because I am just beginning to set the scene. 
   
  “Is there anybody else on the beach?” 25-2, no 
  (Surge Count 4). I jot down a few notes on my 
  scene notecard that the beach is lonely and 
  devoid of any shipwreck. It’s not peaceful. The 
  beach is eerie.  
   
  “Is the island inhabited?”  77+4 = 81, yes, and… 
  (Surge Count 0) And, people are walking 
  towards me was first idea, but there is nobody 
  else on the beach (answered from my last 
  question). I decide there are objects of culture on 
  the beach.  
   
  My idea of this being a castaway game would 
  not be intact if my answer was “Yes, and there’s 
  a town or city on this island.” The PC would 
  also not know the answer to this question. If I 
  interpret the follow-up fact as a “chipping” 
  answer, I can keep more mystery and also keep 
  the facts immediate to the PC. 
   
  “Are the objects on the beach roughly made?” 
  58, yes (Surge Count 2). I will assume that it is 
  an Islander culture object or artifact. If the 
  answer was “no”, I was kind of leaning towards 
  science outpost.  
   
  “Are there any footsteps around where I was 
  laying?” 8-2 = 6. No, but… (Surge Count 0) 
  there is another sign of passage. A line dragged 
  in the sand going inland, I decide.  
  And, so on. I found some good starts to the 
  mysterious journey. There are so many other 
  ways to go. I could have asked if anybody else 
  had survived, but I was not ready for the answer 
  yet. There is no wrong way, but remember that 
  the questions can shape the game quite quickly. 
   
  I feel like I have enough to roleplay my 
  character’s thoughts, and I have my first thread 
  or two, which will be explained later. These will 
  get me to later scenes. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
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  Loom of Fate Tutorial – The Abandoned House 
   
  There is an abandoned house. That’s the only fact we know. Everything else will be created with the 
  Loom of Fate. Use the first column in the Loom of Fate “To Knowledge” (later explained at pg. 16). For 
  this tutorial treat any “and unexpectedly” rolls as plain “yes” or “no” answers. 
   
  Step 0: Pick a broad context or system, such as sci-fi or a Hyperborian Age. Otherwise, just use the real 
  world as the context. Quickly envision a PC for the context. Also, grab a notecard (see Bookkeeping, pg 
  18) or a sheet of paper for this tutorial to write down facts. 
   
  Step 1: The first thing is to make broad strokes with initial questions when sculpting a thing out of the 
  realm of all possibilities. What is the location of the abandoned house? Many facts will result once that 
  detail is figured out. Pretend your PC is standing outside the house, and only create facts your PC would 
  perceive. 
   
  It’s not a house in the woods (my first guess). My follow-up fact is that it is a beach house, which is my 
  immediate gut feeling after learning it’s not a house in the woods. This could have also been asked as a Loom of 
  Fate question, but I wouldn’t go beyond two Loom of Fate questions for finding this fact. 
   
  Step 2: Follow up with some momentum facts. If the house is in a certain location, what features would 
  very likely result? If your gut has no strong reactions, one way or the other, the move on. 
   
  I picture small dunes and lots of grass. I picture small amounts of trash in the grass. The house is flat, ranch-
  style rather than rising stories above the ocean. (These are not asked with the Loom of Fate because they are 
  momentum facts.) 
   
  Step 3: Now that we have a good idea of the outside of the house, let’s move inside. Broad strokes are 
  still better, and now we have some slight context. Knowing why or how long the house was abandoned 
  can place a lot of other facts. Other questions could also be: is the house a mess? Has someone squatted in 
  the house? Are there wild animals or plants in the house? Keep the facts to things the PC would perceive, 
  and create follow up facts as well. 
   
  The beach house is an absolute mess. It looks like it’s been looted three times over. Each room has piles of 
  debris and garbage. Surprisingly, the core structures are still intact. The kitchen has cabinetry. The bathrooms have 
  sinks. 
   
  Step 4: Give the house meaning beyond the PC’s perceptions. Does the house have a secret or story to 
  tell? This house is meaningful, but how so? 
   
  I find out the last lawful owner fled. Following up, I ask if someone died in the house. No one did. Someone still 
  fled, and it looks like they never returned. Perhaps the story revolves around the owner that fled. Perhaps my story 
  revolves around something they left. Someone keeps coming back to search the house, which is why it gets messier 
  and messier over time. 
   
  Step 5: Figure out if somewhere along the way of this tutorial you came across areas you would like to 
  explore as piece of a story? Write it out as a short sentence or fragment. This is a story thread, which is 
  explained next. 
   
  The abandoned beach house hides something that has not been found. 
   
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  Conjured Threads 
  Story Indexing CRGE Module 
   
   
   
   
   
   
  Plot, rules, or even poetry, are not half so great beauties 
   
  as a just imitation of nature,  of character, of the passions and their operations  
   
  in diversified situations 
   
  --  Horace Walpole 
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  Conjured Threads – Story Indexing CRGE Module  
   
  The Loom of Fate answers questions, and it is easy enough to run a game only using the Loom of 
  Fate and an RPG. However, there are two story elements in CRGE that act to help define and focus on 
  certain elements of the story. They are Scenes and Threads. 
   
  Scenes 
  Scenes are the storytelling bread and butter 
  of roleplaying games. They exist so that the 
  PC’s can have a place to act. Real life has scenes 
  of a person standing at a bus stop, choosing 
  which ice cream to buy, or running out of toilet 
  paper. These are not the most exciting examples 
  of a story. Role-playing game scenes are usually 
  akin to scenes in a play, movie, or video game. 
  where there is a reason for placing the audience 
  at the scene. In a GM-run roleplaying game, the 
  GM usually will only include scenes pertinent to 
  some facet of the story, even if that scene is just 
  meant to get the PC’s talking to one another. 
  Similarly in CRGE, each scene has purpose, 
  usually defined by a “thread”. Scenes do not 
  necessarily need to move the grand plot, 
  campaign, chronicle, etc., but each scene will 
  have something to tell or some reason for being. 
  Something interesting to the thread or notable to 
  the PC is about to happen. 
    
  Threads 
  A thread is a plot device that focuses the 
  story. Many threads are questions. What was 
  taken off the beach? Who inhabits the island? 
  Other threads involve PC desires such as “taking 
  revenge” or “finding the McGuffin”. Threads 
  weave together to become a larger story. 
  For example in the movie Pirates of the 
  Caribbean: Curse of the Black Pearl, threads 
  might be: (a) Jack Sparrow needs a ship, (b) 
  Will loves Elizabeth, (c) What is the Curse?, (d) 
  Jack Sparrow wants the Black Pearl, and (e) 
  ending the Curse. Some of the threads could be 
  resolved in a scene, such as Jack Sparrow 
  stealing a ship. Ending the Curse and Jack 
  Sparrow getting the Black Pearl ship took the 
  whole movie. The thread “Will Loves Elizabeth” 
  took three movies to settle.  
  Threads usually take at least one scene to 
  resolve. They are not one-shot questions. If they 
  are questions they require multiple steps to solve 
  or investigate. Threads change as parts of their 
  story unfolds, and as threads evolve they can 
  offshoot new threads.  
  In CRGE the players keep track of threads to 
  create a story. When a player starts a scene that 
  player promotes one thread as the main thread of 
  the scene. This does not mean other threads are 
  ignored, but it does mean that significant story 
  steps are taken towards the exploration or 
  resolution of the main thread. 
  Players are also tasked with finding and 
  naming threads as the story evolves. If answers 
  from the Loom of Fate are explored (keep 
  asking “why?”) the game will quickly find new 
  threads. 
  It is usually a good idea to balance the 
  resolution and creation of threads. Roughly five 
  (5) active threads will be a good number for an 
  expansive story, but allow for each player to 
  have created at least one for themselves or their 
  PC. 
   
  Stage of the Scene 
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  The combination of a scene with the thread will lead towards story. Each main thread of the scene 
  sets the stage of that scene with regard to the Loom of Fate chart. These stages are not in a set order. A 
  thread that was just created could be so defined that its only stage is “To Endings”. It is up to the player to 
  decide on the stage based on what questions will be the focus of the scene. 
   
  To Knowledge – use if the main thread is new and just beginning to be explored to create a lot of 
  surprises.  
  The focus of the questions should be one of information gathering. The goal of this stage is to gain as 
  many facts as possible to provide for a good base moving forward. However, this does not mean that 
  conflict or resolution are absent.  
   
  To Conflict – use if the main facts of the thread are known so that this stage cements the facts and 
  pushes the story forward.  
  The focus of the questions should be one of finding conflict. Do not avoid questions that have 
  answers that might create problems. Conflict drives story! New information will very likely come up, and 
  there is no reason a thread cannot be resolved in this stage (or any other).  
   
  To Endings – use if the main thread is nearing the end of its journey, which keeps things simple as 
  the story heads towards falling action and resolution. 
  In this stage, the amount of Loom of Fate questions should be less than usual. The goal of this stage is 
  to promote PC action towards resolution of a thread. 
   
  The Point of Origin 
  The first scene can be the hardest. There are 
  no threads, and the PC is standing in a virtual 
  white room. Where do you go? 
  It is a good idea to have an idea of the story 
  you want told before starting. Find a plot hook 
  in your favorite sourcebook. Take a famous 
  movie or book, and twist it into your favorite 
  roleplaying setting. Some RPG systems have 
  features built in such as “quests” or “aspirations” 
  that the PC has to move things forward.  
  If you start with context and momentum in 
  play, the game will take off much faster than 
  creating the game out of nothingness. Even if a 
  sandbox-style play is the goal, starting with a 
  certain point of origin does not mean that the 
  origin controls the whole game (see Appendix 
  II, pg. 28). Consider it more of an opening scene 
  in a movie, which may have little to do with the 
  plot except introduce the story and characters. 
   
  Main and Non-Main Threads 
  Each scene has a required main thread. This 
  main thread is required for two reasons: (1) to 
  answer the question “why are we playing this 
  scene?”, and (2) to be modified by the Loom of 
  Fate unexpectedly modifiers. The latter reason is 
  a mechanical one within the CRGE system.  
  The intended focus of the scene is on the 
  main thread, and players should generally 
  acknowledge that focus. If the main thread is 
  “Jack Sparrow needs a ship”, the Loom of Fate 
  questions should be aimed generally in that 
  direction. However, there may be overlap. Jack 
  Sparrow could, for example, leverage Will’s 
  love for Elizabeth to get Will’s help in taking a 
  ship, which may modify that non-main thread.  
  Non-main threads should always be 
  considered when interpreting the answers to the 
  Loom of Fate. If you are bookkeeping well with 
  all the threads laid out on the table, the answers 
  might be right before you! At the end of each 
  scene (see Fade Out below), every active thread 
  should be briefly considered with the scene that 
  just happened. 
   
  Other Notes on Threads 
  There is no proper length for a thread. At its 
  shortest a thread can last a scene. A thread can 
  also be the entire reason for the PC. The main 
  quality of a thread, however, is it’s mutability. A 
  short thread (Jack Sparrow needs a ship) can 
  lead directly to another short thread (Jack 
  Sparrow needs a crew). A long thread’s name 
  can shift to reflect that the thread is slowly being 
  resolved (Will Loves, Hates, and Distrusts 
  Elizabeth). 
  Stage of the Scene 
  The combination of a scene with the thread will lead towards story. Each main thread of the scene 
  sets the stage of that scene with regard to the Loom of Fate chart. These stages are not in a set order. A 
  thread that was just created could be so defined that its only stage is “To Endings”. It is up to the 
  player to decide on the stage based on what questions will be the focus of the scene. 
   
  To Knowledge – use if the main thread is new and just beginning to be explored to create a lot of 
  surprises.  
  The focus of the questions should be one of information gathering. The goal of this stage is to gain 
  as many facts as possible to provide for a good base moving forward. However, this does not mean 
  that conflict or resolution are absent.  
   
  To Conflict – use if the main facts of the thread are known so that this stage cements the facts and 
  pushes the story forward.  
  The focus of the questions should be one of finding conflict. Do not avoid questions that have 
  answers that might create problems. Conflict drives story! New information will very likely come up, 
  and there is no reason a thread cannot be resolved in this stage (or any other).  
   
  To Endings – use if the main thread is nearing the end of its journey, which keeps things simple 
  as the story heads towards falling action and resolution. 
  In this stage, the amount of Loom of Fate questions should be less than usual. The goal of this 
  stage is to promote PC action towards resolution of a thread. 
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  While threads can be created from the PC’s 
  point of view or the player’s point of view, 
  threads ultimately represent a story that the 
  player wants to explore. For example, in the 
  assassin example from the Player vs. 
  Gamemaster section (pg. 9), the player may 
  decide that some part of the assassin’s history 
  has created a really interesting thread. All the PC 
  understood was that there was an assassin, and it 
  took a crit to the face. By making a thread based 
  on the player knowledge, the player is basically 
  saying that the PC will learn more through the 
  story focus on the assassin. If there are other 
  players at the table, they will understand this as 
  well. 
  Threads do not need to have answers or 
  resolutions. The rule of thumb is to ride out a 
  thread as long as it is interesting. Some threads 
  fray. It’s just that simple. The game finds story 
  momentum and takes off, and some “paths not 
  taken” just get left behind. It is a good idea to 
  consider these threads before removing them 
  from play. They could still affect the story or get 
  roped in to another active thread, but if the 
  world has moved on, pitch ‘em. More threads 
  will definitely get made. 
   
  Fade In 
  When a scene is opened, the scene controller 
  should be explicit in sharing the vision of her 
  scene.  If the scene controller has a strong 
  vision, it should be shared. Otherwise return to 
  the Loom of Fate to draw borders around the 
  edges. 
  For example, the PC’s are heading to 
  confront a vampire whose hunting ground is a 
  nightclub. The scene controller chooses the 
  scene location “the night club” and the thread 
  “chasing down the vampire”.  She imagines 
  heavy-thumping techno, lots of strobe lights, and 
  a line out the door with a hardened bouncer. A 
  good rule of thumb is to springboard off the 
  scene controller’s vision, and then start to chip 
  away at anything stereotypical. For example the 
  Loom of Fate can be asked if the bouncer is 
  subject to bribes or flirtations. 
  If the scene controller doesn’t have a hard 
  vision then start to rope off boundaries of the 
  scene by going around the table asking a few 
  Loom of Fate questions. 
   
  Fade Out 
  When a scene ends, wrap it up with regards 
  to the main thread and other threads. If the 
  Loom of Fate kills a scene with an unexpectedly 
  modifier (or otherwise) move on or fast forward 
  with a montage of actions to quickly end the 
  scene.  Then ask the following questions: Did 
  the scene modify a thread? Did it split any 
  thread? Do any new threads replace old threads? 
  Do not rush to the next scene. The small 
  amount of time taken to wrap up a scene, do a 
  bit of bookkeeping, and make sure all the 
  threads are in order will pay off big time. Take a 
  moment to reflect on what just happened. It’s 
  not good to realize three scenes later that the 
  table missed an important part of a thread. 
   
  The One Rule 
  Everything here is guidance. It’s a system 
  that works one way, but that doesn’t mean that it 
  has to work only that way. Perhaps your favorite 
  game system has heavy guidance to scenes or 
  character activities, then lessen the role of 
  Threads. Perhaps you want some surprise, but not 
  that much. Throw out the Surge Count or narrow 
  down the Unexpectedly Modifiers to your liking. 
  If you want the thread’s story structure to be 
  different, set the stages of the scene backwards. 
  CRGE merely provides a handful of tools to 
  make it easier to have GM-free tabletop 
  roleplaying.
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  CRGE Scene Setup 
   
  A scene in CRGE is a specific portion of the roleplaying game having necessary elements: 
  (a) the scene must have at least a scene controller’s PC; 
  (b) the scene must have a main thread; 
  (c) the main thread must set the stage of the scene; 
  (d) the scene must have a location; and 
  (e) the scene will likely have other PC’s or NPC’s. 
   
  0. Choose the order of play. Each player will get a turn to be the scene controller. Clockwise is a good 
  default, or choose a static order of players (e.g., alphabetical order or youngest to oldest). For solo 
  players: congratulations, you control every scene. 
   
  1. Choose the main thread, stage of the scene, and scene location. The scene controller has absolute 
  power in this regards. However, suggestions by other players are welcome, and any threads that could 
  also become part of the scene should be noted. 
   
  2. Choose which PC’s and NPC’s will be instantly present. The main rule is a scene controller’s PC 
  must be present. Everything else is optional including other PC’s. If the players are unsure if an NPC (or 
  PC) would be present, consult the Loom of Fate as necessary.  
   
  3. Play out the scene. Be sure to watch for things that will affect the main thread in addition to the thing 
  that might affect other threads.  
   
  4. Close the scene. The most important thing to ask when closing is “what effect did this scene just 
  have?” Pay careful attention to how the scene affected the main thread and any other or new threads. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Bookkeeping 
  Notecards are possibly the best friend to any RPG table. It’s helpful to have them in 
  abundance so they can be made, edited, and recycled at a whim. 
  Each thread and scene should have its own notecard. Put the name of the thread or scene at 
  the top, and then put notes below it. On a thread notecard good things to keep track of in addition 
  to the facts that “answer” the thread are visited scenes, related NPC’s, and the stage of the thread. 
  On a scene notecard note all the information from the necessary elements above. Lay out each 
  notecard on the table so that it is visible. Put a marker, such as a poker chip, on the main thread. 
  Individual notecards are also great for important things that accrue a lot of facts, such as 
  NPC’s, McGuffins, or locations. 
  A lot of success in bookkeeping GM-free games also comes from using dry erase boards, 
  mats, or cards. This allows for table space for map layouts as well. Some players just use a 
  computer or a notebook. Personal wiki software or GM software, such as Zim Desktop Wiki or 
  The Keep, can also help maintain very deep, connected records of the game. 
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  Multiplayer Social Contract 
  In a group, the default is to take turns with 
  scene setup. This gives players time to each 
  control their PC’s story, personal quest, or 
  aspirations. A player should only create a scene, 
  with a thread, that their PC is directly tied to. 
  Even with the responsibility placed on a single 
  player, that role is not in a vacuum. The scene 
  controller should feel free to collaborate or 
  corroborate any decision making. 
  Not every scene requires every PC. With 
  group play there is usually some sort of “party” 
  to keep players together so that a GM, in a 
  conventional game, would not be splitting 
  everything up. With CRGE, players whose PC is 
  not present in the scene is still very much part of 
  the game. They can ask questions of the world. 
  They can take control of NPC’s. They can still 
  collaborate in the storytelling. 
  Collaboration is the key to a multiplayer 
  CRGE game, but it does not mean a unified 
  mind. Players are going to ask questions that 
  perhaps other players didn’t want asked. These 
  are still actual decisions and facts. They must be 
  taken in to consideration. If one player finds out 
  through the Loom of Fate that the thing lurking 
  outside is a slugman (assuming proper for the 
  game’s setting), it is thus. Other players might 
  expound on that fact making it a friendly 
  slugman or a wounded slugman. However, the 
  pre-existing fact cannot be simply overwritten or 
  ignored. 
   
  Meeting of Minds 
  It is also part of the social contract to play 
  within the accepted social and cultural 
  boundaries of the game. Many games have many 
  different themes that can be explored, and it is a 
  good idea when setting up a multiplayer CRGE 
  game to make sure that everybody is on the 
  same page. Players may wish to create a list with 
  a focus column and banned column of themes, 
  ideas, etc.  
  The goal of roleplaying is to create and have 
  fun, and each player should be promoting 
  another player’s fun as much as their own. Like 
  a GM, each player in CRGE has a responsibility 
  for all other players. The game can only benefit 
  when a player acts unselfishly in creating 
  stories. For instance, it is a great idea to pick up 
  the mantle of an NPC important to the player’s 
  PC so that the PC can have a multiplayer 
  discussion, rather than a single player playing as 
  both NPC and PC for a conversation.  
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  Storyspinning 
  Frameworks for CRGE 
   
   
   
   
   
   
  A short story is something that you can hold in your mind. 
   
   
  --  Chuck Palahniuk 
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  Storyspinning –Frameworks for the Tales to be Told 
   
  Stories, Stories from Threads 
  The basic format in roleplaying can often be 
  to just keep going. Start the party in a tavern, 
  and then head out to find adventure in the whole 
  wide world. In CRGE it can be much the same.  
  Continue following Thread after Thread and the 
  stories can continue indefinitely. This can be the 
  sandbox that never ends. 
  Much of the time the indefinite continuity in 
  RPG’s is broken up in to “campaigns” or 
  “chronicles”, which are large stories sometimes 
  running the life of the game. These can be 
  further broken down in to things like “arcs”, 
  “chapters”, etc. The lexicology for discrete units 
  of story goes far and wide in the roleplaying 
  hobby. 
  While stories in CRGE can be run under any 
  of these monikers, CRGE also operates under 
  story frameworks to keep everybody on the 
  same page, including a solo player unaware 
  where the game is going to go. This is not the 
  same as deciding on the story ahead of time, but 
  it is acknowledging that when the framework 
  concludes that discrete unit of the story should 
  close (helpful also to XP rewards). For example, 
  it was understood that each Harry Potter book 
  would occur in one school year even if the 
  adventure during the year was unknown.  
   
  Hooks 
  A big mechanical feature of CRGE 
  frameworks are the obscured hooks, which 
  subtly guide the story. They can oblique such as 
  a framework where the protagonist dies in the 
  first scene and then you assume the role of the 
  killer. Another hook might be where you aspire 
  to have a certain scene with your PC, such as 
  meeting royalty. Why would your PC meet 
  royalty? Who knows! But, you can get there by 
  continuing to keep the desired hook in mind. It 
  doesn’t even have to be a thread, but it can be if 
  you want it to be more concrete. 
  Frameworks are where CRGE substantially 
  departs from sandbox gaming. Frameworks are 
  where discrete stories are going to be told. They 
  guide the story without rails. In the vignette 
  framework the hooks are the dramatic structure. 
   
  Vignette Framework 
  The basic finite framework of CRGE is to 
  determine a single waylay, theme, or question 
  within the setting. Examples: in Wild Talents it 
  could be the waylay of finding a nemesis’s 
  hideout, in Earthdawn it could be the theme of 
  kaer discovery, or in Werewolf: the Apocalypse 
  it could be the question of what is it like learning 
  a new gift from a spirit.  Whatever the case, the 
  framework should follow that subject, and there 
  has to be a finality to the subject. 
   
  The vignette framework occurs within 
  approximately three scenes or small acts: 
   
   
  (1) Exposition - The first scene should 
  be the scene that sets the PC’s on the path to 
  finding the answer. Even though this is the 
  exposition scene, it is still a scene that is being 
  played. Make the scene dramatic from the start, 
  and focus the questions on setting the stage for 
  the rest of the arc. 
   
   
  (2) Rising Action - By the end of the 
  Exposition scene there will be a handful of 
  threads to explore (including any from previous 
  adventures). Pick one that makes most sense 
  towards the theme. Again, this is a dramatic 
  vignette – a slice of life where something 
  happens. Things should be heading towards 
  some conflict or challenge, and the questions 
  you want to ask are the troublesome ones that 
  take you straight towards that conflict or 
  challenge of the theme. 
   
  (3) Climax - This is the scene where 
  answers are found, the conflict is met, or the 
  challenge is overcome. Threads should be 
  fighting for the limelight, and pick the one that 
  will lead towards closure.  
   
   
  (Optional) Epilogue - Wrap things up in 
  a montage-style format for this “scene”, as 
  necessary. Narrate any fall-out. 
   
   
   
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  After that, use the framework again, but with 
  a new focus. The hideout has been found. What 
  has the nemesis been up to? The kaer has been 
  discovered. What horrors or survivors are found 
  therein? The gift has been learned. What tale can 
  stem from the spirit’s problems or using the gift? 
  Consider each cycle of the framework to be a 
  chapter. 
  It is critical to understand that this 
  framework, and frameworks in general, do not 
  owe allegiance to a single thread. In the vignette 
  framework a new thread may be the main thread 
  for each of the three scenes, or there might be 
  one thread for all the scenes. It is best to decide 
  which active thread is most pertinent at the time 
  of needing the thread.  
  Follow what makes sense for scene’s 
  direction. If at the beginning of the Rising 
  Action scene the scene abruptly ends, this does 
  not mean the next scene must be the Climax 
  scene.  
  This goes for any “and unexpectedly” 
  derailments. If there are a multiple threads that 
  must be followed in the Rising Action sequence 
  so that multiple scenes are required to tie them 
  all together for the Climax, then follow the 
  Rising Action in a small act of multiple scenes. 
  If another Exposition scene is required because 
  the threads in the first scene just weren’t there, 
  there is nothing stopping another Exposition 
  scene.  
  The idea of the vignette framework is that 
  there is somehow going to be a short arc with 
  heading and finality. If the Exposition scene is 
  wrapping up, it is known that things are heading 
  towards a Rising Action, even if the particulars 
  aren’t known. At the final scene it is known that 
  the vignette’s theme is going to end even if the 
  entire story is just beginning.  
   
   
  Origins of CRGE 
  The vignette framework was the idea that became the first 
  concrete element of CRGE. I was unhappy with my meandering 
  solo RPG play because, unlike in a GM-run RPG, there never 
  seemed to be a conclusion. Things were more like real life where 
  the “sandbox” never ended. The “sandbox” play is totally valid, 
  but I needed something more conclusive and dramatic for my own 
  solo RPG play. 
  At the time, I was using Mythic, and my idea was to use the 
  framework of a “Three Scene RPG”, which also had a nice ring to 
  it. That way I could play so many of my RPG’s. I could run a tale 
  of the Arab Spring in Cairo with Werewolf: the Apocalypse, and 
  then I could fly in to Atomic Robo RPG with a brainstormed 
  session involving Mayan pyramids and the vampire dimension. 
  All the story hooks in the Monster Manuals and friends could be 
  utilized! 
  I then moved onward from this Three Scene RPG to see how I 
  could use the dramatic structure and finite story chunks in a whole 
  GM emulator system. The culmination was CRGE. 
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  Vignette Framework Tutorial – Being Burglarized 
   
  This tutorial will walk you through a session of 
  CRGE roleplaying under the vignette 
  framework. It is slightly more heavy-handed in 
  focusing the vignette to a tutorial.  However, 
  you should feel free to take control at any point 
  and ignore the guidance. For an example of this 
  tutorial see Appendix II, pg. 28. 
   
  Step 0: Pick a broad context or system, such as 
  steampunk or Middle Earth. Otherwise, just use 
  the real world as the context. Quickly envision a 
  PC for the context. You can use your favorite 
  role-playing game system if you want, or just 
  use CRGE to determine success or failure of PC 
  actions. Also, grab a couple notecards (see 
  Bookkeeping, pg 18) or a sheet of paper for this 
  tutorial to write down facts. 
   
  Step 1: Write down the vignette’s theme of 
  “being burglarized” in big letters on one 
  notecard. Take two more notecards, and on each 
  write the threads (1) “what have we lost (and 
  why)”, and (2) “who burglarized us”. Create a 
  scene by choosing (1) or (2) as a main thread, set 
  the stage “To Knowledge”, and set the location 
  of the scene. Write this down on a scene 
  notecard. 
  Remember that the main thread is the one 
  that you are mainly focusing on to move along 
  in story fashion. 
   
  Step 2: Play out the first scene, Exposition, of 
  the vignette, until it is determined that enough 
  has been learned to take action. Update the 
  threads as necessary, which could be (1) “we 
  need to get our [thing] back”, or (2) “[this guy] 
  burglarized us”. Close out the scene notecard. 
  Step 3: Create the second scene, Rising Action, 
  with a main thread and location of the scene. 
  Use a new scene notecard. More than likely you 
  will want to set the stage “To Conflict”, but you 
  might want to keep it at “To Knowledge” if you 
  feel you need to learn more.  
   
  Step 4: Play out the second scene, Rising 
  Action, until the problem or conflict is about to 
  climax. The goal here is to find a deeper 
  problem or more conflict with the main thread. 
  If the Exposition scene is learning and the 
  Climax scene is confrontation, the Rising Action 
  scene is the use of the knowledge to lead to a 
  final showdown. It’s plan preparation, putting 
  the knowledge to use, or lining up the dominoes 
  just so. For example, if Rising Action was 
  chasing down [this guy], the Rising Action 
  scene could end just before confrontation with 
  [this guy]. Close out the scene notecard when 
  finished, and update any affected thread 
  notecards. 
   
  Step 5: Create the final scene, Climax, with a 
  main thread and location of the scene. Use a new 
  scene notecard. The scene of the stage will likely 
  be “To Conflict” or “To Endings”. The goal is to 
  resolve the theme with some sort of resolution, 
  even if the resolution is not particularly happy 
  for those burglarized. 
   
  Step 6: Play out the final scene, Climax, until a 
  major portion of the theme resolves. Feel free to 
  montage the falling action or closing portion of 
  the dramatic structure. 
   
  For a complete example of this framework 
  tutorial see Appendix II. 
   
   
   
  For a more CRGE frameworks check out conjecturegames.com! 
   
   
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  Tapestry 
  Multiplayer CRGE Module 
   
   
   
   
   
   
  Life is more fun if you play games. 
   
   
  --  Roald Dahl 
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  25 
   
  Tapestry – Multiplayer CRGE Module 
   
  Tapestry is a roleplaying overlay for use in GM-free multiplayer games, especially play-by-post 
  (PbP) games, which are roleplaying games played on an internet forum.  Tapestry is used to define a 
  rotating “hat of responsibility”. It is not players rotating absolute GM responsibilities, but each turn in 
  Tapestry a player is taking the mantle of the game. Players in the collective game will be ensured to have 
  screen time and personal progression for their own characters.  
  The goal of Tapestry is also to reduce the incidental deaths many PbP games face where a lot of work 
  is aimed at a GM and a single player quitting can destroy the whole game. With Tapestry, as long as there 
  are players willing to continue the game there is no reason the game has to end. 
   
  Scene Holder 
  Each turn a different player sets the scene. The scene holder’s responsibilities are to: 
  (1) Set the scene in terms of location, main thread, and time frame; 
  (2) Include or exclude any other NPC’s; and,  
  (3) Clean up the scene when it ends. 
   
  Other Players 
  The non-scene holding player must: 
  (1) Proclaim whether they are going to be part of the main scene. (The default being that they will be.) 
   
  Decisive Movement and Fade 
  In a PbP CRGE game, the biggest detriment 
  from the real time communication of a tabletop 
  game is that back and forth collaboration in 
  play-by-post style will slow the game to a halt. 
  In a PbP game without a GM, an acting player 
  must act decisively, which applies to both asking 
  questions of the Loom of Fate and interpreting 
  the results. This also allows other players to 
  react as players to the decision. 
  In a GM-run game it is often the GM’s 
  responsibility to move things forward. If a 
  conflict or interest in a scene has been resolved, 
  the GM would either add a new conflict or 
  interest or change the scene. Every player in 
  Tapestry should feel like they have the same 
  responsibility and power. 
  However, there is the concept of “fade”, 
  which allows for collaboration between players 
  all having said responsibility. If a player 
  introduces something that requires reaction, the 
  player (and her PC’s) should fade to the back to 
  allow the other players (and their PC’s) a chance 
  to react. Once it appears the other players have 
  had a chance to make their mark, the faded 
  player returns to find that something different 
  from what they expected. Don’t throw the 
  grenade and then cover it yourself. 
   
   
  Combat 
  Combat can be a large part of a roleplaying 
  game. Let’s step back in to the realm of a 
  conventional GM. The goal of roleplaying is to 
  have fun. The goal of a GM is not [usually] to 
  destroy the PC’s. It depends on the accepted 
  social contract at the table. 
  With that in mind, let’s step back to CRGE 
  where there is no GM to rule the table and fudge 
  the dice. There are a bunch of enemy NPC’s that 
  want to dish pain to the PC’s, or vice versa. How 
  can this play out with a supreme arbiter? 
  The first suggestion is to give each player 
  responsibility for some of the NPC action 
  determinations. When a player acts for the PC, 
  the player will also then subsequently act for a 
  fraction of the enemy NPC’s. If one player does 
  not have a PC present and then that one player 
  can control the NPC’s. It is still a good idea to 
  lump all NPC actions together in one post if 
  possible. 
  That takes care of when the enemy NPC’s 
  act, but it is more important to determine how 
  they act. A good starting point is to be fair in 
  divvying up attacks. If there are 6 NPC’s and 
  two PC’s have each PC take two NPC’s attacks. 
  The big “unless” is if there are facts that would 
  shape how the NPC’s should act. For example, if 
  a PC is holding the thing the NPC’s want, well, 
  the NPC’s will probably be focusing on that PC. 
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  26 
   
  Finally, PC damage. It’s going to suck when 
  your PC gets damaged in a detrimental way by 
  another player’s control of an NPC or 
  environment. The social contract at hand 
  requires that you accept the action in some form. 
  However, it is largely not fun to be taken out of 
  play (and possibly the game with that PC). In 
  such a case, offer to make a concession. Perhaps 
  your PC runs away or gets knocked over board 
  rather than simply dying. Make it dramatic and 
  consequential. Losing can create great stories. 
  The best thing to do is create a Meeting of 
  Minds (pg. 19) so that everybody is on the same 
  page when damage is going to be served. 
   
  OOC Communication 
  The game should also have a venue for out-
  of-character communication in a PbP game, 
  usually in a forum PbP environment a separate 
  forum thread will suffice. This is helpful in 
  getting clarifications and discussing where each 
  player wants to head in the game.  
  The most important piece of OOC 
  communication is asking when to move on. It is 
  the scene holder’s responsibility to clean up the 
  scene, but it is not the scene holder’s 
  responsibility or power to end it at any moment. 
  Make sure that each player is at least implicitly 
  done with the scene, but an explicit deadline by 
  the sceneholder (“please let me know by 
  tomorrow night if you want the scene to 
  continue, otherwise I will close out the scene”) 
  is not a bad idea either. 
   
  Elsewhere 
  In a PbP game, a non-scene holding player 
  whose PC is not present in the main scene can 
  set a sidebar scene with another thread (different 
  from the scene holder’s chosen thread). The 
  guideline is that this sidebar scene is not a scene 
  to resolve threads, have focused activity, or 
  modify the active scene. The sidebar scene, 
  however, can create facts that modify future 
  scenes. The sidebar scene will largely ignore 
  many “unexpectedly” modifiers. 
  The sidebar scene is generally only going to 
  be one post long. It is a time for the PC to go off 
  and take care of some other business. Combat, 
  heavy conflicts, and generally anything that 
  would take away the focus of the main scene 
  should be avoided in sidebar scenes. 
  The sidebar scene player should still be 
  active, as much as possible, in the main scene by 
  collaborating with Loom of Fate questions and 
  taking NPC roles. 
   
  A Return to Notekeeping  
  It is critical to CRGE in any aspect of play 
  to take notes. After all, how will one get to a 
  point of glorious conjecture if there isn’t a 
  pyramid base of facts to rest upon? In a tabletop 
  game there should be notecards all around with 
  threads, scenes, NPC’s, etc.  
  In a PbP game it gets a little trickier in 
  finding a common place for the notecards. A 
  wiki is usually a pretty good start, but it can be a 
  chore to update it. A shared document, such as a 
  Google Doc, is also a good idea, but formatting 
  can be an issue. There is no perfect answer, but 
  it is necessary in some form to have some sort of 
  bookkeeping to keep every player on the same 
  page. 
  Whatever players choose for a shared PbP 
  notetaking format, it is also a great idea to keep 
  a set of physical notes at home. The ease of 
  accessibility of dead-tree notes cannot be 
  underestimated, especially when one computer 
  window is already being given to writing the 
  online post. It is also far easier to give thought-
  weight to a fact created by another player when 
  you are writing it down as well.
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  Appendix I: Tables and Quick Guides
   
   
   
  Stage of the Scene 
  To Knowledge – use if the main thread is new and just 
  beginning to be explored to create a lot of surprises. The 
  focus of the questions should be one of information 
  gathering.  
  To Conflict – use if the main facts of the thread are 
  known so that this stage cements the facts and pushes the 
  story forward. The focus of the questions should be one of 
  finding conflict.  
  To Endings – use if the main thread is nearing the end of 
  its journey, which keeps things simple as the story heads 
  towards falling action and resolution. The goal of this stage is 
  to promote PC action towards resolution of a thread. 
   
   
  Table 2: Unexpectedly 
  roll d20, see pg. 10 for explanations
  1 
  foreshadowing 
  6 
  to knowledge 
  11 limelit 
  16 
  cross-stitch 
  2 
  tying off 
  7 
  framing 
  12 entering the red 
  17 
  six degrees 
  3 
  to conflict 
  8 
  set change 
  13 to endings 
  18 
  re-roll/reserved 
  4 
  costume change 
  9 
  upstaged 
  14 montage 
  19 
  re-roll/reserved 
  5 
  key grip 
  10 pattern change 
  15 enter stage left 
  20 
  re-roll/reserved 
   
  Scene Recipe 
  (a) the scene must have at least a scene controller’s PC; 
  (b) the scene must have a main thread; 
  (c) the main thread must set the stage of the scene; 
  (d) the scene must have a location; and 
  (e) the scene will likely have other PC’s or NPC’s. 
   
   
   
   
   
  Table 1: Loom of Fate 
  roll d100
  Result 
  To Knowledge
  To Conflict 
  To Endings 
  Yes, and unexpectedly 
  96-100 
  99-100 
  100 
  Yes, but 
  86-95 
  95-98  
  99 
  Yes, and 
  81-85 
  85-94 
  81-98  
  Yes 
  51-80 
  51-84 
  51-80 
  No 
  21-50 
  17-50 
  21-50 
  No, and 
  16-20 
  7-16 
  3-20  
  No, but 
  6-15 
  3-6 
  2 
  No, and unexpectedly 
  1-5 
  1-2  
  1 
  Surge Count 
  Use a d20, and for every question 
  answered “yes” or “no” add +2 to 
  the Surge Count on the d20. Add 
  (roll 51+) or subtract (roll ≤50) the 
  Surge Count from the roll. When 
  the answer is not just “yes” or 
  “no”, reset the Surge Count to 
  zero (0). 
  The Helldragon (order #6976544)
  
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  Appendix II: “Being Burglarized” Example 
   
  This is an actual, randomly-rolled example of the “Being Burglarized” tutorial above (pg. 23). Text and 
  numbers in bold are Loom of Fate questions and rolls unless specified otherwise. Hypertext is the Surge 
  Count. And underlines are facts that the Loom of Fate creates. 
   
  Step 0: I like the idea of a burglary into a secure location. I am going to go with a burglary into a secret 
  spy agency. My PC is going to be one of the spies that works out of the agency’s location. To give it more 
  context I am going to set this in the Cold War, and I also make the spy agency a U.S. facility. 
   
  Step 1: I make my notecards, and my scene is going to be at the U.S. facility with the main thread “what 
  have we lost (and why)”. I set the stage at “To Knowledge”.  
   
  The first thing I want to ask is how concealed was the burglary, which will help me set the scene. Was it 
  so well done that only a few in the agency are aware of it? 17 = No, and… the burglary has caused 
  such an uproar that the whole agency is in a chaotic frenzy. No Surge Count since the first roll was not a 
  vanilla “no” answer. I make notes on the threads since this answer seems pretty important. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Step 2: I decide my PC, Bernard Fulcher, has been tasked with writing a report on the burglary. He’s a 
  pedantic paper-pusher to say the least, and the agency has given this desk jockey this task to keep him 
  busy. 
   
  Remember that instead of promoting “who” as the main thread, I promoted “what have we lost (and 
  why)”. So instead of focusing on whodunit, I am going to help Bernard along the way towards his report. 
   
  Did the burglars steal sensitive documents? 84. Yes, and… they got more than they were looking for. I 
  am going to say that the more sensitive stuff was what they accidentally nabbed. This way the agency has 
  that time to respond before the bad guys realize what they have.  
   
  Was the more sensitive stuff a spy non-official cover (NOC) list? 39. No.2 I want to say that the stuff 
  they came for was some mission files, and they also got something better. It wasn’t the names of the 
  operatives. I’ll go with nuclear launch codes.  
   
  Vignette Framework Theme 
   
  Being Burglarized  
  Thread: What Have We Lost (And 
  Why) 
  Thread: Who Burglarized Us 
   
  -smash and grab burglars 
  Scene I – Exposition 
   
  Main Thread: What Have We Lost 
  (And Why) 
   
  Location: U.S. Spy Facility 
   
  -was a smash and grab burglary 
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  29 
   
  Scene II – Rising Action 
   
  Main Thread: Who Burglarized Us 
   
  Location: Chinatown 
   
  -smash and grab burglars working 
  for Triad 
  -burglars don’t know what to do 
  with nuke codes 
  With Bernard’s details-focused nature, I’m sure that he has figured out that the mission files were right 
  next to the nuclear launch codes, perhaps on the Director’s desk. I can envision Bernard asking a new 
  operative what they put on the Director’s desk and getting the response “yeah, I put the mission files right 
  on top of the nuke codes.” 
   
  Were the operation files they stole related to nuclear missiles? 22 – 2 = 20. No, and… they are not in a 
  position to use that information. This is starting to feel like the burglars “got more than they bargained 
  for”. Yet, why did the burglars still go after some mission files?  
   
  Was it Mafia related? 14. No, but… it is crime related. I think it was the Triad that contracted the 
  burglars. If they were actual Triad members, I feel they wouldn’t be so smash-and-grab (at least in this 
  pulp spy world).  
   
  “What were the mission files?”, responds Bernard to the new operative in a face palm manner. 
   
  “We were going to assault Triad operations that were funneling Soviet money,” says the new operative. 
   
  “They got the nuke codes too.” Bernard relays this information to the new operative just to see the 
  expression. 
   
  I decide to end that scene since I got the Exposition of the theme pretty much covered. I update the 
  threads and the scene notecard. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Step 3: I decide that Bernard is sick of paperwork and wants some fieldwork. The agency’s HQ is in San 
  Francisco, and the burglars are probably still in town. Anyway, Bernard doesn’t tell anybody so he can go 
  off and do some detective work on his own. 
   
  This scene is going to be about town. The main thread 
  is going to be “who burglarized us”. I could rename 
  both threads since I’ve kind of answered the questions, 
  but right now it would just be the same to me. I am 
  going to keep the stage “To Knowledge” since with 
  Bernard I’d rather learn more than chase down the bad 
  guys and kick down the door. 
  Vignette Framework Theme 
   
  Being Burglarized  
  Thread: What Have We Lost (And 
  Why) 
   
  -Triad targeted mission files and 
  accidentally got nuke codes 
  Thread: Who Burglarized Us 
   
  -smash and grab burglars 
   
  -don’t know what to do with nuke 
  codes 
   
  -Triad contracted 
  Scene I – Exposition 
   
  Main Thread: What Have We Lost 
  (And Why) 
   
  Location: U.S. Spy Facility 
   
  -was a smash and grab burglary 
  -Triad stole mission files and 
  accidentally got nuke codes 
  The Helldragon (order #6976544)
  
  30 
   
   
  Knowing what he knows, Bernard is able to go off in an unexplored direction that the agency hotshots 
  have so far overlooked. He says he is taking a long lunch at Chinatown since he plans on working through 
  the night figuring out the files situation. No one responds to his out loud “request”. Off he goes to 
  Chinatown. 
   
   
  Step 4: Do the Soviets know of this break in? 59. Yes2. I am going to say that they are after the burglars 
  as well. This might put the burglars in hiding. 
   
  Bernard goes to his favorite noodle shop. Does he hear anybody talking about the burglars? 79 + 2 = 
  81. Yes, and… the person talking is one of the burglars. This is much more direct than I intended, but 
  sometimes the story is very direct.  
   
  Here is Bernard in his favorite noodle shop, and fate just dumps this right in to his lap. One of the 
  burglars is picking up food to take back to the hiding place. The facts fall in to place. The burglar is 
  asking about Russians looking around Chinatown for them, or something similarly obvious to Bernard. 
  The burglar leaves the noodle shop, and Bernard tries to follow as nonchalantly as he can. 
   
  Does the burglar notice Bernard trying to tail him? No.2 As poor as Bernard is at trying to read his 
  newspaper and smell the roses, the burglar is too spooked to notice a desk-worker tailing him. The burglar 
  is watching for people that look like Russians, spies, or worse. 
   
  Does the burglar lead Bernard to the hideout? Natural 1. No, and unexpectedly… 12. Entering the 
  Red. The Russian spies show up! I guess I could have asked if it was the Triad instead, but I went with 
  my gut. This way it’s bad for Bernard, and bad for the burglar. 
   
  Does Bernard notice the Russians? 39. No.2 I accidentally asked the wrong question. I meant to ask if 
  the Russians noticed Bernard. If Bernard is watching the burglar, then I am assuming that the Russians 
  are watching both Bernard and the burglar since they are not making their move yet. 
   
  Does the burglar notice the Russians? 51 + 2 = 53. Yes.4 This is interesting. I think that the burglar is 
  taking the Russians on a wild goose chase in the hopes he will lose them.  
   
  I have had a pretty good Rising Action scene. Things went haywire pretty quickly, and I feel that a climax 
  is coming pretty quickly. I update my notecards. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Thread: Who Burglarized Us 
   
  -smash and grab burglars holed up 
  in Chinatown 
   
  -don’t know what to do with nuke 
  codes 
   
  -Triad contracted 
   
  -Russians are after them for nuke 
  codes 
  Scene II – Rising Action 
   
  Main Thread: Who Burglarized Us 
   
  Location: Chinatown 
   
  -smash and grab burglars working 
  for Triad 
  -burglars don’t know what to do 
  with nuke codes 
  -Russians are after the burglars 
  -Russians tailing Bernard and 
  burglars 
  The Helldragon (order #6976544)
  
  31 
   
  Scene III – Climax 
   
  Main Thread: Who Burglarized Us 
   
  Location: Chinatown Cemetery 
   
  -Bernard stalking unaware burglar 
  -Russians stalking Bernard and 
  burglar 
  -burglar trying to lose Russians 
  -burglar has food for friends 
  Scene Notes: For this tutorial example, I am keeping things pretty confined to the two original threads. In 
  another game, I might have already created a thread for both the Triad and the Russians. Neither is the 
  right way, but if I did create a thread for the Triad, I would be asserting that I want the Triad to become a 
  stronger story element. Right now they are not an active player. 
  By keeping to the original threads I am saying I want to learn more about why the mission files were 
  targeted and who burglarized us. I still don’t know much about either. I could have decided that I don’t 
  care anymore about “who burglarized us” and modified the thread to “smash and grab burglars on the run 
  from Russians”. 
   
   
  Step 5: The showdown happens at an old cemetery park. In my mind I am picturing something small like 
  the Alexandria National Cemetery with a Chinese angle. Anyway, with the three parties present there will 
  be some kind of conflict (even if just social), and I still want to know more about the burglars. I promote 
  the thread “Who Burglarized Us” as the main thread. 
   
  I’m initially not sure whether to set the stage of the 
  scene “To Conflict” or “To Endings”. The conflict 
  is here, in a sense. Ultimately, it feels like all the 
  dominos are in place for this vignette so I go with 
  “To Endings”. 
   
  Everybody is in the cemetery park at the start of the 
  scene. 
   
   
  Step 6: I think a cloud has passed over, or the 
  weather has changed. I picture it as bright and sunny when Bernard set out on his grand adventure, but 
  now the mood has changed. Something bad is going to happen. I don’t see a great ending for anybody 
  here (except perhaps the Russians). 
   
  Do the Russians lose sight of Bernard and the burglar? 9. No, and… they are basically in tactical 
  control. With this box in, I am going to say Bernard has the chance to approach the burglar since the 
  burglar was watching the Russians anyway. 
   
  “Ahem,” Bernard says nonchalantly to the burglar, “seems like we’re in a bit of a pickle.” 
   
   “Who’re you,” the burglar is watching the exits to the cemetery park get sealed up by Russians standing 
  guard. 
   
  “I work for the agency, which seems a bit more friendly to your cause at the moment than our friends.” 
  Bernard is channeling as much of his spy colleagues demeanor as he can. “Who are you, thief?” 
   
  “A pickle.” 
   
  Does the thief think he can escape the Russians? 6. No, and… he’s ready to bring them down with him. 
   
  He pulls out a pistol, and starts using the old grave stones as cover. 
   
  Bernard backs up. The day away from his desk has just gone horribly awry. His senses go hyperalert, and 
  the musk of the graveyard is combined with the Chinese carry-out. The air around them is silent, waiting 
  for the gathering storm. 
  The Helldragon (order #6976544)
  
  32 
   
   
  Does Bernard get out during a commotion? 93. Yes, and… he gets away completely.  
   
  As if in unison the Russians start moving towards the burglar. Bernard sees the movement, and trips over 
  a gravestone. As he hits the ground, he hears silenced bullets start whizzing around the graveyard.  
   
  Bernard scampers along the ground, and runs through a heavy brush wall back to the street. The bullets 
  sound syncopated to the raindrops that are just beginning to fall.  
   
  Bernard gets back to the office unsure of whether to tell anybody what happened. He never got lunch. 
   
  I end the scene. I make a new thread “Race Against the Russians” because that sounds like where the 
  story is going. I modify the notecard of the thread “Who Burglarized Us” to note that one burglar is MIA. 
   
  Final Notes: The 
  dice, especially in 
  the last scene, 
  really seemed 
  erratic, which is 
  great! I set out with 
  Bernard likely 
  doing an 
  information type 
  vignette, and it 
  turned completely 
  action-oriented. I 
  am a little 
  disappointed that, 
  for this example, 
  the initial threads 
  did not get 
  modified or 
  resolved as much 
  as I wanted. 
  However, that’s 
  partly what solo 
  roleplaying is all 
  about: having your 
  best intentions go 
  awry. So, in my 
  mind, this vignette 
  was a success for 
  me. I really 
  enjoyed the story 
  that occurred. 
   
   
  The Helldragon (order #6976544)
  
SOURCE: textdata/thevault/Solo/2. GM Emulators & Generic Solo Rules/CRGE.pdf