Everest Pipkin

Art by H.B. Tyson

A Game for Ending the World You’ve Made

WOR L D

ENDING

GAME

By Everest Pipkin
Getting Started… Introduction 7

Role of Players 8

Role of the Director 8

Playing the Endings 9

Principles of Play 10

Additional Mechanics… The Camera 11

Edits and Cuts 12

Playing Online 13

Alternate Rulesets 14

Notes on Style of Play 15

Starting Play… Safety Mechanics 16

Summary of Play 18

Up Till Now 20

Camera Directions 22

The Endings 24

Acknowledgments 80
 THE ENDINGS

26 The Omen 50 Take the Fall 68 The Flashback

You witness a sign. To let another have their A GAME FOR ALL PLAYERS.
happy ending, you are Free association
going to have to take memory.
28 The Confession the fall.

(The Lie)
A truth held close,
70 Apocalypse
52 Karaoke Bar A GAME FOR ALL PLAYERS.
or a lie spoken with
A world with a stage.
conviction. Sometimes it all goes up
in flames.

30 The Reveal 54 20 Years Later

Showing your hand.
A glimpse at life after. 72 Full Circle
A GAME FOR ALL PLAYERS.

Where did this story

32 The Revision 56 Passing the Torch begin? What has carried
Every story ends but the through to the end?
You can’t change what
work never does. Who
has happened, but you
will be picking up what
can change how it is
you have set down? 74 The Earth
remembered.
Swallows Time
58 Ride into the A GAME FOR ALL PLAYERS.
34 The Kiss
Sunset Watch the landscape
A conversation that ends erode the evidence of all
Some goodbyes are just
in a kiss. that you were.
a dwindle.

38 Anime Music
60 I Need Answers
Video
The truth.
Our own private fancam.

62 Death
42 Reverse Heist
Kill your darling.
Putting something back
where it belongs.
64 Tableaux 78 Last Shots
A GAME FOR ALL PLAYERS. Cut to Credits
46 Wrecking Ball
A series of frozen Montage
Destroy something in images, like a roll of film
your world. printed long after the Zoom Out
party is over. To be continued…
Credits (Optional)
Extras (Optional)

World Ending Game

 WORLD ENDING GAME

This is a series of small games that you can play to end a campaign
or story, for when it is time to say goodbye.

World Ending Game is cinematic — it will discuss the camera, the

lighting, the mood, the frame. It seeks to emulate falling action,
towards closure; it understands the power of a series of images
and the impression of a final shot. It wants to wrap your story into a
sequence that will haunt you, even as you leave it.

Think about screenplays and films, or the final episode of a television

show that you know will not be renewed. Think about saying goodbye
to friends who are moving away. Think about the last day of summer
vacation. Think about funerals. Think about the restaurant that closed
all those years ago, and the noodles they used to serve. Think about
the best birthday party you ever had. Think about putting off the last
chapter of a book until tomorrow. Think about grief, and relief. Think
about the end of a world. Think about the feeling of emerging from a
movie theater into a dark parking lot, under the stars.

6
 GETTING STARTED

Introduction

World Ending Game is written to serve as the last session of a

campaign in any system. It should come after the finale, whatever that
is for your table: the dragon defeated, the government felled, finals
week over, the great mystery solved. World Ending Game does not
have mechanics for deciding big story outcomes. Instead, it offers a
series of scenes towards closure.

To play this game, you will need:

– A copy of the book or PDF

– A shared space in which to talk with one another (digital
or physical)
– Several hours for gameplay (and breaks)
– A handful of 6 sided dice (or a digital equivalent)
– A way to play music to everyone
– A group that wants to end a world that they have made,
together

World Ending Game 7

 Role of Players

In World Ending Game, players embody the point of view of their

existing characters from the campaign that they wish to end.

When it is a player’s turn they are the Leading Player. The Leading
Player has agency in setting scenes and describing events, as detailed
in the rules of each game, called Endings.

All other players (including the GM) may enter scenes as Supporting
Players, embodying other characters present in the scenes.

Additionally, the GM takes on the role of the Director.

Role of the Director

In World Ending Game, the GM takes on the role of the Director.

The Director has particular control over the camera, pacing, lighting,
framing and focus of the world.

At any point in any scene (even in the midst of player narration or

dialogue, as appropriate) the Director may interject with a Camera
Direction, as detailed in Starting Play.

On the Director’s turn as Leading Player, a player not in the scene may
temporarily adopt the role of the Director, borrowing the camera and
interjecting Camera Directions instead.

For tables without a GM, the role of the Director for each scene is taken
by the player to the Leading Player’s left, rotating as turns progress. The
table decides together when it is time to finish World Ending Game,
and which scene to end with.

8
 Getting Started

Playing the Endings

Going around the table in a circle, players pick and create scenes
according to the rules of each Ending.

The Director begins the game with any one of the Endings. Once
this scene is over, the player on the Director’s right then selects a new
Ending of their choice, becoming the Leading Player.

The current Leading Player always has narrative control in setting the
scene and choosing how their character acts inside of it, as detailed
by the rules of each Ending.

Any other players (including the Director) who enter the scene as
Supporting Players have control over their own character’s actions
inside the scene, as detailed by the rules of each Ending.

The Director controls the camera by describing Camera Directions.

Once a scene has concluded, the circle continues to the right, the next
player in the circle becoming the Leading Player. Players may also
elect to skip their turn, waiting for the circle to come back to them.

Generally, the Leading Player remains the person who started the
scene until its conclusion, but some Endings switch scene control
mid-game, as detailed by the rules of each Ending.

Dice are used sparingly within World Ending Game, but may always be
re-rolled for a different result. This is because you are not on one last
adventure, and there are not any new stakes; you are saying goodbye,
and it deserves to be the right farewell.

A standard game will have a few scenes led by each player, but you
may choose to end the game once everyone has had at least one turn,
or keep going until it feels right. You will probably know when you are
done (and everyone should have a chance to get that last scene in), but
the Director ultimately holds the power to end the story.

World Ending Game 9

 Principles of Play

Players
Know what you want, trust your motivations, and flow from action to
action and line to line. Make space for others to join in.

Director
Introduce your directions into scenes, then retreat to watch and listen.
Set the pace and keep the rhythm.

Everyone
Treat the conversation like a piece of music. Find joy in the act of
playing it to finish, in concert with others.

10
 ADDITIONAL MECHANICS

The Camera

World Ending Game is cinematic, borrowing from conventions of film.

Actions and scenes are framed by the camera, a device that views the
world in a particular way.

The Director generally controls the camera, but may give camera
control to another player when The Director is busy embodying a
character within a scene.

The camera is controlled by Camera Directions. A Camera Direction

could include: a name or a description of the direction, what the
camera is doing, any new scene information added by the direction,
any new aesthetic choices added by the direction, and how this
direction affects the scene in general.

For instance, a Camera Direction could sound something like:

The camera ZOOMS IN on the visitor's face and the sunlight breaks
the clouds, illuminating her features.

or…
JUMP CUT to after midnight. The moon is high in the sky and the
lawn is littered with abandoned red cups. A few stragglers are
making a half-hearted attempt to clean up, but the bulk of the party
has gone off somewhere - home, cars, all-night diners. The camera
pans from the lawn to the house and frames the kitchen window,
yellow light spilling out. What does the camera see?

or…
The camera CUTS AWAY to a perfect replica of the aforementioned
letter sitting in a desk drawer, two miles away. The muffled sound of
pleasant dinner conversation can be heard through the study wall.

These instructions should aim to be concise, evocative, fluid and

interspersed regularly throughout play.

The Camera Directions page in Starting Play contains useful

shorthand for these directions.

World Ending Game 11

 Edits and Cuts

Remember, this game is modeled after the act of making a film. If you
feel a scene needs to be struck it can be left on the cutting room floor.
Edits are an integral part of this kind of storytelling.

If you feel that something needs to change, you may pause a scene
at any point or wait until it concludes. Either way, you should then
talk with your table out of character. Discuss why you are cutting
or editing this scene. This could range from “wait, I just had a much
better idea” to “I felt silly!” to “this crossed a line.” Review your safety
mechanics and revise them where needed. Make sure that everyone at
the table has a chance to speak freely.

Together, you may choose to play a scene again from the top, pick a
different Ending, frame the scene as a dream or otherwise unreal, edit
or replay just a small section of the scene, or simply strike the scene
from the record entirely.

After cutting a scene, take a break to gather your thoughts before

continuing play.

12
 Additional Mechanics

Playing Online

Minor modifications to World Ending Game for online play.

Music Camera Directions

Playing music to an online group is not Small audio delays can make
a solved problem. Pick a method and interjecting Camera Directions into
test it before beginning play. Some scenes awkward. Instead, players and
options include: Director should work together to leave
space for Camera Directions. Some
• Dropping links to songs in the chat, then
options include:
counting down to press play together
• Pausing briefly after framing scenes
• Sharing your screen with sound and
or taking big actions to hear what the
playing the song on your device
camera will do
• Playing music into your microphone
• Players cueing the Director (out loud)
with noise cancellation turned off
when they are ready for a direction
• Adding a music bot to your call
• Director cueing players (raised hand
• Using an online service for synced or in the text chat) when they have a
music direction to add

• The Director using text chat for Camera

Directions during scenes
Text Chat
Online play offers the opportunity to
drop into text chat. This can be useful
for potentially difficult Endings (Death,
The Kiss) as well as music-oriented
Endings (Karaoke Bar, Anime Music
Video). If you elect to use text chat for
a scene, ask your group to direct their
attention to the text window, mute
yourselves, and play out the scene
there before returning to spoken play.

World Ending Game 13

 Alternate Rulesets

Small hacks for alternate styles of play.

Jukebox Musical GM-less

Every scene has a musical score. For tables without a GM, the player
During Up Till Now, gather links to at to the Leading Player’s left embodies
least 6 songs per player. Leading Player the Director, rotating with the action.
chooses music for their own scenes, Alternatively, players may trade the
with Director offering suggestions and Director role between them more
direction where appropriate. Consider loosely, with players not present in
when and how the music enters scenes taking the camera instead.
scenes; does it play under all of the Either way, the table decides together
action? Does it swell up at a dramatic when it is time to end the game, and
moment? Is it diegetic (playing in the how to end it.
world), or is it placed on top? Consider
the beat, tempo, and mood of the Popcorn
music you select. Eschew the turn order, with players
taking their turn and choosing Endings
Director out of Rotation whenever it feels right.
The GM removes themselves from play
rotation, instead focusing on directing Season Finale
the scenes of the players with attention; You are not ending your world, but you
useful for highly-stylized, character- are dramatically changing it. Play these
driven stories. Endings like they’re a stolen car.

14
 Additional Mechanics

Notes on Style of Play

Every table has a different play style (and you’ll find your groove) but
this game is written to be played fluidly, with few pauses for rules
checks, speculation, or but-what-if hesitations. If you are not sure how
a particular mechanic works, it is better to roll with it than stop to
make sure you are playing “right”. Many of the Endings are little more
than conversational prompts — it is always okay for a conversation
to move in an unexpected direction, or to integrate new rules as you
make them.

In general, World Ending Game is a good place to take big swings.

This is the very end of your story and you don’t need to worry about
consequences down the line, or what items to hold onto, or the
possibility of being undercut by a failed roll.

Instead, have a last dance you can believe in.

World Ending Game 15

 STARTING PLAY

Safety Mechanics

The safety mechanics of your specific table (written or

unwritten) should be respected in this game, and may
complement or override any of the following suggestions.

Establish your Rating (as envisioned for an imaginary audience):

G (General Audiences) — All ages.

PG (Parental Guidance Suggested) — Some material may not be

suitable for children.

PG-13 (Parents Strongly Cautioned) — Some material may be

inappropriate for children under 13.

R (Restricted) — Under 17 requires accompanying guardian.

NC-17 (Adults Only) — No one 17 and under admitted.

Establish or refresh your Lines and Veils:

Lines represent themes, behaviors or events that never appear in the

story and effectively do not exist in the world of the game.

Veils represent themes, behaviors or events that do not appear on

screen, but may exist in the world. These are “pan away” or “fade to
black” subjects.

Endings or prompts that touch on your table's Lines and Veils or are
otherwise triggering may always be skipped.

16
 Starting Play

As always, the health of players is more important than the dramatics

of a story. Care for those at your table above all else. Have a system
in place to pause and reassess scenes. Lines and Veils are not a good
safety mechanic for every table; use what works for you.

When a safety mechanic is invoked or a player is uncomfortable, pause

play to talk out of character with your table. Discuss why play has
been paused and what is needed to continue play more safely. Review
and revise your safety mechanics, as appropriate. Accommodate any
necessary changes with or without explanation.

In general, do not feel obligated to keep every scene. Remember that

this is a film, and you can always edit, redo, or cut a scene. (See Edits
and Cuts.) Cutting a scene from the story does not erase it from having
been played at the table. Make sure that everyone feels as safe as
possible before continuing play.

Ending a story and leaving the people and places you have come to
love can be extremely hard. Be kind to one another, take breaks, respect
boundaries, reward and support feeling emotion, and strive to give
everyone a proper goodbye.

World Ending Game 17

 Summary of Play

Before gathering
• Give everyone at the table a chance to familiarize themselves with
this book.

• Bring a way to play music to your group.

• Optionally, complete Up Till Now before gathering.

Starting play
• Clear your table, make yourself comfortable, get ready.

• Read the Getting Started section (Introduction, Role of Players, Role

of the Director, Playing the Endings and Principles of Play) out loud
together, taking turns.

• Complete the Safety Mechanics section together. Make sure everyone

understands the safety tools you have in place.

• Spend a few minutes on Up Till Now. (You may instead opt to do this
before gathering.)

18
 Starting Play

Play
• The Director begins with a scene of their choice, selected from the
Endings section. The rules of each particular Ending are followed.

• The player sitting to their right follows with a scene of their choice,
selected from the Endings. This player is now the Leading Player.
The Director may interject at any time with Camera Directions.

• Continue this way around the table.

• Players may also choose to pass their turn, waiting for the circle to
come back to them.

• Pause when needed for breaks, revisions, and edits.

• The game is over when it feels complete. This should have general
group consensus, but the Director has the final say in when to end
the game.

Ending play
• The Director makes sure everyone feels ready for the game — and
campaign — to end.

• Director then chooses one of the Last Shots.

• Optionally, enter Credits or Extras.

• Thank your table and celebrate the saying of goodbye.

World Ending Game 19

 Up Till Now

Take a few minutes to quietly answer the following questions about

your characters and campaign. You may wish to write these down for
quick reference during the session.

(Optionally, you may do this individually before the session begins

instead of together at the table.)

The Director
Answer the following questions:
(GM-less tables, divide these questions between you)

On non-player characters: Pick a few songs that make

• Which non-player character you think of certain non-player
feels most like you? characters or the world in which
they live.
• Which non-player character
feels the most different from Write down the names of these
you? songs, add them to a playlist, or
• Which one wants rest? gather links. You should have at
least 3 songs on this list.
• Which one seeks happiness?
• Which one feels they deserve Don’t stress these songs being
punishment? perfect; trust your first impulse.
Alternatively, if you cannot think
• Which one is tangled up in
something bigger than they of the song you want, you may
know? instead describe the kind of song
you are looking for.

On the world: Some Endings call for music

• What was set right in the world directly in their mechanics
while playing? (Anime Music Video, Karaoke
Bar, Credits) but as the Director
• What was made wrong?
you may choose to add a score
• What was never shown on to any scene.
screen that you want to be seen?

20
 Starting Play

Players
Answer the following questions:

During the campaign: Pick a few songs that evoke the

• What moment will you return to strongest of these moments.
when you think about this story Write down the names of these
in the future? songs, add them to a playlist, or
• When did your character shine gather links. You should have at
the brightest? least 3 songs on this list.

• What moment does your Don’t stress these songs being

character most regret? perfect; trust your first impulse.
• When did your character fail Alternatively, if you cannot think
to stand by their ideals, their of the song you want, you may
friends, or the promises they instead describe the kind of
made? song you are looking for. These
• When did your character change songs may be used later during
into something (or someone) gameplay.
else? Finally, answer:
• What is unresolved for your
In the future:
character?
• What would a happy life look like
for your character?
• Does your character feel they
deserve that happy life?

World Ending Game 21

 Camera Directions

The following Camera Directions are useful short-hand during play,

but should not feel constraining. Feel free to improvise additional
directions, add detail, or take creative liberty with how the camera
works and moves.

Change Angle Change Zoom

Change where the camera is positioned in Change how close the camera is on the
relation to the characters. Is it low, looking character(s). Is it a closeup? A wide shot?
up? High above them?

Change Focus Change Speed

Change the depth of field of the camera. The scene enters slow or fast motion, or
Is the whole scene in focus, crystal clear? returns to normal speed.
Or is everything indistinct, except for one
character’s face?

Change Subject Artistic Vision

Change who the camera is pointed at in the Make a bold aesthetic choice about lighting,
scene. This new player takes over leading the tint, special effects, or anything else.
scene, becoming the Leading Player.

22
 Starting Play

Record Voiceover Add a Score

Enter the scene as a narrator, voicing over Play music under the scene; either off a
the actions as they are happening or offering device of your choice, or describe the song
further information about the world. (or type of song) playing under the action.

Jump Cut Cutaway

Jump forward in time, to the same place or Cut to somewhere else and see an object,
person in a few hours, days, or years. person, place, or scenario, then return back
to where you were.

Hard Cut Fade Out

The scene ends abruptly, and the next The scene ends slowly as the camera fades
player’s turn starts. to black. Give the Leading Player a moment
to take a last action. Then the next player’s
turn starts.

Ask a Question Suggest a Change

Pause the action briefly to ask the players a Pause the action briefly to offer an idea
question about their characters or the world, to the players about their characters’
then continue play. motivations, actions, memories or histories,
then continue play.

World Ending Game 23

THE ENDINGS
 The Endings

Art by Conner Fawcett

You witness a sign.

THE OMEN
The end is never without signal; it precedes itself in flares and
gasps, sometimes quiet, sometimes loud.

Pick or roll one each from the following tables.

1 2 3 4 5 6
A light An animal A sound A person A flower A story

1 2 3 4 5 6
Out of place Stuck in Suddenly Tethered Fractured Real
time there

1 2 3 4 5 6
In the sky On the sea In the mind On the In the Right in front
tongue distance of you

1 2 3 4 5 6
Burning Crying Smiling Rotting Monstrous Beautiful

Determine what it is you witness, where and how you see it, what
you take it to mean, and what you do with this knowledge. You
may roleplay seeing this omen, or simply describe how it appears
in the world.

World Ending Game 27

 W
THE
CONFESSI

ASB
SAOI

THE FL
LORAL WHA
LEGS S
SAYS THE

TH
 KL
KLMUV
WXYG
The Endings

Art by Nadhir Nor

WXYGIJJ
THE
IONCONFESSION
(THEASJHD
LIE)
A truth held close, or a lie
spoken with conviction.

B
I
Leading Player is confessing. They may request Leading Player: Where
any number of other characters join the scene as have you asked the other
character(s) to meet you? Who
Supporting Players. These characters may excuse
have you gathered here? What
themselves from the scene if they do not wish to is the mood in the room?
hear the confession.
Tell the room what you must.
This is not a reveal, or a twist; this is a confession.

LO
This may be something the table already knows, Supporting Players: Roleplay
even if their characters do not. This may also be
something you or the Director know about your
or describe your immediate
response to hearing the FRI
AT
confession. Do you believe this

THE
character or the world, but which is new to the
story, or do you mistrust it?
other characters or players.
Describe why this is so.

S
Regardless, nothing is being invented here.
Instead a truth is being spoken. You may choose to roleplay
Leading Player, answer: Why are you confessing this scene out beyond The

ON this truth now? What was it that held your tongue

until this point? Who do you think will gain by this
knowledge? Who do you think will suffer for it?
Confession or The Lie, or
simply cut after it is told.
C
Alternatively, your character can choose to Lie; to
confess something that is not true.
Leading Player, answer: Why are you lying? Is this a

THE
noble lie? A generous lie? The kind of lie that allows
others to have a better life? Or is it a cruelty? One
last feint?

LORAL
HE FLO World Ending Game

LE
29
 The Endings

Art by Balázs Rónyai

showi≥g your ha≥d

th∂ ®∂v∂◊l
Whereas The Confession tells the player characters something
the table may already know, The Reveal is for the audience.

This is not the place to invent new things, but rather shows us a truth
about the world, your character’s past or current actions, the fac-
tional or political motivations of your character or the world at large,
or any other movements that have been taking place off-screen.

Describe what the camera sees, as it frames an image away from or

hidden behind past actions.

For instance — what was happening at home when the other players
were busy with their biggest score? What transactions were taking
place in the shadows? What strings were pulled in the background?
What emotions were hidden behind a composed face? What story
did you whisper to the dark?

This is a good candidate for the Director’s scene, but every character
has their secrets.

World Ending Game 31

 The Endings

Art by Sophia Foster-Dimino

You can’t change what has happened, but you

can change how it is remembered.

The
Revision
Take a single event from over the course of the
campaign and tell it not as it happened, but as it is
being retold. Frame a scene, and either narrate or
roleplay the story that is being told inside of it.

Some possible options include:

¶ Your character entertaining a crowd, exaggerating

¶ A child listening to a story on a knee
¶ A song, made to rhyme
¶ A myth, actions become fable
¶ A play, in the second act on stage
¶ A schoolyard game, re-enacted by children
¶ A loved one who keeps a memory alive long after
others have forgotten
¶ Propaganda, twisting a narrative to serve power
¶ Or any other setting you desire.

Other players may enter the scene as

Supporting Players, either as their own
characters or as new ones, listening.
Narrate or roleplay this story being retold.
Within it, be sure to answer - What were you,
before now? What do you become?

World Ending Game 33

 * * The Endings
Art by Olivia Fields
* *
*
*
* *
*
*
T H E K I S S
*
*
a conversation that ends in a kiss

* *
* *
*
* *
* *
* *
* *

* *
* *

The LEADING PLAYER requests a scene with another player or

non-player character; this player or non-player character
may refuse. If refused, the LEADING PLAYER should select
a different game or pass this turn. If refused, do not
select a different partner for The Kiss.

In The Kiss, you and your chosen partner will trade

control over your character’s actions. The “them” in the
prompts always refers to the other player’s character. The
“you” always refers to your own character. This can be
muddy and awkward; go with conviction, knowing that scenes
can always be cut after the fact.

DIRECTOR: interject with Camera Directions where

appropriate.

Review your table’s safety mechanics before playing this

scene.

World Ending Game 35

The Kiss

LEADING PLAYER answers:

You are headed to meet them. What place did they suggest
for a meeting?

SUPPORTING PLAYER:
You are getting ready to go. How did they tell you that
they wanted to see you?

LEADING PLAYER:
You arrive first. Describe how they feel, seeing that
you are waiting for them. Are they comforted that you are
there? Nervous? Unsure?

SUPPORTING PLAYER:
You see them before they see you. Describe how you find
them waiting for you. What are they doing to pass the time
before you arrive?

LEADING PLAYER:
You wave them over. How do they excuse their lateness?

SUPPORTING PLAYER:
You move to join them. How do they play off that they got
here much too early?

LEADING PLAYER:
You take a casual stance. What do they say about the day,
the setting, the weather, or the news?

SUPPORTING PLAYER:
You say something pleasant enough, then pause. There is a
silence that carries on just too long. What do they do to
signal that they are about to ask you a question?

36
 The Endings

LEADING PLAYER:
You ask them a question. Some possible questions include:
* Where do we go from here?
* Will you come with me?
* Will you miss me when I’m gone?
* What will you tell people about me?
* Will you forgive me for what I did?
* Are you happy in this moment?

Pick one, or make up your own.

SUPPORTING PLAYER:
They ask you a question, and you answer.

After this answer, play out the remainder of this

conversation in freeplay. At any point in the
conversation, the SUPPORTING PLAYER may choose to
be kissed.

SUPPORTING PLAYER may pick:

* A halted kiss, left in the air
* A kiss on the hand
* A kiss on the cheek
* A kiss on the forehead
* A kiss on the lips
* A smile that wanted to be more

The LEADING PLAYER picks a descriptor for that kiss,

including: Quick * Shy * Lingering * Timid * Bold * Warm
* Close * Cold * Full * Longing * Encompassing * Or any
other descriptor…

And the scene ends.

World Ending Game 37

OUR OWN PRIVATE FANCAM

ANIME MUSIC
VIDEO
 The Endings

Art by LaumeB

World Ending Game 39

Anime Music Video

LEADING PLAYER
Select a song. This can be one of the
songs you picked in the setup, but does
not have to be. Queue it up to play (or
link to it), but do not hit play yet.
DIRECTOR
Be ready to interject with Camera
You will select from the follow-
Directions between phrases.
ing phrases to start your sentences,
finishing them by filling them out and For instance: I float in the
embellishing as needed. water… may be followed by “The
camera zooms out, your shape
For instance: I float in the
losing detail as it rises and
water, could become "I float in
pans up to see the house on
the water, drifting, my eyes
the shore.”
closed, hair around me in a
tangle that echoes the shape You may wish to keep the Camera
of the reeds." Directions sheet handy for this game.

ONCE EVERYONE IS READY, HIT PLAY.

Continue narrating, choosing phrases and describing
Camera Directions, until the song ends.
 The Endings

I walk along the water, The night is cold,

I push my hair from my face, The dogs are howling,
I am silhouetted against the sun, The cards are dealt,

I float in the water, We sit in the sun,

I stare out the window, We fade into the shadow,
The landscape passes by, We relax together, comfortable,

My boots hit the ground, I smile,

My fists hit the wall, I smirk,
My head hits the table, I laugh,
I lean in for a kiss,
The sun is bright,
The moon is huge, I take a swig from a bottle,
The stars are out, I bite off a piece of bread,
I brew a pot of coffee,
A tree stands against a hill,
The grass waves in the breeze, I throw something in the water,
A flower pushes from the earth, I look up at the sky,
It begins to rain,
The mortars flare,
The gun goes off, In the distance, a light,
My sword is drawn, Above me, a signal,
Right behind me, a noise,
I lace my shoes,
I pull my jacket over my head, You’d never recognize this place,
I put my hands in my pockets, The city jumps out at me,
I am home, and I know it,
I’m moving fast,
I’m dodging and weaving, I can almost taste it,
Nothing can touch me, There is a look in my eyes,
I don’t stay to see.
The bullets glance off,
An explosion cuts the night,
A fire takes the hill,

I brace for impact,

I grab at the controls,
I gesture wildly,

World Ending Game 41

 it
ART BY A LIANG CHAN
belongs The Endings

Putting something
back where
it belongs

Reverse
h e i s t
Reverse
h e i s t
World Ending Game 43
Reverse Heist

YOU HAVE SOMETHING THAT MUST BE RETURNED

DETERMINE
THE OBJECT. This should be something you THE DATE. Should be within the general
or your party already carries, or something time of “now”. Pick or roll one of the
you know is out of place in the world. Pick or following descriptors that best fits the date:
roll a descriptor for the object: 1 A holiday
1 Heavy (it takes 2 or more 2 The weekend
characters to carry the object)
3 Midnight
2 Large (it is very hard or
4 Noon
impossible to hide the object)
5 Early hours of the morning
3 Loud (the object emits noise,
either constantly or periodically) 6 When the work day ends
4 Valuable (the object is worth
something to all that encounter it) THE PLAYERS. Leading Player + any
involved Supporting Players. You may
5 Beckoning (the object is desired
request accomplices, who may reject their
by all that encounter it)
involvement.
6 Unstable (the object must be
treated gently whenever THE PLAN. How you expect this to go. Pick
interacted with) or roll:
1 Shock and awe
THE LOCATION. This is likely a place that
is already on the map, but may be — if 2 Sneaky
needed ­— somewhere new. Pick or roll a 3 Violence
descriptor for the location: 4 Diplomacy
1 Guarded (people stand in between 5 Social
you and the location)
6 Patience
2 Secret (the location has been
hidden from you)
3 Distant (traveling to the location
will be difficult)
4 Cordoned (the location is off-limits
to people like you)
5 Dangerous (going here is a risk)
6 Taboo (going here is forbidden or
sinful)

44
 The Endings

FOR YOU OR FOR THE WORLD TO FIND CLOSURE.

THE REVERSE HEIST

There are 5 stages to the heist. The scene LEADING AND SUPPORT PLAYERS: Narrate
opens on Entry. or roleplay this result, dropping into it like a
slice of action in a movie.
PLANNING
> ENTRY — and an Obstacle DIRECTOR: Frame how the players move
Begin here. back to the previous stage or forward to
the next stage, reflecting the dice. Use the
INSIDE — and a Problem
object, location, and date descriptors to
ALMOST THERE — and a Close Call flavor both setbacks and progress.
SUCCESSFUL RETURN
Continue moving back and forward along
the stages as you perform the Reverse
Imagine a hard cut into this action: Heist. You will probably hit at least one of
describe where you are, who is with you, these stages more than once. This means
what you are doing or holding. These that you are redoing this step; your entry
stages should be brief — think about a was barred, you have hit a wall, or you are
moment within an action sequence, such back at the drawing board, getting together
as opening a window, taking the steps two a new plan.
at a time, or talking your way into a party.
Once you hit the last stage, Successful
FRAME THE STAGE, THEN ROLL A SIX Return, you do not need to roll after framing
SIDED DIE. the action — you have succeeded once you
narrate or roleplay the result.
1 – 2 Setback
Go back to the previous stage If you roll a setback on the first stage,
3 – 6 Progress Planning, you still move forward to Entry.
Move forward to the next stage Bring that half-baked energy with you.

Examples
“This bone of the bird-king “If the genetic code is back in “I stole my sister’s diary and I
has served me well, but I the database before anyone feel really bad about it.”
am wary of it falling into comes looking, it’ll keep the
the wrong hands once I put heat off our heads as we
down my sword for good.” leave the city.”

World Ending Game 45

 The Endings

Art by Madeline Miyun

W R E C K I N G B A L L
X S F D L J O H C B M M
Y T G E M K P I D C N N
Z U H F N L Q J E D O O
V I G O M R K F E P P
W J H P N S L G F Q Q
X K I Q O T M H G R R
Y L J R P U N I H S S
Z M K S Q V O J I T T
N L T R W P K J U U
O M U S X Q L K V V
P N V T Y R M L W W
Q O W U Z S N M X X
R P X V T O N Y Y
S Q Y W U P O Z Z
T R Z X
D E V
S T Q
R P
O Y S O M E T H I N G
U S Y
E F W
T U R
S Q
P Z T P N F U I J O H
V T I Z
N
F G X
Y
U O
V S
U
T R
Q W O
U R
Q L
O D
G V J K P I
W U J O
G H Y
Z
V P
W T
V
U S
R X P
V S
R M
P E
H W K L Q J
X V K P
H I Z
W Q
X U
W
V T
S Y Q
W T
S N
Q F
I X L M R K
Y W L Q
I J X R
Y V
X
W U
T Z R
X U
T O
R G
J Y M N S L
Z X M R
J K Y S
Z W
Y
X V
U S
Y V
U P
S H
K Z N O T M
Y N S
K L Z T X
Z
Y W
V T
Z W
V Q
T I
L O P U N
Z O T
L M U Y
Z X
W U X
W R
U J
M P Q V O
P U
M N V Z Y
X V Y
X S
V K
N Q R W P
Q V
N O W Z
Y W Z
Y T
W L
O R S X Q
R W
O P X Z X Z U
X M
P S T Y R
S X
P Q Y Y V
Y N
Q T U Z S
T Y
Q R Z Z W
Z O
R U V T
U Z
R S X P
S V W U
V S T Y Q
T W X V
W T U Z R
U X Y W
X U V S
V Y Z X
Y V W T
W Z Y
Z W X U
X Z
X Y V
Y
Y Z W
Z
Z X
Y
Z
With the Director’s blessing, describe an object, place, building,
symbol, or non-player character that exists in your setting. This
target may be something important to the story in general, but
first consider your character’s personal but deep-felt grievances —
and to what end those grievances may lead.

World Ending Game 47

Wrecking Ball

PICK OR ROLL: M O T I V E
N P U J W F
1 Personal O Q V K X G
P R W Lto Yyou,
This means something H as a person, in
particular Q S X M Z I
R T Y N J
2 Ideological S U Z O K
T V
This says something P
about L
your ideals or beliefs
U W Q M
3 Political V X R N
W Yout inS a broader
This will play O political sphere
X Z T P
4 Wealth Y U Q
Z
This would bring you V— or someone
R you care about
W
— wealth, or remove it fromS elsewhere
X T
5 Safety Y U
This would bring you Z— or someone
V you care about
W elsewhere
— safety, or remove it fromX
6 It was a promise Y
Z
You promised someone to get this done

PICK OR ROLL: P L A N
Q M B O
1 Explosive R N C P
S O D Q
2 Subterfuge T P E R
3 Diplomacy U Q F S
V R G T
4 Expensive W S H U
X T I V
5 Calling in Y U J
favors W
Z V K X
6 Patience W L Y
X M Z
Y N
PICK OR ROLL: A ZD O J E C T I V E
B E P K
Q F D U J W F
1 Burning C F R L G E V K X G
2 Buried
D G S M H F W L Y H
E H T N I G X M Z I
3 Crumbled F I U O J H Y N J
G J V P K I Z O K
4 Sunk H K W Q L J P L
I L X R M K Q M
5 Stolen J M Y S N L R N
K N Z T O M S O
6 Forgotten L O U P N T P
M P V Q O U Q
N Q W R P V R
O R X S Q W S
P S Y T R X T
48
Q T Z U S Y U
R U V T Z V
S V W U W
T W X V X
 The Endings

Describe the plan you put into motion: why and how you
are destroying your target, how you go about it, the
steps involved, and what it is reduced to. There are
no dice to determine the outcome — by choosing this
Ending, you have destroyed this thing in the world.

Optionally, you may invite other player or non-player

characters to join you in a single scene after the
target has been destroyed.

LEADING PLAYER, ANSWER:

— Are you basking in this glory? Celebrating?

— Are you worried you will be caught? Are you hiding?

— How much time has passed? Are you walking away from
a burning building? Are you now old and gray,
remembering what once was?

Set the scene and narrate the emotions playing across

your face.

SUPPORTING PLAYERS, ANSWER:

— How do you find the Leading Player?

— How do you find out what they have done?

— Are you angry at them? Worried for them? Happy for

them? Thrilled by them?

— If they need it, will you protect them with your

secrecy, your words, or your body?

With these questions in mind, enter conversational

freeplay in the aftermath, with the Director
interjecting Camera Directions as appropriate, until
the scene feels done.

World Ending Game 49

 The Endings

Art by Remy Boydell

To let another have their

happy ending, you are
going to have to
TAKE
THE
Answer the following questions;
What Authority do you turn yourself into?
What do you claim to be responsible for?
Whose place are you taking?

Frame the scene;

FALL
You, the Authority, the onlookers, the room
in which you sit.

Roll on the following table;

1 A heinous sentence, placed upon you
2 A lenient jury, who see good in you
3 Legal counsel, advice you did not ask for
4 A slap on the wrist, undeserved
5 A cruelty, disguised as a kindness
6 A laughing judge, who knows better

And plead your case.

Narrate or roleplay the result of this scene,
with the Director (or other appropriate
character) playing the Authority. Other
players may join as appropriate.

World Ending Game 51

 The Endings

Art by Michael DeForge

A World With a Stage

Karaoke Bar
LEADING PLAYER, DECIDE WHERE YOU ARE:
Are you actually in a karaoke bar? • Have
you been passing an instrument around a
campfire? • Opening the dance floor at a DESCRIBE, to the rhythm of
wedding? • Are you in an empty hall, hearing this song: What does your
your voice echo? • Alone, in the forest? • On character do on stage? •
the prow of a ship? • Or are you whispering Who do they look at? • How
a lullaby, quietly, in the dark? does their body move? •
What is their voice like? •
What emotion does that
BRIEFLY DESCRIBE THE SPACE, who is in
voice hold? • Do they falter
it, the event that is happening, and how
any of the lines? • Do they
you found yourself on this stage. You may
sing out clear?
request Supporting Players to join you in the
scene; as always, they may refuse. Optionally, you may elect to
literally sing along instead of
DECIDE WHAT SONG YOUR CHARACTER narrating this scene.
IS SINGING, and which real-life song will
stand in for it. This can be one of the songs
you picked out at the top of the game, or DIRECTOR, as always: interject
where appropriate with camera and
another. Play the song as you narrate the
scene directions.
scene.
SUPPORTING PLAYERS, narrate
your actions and reactions to the
→ HIT PLAY NOW
song — or what you are doing while
the spotlight is elsewhere.

THE SCENE ENDS WHEN THE SONG

ENDS.

World Ending Game 53

 The Endings

Art by Dyoudi Mitimasa

A glimpse at
life after.

20 YEARS LATER
Pick a number of years to jump ahead.
If unsure, you may elect to roll on the following table:

1 2 3 4 5 6
1 year 5 years 10 years 20 years 50 years 100 years

Leading Player answers one of the

following prompts:

The titlecard fades away to reveal your character

doing an activity. What are they doing? Who are they
with? How have they changed? Do they look happy?

The titlecard fades away to reveal the home in which

your character once lived. Who lives there now? Is it
You may elect to roleplay empty? How has it changed? Has it been redecorated?
inside of this scene, or Has it fallen to ruin? Is there a garden? Are there children
simply describe it. Director, living there?
as always, may interject with
Camera Directions where The titlecard fades away to reveal a grave or
appropriate. a memorial. What is the name on the grave? The
epitaph? What gifts or flowers or stones have been left
in remembrance upon it? Is someone there now, paying
their respects? Who is it that remembers the person
memorialized there?

World Ending Game 55

 The Endings

Art by ma-ko

Every story ends but the Who will be picking up what

work never does. you have set down?

PASSING THE
TORCH
YOUR CHARACTER GIVES AWAY AN OBJECT, GIVE THIS THING AWAY. EXPLAIN HOW THIS
A WEAPON, A SECRET, A STORY, AN IM- COMES TO PASS.
PULSE, OR A MISSION TO ANOTHER PERSON † Is this a secret, shared between friends?
IN THE WORLD.
† A cruel word?
Pick a non-player character or another player † A kind one?
character. This should be someone your character
† Do you sit together, work together, train
knows and that has played some role in their life.
together?
As always, this character may refuse this role — in
this case, you may pick another character, or † Is it a legacy, or a duty, or a need that has them
change to a different Ending. start up where you have stopped?

If you are playing a game with character sheets, † Do they find some hidden object, buried by you?
look at yours now. On it, find an item, trait, scar, † Do you beg them to pick up your sword?
ability, adjective, or stat. Cross it out. It is no longer
yours. YOU MAY ELECT TO PLAY THIS SCENE OUT,
OR SIMPLY DESCRIBE ITS OUTCOME.
If you do not have a character sheet, instead pick
anything that you know to be true about yourself Be sure to answer:
or what you carry. Know that you no longer have it. † How your character feels, bereft of their torch.
† How their inheritor feels, now lifting it.

World Ending Game 57

Torch engraving by Antoine Benoist, after Francis Vivares

Art by Kazu Saito

Some goodbyes are just a dwindle.

Ride into the

Sunset
 The Endings

You are leaving because (pick one or roll, and answer)

1 Your work here is done. What have you decided is finished?
2 You cannot fix this. Who will not miss you?
3 There is something else out there for you. What are you leaving undone to
pursue it?
4 You cannot bear to be here to watch the end. What will you witness instead?
5 You are being forced to leave. Where will you run to?
6 Someone else needs you. Who are you leaving behind?

Leading player, answer all questions

What do you pack? What do you leave behind?
Who do you say goodbye to? Who do you deny that farewell?
How do you go? When do you set off? What carries your body?
Do you turn back for a last look?

Those who watch the Leading Player leave, answer

both questions
When do you turn away from the figure receding into the distance?
What do you turn away to do?

World Ending Game 59

 The Endings

Art by Lucas Oliveira

Death
KILL YOUR DARLING

YOUR CHARACTER IS DYING. Frame the scene; describe where you

BY SELECTING THIS ENDING, are in the moments leading up to your
YOU HOLD THE POWER IN death.
HOW THEY GO.
ARE YOU IN A HOSPITAL BED?
THERE ARE MANY WAYS TO
LOST AT SEA?
DIE, AND YOU MUST NOW PICK
ONE. ARE YOU DREAMING?

Review your table’s safety mechanics SIMPLY WALKING DOWN THE STREET?
before playing this scene. ON AN ADVENTURE?

IN A FIGHT?
IS IT ILLNESS THAT TAKES YOU?

OLD AGE? Leading Player: Narrate or roleplay

WERE YOU HURT BY SOMETHING OR the last few minutes leading up to your
SOMEONE, OR ARE YOU ABOUT TO BE? death. You may know that death is
coming or it may be a surprise to you.
WAS IT AN ACCIDENT, OR HAVE YOU
MADE THIS CHOICE FOR YOURSELF?
Supporting Players: What is the last
AND IF SO — WHY? thing you say to the Leading Player
before they go?
If you want witnesses, you may request
that other characters be present for Director: Interject as appropriate with
your death. These Supporting Players Camera Directions, cutaways, and
may refuse. You may even request to be narration.
killed; the player controlling the would-
be killer may also refuse this role. If Leading Player: Finally, speak your last
refused, select a different method of words or take your last action and make
death or a different Ending. peace with goodbye.

World Ending Game 63

 The Endings

ART BY DANIELLE TAPHANEL

TABLEAUX TABLEAUX TABLEAUX TABLE

AUX TABLEAUX TABLEAUX TABLEAUX
TABLEAUX TABLEAUX TABLEAUX TAB

A series of frozen images, like a roll of film

printed long after the party is over.

A game for all players.

Leading Player begins with any of the following

prompts, reading the prompt aloud and then
answering the questions it contains. They then
pass the book to their right, with the next player
answering the next prompt.

Gameplay continues this way, circling back to the

initial prompt when the end of the prompts is
reached. You may move backwards or forwards in
time as needed, seeing moments from throughout the
story. Director, interject with camera directions
where appropriate.

Keep passing the book to the right around the

table until each prompt is answered, or the table
collectively decides it is done.

World Ending Game 65

 In a circle:

You are laughing with loved ones. The camera

frames you sitting together. Someone has
just told a joke. Who is there? What was so
funny? What are you worried about in the
back of your mind? Pass right

You are walking at night. The camera sees

your silhouette from behind. Where are you?
What are you looking for? What will you do
when you find it — or them? Pass right

You are writing a letter. The camera sees

your illuminated face, but not your words.
Who is the letter addressed to? What are you
saying? Will you send it? Pass right

You are laying in bed. What can you hear

through the window or the walls? What is
keeping you awake? What are you holding to
your chest? Pass right

You are planting something in the earth.

Your shovel cuts the soil. What are you
burying? Is it something meant to grow? Is
it something you are hiding? Pass right

66
 The Endings

Continue, circling back to the initial

prompt, until all have been answered or the
table decides Tableaux is finished.

You are cooking a meal. What are you making?

Where are you cooking? Where did you get the
ingredients? Is anyone waiting to eat what
you make? Pass right

You are standing in a field. The sky is broad

around you, humming and bold. You stoop to
pick something up from the ground. What is it
that you hold in your hand? Pass right

You are reading the news. A headline catches

your eye. What does it say? What emotions
show on your face? Pass right

You are eating a meal. Is anyone with you?

What are you eating? Who does this meal
make you think of? Pass right

You are fixing something. What is it

that you are tinkering with? What is its
purpose? How was it damaged? Is it someone
else’s, or is it yours? What will you do
with it once it is fixed? Pass right

World Ending Game 67

Art by Williams Zouzouo
 The Endings

Leading Player: think back through the campaign and

pick any scene your character was present in. In The
Flashback, you will revisit this scene.

Describe the scene, the setting, who else was

there, what you see, what you remember. Keep this
description personal, gestural, a series of images;
as it would have been witnessed through the lens
of the camera or your character’s eyes.

This flashback does not need to be

a literal retelling — time plays on the
memories of both our characters
and ourselves.

In your description of the flashback, be sure

to name any other characters present in the
scene. Any character that appeared in that
flashback may follow with a flashback of their
own, becoming the Leading Player.

Keep trading the book around the table until everyone has
gone at least once, or the flashback scene does not include
any other characters. When the scene contains no characters
except that of the current Leading Player, The Flashback ends.

World Ending Game 69

 The Endings

Art by Ninn Salaün

Sometimes it all goes up in flames.

The Apocalypse
A Game For All Players

Do not pick The Apocalypse without the enthusiastic

consent of the entire table. Review your safety
mechanics before playing this scene.
Discuss apocalyptic scenarios together before
entering play. This Ending is a big swing; go with care
How did it all fall apart, and destroy your world together. If your story has
in the end? Who do you already resulted in something apocalyptic, this Ending
blame? Pass right. may be played out as closure.
In a circle, passing the book to the
Where were you when you right, each player answers prompts
got the news? What were you until there are none remaining.
doing? Did you continue the
motion of this action, even
as your mind began to race?
Pass right.

Who did you first think of when you heard?

Whose face rose in your mind? If you could
have said what you wanted to them, in that
moment — what would it have been? Pass right.

Who did you try to find? How did you How did you get out? What route
search for them? When did you know did you take, and who could not
that this search would come up empty? follow you there? Pass right.
Pass right.

What did you take with you? What did you wish that
you could have taken with you? Pass right.

Who did you hurt to escape? Did you know them? What are you going
Did you tell yourself they deserved it? Pass right. to do now?

World Ending Game 71

 The Endings

art by sajan rai

where did this

story begin?

Full what has carried

through to the
end?

Circle a game for all

players

director: Once done, pass the camera right Continue passing right and
to the next player. They become framing scenes this way until you
describe the the Leading Player. return to the Director.
beginning
Find a starting point in your leading player: director:
story. This could be when find what describe the
your characters first met; shaped you last moment
when they first found joy,
camaraderie or comfort in Look at your character sheet Find an ending point in your
one another; when they chose and identify a trait, scar, ob- story, such as the last time all
to stay together instead of ject, ability, adjective, stat, or the player characters were in
move apart. (This does not any other discrete thing on one place; when they realized
need to be the actual first ses- it. (If you are playing a game their work was over; when
sion of your game, although it without character sheets, they chose to move apart in-
could be.) this should simply be some- stead of stay together. (This
thing that you know to be does not need to be the actual
This scene doesn’t need to be
true about yourself.) last session of your game, al-
an exact replica of the original
though it could be.)
moment — it has likely been Tell the story of how you first
some time since that session acquired this thing, or when Find a camera angle that
and your memory needn’t its full capacity was first re- captures this scene like we
be exact. It may not have alized. haven’t seen it before, and de-
even been seen on screen, or scribe this ending point.
Describe how this thing has
that occurred during play.
come to change you, in ways While you do, for each char-
Instead, seek to capture the
big or small. acter, tell in some way big or
emotional echo of the begin-
small how they have changed
ning. Find a camera angle
and how they are still the
that captures this scene like
same.
we haven’t seen it before and
describe this beginning.

World Ending Game 73

 The Endings

Art by Evan Dahm

WATCH THE LANDSCAPE ERODE THE

EVIDENCE OF ALL THAT YOU WERE.

THE EARTH
SWALLOWS
TIME
A GAME FOR ALL PLAYERS.

World Ending Game 75

 This is a game about deep time, non-human time; it is about watching
buildings crumble and then seeing the stones that they were made of do
the same.

Leading Player: Establish a place in the world to watch. This is likely a

place that has appeared on screen, but does not need to be. Select from
the following prompts to begin a description of that place, finishing it as
desired.

For instance, the Leading Player may choose to focus on a city in which
their character once lived.

They may select “A comet streaks overhead…” from the

following prompts, continuing it:

“A comet streaks overhead, cutting the night

in two and illuminating the ruins of the city. It
hangs in the sky for a season, green and thin.
In another time, it would have been taken as an
omen; recorded in the Book of Days. Now, only
the crows see it. And what do we know of what
crows think of comets.”

When the Leading Player is done describing what has changed, pass the
book to the right. This player becomes the new Leading Player, picking
another prompt and continuing this way, always focusing on the same
place in the world.

Director, interject as appropriate with Camera Directions. Each time you

pass the book, time in this place passes too.

End this scene when everyone has gone at least once, or when no one
has anything else to add.

Optionally, you may pick a song to play under your descriptions. End this
scene when the song is over.

76
 The Endings

Pick from the following prompts to begin your narration;

A window is shattered…
A fire comes through…
The mudslide takes the hill…
Moss grows over everything …
Birds build nests in the eaves…
A wall is breached…
A comet streaks overhead…
Tree roots break up the roads…
The river redirects its banks…
Stones crumble into sand…
The sea rises…
Ash circles the globe…
Two asteroids collide…
A star goes out…
Fossils are pushed deep into the mantle…
Sand is compressed into stones…
The atmosphere thins…
The sun expands…
It is cold, then hot…
The mountains are made of marine limestone…

World Ending Game 77

 LAST SHOTS
After every player has narrated at least one scene (although each player
will often narrate several), the game can end. The table will generally
know when it is done, but ultimately the Director makes this choice.
After playing your final Ending, close the scene with one of the following
Camera Directions:

Cut to credits Zoom out

This is a hard cut, and can happen The camera leaves the scene, zooming
suddenly, with no warning. upward. We see the characters
become dolls, then ants, then smudges
The Director narrates one final shot:
of color, finally dissolving into the
a last image before the screen cuts to
landscape. We see the world whole,
black.
just for a moment; this world that
these characters have lived in, operated
upon, and have, in some way big or
Montage small, changed.

A series of shots, selected at will.

These could be anything: a symbol,
a place, a face, an action, a word. To be continued…
They bleed and fade into one another,
One last lingering shot, settling on an
resolving into the last image we
action that says this story might not be
see — then it is done.
entirely over.

This should be the last scene, unless followed by Credits or Extras.

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 Last Shots

Credits (optional) Extras (optional)

You stay in the theater to talk after You stay in the theater after the lights
the show. turn on.

Each player selects a song (optionally A chance to freely narrate a few

from the list you made in the Up Till scenes. These should generally be
Now section) and queues them to play, lighter or more casual in tone than the
going around the table until each song scenes played during the Endings, or
is heard. those remembered during the Credits.
These are not new scenes to roleplay
Imagine a list of names scrolling by.
in; they are images or brief actions of
Your characters, non-player characters,
characters drawn from throughout the
set locations. The people who made it
campaign.
possible for you to play together. Your
own names. Extras might be useful if you need to
lighten the tone at the table, or want
While these songs play, turn to the
to remember your characters as they
other players at the table. Talk about
once were.
the campaign: your favorite moments,
places that stuck with you, characters Going around the table, every player
you loved, little snippets of dialogue (including the Director) briefly
you can’t get out of your head. This is describes a scene that their characters
casual discussion, not roleplay. were present in in the past.

Feel free to transition into less game- These can include pratfalls and
focused conversation: what you are slapstick moments (just like real
going to do later, what you are going to bloopers) but also can be quieter or
have for dinner. Fan theories. Will there sweeter moments. These scenes do
be a sequel? What do you want to do not have to have been “on screen”
after this? Are we going to go out for previously during the campaign
ice cream? (though they can be), but rather could
have been things that “were cut” for
Whenever it feels like time, you may
the sake of focusing on the action.
choose to end Credits.
Go around the table until two people
When you reach the final song, that
pass in a row. Then someone comes in
means you are the last people in the
to sweep up the popcorn.
theater. The lights turn on and it is
time to go.

World Ending Game 79

 WORLD ENDING GAME
By Everest Pipkin

DESIGN AND L AYOUT

ANDY PRESSMAN

COPY EDITS AND SENSITIVIT Y READING

OLIVIA PEPPER

ENDING ILLUSTRATIONS

The Omen CONNER FAWCETT

The Confession (The Lie) NADHIR NOR
The Reveal BALÁZS RÓNYAI
The Revision SOPHIA FOSTER-DIMINO
The Kiss OLIVIA FIELDS
Anime Music Video LAUMEB
Reverse Heist A LIANG CHAN
Wrecking Ball MADELINE MIYUN
Take the Fall REMY BOYDELL
Karaoke Bar MICHAEL DEFORGE
20 Years Later DYOUDI MITIMASA
Passing the Torch MA-KO
Ride into the Sunset KAZU SAITO
I Need Answers CASEY NOWAK
Death LUCAS OLIVEIRA
Tableaux DANIELLE TAPHANEL
The Flashback WILLIAMS ZOUZOUO
The Apocalypse NINN SALAÜN
Full Circle SAJAN RAI
The Earth Swallows Time EVAN DAHM

ADDITIONAL ILLUSTRATIONS

Cover and Endpapers EVEREST PIPKIN

Bookplate H.B. TYSON
Camera Directions EVEREST PIPKIN
Dedication TIM PLUMMER

80
 PLAY TESTING

TIM PLUMMER (Kabu & Gjarblyll), ANDY PRESSMAN (Isha & Cutty), MAGGIE HAUGHEY
(Harp & Roary), JOEL EASTWOOD, JULIA WOLFE (Johnny Clams), RYAN ALAFRIZ (Balwyn
& Duo), KEVIN LAM (Benathan), JAD KNAYZEH (Plume Citrushorn), ANTONIO REINALDO
(Lirnia), JUSTIN BENAVIDES (Maro), SAM RICHARDSON, MAYA ZACH (Ariasolis), JENNY
NORDINE (Maisie Higgins), GRANT NORDINE, AARON BARRY (Julae Warde), JAKE
BELL (Julius Kiner), BOB CLARK, THOM (Frances), SPENCER JACOB MOORE (Ferguson
Tasmerian), MIGUEL V. MARTINEZ (Chick Pedros), (Cheryl Gruber), DERICK TAYLOR (Tony
Mori), MATTHEW GUZDIAL, GAVIN FREGEAU (Lark the Reticent), DEVIN NELSON (Aoife
Bloodgood), KRIS ALLISON, and BRENDAN MCLEOD.

T YPEFACES

Cover, front matter, back matter: Portrait (Berton Hasebe/Commercial Type) and Atlas Grotesk
(Kai Bernau/Commercial Type) ¶ The Omen: Canela (Miguel Reyes/Commercial Type) ¶ The
Confession (The Lie): IM Fell (Igino Marini) and Freight Text (Joshua Darden) ¶ The Reveal:
Architype Renner (Paul Renner/Foundry Types) ¶ The Revision: Styrene B (Berton Hasebe/
Commercial Type) ¶ The Kiss: Pitch (Kris Sowersby/Klim Type) ¶ Anime Music Video: Times
New Roman (Stanley Morrison and Victor Lardent) and Helvetica (Max Miedinger) ¶ Reverse
Heist: Jean-Luc (Carvalho Bernau) and Univers (Adrian Frutiger) ¶ Wrecking Ball: Favorit Mono
(Johannes Breyer and Fabian Harb/Dinamo) ¶ Take the Fall: Fakir (Bas Jacobs/Underware) ¶
Karaoke Bar: GT Cinetype (Mauro Paolozzi and Rafael Koch/Grilli Type) ¶ 20 Years Later: History
(Peter Biľak/Typotheque) and Theinhardt (François Rappo/Optimo) ¶ Pass the Torch: Runic
Condensed (Monotype) and ITC Garamond Condensed (Tony Stan) ¶ Ride into the Sunset (Alan
Meeks) ¶ I Need Answers: Based on Pitch (Kris Sowersby/Klim Type) ¶ Death: Marian Black (Paul
Barnes/Commercial Type) and IM Fell (Igino Marini) ¶ Tableaux: VCTR Mono (Vectro/Future
Fonts) ¶ The Flashback: Platform (Berton Hasebe/Commercial Type) ¶ The Apocalypse: Neue
Haas Grotesk (Max Miedinger and Christian Schwartz) ¶ Full Circle: Le Jeune (Paul Barnes and
Christian Schwartz/Commercial Type) ¶ The Earth Swallows Time: GT America (Noël Leu with
Seb McLauchlan/Grilli Type) and Portrait (Berton Hasebe/Commercial Type)

World Ending Game, Everest Pipkin, 2022

Plaintext and PDF available at everestpipkin.itch.io/world-ending-game

81
 This book is dedicated to my home table, with
whom I hope to end many more worlds.
Andy, Maggie, Tim — thank you.

82
 The Endings

World Ending Game 83

World Ending Game is a tabletop game made to
serve as the last session of a campaign in any system.
It comes after the finale (whatever that is for your
table), and is written to emulate the falling action at
the end of a film, towards closure.
World Ending Game contains a set of overarching
rules for conversation, as well as 20 small games,
called Endings. As they are played, these Endings
form the scenes of World Ending Game, compound-
ing and building upon one another to form a final
session of play.
World Ending Game is a tool that invites you to
gather your things, say what you need to say, and
walk away from the story you have been telling with
confidence and pride.