Andrew Haufe (order #8833065)

credits l e c a r n i va l
words and graphics by jim pinto Le Carnival is a story roleplaying game about the human oddities
(freaks) of a carnival during the Great Depression era. The Carnival
artwork by Felipe Gaona
travels the backroads of the Midwest farm belt and the Southern
proofing and assistance by James Glover and Martijn Tolsma states, visiting towns far off the beaten trail. Characters are carnival
Le Carnival is Game 20 in the Protocol game series. freaks who hopelessly seek a degree of familiarity, clinging to the idea
Inspired by GMZero. that somehow the Carnival is family. In fact, the “Brotherhood” of
the Carnival is based only on who earns the most for the ringmaster,
creating a twisted sense of meritocracy. The only true currency: fleecing

contents
the clueless rubes in the uneducated reaches of America.
Each game in the Protocol series is zero-prep for 3 or more players.
introduction........................................................................................... 2 The game length is exponentially long, so games with more players take
getting started...................................................................................... 3 more time to complete. The Protocol Series requires a deck of poker
motivations............................................................................................. 5 cards as well as tokens to track drama points.
relationships........................................................................................... 5 This series presumes some understanding of GMless game protocol:
gameplay................................................................................................... 6 scene-framing, shared authority, and so on. If you’ve never played a
scenes GMless game, try one of the GMZero games such as Dying Memoryes, or
opening scene........................................................................................ 6 George’s Children. A free pdf of game advice — GMZero — is available
vignettes................................................................................................ 6 for download at drivethrurpg.com.
interrogations..................................................................................... 6
interludes.............................................................................................. 7
ensembles............................................................................................... 7
introduction
scenes........................................................................................................ 8 Le Carnival is the twentieth game utilizing the Protocol game mechanic.
locations.................................................................................................. 8 Light and quick, the system gives players everything they need to start
spending drama points.......................................................................... 9 playing immediately, doing away with over-explanation and getting
optional rules........................................................................................ 9 right to the tools.
overview................................................................................................... 9 In Le Carnival, players take on the roles of directors outside the action
backgrounds.......................................................................................... 10 and characters inside the action, using the ebb and flow of four different
advanced roles..................................................................................... 10 scene-framing styles to tell meaningful stories about characters in
names....................................................................................................... 11 crisis. Specifically, they are human oddities in a carnival show, trying to
scenes...................................................................................................... 12 gain favor with the ringmaster.
character sheet.................................................................................... 12
kickstarter backers............................................................................ 13 terms
Carnie life is complicated. One cannot simply envision it through the
lens of television or folklore and understand it all. In researching this,
I found myself overwhelmed with terms and cultural information.
I recommend doing some research yourself online to know more.
Copyright 2014 © post world games and jim pinto.
All rights reserved.

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roles
g e t t i n g s ta r t e d Roles provide flavor and context, but no mechanical benefit.

Each character is a sideshow “human oddity” in a traveling carnival. • Bearded Lady. Does this need an explanation?
As the story goes on, the freaks find themselves in a tug-of-war with • Contortionist. Capable of bending into “impossible” poses,
the other performers over who is the ringmaster’s favorite. True worth sometimes they had deformed limbs or no legs at all.
is measured in what money is brought into the show. The characters
• Dwarf. At the time, the term midget was used.
need names, roles, motivations, and relationships, as well as an
understanding of the carnival. Once each player has completed the • Elastic Skin Lady. Capable of pulling skin far away from the body.
following steps, you are ready. • Geek. Someone who bites the heads off of live chickens and snakes.
• Name your character • Giant. Obviously someone suffering from gigantism.
• Select one role for your character — this has no mechanical benefit • Horned Man. Born with a protruding bone coming from his head.
• Determine a character's motivation by drawing a card • Human Oddity. Alligator man, elephant man, hunchback, and so on.
• Determine a relationship between two characters by drawing a card • The Human Torso. Someone devoid of arms and legs.
• Determine elements about the game world • Hunger Artist. That’s right. He would starve himself for people’s
deck shuffling entertainment.
A standard deck of cards is shuffled at the beginning of the game and • Siamese Twins. Two players may choose to play this character.
again (only) if the deck runs out of cards. Used cards are discarded.
Do not return Motivations or Relationships to the deck. The same goes • Strong Person. Traditionally this was a strong man or wrestler.
for Scenes and Locations during play. • Tattooed Person. Tattooed women were “odder” than men.
The use of jokers is optional. Note: There are so many different kinds of human oddities, they could
drama points not all be included in this document. I did my best to pick the ones
Each player starts the game with one drama point and only gains people know. The advanced roles are nearly identical to this, but the
additional points during interludes and interrogations. See page 5. carnie terms lists more.

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motivations world building

Motivations are determined by drawing one random poker card from Each player selects one ingredient from the list below. If you are playing
the deck for each character. The motivation descriptions are vague — a 3-player game, then each player selects two. Now is a good time to
specificity is your job. For instance, the ♠10 is a motivation of family, determine the name of your carnival.
impulsively. The player may define this motivation as doing whatever it
• Who among you doubles as the advance (setting up signs in the
takes to protect her family.
next town, alerting people that the carnival is coming)?
A list of motivations is on page 5.
• Who do you owe money to? Where is the child you gave up?

relationships • Where do you sleep? Do you have your own trailer?

Relationships are determined by choosing (any) two characters and • Who are you monogamous with? How long has this been going on?
drawing one random poker card from the deck. The pair of characters • Where is the carnival now? What town is it headed to?
share this relationship. The relationship descriptions are vague.
Specificity is your job. For instance, the ♣10 is a relationship of • Who among you still believes in god? Who among you holds
burdensome trust. The players sharing this relationship may define it as services (though most carnies do not attend)?
an ongoing issue of trust between two brothers who have lied to each • Who among you has sex for money? Who among you would never
other since childhood. do that?
A list of relationships is on page 5. • Name two towns you aren’t allowed to return to? Why?
• Name and describe the ringmaster? Who is his favorite? What does
he prize above money?
• Describe how the depression has affected the last town you visited.

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m o t i vat i o n s r e l at i o n s h i p s
Suit Suit
♣ Desperately ♣ Burden
♦ Responsibly ♦ Complex
♥ Vehemently ♥ Fortune
♠ Impulsively ♠ Ominous

value value
A Discovery A Survival
2 Freedom 2 Abuse
3 Pride 3 Loss/Reconciliation
4 Work 4 Codependent
5 Survival 5 Reliable
6 Wanderlust 6 Generous
7 Fresh Start 7 Long-Term/Siblings
8 Hunger 8 Contemptuous
9 Distance/Time 9 Obsessive
10 Family 10 Trust
J Retribution J Rivalry
Q Lust Q Anxiety
K Respect K Outsiders
Joker Joker
Draw two and combine the results Draw again, adding another character to the Relationship

The “Ten-in-One” or Sideshow was ten sequential acts under The blowoff is where freaks made their real money, never
one tent for one admission. This is where most freak shows having to give a cut to house, unless they wanted to.
took place, along with daredevil acts. Afterwards, the blowoff
would be the “provocative” events that you had to pay extra to Freaks often sold “pitch cards” (like trading cards). They had
see. These were not for children and included grotesqueries. photos and biographical information printed on them.

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interrogations
g a m e p l ay (diamonds ♦)
While creating a story of their characters’ lives in a depression-era Interrogations involve the director asking questions to one character.
traveling carnival, the players take turns directing scenes. Although this The director selects a player and steals one drama point from him. Then
document provides the tools for framing the action, map-making and the director asks five questions — in or out of character — which must
location naming are left to the players. A chart of scenes is on page 8. be answered by that player in character.
Each turn the active player (director) draws two cards, which determine If the interrogation is in character, the director may ask the questions
the scene type — vignette, interrogation, interlude, or ensemble — as from the point of view of an NPC or his own character. This process
well as the location. The scene’s type (suit) and atmosphere (value) are should feel organic. If the interrogation is out of character, the director
determined by the first card, while the location is determined by the asks the questions in an abstract fashion, as though going down a list.
second card. For instance, the director draws a ♦6 and a ♣7 indicating an The questions can be anything fitting the theme.
interrogation (♦) about an accident at day (♣) front end. The director draws a ♦4 for scene — Interrogation about Promotions —
and a ♠7 — Behind the Curtain Front End. The director decides that the
the opening scene ringmaster wants to see if Kessler has what it takes to do promotions for the
The opening scene of the game is always a vignette at the closing of the carnival. The ringmaster approaches Kessler behind the ticket booth, with
previous show. The vignette focus is either Promotions or Movement/ some subtle questions, feeling him out, and generally seeing if Kessler can be
Transportation. Determine randomly which player narrates this trusted.
vignette, but do not draw any cards. Afterwards, take turns until every advice
player has directed four scenes. Ask leading questions. Avoid yes/no questions, or questions that can be
reduced to short answers. What and why questions are great. Did or can
vignettes (clubs ♣) questions are not. “Why are you waiting for reinforcements?”
Vignettes involve no actual dialog, merely setting the atmosphere for
npcs
the story. The director determines the location from the card drawn and
The director may add one NPC to an interlude or interrogation, but
narrates a brief scene. A vignette shouldn’t take more than a minute or
the characters remain the focus of the scene. Vignettes do not have
two to narrate.
dialogue, but any number of NPCs may color the story background.
The director draws a ♣10 for scene — Vignette about Safety in Numbers — Ensembles may have NPCs, but they are controlled/run by the director.
and a ♦Q — Night In Town. “After the carnival was driven out of town for Other players may introduce NPCs by spending one drama point.
grifting, some of us decided to make a trip back to Blythe to steal what we
could from the locals in the dead of night. We brought as many people as we
could, just in case something went wrong.”
advice
Keep your vignettes short and simple. Narrate enough information to In Le Carnival, scenes are about the desperation of the era and
set the tone, but don’t overdo it by dragging the action on too long. the extents people will go to in order to eat. When you are the
Concise sentences are a writer’s best friend.
director, make the most of your scenes by having the human
oddities play against people just as desperate as they are.

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interludes (hearts ♥) ensembles (spades ♠)

Interludes involve two (and only two) characters with a pre-existing Ensembles involve all of the characters. Like an interlude, the director
relationship. Neither of these characters needs to be the director’s determines the plot of the scene, as well as the location. The director
character. The director determines the location and sets the scene based may preempt the scene as much as he likes, but once the ensemble
on the cards drawn. The scene runs as long as the director likes, without starts, the players should let things develop organically. The director
being self-indulgent, calling “scene” when the characters have said still has the right to call “scene” at any moment, but any player may
or done enough. An interlude involves only one location. Should the override the director by spending one drama point to end a scene early,
characters leave the location, the scene ends. or to extend a scene longer.
All players not involved in the scene gain one drama point at the end of The director has drawn the ♠3 for scene — Ensemble about Marks — and
the interlude. the ♥6 for location — Aftershow/Blowoff Concessions. The director decides
the group is gathering after the carnival has shut down for the night to
The director has drawn the ♥5 for scene — Interlude about a Challenge —
talk about how easy the marks were this evening. This is a perfect time for
and the ♣8 for location — a Day Peepshow. The director decides that Kessler
everyone to figure out a pecking order amongst themselves as they calculate
and Roman must watch the back of the Peepshow tent to make sure no one
who is holding the most coin and therefore can pay out the most to the
is trying to get a free peek in the middle of the day. The pair have a history
ringmaster.
of one-upmanship and they have turned the job into a contest of who can
wrangle the most freeloaders. advice
Ensembles involve everyone and should be allowed to run their course.
advice
But not too long. Eventually the characters will start spewing every kind
Interludes are mostly about the drama between two characters. While
of theory and idea, which slows play and distracts from the story.
the interlude can be used to advance the plot, this is secondary to the
interpersonal actions and reactions of the characters. An alternative Let everyone get a say, but once you resolve the scene’s primary focus,
example of the scene above could be the pair “barking,” and trying to it’s time to end things. Don’t forget, if there’s conflict, the scene ends on
see who can bring the most marks into the peepshow tent. its own, unless someone spends one Drama Point.
resolving conflict
In the Protocol Game Series, whenever two or more characters reach a the jump
moment of unresolvable conflict one of the following things happens: Players take turns directing scenes. The order is not important. Players
may decide to take turns in a random order, clockwise order, or even bid
• In an interlude, the director decides who wins the conflict, narrates
to be the next director. Just make sure everyone is involved and no one
the conclusion, and ends the scene.
directs two times in a row.
• In an ensemble, the scene ends, which leaves the conflict dangling.
The players may also decide to have the game end only after all of the
• Should the players wish to override any of these rules, they must face cards have been revealed (during character creation and game play)
spend one drama point, or in the case of a tie, more drama points for a longer game, or all the aces are revealed for a shorter game.
than anyone else. The winner narrates the conclusion.
Once the characters finish their final show, each player narrates his
• Should a scene end unresolved, this creates a cliffhanger effect. character’s involvement in tearing down the tent and moving on.
Players may wish to resolve this in the following scene. But this isn’t For each drama point a player still possesses, he narrates (in turn) a
always necessary. Use your best judgement. Sometimes the best vignette about “the jump.” Once everyone has spent their drama points,
things are left unsaid. each player determines if his character lives, dies, leaves the carnival,
Vignettes and interrogations have no conflict. moves on, or is otherwise changed by the encounter. Players may also
determine who is the ringmaster’s new favorite.

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scenes l o c at i o n s
Suit Suit
♣ Vignette ♣ Day
♦ Interrogation ♦ Night
♥ Interlude ♥ Aftershow/Blowoff
♠ Ensemble ♠ Behind the Curtain

Value Value
A Status A Annex
2 Carnival Justice 2 Back End
3 Marks 3 Back Yard
4 Promotions 4 Games of “Skill”
5 A Challenge 5 Personal Trailer
6 Accident 6 Concessions
7 Illness/Injury 7 Front End
8 Set-Up/Tear Down 8 Peep Show
9 Movement/Transportation 9 The Trucks
10 Safety in Numbers 10 Midway
J Chaos J Farms
Q Internal Conflict Q In Town
K External Conflict K Ringmaster’s Trailer
Joker Joker
Monologue Big Tent

monologue
Monologues are (optional) solo scenes where the director’s character
(or an NPC) delivers a single speech that cannot be interrupted. The The back end of the carnival is the far end of the lot. Large
director decides who else is at the location. The director gains one drama shows and rides are located at the back end. This attracts
point. marks to walk the entire lot and circulate. Regardless of where
they are located, concessions are part of the front end.

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drama points overview

Drama points are used to control the narration and finale. In addition, create characters
players may use drama points in the follow ways. • Shuffle a deck of poker cards
• The director may spend one drama point to discard a scene/ • Name characters
location card and draw a new one.
• Determine backgrounds (optional)
• During an interrogation, the player being interrogated may spend
• Select roles
one drama point to avoid answering one question.
• Determine motivations
• If a scene ends with unresolved conflict, any player may spend one
drama point to shift the conflict to an NPC who has already made • Determine relationships
an appearance in the story, or spend two drama points to shift
• Give each player one drama point
the conflict to a new NPC.
opening scene
• Vignette (Promotions or Movement/Transportation)
optional rules scenes
• Take turns directing scenes
• If the same suit is drawn three times in a row for a scene or location,
discard the card and draw a new one until a new suit appears. • Draw two cards: one scene type, one location

• At the beginning of the game, shuffle the deck and remove 10 cards • Gain drama points during interrogations
at random. Do not look at them. Remove them from play and never and other players’ interludes
shuffle them back into the deck. the jump
• Should a player ever run out of drama points, the director may give • Take turns narrating vignettes about the tear down
him one of his, regardless of the scene type. end game
• On page 10 is a list of advanced roles and backgrounds. Neither • Who lives? Who dies? Who leaves the carnival? Who moves
is necessary to play the game, but each adds additional color and on? Who is otherwise changed by the encounter? Who is the
flavor. No character has more than one. When using backgrounds, ringmaster’s new favorite?
these are selected before roles. When using advanced roles, these
replace standard roles.
• Once per game, the players may decide to award one drama point
to a director who has framed a particularly good scene.
• Select a permanent director who does not play a character, but
instead runs the game like a traditional RPG. Cards are still drawn
for scenes. The game lasts for a number of scenes equal to four
times the number of players, or as long as the director chooses.

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Backgrounds a d va n c e d r o l e s
Suit Suit
♣ Outcast/Convict ♣ Roughie
♦ Working Class ♦ Green
♥ Runaway ♥ Advance
♠ Deformed ♠ Favorite

value value
A Addict A Bearded Lady
2 Abused 2 Contortionist
3 Orphan 3 Dwarf
4 Overshadowed 4 Elastic Skin Lady
5 Large Family 5 Geek
6 Jilted/Scorned 6 Giant
7 Well-Known 7 Horned Man
8 Sycophant/Bully 8 Human Oddity
9 Regarded/Respected 9 The Human Torso
10 Talented 10 Hunger Artist
J Strong-Arm J Siamese Twins
Q Nepotism Q Strong Person
K Spoiled K Tattoed Person
Joker Joker
Chosen One Elephant Man

The back yard or living lot is away from public access and used The advance plans and marks the routes to shows.
for private trailers.
Roughies are carnies assigned to handle numerous tasks.
A bunkhouse is a trailer split into two beds for workers who
cannot afford a room or their own trailer. Carnies prefer the term showman.

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character names carnie terms

Amos Arthur Agent. One who works a game, usually a rigged one.
Athena Bailey Alligator Man. Human oddity afflicted with a skin condition.
Big Bob Brody Ballyhoo. The complicated spiel that equates to carnival advertising.
Carol Chaw Beledi dancers. Original term for belly dancers.
Chloe Clark Beano. Carnival predecessor to Bingo!
Clyde Constance Big Eli or Eli. Ferris wheel.
Curly Devona Blade Box. Complicated blowoff show that would trick men into
Dixie Dora giving money to see what they believed would be a naked woman.
Duffy Dutch Blade Glommer. Sword swallower.
Eleanor Ellis Circassian Girl. Tattooed girl with an exotic look.
Eugene Felix Crime Show. Midway attraction of famous criminal memorabilia.
Finn Florance Dime Museum. A lurid and sensational collection of curiosities,
freaks, and monstrosities exhibited for a low admission price.
Frankie French
Ding Show. A “free show” that requires a “contribution” to view.
Freya Gertrude
Drop Counter Box. A rigged ticket box where a mark’s change drops.
Guy Hank
Dukkering. Gypsy fortune-telling.
Hector Hollace
Fakir. A performer with a “lifelong study of mysticism and/or yoga.”
Jasper Jeremiah
He lies on a bed of nails, swallows swords, eats fire, etc.
Jonesy Lambert
Fireball Show. A disreputable carnival, full of cheats.
Lang Lou
Ham and Bacon Wheel. Wheel of fortune where the prize is groceries.
Luke Ma
High Grass. An extremely rural area.
Mady Ray Mallory
Lobster Man. Human oddity with lobster claw-like hands.
Naomi Nell
Midway. Everything between the ticket booth and the main tent.
Ophelia Oscar
Monkey Girl or Boy. Human oddity afflicted with hirsutism.
Pauli Penelope
Nautch Show. A raunchy girl show.
Robin Marks Roscoe
Pickled Punks. Human fetuses preserved in jars and displaying
Rosie Samson anatomical abnormalities.
Scutter Slim Pinhead. Human oddity afflicted with microcephaly.
Stella Stu Popeye. Human oddity who can pop his eyeballs out.
Tiny Trent Professor. Showman who plays an “expert” in acts or exhibits.
Trixie Ulysses Tattooed Man/Woman. Each tattoo must have a story for the marks.
Verona Wallace Wunderkammer. Chamber of Wonders.

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 name/role
scenes
vignettes (clubs ♣)
Vignettes involve no actual dialog, merely setting the atmosphere for background
the story. The director determines the location from the card drawn and
narrates a brief scene. A vignette shouldn’t take more than a minute or
two to narrate.
interrogations (diamonds ♦) motivation
Interrogations involve the director asking questions to one character.
The director selects a player and steals one drama point from him. Then
the director asks five questions — in or out of character — which must
be answered by that player in character. relationship
If the interrogation is in character, the director may ask the questions
from the point of view of an NPC or his own character. This process
should feel organic. If the interrogation is out of character, the director
asks the questions in an abstract fashion, as though going down a list. notes
The questions can be anything fitting the theme.
interludes (hearts ♥)
Interludes involve two (and only two) characters with a pre-existing
relationship. Neither of these characters needs to be the director’s scenes
character. The director determines the location and sets the scene based
on the cards drawn. The scene runs as long as the director likes, without
being self-indulgent, calling “scene” when the characters have said
or done enough. An interlude involves only one location. Should the drama points
characters leave the location, the scene ends. Spend one to end or extend an ensemble
All players not involved in the scene gain one drama point at the end of Spend one to resolve conflict
the interlude. Spend one to shift the conflict to an existing NPC
ensembles (spades ♠) Spend two to shift the conflict to a new NPC
Ensembles involve all of the characters. Like an interlude, the director Spend one (during an Interrogation) to avoid answering a question
determines the plot of the scene, as well as the location. The director
Spend during final narration
may preempt the scene as much as he likes, but once the ensemble
starts, the players should let things develop organically. The director
still has the right to call “scene” at any moment, but any player may
override the director by spending one drama point to end a scene early,
or to extend a scene longer.

character sheet

Andrew Haufe (order #8833065)

 helper monkey Clayton Falconpunch Laura Scott Sophia Brandt
Diana Kwolkoski Stoll Daniel C Leslie Weatherstone Scott Jamieson
David Margowsky Lin Liren Sean Cameron Crane
regular backers David McGuire Malk sehmerus
Catherine
David Terhune Marc Majcher Seth Harris
Dale Murchie
Derek Guder Marcus Johnson Seth Johnson
Daniel Boles
Descendingform Mark Kilfoil Shane Hensley
Ed Pegg
Diana Stoll Mark Nau Solid Art Labs
Fernando
DivNull Productions Martijn Tolsma Stephen Kilpatrick
Hana Kucharova
Ed Possing Martin Blake Steve Bean
James Wood
Felix Girke Michael Bergh Hansen Steve Dulson
José Luis Porfirio
FelTK Michael Leader Steven Lord
Julian G Hicks
Filthy Monkey Michael McNeal Steven Watkins
Keith Brake
flashbytes Michael Wight Stew Wilson
Stras Acimovic
George Panopoulos Morten Berg Svend Andersen
George VanMeter Natalya Alyssa Faden T. Anthony Moore
irregular
George Vasilakos Nate Miller Teppo Pennanen
supporters
Alejandro Albert Garcia Glazius Nathan Hillen Tijn Rams
Alex W Glen Conolly Nathan Lax Tim Clouse
anderland Greg Chapin Nathanael Cole Timothy Hidalgo
Andrew Wells Happion Laboratories Nathaniel Brengle Tobie Abad
Ben Woerner irrion Nils Kullberg Tom Pleasant
Benjamin Tham Jack Gulick Owlglass Tomer Gurantz
Bernard Gravel Jake McGrath Pablo Martinez Trevor Smith
Black-Thing James Glover Paco Garcia Jaen Tristan Zimmerman
BlackWyrm Publishing James Stuart Pete Vic Smith
Brett Easterbrook Johan Kristian Milde Philip Espi Volker Jacobsen
CP John A W Phillips Philip Reed
Caoimhe Ora Snow John Diffley Richard Carter
Charley Brandum Judd M. Goswick Robert Carnel
Chris Carlson Kairam Ahmed Hamdan Robert Mull
Chris Schoenthal Ketwyld Robert Posada
Chris Shorb Khyron Ross Isaacs
Christian Nord Lars Erik Larsen Ruth Phillips

Andrew Haufe (order #8833065)