10

Andrew Haufe (order #8887983)

 credits eons
words and graphics by jim pinto Eons is a story roleplaying game about inexplicable horror and marginal science.
Players take on the roles of fringecraft investigators, journalists, scientists, and
editing by Diana Kwolkoski Stoll
theorists. Exploring nearly random events, the characters must piece together
proofing and assistance by Nathan Tucker and Martijn Tolsma random occurrences and decipher hidden secrets to stop horrors beyond the veil
special thanks to Tobie Abad, Rob Adams, Drew Baker, Jamie Fristrom, from corrupting our world.
Diana Kwolkoski Stoll, Martijn Tolsma, and Nathan Tucker
Eons is Game 10 in the Protocol game series.
Copyright 2015 © post world games and jim pinto. All rights reserved.
P roto c o l
Protocol is a series of story roleplaying games that thrusts characters into
dramatic situations. Each game uses the same set of rules, with vastly different
contents parameters, start-points, characters, and finales. Players take on the roles of
directors outside the action and characters inside the action, using the ebb and
introduction........................................................................................... 3 flow of four different scene-framing styles (vignettes, interrogations, interludes,
getting started...................................................................................... 4 and ensembles) to tell meaningful stories about characters in crisis.
roles.......................................................................................................... 5
motivations............................................................................................. 6 Each game in the Protocol series is zero-prep for 3 or more players. The game
motivations chart.................................................................................. 7 length is exponentially long, so games with more players take more time to
relationships........................................................................................... 8 complete. The Protocol Series requires a deck of poker cards as well as tokens to
relationships chart............................................................................... 9 track drama points.
world building..................................................................................... 10 This series presumes some understanding of GMless game protocol: scene-
gameplay................................................................................................. 11 framing, shared authority, and so on. If you’ve never played a GMless game,
optional rules...................................................................................... 11 try one of the GMZero games such as Dying Memoryes, or George’s Children. A
drama points.......................................................................................... 12 free pdf of game advice — GMZero Introduction Document — is available for
npcs.......................................................................................................... 12 download from drivethrurpg.com.
scenes
The Protocol series includes over 50 games using the core Protocol engine.
opening scene...................................................................................... 13
Some elements of the game have changed since its first release. Those familiar
vignettes.............................................................................................. 14
with the original system should review the changes before beginning the game.
interrogations................................................................................... 15
There are also optional rules that can slow down set-up time and world building.
interludes............................................................................................ 16
Be mindful of this. Advanced roles and backgrounds have been eliminated, and
ensembles............................................................................................. 17
roles have been simplified.
flashbacks........................................................................................... 18
monologues......................................................................................... 18 Some of the new Protocols have special rules. Be sure to read them carefully.
resolving conflict............................................................................ 19
scenes chart.......................................................................................... 20
locations chart.................................................................................... 21
finale....................................................................................................... 22
names....................................................................................................... 23
advice...................................................................................................... 24
walkthrough......................................................................................... 27
character sheet.................................................................................... 30
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Andrew Haufe (order #8887983)
 g e t t i n g s ta r t e d roles
In Eons, players take on the roles of characters obsessed with the unknown, Roles provide flavor and context, but no mechanical benefit.
developing fringe theories and ideas about the world around them. Venturing in
1. Analyst. Data-mining the known is one thing. Data-mining the unknown and
abandoned, secret, and unknown places, the investigators hope to uncover the
connecting so many dots is another.
truth about the eons, and if necessary, stand against the horrors.
2. Doctor. Yes. But a doctor of what?
The characters need roles, names, motivations, and relationships, as well as
3. Hobbyist. Thanks to the internet, everyone is an expert on something.
an understanding of the world. Once each player has completed the following
steps, you are ready. 4. Medium. Clairvoyant, spirit-talker, shaman, witch. He goes by many names.
But is anything he says accurate or true?
• Select one role for your character — this has no mechanical benefit
5. Investigator. The investigator has a knack for asking the right questions and
• Name your character (a list of suggestions is on page 23) spotting things that are out of place.
• Determine a character's motivation by drawing one card 6. Journalist. Who investigates the unknown without a reporter?
7. Priest. Even those who serve faithfully must want to know the truth of the
• Determine a relationship between two characters by drawing one card
unknown. Unless they are an exorcist.
• Determine elements about the game through world building 8. Professor. Even though the professor hasn’t taught a class in a few years,
Special Rules: end of the world the title still holds. And he or she still has all the lecture material.
In Eons, players take on the roles of characters with strange perspectives on the 9. Researcher. Having a more immediate application of theory than a scientist,
world. Whether or not their theories are correct is up for debate. At any point the researcher tests what the scientist believes.
during the game, each player may spend two drama points to direct a vignette 10. Scientist. Be sure to select a speciality like coniology, exogeology,
about a news headline or published paper that refutes or validates his or her kymatology, lepidopterology, odonatology, and rheology.
character’s theories. This vignette does not count as one of the player’s four
11. Survivor. The survivor has seen this before. Maybe not exactly this, but
directed scenes.
something. He or she knows things are never what they seem.
deck shuffling 12. Theorist. Theorists have seen things that cannot be explained away easily.
A standard deck of cards is shuffled at the beginning of the game and again This leads to theories without much ephemeral veracity. This does not mean
(only) if the deck runs out of cards. Used cards are discarded. Do not return their theories are wrong…
cards drawn for Motivations or Relationships to the deck. The same goes for 13. The Touched. Something supernatural has changed the way the touched see
Scenes and Locations during play. the world. If they even see our world any longer.
drama points
Each player starts the game with one drama point and only gains additional
points during specific scenes. For players who want more authorial control
before play, consider starting with two or three drama points each. See page 12
for more on using drama points.

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Andrew Haufe (order #8887983)
 m o t i va t i o n s m o t i va t i o n s
Each player defines the motivation of his own character. Motivations are Suit
determined by drawing one random poker card from the deck for each character. ♣ Maddeningly
The motivation descriptions are vague — specificity is your job. For instance,
♦ Defiantly
the ♠10 is a motivation of past lives, impulsively. The player may define
this motivation as believing that she has been reincarnated multiple times, ♥ Inexplicably
regardless of all evidence to the contrary. ♠ Impulsively
A list of motivations is on page 7.
motivations are not goals value
Do not confuse motivations with needs or goals. The goal is defined by the A Discovery/Exploration
story. What motivates a character is an extension of the character’s role within 2 Academics/Curiosity
the story. You can be motivated by pride to save another character from herself,
3 Duty
but your goal cannot be pride.
4 Envy/Greed
A motivation may also be a hindrance as much as a benefit. Being confidently
driven by your illness doesn’t stop you from coughing at the wrong moment or 5 Desperation/Fear
help you keep up with everyone. 6 Proof/Vindication
7 Glory/Publication
8 Madness
9 Distance/Time
10 Past Lives
J Retribution/Revenge
Q Love/Hate
K Reward
Or have we eaten on Joker
the insane root That Draw two and combine the results
takes the reason prisoner?
expressing values
— banquo,
Interpreting the motivations chart can be perplexing. What exactly does
macbeth act i, scene iii it mean to be motivated by Distance/Time? Defiantly even? What is the
character trying to get away from? As always, the values are prompts to
spark the imagination. They are not limitations. Character motivations are
tied to the story goal of that particular Protocol. If you’re struggling to figure
out what your motivation means, ask around or spend one drama point to draw
or pick something else.

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Andrew Haufe (order #8887983)
 r e l at i o n s h i p s r e l at i o n s h i p s
Each player selects one pair of characters to have a relationship. Relationships Suit
are determined by choosing (any) two characters and drawing one random ♣ Family/Long-Term
poker card from the deck. The pair of characters share this relationship. The
♦ Friends/Rivals
relationship descriptions are vague. Specificity is your job. For instance, the ♣10
is a relationship of family trust. The players sharing this relationship may define ♥ Romantic
it as an ongoing issue of trust between two brothers who have lied to each other ♠ Community/Working
since childhood.
A list of relationships is on page 9. value
drama point examples A Survival
A player may spend one drama point to add a third character to a 2 Education/Training
relationship.
3 Loss/Reconciliation
A player may spend one additional drama point to make a drawn 4 Codependent
relationship between a character and an NPC (see page 12).
5 Unreliable
Once play has started, any player may spend one drama point to create a
relationship between two characters who have been in a scene together. No card
6 Generous
is drawn for this relationship. It is defined by the context of the scene(s) already 7 Faith
played. 8 Uneven
defining relationships 9 Failure
Traditional roleplaying games assume relationships of adventurous intent. 10 Trust
But good drama unfolds when two players can develop a relationship beyond
always agreeing to ‘chase the gold.’ Let your relationships with others focus your J Madness
gameplay and storytelling styles. But don’t let it derail the story. No one wants Q Compassion
to watch a movie where two people bicker for two hours (i.e. Bad Boys II). K Contemptible (Rage)
Joker
Draw again, adding another character to the Relationship

expressing values
Relationships between characters should be dynamic. They can be positive
or negative, but they shouldn’t be easy. The suits are always the same, but
the values change from time to time, to reflect the setting. In most cases,
it should be easy for two players to work out the details of their characters’
relationship. However, there are instances when two players do not want
their characters to be romantically involved or kin. The suits and values
are prompts, not absolutes. Family could be in-laws. Romantic could be two
characters who were once involved with (or chasing after) the same person.
Community is as simple as knowing each other from around the neighborhood.

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Andrew Haufe (order #8887983)
 wo r l d b u i l d i n g g a m e p l ay
World Building is an important game stage. Players assume power over the In the Protocol Series, players take turns directing scenes involving some or all
environment that their characters are involved in. The characters may know of the characters. Directing a scene involves establishing parameters of game
some of this information already. Some of it becomes evident as the story play, such as who, where, and when, some of which is provided for you. Scenes
progresses. Each player selects one ingredient from the list below. If you are and location charts are on pages 20 and 21, while names appear on page 23.
playing a 3-player game, then each player selects two.
Each turn the active player (director) draws two cards, which determine the
Now is a good time to determine the era and place you’ll be playing in. scene type — vignette, interrogation, interlude, or ensemble — as well as the
location. The scene’s type (suit) and atmosphere (value) are determined by the
1. Do the people on this team know each other?
first card, while the location is determined by the second card. For instance, the
Are they meeting for the first time?
director draws a ♦7 and a ♣9 indicating an interrogation (♦) about the mundane
2. Why is there is a cover-up of the unexplained? By whom? world sleepwalks at the isolated (♣) office complex.
How do you know this? Can it be proven?
Some players may find the location cards restrictive. You are free to ignore them
3. What do you name the shadows? The unexplained nightmares?
or just invent a location if you so choose.
What inexplicable weather phenomenon does the town suffer from?
4. Who among you is on medication? Why? What are the side effects? advice
5. Narrate a vignette about your last abduction or confession. These ‘tags’ are designed to inspire the director to create scenes that link a
complete narrative together. There is an ebb and flow here, trust me. It works.
6. Name and describe a cult leader or serial killer from the town’s past. Listen to what has come before, pay attention to the cards you’ve drawn, and
7. Describe a street in town you cannot walk down alone. rely on your instincts.
8. Describe a recent obituary piece or want ad that spoke to you.
Describe a recent news headline that cannot be explained.
9.
10.
Describe a fringecraft paper you published and people’s reaction to it.
Name and describe your NPC benefactor.
optional rules
Define your relationship to this NPC. • If the same suit is drawn three times in a row for a scene or location, the
director may discard the card and draw a new one until a new suit appears.
optional rules
Consider one of these two methods of answering world building questions: • At the beginning of the game, shuffle the deck and remove 10 cards at
random. Do not look at them. Remove them from play and never shuffle
• One player chooses a question for the player to his left to answer.
them back into the deck.
• Players answer random questions (determined by a die roll or card draw),
• A player always has a minimum of one drama point to spend during the
instead of choosing.
finale on his own character.
drama point examples • Once per game, the players may award one drama point to a director who
A player may spend one drama point to answer one additional world building has framed a particularly good scene or a player who has contributed to a
question (after everyone has answered one). scene in a dramatic fashion.
A player may spend one drama point to answer a question that has already • Select a permanent director who does not play a character, but instead runs
been answered, offering additional insight that does not contradict what has the game like a traditional RPG. Cards are still drawn for scenes. The game
already been said. lasts for a number of scenes equal to four times the number of players, or as
long as the director chooses. During the finale, the director may spend up to
four drama points in order to write vignettes about the other characters.

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Andrew Haufe (order #8887983)
 drama points the opening scene
Drama points are used to control the narration and finale. In addition, players The opening scene of the game is always a vignette (see page 14) that explains
may use drama points in any way that breaks the rules. They are tools for how the team has come together to explore the unknown (in this place). The
dramatic escalation, interrupting the action, and general authoritative control. vignette focus is either Desperation or Research/Secrets. Determine randomly
There are few rules for spending drama points, but some examples include: which player narrates this vignette, but do not draw any cards. Afterwards, take
turns until every player has directed four scenes.
• The director may spend one drama point to discard a scene/location card
and draw a new one. If the card drawn is a scene card of the same suit OR The director decides that Rebecca Steinle has sent cryptic letters to several dozen
value, the director may draw a new one at no cost (but only once). infamous theorists in their respective fields, but only a few wrote back. Even fewer
continued to write after she described her theory about a woman on death row being
• The director may spend one drama point to change the suit of a scene
the reincarnation of a serial killer. After weeks of letter writing, four disparate people
card to any other suit. The value may not change.
now stand in her foyer as she hands them slippers to slide over their shoes, so as to not
• If a scene ends with unresolved conflict, any player may spend one drama track in mud.
point to shift the conflict to an NPC who has already made an appearance in
the story, or spend two drama points to shift the conflict to a new NPC. advice
The opening scene sets the proper tone. From here, the other players get a sense
Other examples appear elsewhere throughout this document. of where the story might lead. Pulling together as many world building threads
as possible ensures that things won’t be forgotten once the game is underway.
The opening scene is about providing pathways to plot threads and not closing
NPCs the door on ideas.

NPC is short-hand for Non-Player Character. These are characters who may npcs
appear during play, but that no one single player controls. A cop on the street, The opening scene does not have dialogue, but any number of NPCs may color
a bartender at a restaurant, or a cashier at the check-out line are all NPCs. the story background. Since the opening scene can be about anything or anyone,
Sometimes they are the background noise from the world and sometimes they this is an opportunity to show the ‘audience’ what is going on elsewhere in the
interact with the characters the players control. How often they appear and how story.
much they influence play is up to you. drama point examples
Creating them for the game is easy. If you’re the director, you can create one A player may spend one drama point to add a minor detail or affectation to
NPC during any (non-vignette) scene. Each scene type provides information the opening scene, but he cannot contradict what was said by the director.
on how NPCs are used in those scenes. When you are not the director, you can A player may spend one drama point to add a new NPC to the opening scene,
spend one drama point to create an NPC in a scene, following the same rules. adding a minor detail along with the new character.
Keeping track of NPCs should be done on a separate piece of paper or index card
that is easily available to all the players.
Whoever adds the NPC to the scene plays that character in the scene.
drama point examples
A player may spend one drama point to create a relationship between two
NPCs by drawing a card from the deck and defining that relationship in detail.
A player may spend one drama point to take on the role of an NPC during a
scene.

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 vignettes ♣ i n t e r r o g at i o n s ♦
Vignettes involve no actual dialog. They merely set the atmosphere for the story. Interrogations are a complicated but varied approach to scene-framing. There
The director determines the location from the card drawn and narrates a brief are a number of ways to direct an interrogation scene, but the core concept is
scene. A vignette shouldn’t take more than a minute or two to narrate. that the director asks up to five questions of another player.
The director draws a ♣10 for scene — Vignette about Safety in Numbers — and a method one
♦Q — Abandoned/Barricaded Social Gathering. The director selects one player, steals one drama point from that player, and
The Winslow Family is having another ‘invitation only’ affair at their estate. Inside, asks that player up to five questions.
the guests gathers for a costume party, each guest wearing an animal spirit masque. method two
Most wear a goat’s head or peacock mask. As the night wears on, people start to The director selects one player. That player takes on the role of an NPC of the
mingle in the largest room, keeping close as the lights fade. But two of the guests, director’s choosing. The director then asks that player up to five questions.
wearing a goat mask and Italian plague mask, disappear into a hidden room. Passions
ignite between the guests and a power surge sends the lights flickering, lighting up the The director may ask the questions from the point of view of an NPC or his own
blood-drenched walls. character. This process should feel organic. However, the interrogation may
be out of character as well, in which case the director asks the questions in an
advice abstract fashion, as though going down a list. Regardless, the questions can be
Keep your vignettes short and simple. Narrate enough information to set the anything fitting the theme of the card drawn.
tone, but don’t overdo it by dragging the action on too long. Concise sentences
The player being interrogated cannot say no, nor can the player avoid answering
are a storyteller’s best friend.
the question. If a leading question paints the player into a corner, all the better.
Vignettes are a good opportunity to show what else is going on in the story that
The director draws a ♦4 for scene — Interrogation about Innocent Lives in Exchange
does not involve the main characters. They can highlight a single event, resolve
for Sin — and a ♠7 — Guarded Housing/Residence.
a crisis from another scene, or set up future tension. No one can interrupt a
vignette, so explore the game space as much as you like. The director decides that everyone has taken shelter with a family in a secured
brownstone. Radio chatter indicates that the streets aren’t safe and police are doing
npcs
random patrols. The owner of the home turns to Dr. Pearce and asks him questions
Vignettes do not have dialogue, but any number of NPCs may color the story
about his family’s safety and about the kidnapper (or kidnappers) outside, implying
background. Since vignettes can be about anything or anyone, this is an
that Dr. Pearce may know them personally.
opportunity to show the ‘audience’ what is going on elsewhere in the story.
advice
drama point examples
Ask leading questions. Avoid yes/no questions, or questions that can be reduced
A player may spend one drama point to add a minor detail or affectation to a
to short answers. What and why questions are great. Did or can questions are
vignette, but he cannot contradict what was said by the director.
not. “Why are you waiting for reinforcements?”
A player may spend one drama point to add a new NPC to a vignette.
drama point examples
The director may give one drama point to another player to have that player
interrogate the director.
The director may spend one drama point to ask one additional question
during the interrogation.
A player being interrogated may spend one drama point to avoid answering
one question.

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Andrew Haufe (order #8887983)
 interludes ♥ ensembles ♠
Interludes involve two (and only two) characters with a pre-existing Ensembles involve all of the characters. Like an interlude, the director
relationship, but neither character needs to be the director’s. The director sets determines the focus of the scene, as well as the location. The director may
the scene based on the cards drawn. The scene runs as long as the director likes, preempt the scene as much as he likes, but once the ensemble starts, the players
without being self-indulgent — calling “scene” when the characters have said should let things develop organically. The director still has the right to call
or done enough. An interlude involves only one location. Should the characters “scene” at any moment, but any player may override the director by spending
leave the location (or reach a moment of conflict), the scene ends. one drama point to end a scene early, or to extend a scene longer.
All players not involved in the scene gain one drama point at the end of the The director may take on the role of an NPC in the ensemble, instead of his own
interlude. character. Any player may spend one drama point to take on the role of an
established NPC instead of his own character.
The director has drawn the ♥5 for scene — Interlude about Clue in Plain Sight — and
the ♣8 for location — an Isolated Coffee Shop/Diner. The director has drawn the ♠3 for scene — Ensemble about the Unexplained/Veil —
and the ♥6 for location — Public/Weather Change Depot.
The director decides that Dr. Pearce and Madelynn are at a roadside diner, trying
to get a break from the bad weather. They have all of their research notes on the The director decides the group has seen enough horror. The have packed up their
table when Madelynn realizes that all of the abductions have happened on either an belongings and taken a cab to the train station. The depot is crowded with people…
equinox or a solstice. The director does not have an agenda beyond this and wants to and twisted shadows. The characters were expecting an easy escape, but the darkness
see where the characters take the story. is everywhere. Before they can get back into the cab, the driver turns inside out and
the car wisps away like smoke on a candle.
Once the interlude is over, the players not in the scene gain one drama point each.
advice
advice
Ensembles involve everyone and should be allowed to run their course. But not
Interludes are mostly about the drama between two characters. While interludes
too long. Eventually the characters may go off the rails, which slows play and
can be used to advance the plot, this is secondary to the interpersonal actions
distracts from the story.
and reactions of the characters. Let them explore their relationship in the
context of the scene’s focus. Let everyone get a say, but once you resolve the scene’s primary focus, it’s time
to end things. Don’t forget, if there’s conflict, the scene ends on its own, unless
npcs someone spends one drama point.
Typically, there are no NPCs in an interlude, unless someone spends one
drama point to include one. Reward ingenious ideas and know when it’s time to cut the action.
drama point examples drama point examples
The director may spend one drama point to place two characters into an A player may spend one drama point to end the ensemble early or to extend
interlude who do not have a pre-existing relationship. the ensemble after the director has ended it.
The director may spend one drama point to add an NPC to an interlude. A player may spend one drama point to take on the role of an NPC in the
ensemble.
A player may spend one drama point to join an interlude.
A player may spend two drama points to join an interlude as an NPC.
A player may spend one drama point to end the interlude early or to extend
the interlude after the director has ended it.

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 f l a s h bac k s ( j o k e r ) r e s o lv i n g c o n f l i c t
Flashbacks are interlude or ensemble scenes from the past, before the story interludes
began. The director determines the focus of the scene, as well as the location. Whenever two characters in an interlude reach a moment of unresolvable
The director may preempt the scene as much as he likes, but once the flashback conflict, the director narrates the conclusion and ends the scene. Should a
begins, the players should let things develop organically. The director still has player wish to override this, he must spend one drama point in order to
the right to call “scene” at any moment, but any player may override the director narrate the conclusion. In the case of a tie where more than one player spends
by spending one drama point to end a scene early, or to extend a scene longer. drama points, one player must spend more drama points than anyone else in
order to narrate the conclusion.
advice
Flashbacks are not there to fill in the gaps of the story we already know. A good ensembles
flashback takes us to a time and place we didn’t expect. It should add a twist we Whenever two (or more) characters in an ensemble reach a moment of
didn’t see coming. unresolvable conflict, the scene ends, which leaves the conflict dangling.
Should a player wish to override this, he must spend one drama point in
order to narrate the conclusion. In the case of a tie where more than one player
monologues (joker) spends drama points, one player must spend more drama points than anyone
else in order to narrate the conclusion.
Monologues are solo scenes where the director’s character (or an NPC) delivers a
single speech that cannot be interrupted. The director decides who else is at the advice
location at the time the speech is delivered. Should a scene end unresolved, this creates a cliffhanger effect. Players may
wish to resolve this in the following scene. But this isn’t always necessary.
The director gains one drama point at the end of the monologue. Use your best judgement. Sometimes the best things are left unsaid.
optional rules
Players who are used to adventure games with clear cut conflict resolution may
not like the simplicity of drama points resolving conflict. If all the players agree,
conflict should be resolved by a card draw (from a separate deck), with players
able to spend drama points to draw additional cards — high card wins and ties
remain unresolved.

“Break, heart,
I prithee, break”

— kent
king lear,
Act V, Scene Vii

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 scenes l o c at i o n s
Suit Suit
♣ Vignette ♣ Isolated
♦ Interrogation ♦ Abandoned/Barricaded
♥ Interlude ♥ Public/Weather Change
♠ Ensemble ♠ Guarded

Value Value
A Desperation Bred by Fear A Asylum/Graveyard
2 Red Herring/Rumors 2 Medical
3 The Unexplained/The Veil 3 Forest/Marsh
4 Innocent Lives in Exchange for Sin 4 Someplace Where the Shadows are Strongest
5 A Clue in Plain Sight 5 Fire/Police Station
6 Caught Red Handed 6 Depot (Bus, Train, etc.)
7 The Mundane World Sleepwalks 7 Housing/Residence
8 Research/Secrets 8 Coffee Shop/Diner
9 Hunting Grounds 9 Office Complex
10 Safety in Numbers 10 Library/University
J There are no Coincidences J Amusement Park/Stadium
Q Holding out for Hope Q Social Gathering
K And Glory Dies with Us K Industry
Joker Joker
Flashback or Monologue The Shadow World

expressing values locations 101

One of the changes in Protocol (from the original system) is the way in which Some Protocols put the characters on the move constantly, while other
scene values are defined. Previously, a large and abstract, thematic term Protocols have characters staying in relatively the same place for the
would be used (i.e Fear, Despair, Chaos) to express the focus of the scene. duration of the story. The location chart is therefore explored in one of two
In this edition, the values of the scenes have a more poetic and evocative ways. Either the location is the Suit or Value of the card, and the modifier
style. The intent is trigger different kinds of ideas, while shaping richer to the location is the other. For instance, in the Eons, the value of the card
stories. I hope you find it effective. indicates the location and the suit of the card adds an affectation to the
location that may or may not affect the plot.

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 finale names
Players take turns directing scenes. However, the order is not important. characters
Players may decide to take turns in a random order, clockwise order, or even bid Albert Alice
to be the next director. Just make sure everyone is involved and no one directs Annie Bailey
two times in a row.
Beatrice Benjamin
The person directing the final scene of the game is not responsible for wrapping Bernard Beverly
up loose plot ends. In fact, doing so robs the other players of their agency.
Billy Blake
Scene 16 is no more important than 8.
Cecil Clark
Once everyone has directed four scenes, the finale begins. The player with the
Clemens Dee
most drama points (or the person who directed the final scene of the game, in
case of a tie) narrates the first vignette of the finale. Draw one card to determine Donald Doris
the finale’s focus. If the joker is drawn, draw again, amplifying the issue. Use Dorothy Douglass
of the card is optional and should not replace common sense. After that, these Earl Edna
vignettes can be played in any order and the order of events can be fluid/plastic.
Eugene Evelyn
Suit Frances George
♣ The Horror is not satisfied Gerald Gilbert
♦ The Final Key, The Seventh Seal, The Last… Gloria Gordon
♥ The Horror takes one of us with it Grace Hazel
♠ The Horror takes a new form, walking the world with mortals Henry Ida
Irene Jean
For each drama point a player still possesses, he narrates (in turn) a vignette John Josephine
about his character’s fate and/or the fate of the others (including NPCs) in Kenneth Lang
relation to the story. A player may not spend more than one drama point
affecting a single character other than his own. Lawrence Leslie
Lillian Lloyd
Lucille Marion
random finale
Not all roads lead to the same conclusion and sometimes the journey is more Mel Milton
important than the destination. Glib inspirational poster pabulum aside, the Morgan Norman
way players play the game may lead to a finale where the card draw makes no Orville Patrice
sense. While I’ve done my best to make the suits associated with the finale Rathburn Raymond
as wide as possible to accommodate the story, it may be necessary to just
Royce Ruby
ignore the card draw and play without it.
Santiago Shelley
Sheridan Stanley
Theobald Vernon
Vincent Virginia
Walter William
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Andrew Haufe (order #8887983)
 prompts
a dv i c e Essentially, Protocol is a system of calculated prompts. Everything in this
document — roles, motivations, questions, scenes — is meant to be here. It
Running good Protocol games is not difficult. In fact, if you just pay attention all works together into a web of interlocking ideas that the players turn into a
to the game around you, it becomes very easy. The most important rule to story. I’ll be the first person to admit that this is more of a rainy day activity
remember is that there is nothing here to win. This is a game that starts, plays, than a game, but it follows the inherent logic of a storytelling game, without
and resolves in less than three hours. There is no value in a character living or the added crunch of die rolls and statistics. That’s what the drama points are for.
dying, winning or losing, succeeding or failing. The value is in how these events You’re only engaging for a few hours after all. The need for statistics is minimal
impact the story. in this kind of a game.
Imagine an axis. Upon that axis is win on one side and lose on the other. framing scenes
This axis would be familiar to 99% of the world who believe that game design There are few specific rules on how to frame a scene. Protocol scenes require
started and ended with Monopoly. For people who’ve played traditional the inclusion of elements drawn by the cards. But this can sometimes prohibit
roleplaying games, the end points are not win-lose, but are based upon creativity and create merciless stricture. The cards are there for guidance, not
perceived wants. Are the characters in it for treasure? Glory? Experience points? limitation. And while there are tried and true methods to help generate better
The objective of traditional roleplaying games is for players to set personal goals scenes, ultimately you are playing without the designer present. If you decide to
and achieve them at any cost. The traditional game structure rewards personal break the rules, make sure you understand why.
achievement with experience points that equate to monster killing and treasure • Before starting play, be aware of just how many scenes you’ll be directing.
hoarding. These are not ingredients in the Protocol series. Don’t squander one by rehashing of what you already know.
Certainly games have developed reward systems beyond that, but if your mind- • In media res is the concept of starting in the middle of the action. Don’t
set is to win, you’re going to find a different game experience within these pages worry about how the characters got here. Being surrounded by a pack of
than someone who plays in order to be part of something or who just wants to wild dogs creates immediate tension.
“stay in character.” So while it’s impossible for everyone to share 100% of the
same interests in the game, being completely at odds with the expectations of • A good scene starts late and ends early. Open with a strong sentence that
the mechanics is like expecting chess to have better touchdown rules. implies some kind of history. Call “scene” or “cut” before someone ruins a
perfectly-timed line with a weak retort.
Here, the goal is to write a good story. The reward is a well-written story.
• Bookends and mirrors. Framing tools can be visual, obvious, grad school
crutches. But they can still enhance a roleplaying experience. Don’t be afraid
the spirit of the game to bookend a scene with the sample elements at the front and back. Don’t
Recognizing and respecting the spirit of play is essential to a good protocol be afraid to use something that’s been used before.
session. Finding the chalice in the first scene, overcoming problems with a
made up device, and always saying no to anything people contrive about your • The micro-management of framing a scene can ensure the scene doesn’t slip
characters are not in the spirit of the game. Since the Protocol series lacks a off the rails with precise details about everyone’s role. Conversely, a hands-
gamemaster, everyone is responsible for monitoring what is and isn’t part of off approach can allow the drama to go in unexpected directions.
the story. For instance, ripping off a character’s arm can be dramatic, but also • Cause and effect are your friends. Let the characters’ mistakes grow into
debilitating. Just because one person wants to play in a gonzo manner, does not drama for a following scene.
mean the story supports this desire.
• Cliffhangers are useful in the middle of a story, but hold little value early
on. Also, the action of Act III washes away any possible tension of “does he
make the jump,” because we will know soon enough.

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Andrew Haufe (order #8887983)
 better vignettes
Keep it simple. Do not resolve everything. Set the mood. Show the bad guys. wa l k t h r o u g h
Pay attention to where you are in the story and know when to start a new
problem, complicate an existing problem, or end an ongoing problem. This, like all walkthroughs, involves me sitting at my desk and drawing cards,
dealing with whatever I get, just like you’ll be doing when you play.
better interrogations
Ask leading questions. Do not give the interviewee a chance to wiggle out of Four people sit down to play Eons: Abe, Bianca, Carl, and Diana. Respectively,
answering. Paint him into a corner. Insinuate problems or situations with the they have selected the characters of Eugene (investigator), Fay (theorist),
questions. But keep it thematic and appropriate. Gideon (analyst), and Harper (researcher).

The answer to any question is never no. motivations

Abe draws a ♦2, indicating a defiant academics/curiosity. Abe decides that
better interludes Eugene isn’t very smart, but defiantly pursues his theories nonetheless. He’s
Protocol is about drama. Drama is about conflict. Conflict does not happen teamed up with the others to cover up some of his weaknesses, adapting his
during a hug. Make sure the existing relationship is taken into account and use theories to mimic theirs.
your interlude time as an opportunity to change or develop that relationship
within the context of the scene’s theme. Bianca draws ♣10 — past lives, maddeningly. Bianca decides that Fay believes
she has been living the same life over and over again. In each life, she meets a
better ensembles man named Ivan who has also been living the same life over and over. They two
Do not be afraid to take on the roles of NPCs. Give everyone a chance to add to fall in love. He marries her and then kills her. Fay is trying to avoid Ivan this
the scene. Do not compete. Contrast and complement the other players. time, so she can break this cycle.
When someone is playing big, play small. When someone is playing loud, be
Carl draws ♥3. Inexplicably motivated by duty, Carl decides that Gideon is far
calm. When someone is struggling to get involved, engage.
too logical and straight-forward thinking to be wrapped up in all this mess, but
better finales there’s something haunting and cloying about the unexplained. Sure, science
The player directing the final scene of the game (before the finale) is not might explain it away, but it hasn’t yet. Perhaps only Gideon has the answers?
responsible for wrapping everything up. This is what the finale is for.
Diana draws ♠J, which is an impulsive retribution/revenge. Harper knows that
Bear in mind that the finale chart cannot predict where you’ve taken the story. she was abducted years ago. She can’t prove it, but she knows she was abducted.
The chart is merely a guideline. If you find the event jarring, ignore it and tell And she’s going to make sure it never happens again. To her, or anyone else.
your stories as you see fit.
Plus, Diana always plays goodie-two shoes characters.
better locations
Like everything else in Protocol, the location cards are prompts. If you draw a
location that is weird or just doesn’t work for what’s been going on, ignore it.
Staying in one place for two scenes in a row is just fine. Try to honor the tone of
the story and take things where they need to go.
Advanced players may ignore the location cards altogether.
better scenes
Do not force your agenda onto the story. This is the best way to derail what
is going on. It may feel to you that the story is going slowly, but trust me, the
pace is just fine. You have four turns around the table. If you force the game to
advance on a timetable no one else can see, you will frustrate yourself… and
others. Turning up the heat on the story may meet your criteria, but it’s not
always necessary.

•26• •27•
Andrew Haufe (order #8887983)
 relationships Bianca gets question 3: “What do you name the shadows? The unexplained
It’s important to note, that while all characters know each other, they may nightmares? What inexplicable weather phenomenon does the town suffer from?”
not have important relationships with one another before play. Choosing two
• The shadows are known as gospogs in some ancient legends, but Fay has
characters to have relationships means wanting to see those two characters
referred to them as pantomimes in her publications. The unexplained
work together.
nightmares are called tremors or spectres, depending on who you talk to.
Abe goes first, selecting Eugene and Harper to share a relationship, since the And yes. The town of Middlebury has more than its fair share of hail storms.
two are so weird. Drawing ♥2, Abe and Diana decide the education/training
Carl gets question 9: “Describe a fringecraft paper you published and people’s
romance between the two was years ago. It faded once school was over and
reaction to it.”
they pursued their separate careers. They’ve remained friends, though Eugene
suspects Harper still has feelings for him. And vice versa. • Gideon has only published one paper. The title was Gris-Gris: Debunking the
Unexplained, a boring and unattractive essay. Few people read it and those
Bianca wants to see a relationship between Gideon and Harper, hoping to mix
who did either ignored it, or went on AM radio to complain about it. The
things up further. The ♣8 shows that the pair are either related or have known
paper focused on strange phenomena in rural parts of America, suggesting
each other a long time. In either case, it’s an uneven relationship. Carl and
that poor ‘DNA sampling’ among the populace has led to presumptions
Diana decide that Gideon doesn’t treat Harper very well, often taking advantage
about cow abductions more than aliens ever have.
of their old friendship. Perhaps Harper is too unhinged to notice and is just
happy someone pays attention to her. Diana gets question 6: “Name and describe a cult leader or serial killer from the
town’s past.”
Carl selects Fay and Gideon to have a relationship, drawing ♦5 — friends/rivals
+ unreliable. That sounds about right. Gideon doesn’t treat his old friend Harper • Jamie Morgan was a cult leader in the late 50s, leading a group of about 40
very well, why would things be different with someone he often debunks? people to sell their land and move into his ‘cooperative enclave,’ where they
Bianca agrees that this is a good direction to take their characters, adding would grow all their own food and divorce themselves from the material
that Fay has started to publish under a pseudonym in order to avoid Gideon’s world. Jamie was nothing exceptional at first, but in 1957, a particularly
obsession with her work. harsh winter hit the area and the compound was snowed-in. Come thaw,
the only survivor was Jamie Morgan, who ate all of his followers during
Diana goes last and selects Eugene and Fay, just to round out the characters.
the course of the winter. He was tried, convicted, and sentenced to death.
Drawing a ♠9, the players determine that the community/working + failure
However, he is still sitting on death row, waiting through his 18th attempt
relationship is a reflection of Eugene’s ineptitude, which he hides by riding Fay’s
at an appeal.
coattails. However, Fay has yet to realize Eugene’s incompetence, and continues
to work alongside him on several side projects. the opening scene
The group can see a thread emerging in the story and move on to world building. Abe directs the opening scene, selecting a Desperation for his vignette focus.
“‘Two more dead in Middlebury,’ the headline read. The police had no leads and the
world building
newspaper editor suggested that no investigation was even taking place. Grover
With the relationships finished, the group decides to use a random method for
Issachar theorizes that Jamie Morgan’s cult has resurfaced in town, with some of its
the world building Q&A. They set the story in the town of Middlebury, CT —
old members continuing the cannibalistic rituals of their incarcerated leader. Unable
circa 1968.
to prove it himself, he writes a letter to his old friend Eugene Kline, asking for help.
Abe gets question 10: “Name and describe your NPC benefactor. Define your Eugene sends a telegram to his old flame, Harper, who in turn contacts Fay and
relationship to this NPC.” Gideon. A few weeks later, the quartet sits in the cluttered mansion of Mr. Issachar.
• Grover Issachar is an eccentric man. He’s never worked, having inherited Waiting…”
land and money from his well-to-do parents. He also never married and has From here on, the players take turns drawing cards and directing scenes.
no siblings. He has spent his life in Middlebury, sometimes improving the
community and other times closing himself off from the world. Eugene has
♣3 relationship with Grover, indicating the he’s known him for long time,
though the pair have only recently started to reconcile after a long absence.
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Andrew Haufe (order #8887983)
Andrew Haufe (order #8887983)