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Andrew Haufe (order #8887983)

 credits minister 8
words and graphics by jim pinto Minister 8 is a story roleplaying game about a fascist and religious, futuristic
society ruled by the ministers — true executors of the law and defenders of
editing by Diana Kwolkoski Stoll
the faith. Tasked with defending society from itself, the ministers are elite
proofing and assistance by Nathan Tucker and Martijn Tolsma guardians of society, routing out every offense imaginable — from contraband
special thanks to Tobie Abad, Rob Adams, Drew Baker, Jamie Fristrom, to drug use; from larceny to murder; from organized crime to human trafficking;
Diana Kwolkoski Stoll, Martijn Tolsma, and Nathan Tucker from religious heresy to sins against the state. Using the tenets of their religious
faith as the backbone of the society’s civil structure, the ministers are part
Minister 8 is Game 30 in the Protocol game series. lawgivers and part religious authority. Characters take on the role of these elite
Copyright 2015 © post world games and jim pinto. All rights reserved. members.
Specifically, they are members of the Janus Squad, a team of secret ministers
contents who investigate other ministers suspected of malfeasance.

introduction........................................................................................... 3
getting started...................................................................................... 4 P roto c o l
roles.......................................................................................................... 5
motivations............................................................................................. 6 Protocol is a series of story roleplaying games that thrusts characters into
motivations chart.................................................................................. 7 dramatic situations. Each game uses the same set of rules, with vastly different
relationships........................................................................................... 8 parameters, start-points, characters, and finales. Players take on the roles of
relationships chart............................................................................... 9 directors outside the action and characters inside the action, using the ebb and
world building..................................................................................... 10 flow of four different scene-framing styles (vignettes, interrogations, interludes,
gameplay................................................................................................. 11 and ensembles) to tell meaningful stories about characters in crisis.
optional rules...................................................................................... 11 Each game in the Protocol series is zero-prep for 3 or more players. The game
drama points.......................................................................................... 12 length is exponentially long, so games with more players take more time to
npcs.......................................................................................................... 12 complete. The Protocol Series requires a deck of poker cards as well as tokens to
scenes track drama points.
opening scene...................................................................................... 13
This series presumes some understanding of GMless game protocol: scene-
vignettes.............................................................................................. 14
framing, shared authority, and so on. If you’ve never played a GMless game,
interrogations................................................................................... 15
try one of the GMZero games such as Dying Memoryes, or George’s Children. A
interludes............................................................................................ 16
free pdf of game advice — GMZero Introduction Document — is available for
ensembles............................................................................................. 17
download from drivethrurpg.com.
flashbacks........................................................................................... 18
monologues......................................................................................... 18 The Protocol series includes over 50 games using the core Protocol engine.
resolving conflict............................................................................ 19 Some elements of the game have changed since its first release. Those familiar
scenes chart.......................................................................................... 20 with the original system should review the changes before beginning the game.
locations chart.................................................................................... 21 There are also optional rules that can slow down set-up time and world building.
finale....................................................................................................... 22 Be mindful of this. Advanced roles and backgrounds have been eliminated, and
names....................................................................................................... 23 roles have been simplified.
advice...................................................................................................... 24
Some of the new Protocols have special rules. Be sure to read them carefully.
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 Minister 8, players take on the roles of characters investigating their own Roles provide flavor and context, but no mechanical benefit.
kind, like the Internal Affairs of an already uber-fascist and theological society.
1. Arc. Ministers skilled with any number of heavy weapons and assault gear
Drawing ideas from the likes of Judge Dredd, Logan’s Run, and even the Spanish
are known as Arcs.
Inquisition, this game puts the characters into a position of near-absolute
power, with all the drawbacks that come with a society where the people are 2. Bailiff. Bailiffs are tasked with a number of administrative duties, including
powerless. (but not limited to), holding and transporting prisoners, serving papers, and
upholding the decrees of the masters.
The characters need roles, names, motivations, and relationships, as well as
3. Deputy. An elected post, just above magistrate, the deputy serves only one
an understanding of the world. Once each player has completed the following
term as a coordinator and public relations official.
steps, you are ready.
4. Inquisitor. Master interrogators, the inquisitors are brought in when a
• Select one role for your character — this has no mechanical benefit suspect won’t break under questioning.
• Name your character (a list of suggestions is on page 23) 5. Judge. Judges are sitting ministers who rarely see field work.
• Determine a character's motivation by drawing one card 6. Magistrate. Magistrates are the rank and file patrolling ministers.
7. Master. An expert on law and policy, the master is the final word on what is
• Determine a relationship between two characters by drawing one card
and is not a crime and the severity of punishments.
• Determine elements about the game through world building • NPC Minister. Because the NPCs are not members of Janus Squad, they are
Special Rules: the accused considered standard rank and file Ministers. But players should feel free to
In Minister 8, characters investigate other (NPC) ministers for violating the make them more interesting than that.
laws of the society. In order to do this, players must create two NPC characters 8. Proctor. When no other minister is in charge, the proctor assumes the role of
as well. Create these characters simultaneously with your own and allow the leadership. Often they train new recruits.
players to create relationships with these characters if they want. The two NPC 9. Recruit. A newly graduated minister, still learning the ropes.
ministers should have relationships with one another, regardless.
10. Scope. Scopes specialize in data sniffing and analysis, in addition to
If question 10 from World Building comes up, duplicate this process for a third checking up on other ministers.
NPC, creating relationships where necessary. 11. ‘Sloane.’ Sloane is a slang term for those ministers who dress commonly, in
deck shuffling an attempt to insinuate themselves into the lives of reprobates and sinners.
A standard deck of cards is shuffled at the beginning of the game and again 12. Warden. Usually working alone in remote areas, wardens are elite ministers
(only) if the deck runs out of cards. Used cards are discarded. Do not return who have served ‘above and beyond.’ They are respected and regarded
cards drawn for Motivations or Relationships to the deck. The same goes for without question.
Scenes and Locations during play. 13. Zero. Rumor has it there is no such thing as a minister zero. If they do exist,
drama points their exact purview is unknown. Regardless, they most likely dress like a
Each player starts the game with one drama point and only gains additional magistrate.
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. ♣ Piously
The motivation descriptions are vague — specificity is your job. For instance,
♦ Authoritatively
the ♠10 is a motivation of family, impulsively. The player may define this
motivation as doing whatever it takes to protect her family, or constantly acting ♥ Justly
in such a way that her family’s safety/sanity is in jeopardy. ♠ 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 Hard Work
story. What motivates a character is an extension of the character’s role within 2 Identity
the story. You can be motivated by pride to save another character from herself,
3 Faith/Grace
but your goal cannot be pride.
4 Glory
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 The Law
help you keep up with everyone. 6 Respect
7 Reward
8 Mentorship
9 Distance/Time
10 Family
J Justice
Q Love/Loyalty
the car moved down the
empty river-bed streets K Power
and off away, leaving Joker
the empty streets with the Draw two and combine the results
empty side-walks, and no sound
and no motion all the rest of
expressing values
the chill november night.
Interpreting the motivations chart can be perplexing. What exactly does it
mean to be motivated by Distance/Time? Justly even? What is the character
— the pedestrian, trying to get away from? As always, the values are prompts to spark the
ray bradbury 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 Contentious
A player may spend one drama point to add a third character to a 2 Languid
relationship.
3 Estranged
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 Predictable
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 Intrusive
is drawn for this relationship. It is defined by the context of the scene(s) already 7 Burdensome
played. 8 Contempt
defining relationships 9 Obsessiveness
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 Ominous
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 Brothers-in-Arms
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 nature of the crime being investigated. scene type — vignette, interrogation, interlude, or ensemble — as well as the
Players should also consider answering question 1 (as a group) before location. The scene’s type (suit) and atmosphere (value) are determined by the
continuing on. first card, while the location is determined by the second card. For instance, the
director draws a ♦7 and a ♣9 indicating an interrogation (♦) about 90% luck/10%
1. What are the three immutable laws? How do they apply to citizens vs. how
faith at the lower levels/depths (♣) with riots.
they apply to the ministers vs. how they apply to Janus Squad?
2. Who among you secretly reports to the Matriarch/Patriarch? Some players may find the location cards restrictive. You are free to ignore them
Who among you has worked undercover before? or just invent a location if you so choose.
3. Who among you had a ‘calling’ to become a minister and now serves with advice
absolute zeal and dedication to the cause? These ‘tags’ are designed to inspire the director to create scenes that link a
4. Who among you is so ‘principled’ as to put his own family to death for complete narrative together. There is an ebb and flow here, trust me. It works.
treason? How has this affected him? Listen to what has come before, pay attention to the cards you’ve drawn, and
5. Who among you has lost your faith? rely on your instincts.
What is the penalty for ‘treason’ and how is it carried out?
6. Who among you shows the most leniency when it comes to religious crimes?
Who among you always punishes criminals to the most extreme degree? optional rules
7. Which district is best known for rampant petty crimes? Which district
• If the same suit is drawn three times in a row for a scene or location, the
houses the ‘untouchables’ of society?
director may discard the card and draw a new one until a new suit appears.
8. Describe two facts related to the crime being investigated.
Describe two unsubstantiated rumors. • 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
9. Name and describe the minister that the Matriarch/Patriarch most wants to
them back into the deck.
see punished (for the crimes and/or personal feelings).
10. Name and describe one additional minister who is under investigation. • A player always has a minimum of one drama point to spend during the
Who among you is also under investigation? 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 takes
may use drama points in any way that breaks the rules. They are tools for place at Janus HQ. The vignette focus is either Allegations or Suspicion.
dramatic escalation, interrupting the action, and general authoritative control. Determine randomly which player narrates this vignette, but do not draw any
There are few rules for spending drama points, but some examples include: cards.
• The director may spend one drama point to discard a scene/location card Afterwards, take turns until every player has directed four scenes.
and draw a new one. If the card drawn is a scene card of the same suit OR
The director decides that the Matriarch has handed down an edict regarding a murder
value, the director may draw a new one at no cost (but only once).
inside the ministry. Two ministers from District 5 are suspected of murdering their
• The director may spend one drama point to change the suit of a scene partner, but the characters need to be delicate in their investigation. Minister Gideon,
card to any other suit. The value may not change. one of the characters, knows District 5 well and is expected to lead the investigation
within the boundaries of that district. If the investigation spills into another district,
• If a scene ends with unresolved conflict, any player may spend one drama
you’ll need to report back to the Temple for further orders.
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. Ministers Hope and Vedic are the lead suspects.
Other examples appear elsewhere throughout this document. advice
The opening scene sets the proper tone. From here, the other players get a sense
of where the story might lead. Pulling together as many world building threads
NPCs 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
NPC is short-hand for Non-Player Character. These are characters who may the door on ideas.
appear during play, but that no one single player controls. A cop on the street,
a bartender at a restaurant, or a cashier at the check-out line are all NPCs. npcs
Sometimes they are the background noise from the world and sometimes they The opening scene does not have dialogue, but any number of NPCs may color
interact with the characters the players control. How often they appear and how the story background. Since the opening scene can be about anything or anyone,
much they influence play is up to you. this is an opportunity to show the ‘audience’ what is going on elsewhere in the
story.
Creating them for the game is easy. If you’re the director, you can create one
NPC during any (non-vignette) scene. Each scene type provides information drama point examples
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 minor detail or affectation to
spend one drama point to create an NPC in a scene, following the same rules. the opening scene, but he cannot contradict what was said by the director.
Keeping track of NPCs should be done on a separate piece of paper or index card A player may spend one drama point to add a new NPC to the opening scene,
that is easily available to all the players. adding a minor detail along with the new character.
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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Andrew Haufe (order #8887983)
 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 to another player.
The director draws a ♣9 for scene — Vignette about Questions of Faith — and a ♦Q method one
— Housing Complex, City Center. The director selects one player, steals one drama point from that player, and
All around the City Center, citizens cry out for justice that serves the people and not asks that player up to five questions.
the temples. The main housing complex for the ministers is surrounded by determined method two
people who want answers. Equally. Faith in the higher order of the Church wanes. The director selects one player. That player takes on the role of an NPC of the
But the Janus Squad has its orders. director’s choosing. The director then asks that player up to five questions.

As the Ministers race past the City Center on their private tram, they can see Riot The director may ask the questions from the point of view of an NPC or his own
Squads dousing the people in a viscous liquid that numbs and paralyzes. One percent character. This process should feel organic. However, the interrogation may
of those who come in contact with it will die, but it’s the best deterrent against be out of character as well, in which case the director asks the questions in an
uprisings… abstract fashion, as though going down a list. Regardless, the questions can be
anything fitting the theme of the card drawn.
advice
Keep your vignettes short and simple. Narrate enough information to set the The player being interrogated cannot say no, nor can the player avoid answering
tone, but don’t overdo it by dragging the action on too long. Concise sentences the question. If a leading question paints the player into a corner, all the better.
are a storyteller’s best friend. The director draws a ♦2 for scene — Interrogation about the Law of Two — and a
Vignettes are a good opportunity to show what else is going on in the story that ♠8 — Entertainment/Shopping Complex, Crimes in Progress.
does not involve the main characters. They can highlight a single event, resolve The director decides the interrogation takes place at a shopping complex in District 5,
a crisis from another scene, or set up future tension. No one can interrupt a where looting is taking place. The director decides one of the players will take on the
vignette, so explore the game space as much as you like. role of a shop owner who found the body of the dead minister. Having decided earlier
that the Second Law is ‘lies destroy us,’ the director proceeds to ask five questions
npcs
about the murder, reminding the shop owner of what happens if he doesn’t tell the
Vignettes do not have dialogue, but any number of NPCs may color the story
truth.
background. Since vignettes can be about anything or anyone, this is an
opportunity to show the ‘audience’ what is going on elsewhere in the story. advice
Ask leading questions. Avoid yes/no questions, or questions that can be reduced
drama point examples
to short answers. What and why questions are great. Did or can questions are
A player may spend one drama point to add a minor detail or affectation to a
not. “Why are you waiting for reinforcements?”
vignette, but he cannot contradict what was said by the director.
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 Lies and Dissent — and
the ♣6 for location — The Lower Levels/The Depths, Septic Flooding. The director has drawn the ♠3 for scene — Ensemble about Investigation Turns
Inward — and the ♥2 for location — Government/Temples Complex, Dead of Night.
The director decides that Gideon and Mala (who share a relationship of Rivals, Trust)
have gone to an extremely dirty section of the District to question a known criminal. The director decides the group has returned to HQ in the dead of night to look at the
Having heard nothing but lies from him, the pair are no closer to understanding who files of another minister (King) who seems to have escaped notice. Once inside, the
may have murdered one of their own. The director does not have an agenda beyond group searches through the deep libraries of data, sorting through what they do and
this and wants to see where the characters take the story. Once the interlude is over, do not know. This scene is a perfect chance for the ministers to catch one another up
the players not in the scene gain one drama point each. on what’s been going on. The director does not have an agenda beyond this and wants
to see where the characters take the story.
advice
Interludes are mostly about the drama between two characters. While interludes advice
can be used to advance the plot, this is secondary to the interpersonal actions Ensembles involve everyone and should be allowed to run their course. But not
and reactions of the characters. Let them explore their relationship in the too long. Eventually the characters will start spewing every kind of theory and
context of the scene’s focus. idea, which slows play and distracts from the story.
npcs Let everyone get a say, but once you resolve the scene’s primary focus, it’s time
Typically, there are no NPCs in an interlude, unless someone spends one to end things. Don’t forget, if there’s conflict, the scene ends on its own, unless
drama point to include one. someone spends one drama point.
drama point examples Reward ingenious ideas and know when it’s time to cut the action.
The director may spend one drama point to place two characters into an drama point examples
interlude who do not have a pre-existing relationship. A player may spend one drama point to end the ensemble early or to extend
The director may spend one drama point to add an NPC to an interlude. the ensemble after the director has ended it.
A player may spend one drama point to join an interlude. A player may spend one drama point to take on the role of an NPC in the
ensemble.
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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Andrew Haufe (order #8887983)
 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.

gaze into the fist

of dredd.

— judge dredd

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Andrew Haufe (order #8887983)
 scenes l o c at i o n s
Suit Suit
♣ Vignette ♣ The Lower Levels/The Depths
♦ Interrogation ♦ Housing Complex
♥ Interlude ♥ Government/Temples Complex
♠ Ensemble ♠ Entertainment/Shopping Complex

Value Value
A Law of One A Serene
2 Law of Two 2 Dead of Night
3 Investigation Turns Inward 3 Heatwave
4 Edicts from the Matriarch/Patriarch 4 Traffic Jams
5 Lies and Dissent 5 Rationing Lines
6 Red Herrings and Dead Ends 6 Septic Flooding
7 90% Luck, 10% Faith 7 Radio Silence
8 Good Cop, Bad Cop 8 Crimes in Progress
9 Questions of Faith 9 Riots
10 Law of Three 10 The Boundaries
J Distractions of the Worst Kind J Edge of Nothing
Q Suspicions Turn Dark Q City Center
K Time Running Out K Mega Highways
Joker Joker
Flashback or Monologue The Grand Basilica

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 Minister 8, the suit of the card
stories. I hope you find it effective. indicates the location and the value of the card adds an affectation to the
location that may or may not affect the plot.

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Andrew Haufe (order #8887983)
 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 Adeena Agatha
to be the next director. Just make sure everyone is involved and no one directs Agnes Aidan
two times in a row.
Atticus August
The person directing the final scene of the game is not responsible for wrapping Balin Baarr
up loose plot ends. In fact, doing so robs the other players of their agency.
Bray Caellainn
Scene 16 is no more important than 8.
Ceres Clay
Once everyone has directed four scenes, the finale begins. The player with the
Constantine Cornel
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 Deva Donnan
the finale’s focus. If the joker is drawn, draw again, amplifying the issue. Use Elga Eli
of the card is optional and should not replace common sense. After that, these Emet Finnian
vignettes can be played in any order and the order of events can be fluid/plastic.
Freya Galla
Suit Gate Gideon
♣ Case closed Halag Hemera
♦ Too connected to powerful ministers Ia Immanuel
♥ Dirty implications soil the name of the ministers Irais Isidora
♠ Riots claim a district, allowing the accused to escape Jaricot Judith
Kacha King
For each drama point a player still possesses, he narrates (in turn) a vignette Lang Leon
about his character’s fate and/or the fate of the others (including NPCs) in Maria Mattias
relation to the story. A player may not spend more than one drama point
affecting a single character other than his own. Michael Nestor
Nikodem Nilus
Orion Osanna
random finale
Not all roads lead to the same conclusion and sometimes the journey is more Paeious Paschal
important than the destination. Glib inspirational poster pabulum aside, the Pia Rama
way players play the game may lead to a finale where the card draw makes no Rock Ronan
sense. While I’ve done my best to make the suits associated with the finale Sahor Samuel
as wide as possible to accommodate the story, it may be necessary to just
Sarinnah Sati
ignore the card draw and play without it.
Simon Sorrow
Tikhon Trinity
Ulla Unity
Vedha Wulfric

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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.

•24• •25•
Andrew Haufe (order #8887983)
 better vignettes
Keep it simple. Do not resolve everything. Set the mood. Show the bad guys.
Pay attention to where you are in the story and know when to start a new
wa l k t h r o u g h
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 Minister 8: Abe, Bianca, Carl, and Diana.
answering. Paint him into a corner. Insinuate problems or situations with the Respectively, they have selected the characters of Emet (zero), Fatima (scope),
questions. But keep it thematic and appropriate. Gideon (recruit), and Helene (master).

The answer to any question is never no. motivations

Abe draws a ♦5, indicating an authoritive motivation focused on the law. That’s
better interludes about as straight-forward as it gets. So Abe decides that Emet is about as by the
Protocol is about drama. Drama is about conflict. Conflict does not happen book and judgemental as a minister can be, especially since he’s a zero.
during a hug. Make sure the existing relationship is taken into account and use
your interlude time as an opportunity to change or develop that relationship Bianca draws ♥10 — justly motivated by family. Fatima comes from a long line
within the context of the scene’s theme. of ministers. She considers herself above it all and does not see anything wrong
with keeping tabs on hundreds, if not thousands, of citizens who ‘might’ break
better ensembles the law.
Do not be afraid to take on the roles of NPCs. Give everyone a chance to add to
the scene. Do not compete. Contrast and complement the other players. Carl draws ♣J. George is motivated piously by justice. Carl decides that Gideon
When someone is playing big, play small. When someone is playing loud, be is a great deal like an historic paladin. He does not distinguish between god and
calm. When someone is struggling to get involved, engage. the law. Each informs the other.
Diana draws ♠A, which is impulsive hard work. Diana decides that Helene’s
better finales
mastery of the law comes from a dediction and level of work ethic that has
The player directing the final scene of the game (before the finale) is not
removed any personal life from her.
responsible for wrapping everything up. This is what the finale is for.
Plus, Diana always plays goodie-two shoes characters.
Bear in mind that the finale chart cannot predict where you’ve taken the story.
The chart is merely a guideline. If you find the event jarring, ignore it and tell The players create two additional NPC ministers, Ia and Jaricot. Ia is motivated
your stories as you see fit. by ♥6 — Justly Respect — and Jaricot is motivated by ♦2, indicating
Authoritative Identity. Twisting the logic, the group decides that Ia has lost
better locations repect for the law and Jaricot believes that personal freedoms are more
Like everything else in Protocol, the location cards are prompts. If you draw a
important than the law. In either instance, there is no outward proof that they
location that is weird or just doesn’t work for what’s been going on, ignore it.
are slipping in their duties. There is merely the suspicion that one of them has
Staying in one place for two scenes in a row is just fine. Try to honor the tone of
committed a crime.
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.

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Andrew Haufe (order #8887983)
 relationships world building
It’s important to note, that while all characters know each other, they may With the relationships finished, the group decides to use a random method for
not have important relationships with one another before play. Choosing two the world building Q&A. They decide that the crime is treason. A member of the
characters to have relationships means wanting to see those two characters ministry has sold out his fellow ministers to a gang in District 4.
work together.
Abe selects question 6: “Who among you shows the most leniency when it comes
Abe goes first, selecting Gideon and Helene to share a relationship. Being a to religious crimes? Who among you always punishes criminals to the most extreme
recruit who works closely with a master makes sense. Drawing ♥5, Carl and degree?”
Diana decide the predictable romance is reflective of their constantly working
• Helene is a master of the law, but she avoids harsh punishments when it
together. Since Helene doesn’t have time for anything other than work, the
comes to crimes of a spiritual nature. Emet seems to show no mercy to
relationship is mostly physical. Gideon, however, is torn. He worries this may
criminals, however. He’s put more dangerous citizens to death than any
affect his work.
minister in the city.
Bianca wants to see a relationship between Emet and Fatima, since the two
Bianca selects question 8: “Describe two facts related to the crime being
are so devoted to the law. The Joker indicates that Helene is also part of this
investigated. Describe two unsubstantiated rumors.”
relationship and the ♦10 reflects a trusting friendship. The trio have worked on
Janus Squad together for a long time. Certainly nothing can go wrong there. • Facts: The minister who committed treason let two ministers die in
exchange for money. In addition, four other murders in the city went
Carl selects Emet and Gideon, drawing ♥8. Abe and Carl determine that Emet
unanswered that night.
does not like Gideon, since he used to have a thing for Helene and now the new
recruit is seeing her. This might add some interesting drama. • Rumors: Jaricot has been stalking Helene for weeks since the breakup,
though there is no proof of this. Ia has become pregnant. If this is true, it is
Diana goes last and selects Fatima and Jaricot, one of the NPCs. Drawing a ♥2,
a clear violation of the law for ministers.
Diana determines that Fatima once had a romance with Jaricot, but it fizzled
out from a lack of interest on both sides. Work took precedence with Fatima and Carl selects question 7: “Which district is best known for rampant petty crimes?
it is unclear why Jaricot moved on. Which district houses the ‘untouchables’ of society”
The group decides that Ia and Jaricot also have a relationship: ♦5. The cards • District 1 is the oldest and therefore the dirtiest. Despite this, it is best
indicate they are predictable friends/rivals. The players go with friends and known for petty crimes and not the ugliest of crimes — human trafficking,
make the two partners. Perhaps they both committed treason (together). murder, drugs (which is District 3). District X is where the untouchables live
— the people with wealth and power. One cannot enter District X without
approval. Even ministers find it difficult to do their jobs there.
Diana chooses question 4: “Who among you is so ‘principled’ as to put his own
family to death for treason? How has this affected him?”
• Emet is clearly the most principled and the act of sentencing his own
brother and sister-in-law to death hasn’t affected him in the slightest.
Emet is stone cold.
the opening scene
Bianca directs the opening scene, selecting Allegations for her vignette focus.
“Janus Squad looks over the evidence assigned to them by Archbishop Rousseau.
Ministers Ia and Jaricot are both under suspicion of treason, though the facts of the
case are still a little loose. It’s clear that two ministers have died, though it’s not clear
if incompetence or treason from Ia and Jaricot have lead to this. Surveillance tapes
are inconclusive, though the first place for the Janus Squad to investigate seems to be
the rumors that Ia is pregnant and whose child it might be…”
•28•
Andrew Haufe (order #8887983)
Andrew Haufe (order #8887983)