34

Andrew Haufe (order #8833065)

 credits t h e s ca r e c r ow
words and graphics by jim pinto The Scarecrow is a story roleplaying game about isolation and superstition.
Characters are children living in rural America all dealing with a local ‘legend’
editing by Diana Kwolkoski Stoll
about a Scarecrow, who may or may not be real. Based on the Cropsey myth
proofing and assistance by Nathan Tucker and Martijn Tolsma on Staten Island or the Slender Man from the internet, this game plays upon
special thanks to Tobie Abad, Rob Adams, Drew Baker, Jamie Fristrom, misguided fears and preconceptions, creating an environment that is both
Diana Kwolkoski Stoll, Martijn Tolsma, and Nathan Tucker unstable and comforting.

The Scarecrow is Game 34 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
contents dramatic situations. Each game uses the same set of rules, with vastly different
parameters, start-points, characters, and finales. Players take on the roles of
introduction........................................................................................... 3 directors outside the action and characters inside the action, using the ebb and
getting started...................................................................................... 4 flow of four different scene-framing styles (vignettes, interrogations, interludes,
roles.......................................................................................................... 5 and ensembles) to tell meaningful stories about characters in crisis.
motivations............................................................................................. 6
motivations chart.................................................................................. 7 Each game in the Protocol series is zero-prep for 3 or more players. The game
relationships........................................................................................... 8 length is exponentially long, so games with more players take more time to
relationships chart............................................................................... 9 complete. The Protocol Series requires a deck of poker cards as well as tokens to
world building..................................................................................... 10 track drama points.
gameplay................................................................................................. 11 This series presumes some understanding of GMless game protocol: scene-
optional rules...................................................................................... 11 framing, shared authority, and so on. If you’ve never played a GMless game,
drama points.......................................................................................... 12 try one of the GMZero games such as Dying Memoryes, or George’s Children. A
npcs.......................................................................................................... 12 free pdf of game advice — GMZero Introduction Document — is available for
scenes download from drivethrurpg.com.
opening scene...................................................................................... 13
The Protocol series includes over 50 games using the core Protocol engine.
vignettes.............................................................................................. 14
Some elements of the game have changed since its first release. Those familiar
interrogations................................................................................... 15
with the original system should review the changes before beginning the game.
interludes............................................................................................ 16
There are also optional rules that can slow down set-up time and world building.
ensembles............................................................................................. 17
Be mindful of this. Advanced roles and backgrounds have been eliminated, and
flashbacks........................................................................................... 18
roles have been simplified.
monologues......................................................................................... 18
resolving conflict............................................................................ 19 Some of the new Protocols have special rules. Be sure to read them carefully.
scenes chart.......................................................................................... 20
locations chart.................................................................................... 21
finale....................................................................................................... 22
names....................................................................................................... 23
advice...................................................................................................... 24
walkthrough......................................................................................... 27
character sheet.................................................................................... 30
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Andrew Haufe (order #8833065)
 g e t t i n g s ta r t e d roles
In The Scarecrow, players take on the roles of characters living in rural America, Roles provide flavor and context, but no mechanical benefit.
facing the superstitious dread of a (possibly malevolent) scarecrow. While their
1. Abused Child. Does this need an explanation?
fears are a by-product of their own ignorance and naïveté, they must come to
terms with these misconceptions nonetheless. 2. Adopted Child. In this context, the child is routinely reminded that he or she
is adopted.
The characters need roles, names, motivations, and relationships, as well as
3. Artistic Child. Living in rural America means working hard. Sensitive children
an understanding of the world. Once each player has completed the following
with creative minds do not fit in well.
steps, you are ready.
4. Big Brother/Sister. Perhaps a bit of a bully.
• Select one role for your character — this has no mechanical benefit
5. Child of a Broken Home. A broken home can be a place where the parents
• Name your character (a list of suggestions is on page 23) have divorced or where the parents openly hate each.
• Determine a character’s motivation by drawing one card 6. Child of a Farmer. Farmers tend the land, though they may have some
livestock. Their children work some portion of the day, if not all (if they are
• Determine a relationship between two characters by drawing one card poor enough).
• Determine elements about the game through world building 7. Child in Foster Care. A foster child may have been placed in the system
recently, but has most likely been around for a while.
Special Rules: fear of the dark
In The Scarecrow, the last player to select a relationship, must select a 8. Child of a Rancher. Ranchers tend to livestock.
relationship with an imaginary friend. During an interlude, this player may be 9. Damaged Child. Perhaps born with a disfigurement or the victim of an
in a scene with his or her imaginary friend, forcing one of the other players to accident, this child is (in someway) physically unable to keep up with others.
take on the role of the imaginary friend. Alternatively, the player may interact 10. Gifted Child. Sadly, being book-smart means nothing out here.
with his or her imaginary friend in a monologue, or even an interrogation.
11. Only Child. Most likely neglected, too.
deck shuffling 12. Runaway Child. Perhaps he’s just passing through or he lives in the woods.
A standard deck of cards is shuffled at the beginning of the game and again 13. Special Needs Child. This can mean many things to many people. Tread
(only) if the deck runs out of cards. Used cards are discarded. Do not return lightly.
cards drawn for Motivations or Relationships to the deck. The same goes for
Scenes and Locations during play.
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 #8833065)
 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. ♣ Selfishly
The motivation descriptions are vague — specificity is your job. For instance,
♦ Stubbornly
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 ♥ Naively
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 (Dying) Inertia
story. What motivates a character is an extension of the character’s role within 2 Fresh Start
the story. You can be motivated by pride to save another character from herself,
3 Survival
but your goal cannot be pride.
4 Revenge
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 Sadness
help you keep up with everyone. 6 Respect
7 Identity
8 Desperation
9 Distance/Time
10 ‘Family’
J Explanations
Q Love
K Power
men observe when things Joker
hit, and not when they miss;
and commit to memory the one, Draw two and combine the results
and forget and pass over the
other. expressing values
Interpreting the motivations chart can be perplexing. What exactly does
— sir francis bacon it mean to be motivated by Distance/Time? Stubbornly 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 #8833065)
 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 ♥ Best-Friends
it as an ongoing issue of trust between two brothers who have lied to each other ♠ Community/School
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 Defensive
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 Survival
is drawn for this relationship. It is defined by the context of the scene(s) already 7 Worrisome
played. 8 Rejection
defining relationships 9 Loneliness
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 Unpredictable
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 Authority
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. 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.

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Andrew Haufe (order #8833065)
 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 name the town you live in. Does this town have access to scene type — vignette, interrogation, interlude, or ensemble — as well as the
the internet? location. The scene’s type (suit) and atmosphere (value) are determined by the
first card, while the location is determined by the second card. For instance,
1. How close are you to the next city? How far is the nearest hospital? Police?
the director draws a ♦7 and a ♣9 indicating an interrogation (♦) about the warm
2. What does the scarecrow look like in the day? comfort of a mother’s frozen arms while at farms/fields (♣) with the lights on.
In the night? Have any of you ever seen it move?
Some players may find the location cards restrictive. You are free to ignore them
3. Who among you has been the closest to the scarecrow?
or just invent a location if you so choose.
Whose farm does it live on?
4. What other name does the scarecrow use? Slenderman? Cropsey? The Rake? advice
Something else? What does this name mean? These ‘tags’ are designed to inspire the director to create scenes that link a
5. Who has dared you to steal the hat from the scarecrow? complete narrative together. There is an ebb and flow here, trust me. It works.
What happens if you do? Listen to what has come before, pay attention to the cards you’ve drawn, and
rely on your instincts.
6. You all know not to say the scarecrow’s name three times in a row.
What will happen if you do?
7. Describe two rumors about the scarecrow.
8. Select one player who has not slept for over a week. Describe one side optional rules
effect of his insomnia. • If the same suit is drawn three times in a row for a scene or location, the
9. Name and describe a child who recently went missing. director may discard the card and draw a new one until a new suit appears.
10. Name and describe one adult who will listen to your stories about the • At the beginning of the game, shuffle the deck and remove 10 cards at
scarecrow. random. Do not look at them. Remove them from play and never shuffle
optional rules them back into the deck.
Consider one of these two methods of answering world building questions: • A player always has a minimum of one drama point to spend during the
• One player chooses a question for the player to his left to answer. finale on his own character.
• Players answer random questions (determined by a die roll or card draw), • Once per game, the players may award one drama point to a director who
instead of choosing. has framed a particularly good scene or a player who has contributed to a
scene in a dramatic fashion.
drama point examples
A player may spend one drama point to answer one additional world building • Select a permanent director who does not play a character, but instead runs
question (after everyone has answered one). the game like a traditional RPG. Cards are still drawn for scenes. The game
lasts for a number of scenes equal to four times the number of players, or as
A player may spend one drama point to answer a question that has already long as the director chooses. During the finale, the director may spend up to
been answered, offering additional insight that does not contradict what has four drama points in order to write vignettes about the other characters.
already been said.
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Andrew Haufe (order #8833065)
 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 17) that takes
may use drama points in any way that breaks the rules. They are tools for place in the corn fields. The vignette focus is either Rumors or Double Dog Dare.
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. Afterwards, take turns until every player has directed four scenes.
• The director may spend one drama point to discard a scene/location card The director decides that its twilight, in late spring. The fireflies will be out soon and
and draw a new one. If the card drawn is a scene card of the same suit OR the taste of biscuits is still in the mouths of the children. In the corn field behind
value, the director may draw a new one at no cost (but only once). Uncle Lee’s farmhouse, two of the children — Tyson and Wendy — are playing a
little game of truth or dare, when the stakes start to get out of hand. Wendy is clearly
• The director may spend one drama point to change the suit of a scene
uncomfortable with where the game is going, when clouds block out what little
card to any other suit. The value may not change.
sunlight is left. In the distance, the rustle of corn and howling of animals is replaced
• If a scene ends with unresolved conflict, any player may spend one drama by an eerie sound, almost impossible to describe. Yet another reminder that the
point to shift the conflict to an NPC who has already made an appearance in scarecrow is out there…
the story, or spend two drama points to shift the conflict to a new NPC.
advice
Other examples appear elsewhere throughout this document. 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
as possible ensures that things won’t be forgotten once the game is underway.
NPCs The opening scene is about providing pathways to plot threads and not closing
the door on ideas.
NPC is short-hand for Non-Player Character. These are characters who may
appear during play, but that no one single player controls. A cop on the street, drama point examples
a bartender at a restaurant, or a cashier at the check-out line are all NPCs. A player may spend one drama point to add a minor detail or affectation to
Sometimes they are the background noise from the world and sometimes they the opening scene, but he cannot contradict what was said by the director.
interact with the characters the players control. How often they appear and how A player may spend one drama point to add a new NPC to the opening scene,
much they influence play is up to you. adding a minor detail along with the new character.
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
on how NPCs are used in those scenes. When you are not the director, you can
spend one drama point to create an NPC in a scene, following the same rules.
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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 v i g n e t t e s ( ♣) 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 Pledging Allegience — and method one
a ♦Q — Roads, Under Guard. The director selects one player, steals one drama point from that player, and
The children have decided to take a short cut home from school, cutting through asks that player up to five questions.
the corn and backroads behind the farms. After zipping through Mr. Kluggs’ farm, method two
the children stepped out onto a gravel road where they could see a police car and a The director selects one player. That player takes on the role of an NPC of the
cordoned off area. Sneaking closer to get a look, the children see the dead body of a boy director’s choosing. The director then asks that player up to five questions.
from their class, David — a boy who had been suspended from school for “stepping
out of line.” Once the kids spotted the body, a police officer yelled at them to get home. The director may ask the questions from the point of view of an NPC or his own
character. This process should feel organic. However, the interrogation may
advice be out of character as well, in which case the director asks the questions in an
Keep your vignettes short and simple. Narrate enough information to set the abstract fashion, as though going down a list. Regardless, the questions can be
tone, but don’t overdo it by dragging the action on too long. Concise sentences anything fitting the theme of the card drawn.
are a storyteller’s best friend.
The player being interrogated cannot say no, nor can the player avoid answering
Vignettes are a good opportunity to show what else is going on in the story that the question. If a leading question paints the player into a corner, all the better.
does not involve the main characters. They can highlight a single event, resolve
The director draws a ♦2 for scene — Interrogation about Missing/Rumors/Secrets/
a crisis from another scene, or set up future tension. No one can interrupt a
Whispers— and a ♠8 — School/Church, Obfuscated.
vignette, so explore the game space as much as you like.
The director decides the interrogation takes place in a church basement. Two of the
npcs children have gathered with candles and a ouija board. Wendy is convinced that David
Vignettes do not have dialogue, but any number of NPCs may color the story
was killed by the Scarecrow and she wants to communicate with the spirit. Tyson
background. Since vignettes can be about anything or anyone, this is an
is with her, but Wendy will ask the ‘ouija board’ five questions about what really
opportunity to show the ‘audience’ what is going on elsewhere in the story.
happened to David. The player playing Tyson will take on the role of the spirit world/
drama point examples ouija board.
A player may spend one drama point to add a minor detail or affectation to a
advice
vignette, but he cannot contradict what was said by the director.
Ask leading questions. Avoid yes/no questions, or questions that can be reduced
A player may spend one drama point to add a new NPC to a vignette. to short answers. What and why questions are great. Did or can questions are
not. “Why are you waiting for reinforcements?”
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 #8833065)
 i n t e r l u d e s ( ♥) e n s e m b l e s ( ♠)
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 Into the Corn Rows… —
and the ♣6 for location — Farms/Fields, Rain. The director has drawn the ♠3 for scene — Ensemble about ‘Olly Olly Oxen Free’ —
and the ♥2 for location — Home, Quiet.
The director decides that Tyson and Wendy (who share a relationship of long-term,
trust) have decided to investigate the corn fields near Tyson’s home. Since talking to The director decides the group is at Tyson’s home, along with Tyson’s younger brother
the ouija board, the two now have a darker sense of what is happening, but they can’t (Levi) who is not a character in the story, but an NPC. All of the adults are gone — off
tell anyone. The director does not have an agenda beyond this and wants to see where having a meeting at the local grange hall. The children have been playing games in
the characters take the story. The director is prepared to add some details to the scene the fields and generally testing one another’s courage with greater and greater dares.
as the characters explore. Eventually someone dares Levi to go into the corn rows and face the scarecrow. Alone.
Thirty minutes later, when Levi still hasn’t returned, the children call out for him
Once the interlude is over, the players not in the scene gain one drama point each.
to come home. Then it grows dark, and worry sets in. The director does not have an
advice agenda beyond this and wants to see where the characters take the story.
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
interlude who do not have a pre-existing relationship. drama point examples
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
A player may spend two drama points to join an interlude as an NPC. ensemble.
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 #8833065)
 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.

“What we don’t
understand we can
make mean anything.”

— Chuck Palahniuk

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Andrew Haufe (order #8833065)
 scenes l o c at i o n s
Suit Suit
♣ Vignette ♣ Farms/Fields
♦ Interrogation ♦ Roads
♥ Interlude ♥ Home
♠ Ensemble ♠ School/Church

Value Value
A A Witness A With the Lights Off
2 Missing/Rumors/Secrets/Whispers 2 Quiet
3 ‘Olly Olly Oxen Free’ 3 Desolate
4 Fear (and the Horror Our Minds Create When We Imagine the Worst) 4 Overcast/Foggy
5 Into the Corn Rows… 5 The Cold
6 The Crows, The Rooks, The Magpie’s Song 6 Rain
7 The Warm Comfort of a Mother’s Frozen Arms 7 At Sunset
8 Life’s Lessons 8 Obfuscated
9 Pledging Allegiance 9 With the Lights On
10 Pecking Orders 10 The Sounds of Crying and Moaning
J Double Dog Dare J Midnight
Q Feeding Q Under Guard
K King of the Mountain K Under a Watchful Eye
Joker Joker
Flashback or Monologue Church

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 Scarecrow, 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 #8833065)
 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 Aidan Ashlee
to be the next director. Just make sure everyone is involved and no one directs Aubree Ayla
two times in a row.
Ben Carl
The person directing the final scene of the game is not responsible for wrapping Carter Charlotte
up loose plot ends. In fact, doing so robs the other players of their agency.
Chloe David
Scene 16 is no more important than 8.
Ella Emma
Once all of the players have directed four scenes, the finale begins. The player
Erik Ethan
with the 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 Faith Fletcher
determine the finale’s focus. If the joker is drawn, draw again, amplifying the Gavin Grace
issue. Use of the card is optional and should not replace common sense. After Hailey Hunter
that, these vignettes can be played in any order and the order of events can be
Jackson Jacob
fluid/plastic.
Jesse Jennifer
Suit Jewel Jimmy
♣ The Scarecrow is real (though its true intentions remain a mystery)
Joe Johnny
♦ The Scarecrow is a fascade for something else (sinister) Karen Kevin
♥ The Scarecrow is a just a rumor created to instruct children Lane Lang
♠ The Scarecrow abducts (at least) one of the children Liam Lillian
Logan Lucas
For each drama point a player still possesses, he narrates (in turn) a vignette Madison Maggie
about his character’s fate and/or the fate of the others (including NPCs) in
relation to the story. A player may not spend more than one drama point Mason Michael
affecting a single character other than his own. Natalie Nick
Olivia Owen
random finale Pat Ree
Not all roads lead to the same conclusion and sometimes the journey is more Rob Ryan
important than the destination. Glib inspirational poster pabulum aside, the Sage Sam
way players play the game may lead to a finale where the card draw makes no Sarah Shelton
sense. While I’ve done my best to make the suits associated with the finale
Sophia Steve
as wide as possible to accommodate the story, it may be necessary to just
ignore the card draw and play without it. Sydney Tammy
Tanner Taylor
Tess Tim
Tom Valerie
Violet Wyatt
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Andrew Haufe (order #8833065)
 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 #8833065)
 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 The Scarecrow: Abe, Bianca, Carl, and Diana.
answering. Paint him into a corner. Insinuate problems or situations with the Respectively, they have selected the characters of Ethan (child in foster care),
questions. But keep it thematic and appropriate. Faith (damaged child), Gavin (abused child), and Hailey (runaway child).

The answer to any question is never no. motivations

Abe draws a ♠7, indicating impulsive identity. He decides that Ethan has moved
better interludes from foster home to foster home for so long, he really doesn’t know who he
Protocol is about drama. Drama is about conflict. Conflict does not happen is. Or what family means. He’s impulsively moved to find himself. Abe decides
during a hug. Make sure the existing relationship is taken into account and use that Ethan is 10 years old and already dressing like a rebellious youth, perhaps
your interlude time as an opportunity to change or develop that relationship slightly goth.
within the context of the scene’s theme.
Bianca draws ♥2 — fresh start, naively. Faith wants nothing more than to walk
better ensembles and run like a normal 8-year old girl. She even has to wear leg-braces and even
Do not be afraid to take on the roles of NPCs. Give everyone a chance to add to crutches. Faith believes if she prays hard enough, she will be healed. Or maybe
the scene. Do not compete. Contrast and complement the other players. the scarecrow can help her?
When someone is playing big, play small. When someone is playing loud, be
Carl draws ♦5. Stubborn sadness. This is extremely straight-forward and Carl
calm. When someone is struggling to get involved, engage.
decides that Gavin lives in a constant state of sadness, keeping his distance
better finales from others. He won’t allow anything to make him happy, for fear that it will be
The player directing the final scene of the game (before the finale) is not taken away.
responsible for wrapping everything up. This is what the finale is for.
Diana draws ♦4, which is an stubborn need for revenge. Hailey has recently
Bear in mind that the finale chart cannot predict where you’ve taken the story. runaway from home. While it’s unclear at this point in the development where
The chart is merely a guideline. If you find the event jarring, ignore it and tell Hailey is staying, something bad happened at home that forced her to runaway.
your stories as you see fit. The stubborn need for revenge is reflective of that. Diana decides that Hailey
wants her mother to suffer because of how she treats her.
better locations
Like everything else in Protocol, the location cards are prompts. If you draw a Which is a strange choice, because Diana always plays goodie-two shoes
location that is weird or just doesn’t work for what’s been going on, ignore it. characters.
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.

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Andrew Haufe (order #8833065)
 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 name the town Clarksdale, Indiana (which has
characters to have relationships means wanting to see those two characters limited access to the internet).
work together.
Abe gets question 4: “What other name does the scarecrow use? Slenderman?
Abe goes first, selecting the Ethan and Hailey to share a relationship. Drawing Cropsey? The Rake? Something else? What does this name mean?”
♠K, Abe and Diana are faced with addressing a relationship of community/
• Some of the kids call the Scarecrow ‘Slender Man,’ based on the internet
school and authority. The two talk about it and decide that Ethan and Hailey do
myths of the same name. The rumors of his existence are known throughout
not get along very well, as they tend to vie for authority with the ‘group.’
the school, but most kids are smart to stay away.
Bianca wants to see a relationship between Faith and Gavin, the two least-
Bianca gets question 2: “What does the scarecrow look like in the day? In the night?
likely to get along. The ♠6 reveals community/school survival. Bianca and Carl
Have any of you ever seen it move?”
work out that Faith eats lunch with Gavin in a non-threatening part of the
school, in order to avoid confrontation. As a result, the two have a developed a • The scarecrow wears a weathered black jacket and a fading brown hat that
relationship by default. covers its face. During the day, it is omenous and strange. At night, it looks
like a horrible monster hanging from hooks. Sometimes light can be seen in
Carl selects Faith and Hailey to have a relationship, drawing ♥8 — Best-Friends
its eyes. Hailey is convinced she saw it walk out of the corn rows one night.
Rejection. Bianca and Diana decide that Faith and Hailey used to be good
friends, but the pair have grown apart of late. Faith thinks it’s because of her Carl gets question 8: “Select one player who has not slept for over a week. Describe
legs, but Hailey has been pushing everyone away lately. It’s just a matter of time one side effect of his insomnia.”
before they aren’t on speaking terms at all. In the mean time, Hailey has been • Hailey. Clearly. Sleeping in a barn, with the Scarecrow out there somewhere.
sleeping in Bianca’s family barn. She’s seeing things now. Poor Hailey.
Diana goes last and (seeing few options with this group) selects the Ethan Diana gets question 7: “Describe two rumors about the scarecrow.”
and Gavin. Drawing a ♦3 (estranged friends/rivals), the players determine
Ethan doesn’t like being around Gavin anymore. Ever since Gavin’s father was • Firstly, the Scarecrow comes to take children into the rows, never to be seen
arrested for domestic abuse, he’s been inconsolable. Since Ethan is too young again. Secondly, people who do not have kids die in their sleep, so some
to emotionally deal with Gavin’s drama, he’s grown distant and generally avoids children have been known to give themselves to the Scarecrow to save their
Gavin if he can. parents. Okay. That’s exceedingly dark.
the opening scene
Carl directs the opening scene, selecting Rumors for his vignette focus (though
he is mixing it with Double Dog Dare).
“One of the girls at school — Deborah — hasn’t been seen in a week. The school
is saying she’s sick or moved to a new town. Or whatever lie will pacify the kids at
Clarksdale Public: K to 9. But most of the kids know better. Anyone whose been on the
online knows that Deborah took a dare to go into the rows alone and come back with a
Slenderman selfie. But she never posted and she hasn’t been seen since.”
From here on, the players take turns drawing cards and directing scenes.

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Andrew Haufe (order #8833065)
Andrew Haufe (order #8833065)