Narration is the collaborative storytelling that unfolds between the Gamemaster (GM) and players continuously throughout the game. Typically, the GM kicks off this process by setting a scene, which establishes the game’s mood or theme to the players. The narration describing the player characters’ conversations and actions bounces back and forth between the GM and players until a situation with an uncertain, risky, or dangerous outcome occurs, and the narration escalates into the next phase, called the challenge. The narration usually ends with the GM asking the players, “What do you do?” or something similar, and hands over the narration of actions and discussions to the players.
If an action proposed by a player fits logically within the established story and isn’t overly difficult, it simply happens—no dice roll required. Everyone then continues taking turns to describe their characters’ actions, using facets as guiding fictional truths. The character whose actions make the most sense, or the one the GM addresses, starts the narration.
Kim (Gamemaster): You find yourselves at the bustling port city of Merida, where the smell of salt fills the air. Heavy rain is pouring, limiting visibility, but also providing some cover. The quay is guarded by vigilant sentries due to increased pirate activity. Your mission is to infiltrate the guarded warehouse at the far end. What do you do?
Tarun (Player): Given that it’s raining and visibility is low, I think this is the perfect chance for me to use my skills as a smuggler – I’m an outlaw you know. I’m going to try to sneak past the guards along the quay’s ledge, dagger held tightly between my teeth, blending in with the dark night and heavy rain.
Kim (Gamemaster): Your outlaw background and the heavy rain definitely give you some advantage here, but remember, the guards are extra vigilant tonight. Are you sure you want to proceed?
Tarun (Player): Yes, my character is confident and seasoned. I’ve got this. Okay, I slowly sneak toward the guards along the quay’s ledge with my curved dagger between my teeth. With my dark cloak and the heavy rain gushing down, I aim to get close enough to ambush them before anyone can react properly. With my smuggler history, this isn’t an unconventional approach I think.
Kim (Gamemaster): Alright, it sounds like you’re willing to take a risk. The facets here are heavy rain which is good for you, while you have to deal with the vigilant guards. Are you ready for what’s coming if you do?
Tarun (player): I hope so.
However, if an action is difficult, risky, or its outcome uncertain, the game transitions from the narration phase to the challenge phase.
There are some tricks both players and GM can use to focus and deepen the narration:
Pushing Characters
When pushing the characters, the GM presents a situation in the narrative they must react on quickly, leading them to a challenge where there will be unwanted consequences for them. A clear threat that may harm the characters is the most obvious way to push them, but there are other ways, too:
- Present Something – A subtle threat, an indirect problem, a new insight, a duty, or a bait.
- Offer Something – A way out, a temporary relief, a reward, or a bargain.
- Cut off Something – A clear path, an escape route, or a supply.
- Deplete Something – A resource or make equipment malfunction.
The cost of not responding to the push should be high and obvious. A grand portion of the gameplay should include characters being pushed in various directions.
Pulling Characters
Players, on the other hand, can pull other characters into situations they would like to see more of. When pulling your or another PC, you ask to set up a scene when the opportunity arises at the discretion of the other player and the GM. Pulling a character is about:
- Going for the Spotlight – Together, you create and play out a scene important to you and the narrative around your characters.
- Interpersonal Drama – A scene that allows for more drama that doesn’t necessarily mean conflict or confrontation but rather a moment in time between two characters.
- Emotional Interplay Between Scenes – A scene that takes place in between two the GM is running. It could include side tracks, exploration, or other themes in parallel to the main narrative.
- Cinematic Prologue – A scene for the characters at the beginning or end of something, like an intro to an adventure, the aftermath after a story’s conclusion, or even a character’s death.
When pulling a character, it starts with the player describing the scene, as the GM would have. Then, everyone included takes turns, including the GM, collaborating on the narration. When pulling another character, player safety comes first, and it is okay for anyone to decline an invitation if the setup doesn’t feel comfortable.
A great pull is described as a respectful invitation to a scene to which another player can either accept or decline. For example:
”I’d like to see what happens if we both end up by the docks after the rest of the team has fallen asleep. Would you like to explore that with me?”
”I have an idea for an awesome mood-setter for an epilogue scene while we depart from the village’s harvest festival. Is it okay if I try to frame the scene while we’re on our horsebacks?”
”I’d love to see our crew run into a square of city guards sometime during the evening, by accident, of course. Would anyone be interested in playing that out with me?”
Arcs and Hooks
Both arcs and hooks are instruments for guiding gameplay for both players and the Gamemaster. Simply put, arcs and hooks are very much the levers that can be pushed or pulled to shape the story’s direction. They serve to empower players, providing them with the means to influence the unfolding narrative. For players, arcs define their characters’ objectives and desires, while hooks establish the themes and gameplay style. For the Gamemaster, these elements become tools to challenge and engage players in a manner that is compelling to them.
An arc, often called a character arc, is typically attached to characters and living beings, like motivations and drives. It should be formulated from the character’s perspective in a way that suggests it urges the character to resolve it in the story. Some examples:
- I Must / I Need / I Want to – Protect my loved ones, show off my craftsmanship, hunt down evil men, explore new paths, or reveal hidden knowledge.
- I Can’t / I Don’t Want / I Mustn’t Allow – The king to find the rebels, the sorcerer to be victorious, or the marshal to find my treasure.
A hook, or plot hook, is an in-game descriptive element attached to an event, location, or object that states a mission, goal, or purpose that must be accomplished or fulfilled. It should be formulated as a task or responsibility and should, for the most part, result from the collaborative world-building done when you start to play during the General Prep phase. Here are a few more examples;
“I must give freedom to the commoners”
“I need to discover the ancient dungeon”
“I mustn’t allow to reveal the disguised traitors”
“I mustn’t destroy the Book of Ud”
“I need to crack the cultists and their influence”
“I want to build a new shelter for the survivors”
“I can’t hunt down and destroy the liche”
“I must establish the King’s influence”
If you are a player, you will find more suggestions for arcs in each playbook. If you instead take the role of the GM, you can read more about Hooks in the Running the Game chapter.
Facets in the Narration
A facet is an important, descriptive aspect of your character, used as both mechanical elements and for narration. Facets tell you something meaningful about the character, the object it is attached to, or the situation, and define their interactions with the world. Facets are always either advantageous or disadvantageous for you.
Character facets include primary attributes such as backgrounds (like commoner), lifepaths (such as bravery), and skills (e.g., melee). These facets not only define a character’s competencies and expertise but are also crucial in generating a dice pool for challenges. Over time, these facets can evolve, be discovered, or be awarded, enhancing a character’s narrative depth. Additionally, abilities can introduce special facets for unique circumstances, and completing projects or recovering from harm can also result in new facets.
Beyond personal attributes, situational facets encompass elements in the game’s environment that impact gameplay. These facets, like a muddy trail or misty harbor, are introduced by the Game Master and can significantly influence the narrative, adding depth and a sense of discovery.
Created facets are those that players develop during gameplay, emerging from using abilities, powers, or the completion of projects. Their duration varies based on narrative logic; for instance, a burning cottage may only last for a scene, while a well–maintained hut could persist indefinitely. These facets serve as both rewards and incentives, encouraging players to engage in diverse activities throughout the story.
Discoverable facets are hidden elements placed by the Game Master, which players can uncover through exploration and successful actions. In a play-to-find-out game, players and the GM collaborate on discoverable facets; the players may suggest facets the Game Master, in turn, tweak. Read more about play-to-find-out games and playsets in the Running the Game chapter below. Facets are always fictionally true, guiding character actions and story development without overriding the collective narrative or making presumptions about other characters. For example, an ‘outlaw’ facet implies a certain social standing and criminal background, which the Game Master can utilize to influence the story’s direction, but it doesn’t dictate how other characters perceive them. Facet relevance is context-sensitive; a soldier facet might be advantageous in combat situations but less so in social settings like a noble ball, where a knight facet might be more appropriate. Some facets, like a broken rib condition, consistently offer a disadvantage in activities requiring physical exertion.
