1. Introduction

Skein attempts to do something unusual in a roleplaying game. The aim is to have a seamless process that includes worldbuilding, character creation, backstory and narration. The line between gamemaster and player is purposefully blurred, and as play progresses, can even be totally obliterated.

For this reason, you will see some changes in terminology. Rather than "player-character" and "non-player character" Skein uses the term "focus character" or FC. A focus character is a character, villain or hero, that is the focus of the action of the game. Those who wish a more traditional roleplaying game can create a team of focus characters to act as a "party," but this is not required, and gaming groups are encouraged to try out other arrangements.

As a first step, the participants should agree on a decision-making process. This will be applied to every new element added to the game, so the participants should endeavor to put an efficient system into place. The suggested method is a simple veto system. This would allow any new element to be added to the game unless a participant objects. More traditional play groups may want to grant this veto power only to the "gamemaster."

2. Starting play - the Frame

The process of Skein is the connection of one concept to another, creating an interrelated whole. Before that can begin, a basis must be established. This is the Frame. The Frame begins with a description, in one sentence, of the element that all of the focus characters will have in common. This can be arrived at cooperatively, but those with a more traditional approach to roleplaying can have a "gamemaster" participant who brings this to the table.

Frame examples:

"The starship Repulse has arrived to enforce galactic law in the pirate-ridden galactic rim."

"A team of treasure-hunters travel the countryside raiding ancient tombs, dragon hoards, and evil temples for fun and profit."

"In a small midwestern town, a few people have discovered that they alone can see the demons that are gradually warping the town into a den of misery and depravity."

The frame often needs some elaboration. Once it is established, each participant should add one frame element, subject to the group's approval process. This will build a short paragraph that describes the scope of the game.

Frame Paragraph example:

"The starship Repulse has arrived to enforce galactic law in the pirate-ridden galactic rim. Recent settlements in the galactic rim have uncovered the remains of an ancient civilization whose technology far outstrips that of the Galactic Federation. Federation xenoarchaeological expeditions have been dispatched to the area, and must be protected against the depradations of the Rilgarim pirates, who have been making fat profits on artifacts looted from the ancient sites. The Repulse is based at Tarquin Station, a fortified bastion of civilization in the lawless frontier."

As play progresses, the Frame will often have further elements added to it, but this much is usually sufficient to go on to the next stage. Of course, if they feel the need, the participants may add further elements before going on.

Hiya,

Vax, are you familiar with Universalis? It's required reading for building a game of this type.

Best,
Ron

Yes, I've heard of it. It's practically required reading for the Forge; unfortunately, I don't own it and I've not read it.

From what I've read about it in various fora, I believe I have a minimal understanding of how it works. I believe that by the time I'm done you'll see significant differences.

3. Focus Characters

The next stage of Skein is to create some focus characters. The group should create at least one per participant. Two per participant is usually plenty to start with. If a participant wants to make only one rather than two, that's fine. You can always add more later.

For each focus character, start with a character concept knot. This is a one-sentence description of the character and his place in the game. The character concept should address the Frame directly, rather than indirectly through other character concept knots. Participants should feel free to add new elements to the game as part of their character concepts.

Examples of character concept knots:

"Siorgan is the hard-hearted first officer of the Repulse, dedicated to the destruction of the Zubakhi pirates that killed his family."

"Edalmurge is a half-crazed sorceror who is amassing the resources necessary to realize his greatest dream, to create the invincible Spoon Golem."

"Joe Murphy is a shy, quiet jock that hates bullies but lacks the self-confidence to protect people against them."

The next step is to create attachment and span knots for each character. Each character must have at least one attachment knot and one span knot, and may have as many as four total. Feel free to create knots that are connected to one or more knots that were created by other participants. It is better to mention specific people and things by name than to use generalities; "Zubakhi pirates" is better than "a pirate fleet". You may create attachment or span knots for a character whose concept you did not create, but participants who do this too much may find themselves being vetoed heavily.

An attachment is a knot that describes something or someone that matters to the character, and why. This can be anything or anyone he loves, hates, desires, fears, or to which he has any other emotional attachment that exists in the present. It's usually better to put people or groups of people in attachment knots, but things can appear there, too.

A span is a knot that describes a significant portion (10% or more) of the character's life that has left a permanent impression on him.
Usually, a span involves a period of intensive training.

Examples of attachment knots:

"Siorgan hates the Zubakhi pirates with an infernal intensity, for having murdered his family."

"Edalmurge is irrationally obsessed with spoons."

"Joe Murphy has a secret crush on Delia Brown, that he dares not speak of."

Examples of span knots:

"Siorgan graduated from the Star Academy at the top of his class."

"Edalmurge was lost for twenty-seven years on the Astral plane."

"Joe Murphy spent first through eighth grade at a very strict catholic school, Our Lady of Perpetual Responsibility".

Once each character has four knots of attachments and spans, the participant ranks them in order of importance. Each attachment and span knot generates one competency knot. A competency knot describes a related group of activities that the character performs well. The higher ranked the attachment or span, the more important the competency. A competency knot that involves an item of equipment that the character carries with him is called a "token knot". Token knots should only be used in the case of unique items that have a special affiliation to the character. You may create competency knots for any focus character, but again if you don't focus your attention primarily on the characters you created, you may find yourself being vetoed.

Each competency knot is given a numerical rating, quantifying its power. The most powerful knot has a rating of 10, the next 8, then 6, then 4. This specifies the size of the dice used when those competencies are used in task resolution.

Examples of competency knots:

"Siorgan channels his rage and frustration at the Zubakhi pirates into a gruelling fitness regimen, so he is unusually strong and fit."

"Edalmurge has created the magical Staff of Ladling, a focus that allows him to cast a wide variety of spells involving spoons." (token knot)

"While in school at Our Lady of Perpetual Responsibility, Joe Murphy gained a strong academic foundation, good study habits, and a keen ability to deceive authority figures."

The final step in making characters is conflict. Drama requires it. Each participant must create one conflict knot that involves at least two characters, either cooperatively or competitively. This conflict must threaten at least one of the attachments of the characters, and it must be immediate, that is, it must be something that the characters feel must be dealt with in the present.

Examples of conflicts:

"Siorgan and the rest of the crew of the Repulse encounter the fresh trail of the Jeweldog, a Zubakhi pirate ship."

"Edalmurge has cast a divination spell that has located the Dipper of Adamant in the tomb of Yoshbar the Corpulent."

"When Joe Murphy and Delia Brown spot their first demon, it attacks them."

These conflicts are the bridge to the next chapter, Scenes.

I've got revised versions of sections 1 and 2, but the BBS won't let me edit them. It's probably time to actually put this in file form and put it somewhere for people to download.