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Shelves' Schwa

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far wall cirrus dead pixel slug trail fissures

My sigil is to sexy! We did a porn shoot. Its probably too hard to make out. At least in this moment it can touch the ink it once composed.

thenk you fir gmae. <3

blurry images of a sigil losing itself to the moment

yes dead reconing bc blah blah no side-by-side page view offered not the point — look at the way i have to pull up to make the object go down. and its not. even. consistent. nightmare software. woof

but if sharing is air how am I supposed to breathe when I wargame? Pain. You share pain.

Lovingly arrays embodied mythopoetics memetic perspectives

Appendix X_c


Teasing apart the complex interconnected webs spanning ethics, physics, emotion, society will cause every field of knowledge — the fundamental building blocks of understanding — to undergo hurricanes of de-individualizing. Toppled assumptions, reshaped perceptions, destructive and creative forces locked in fierce embrace dying there like mountain chains.

A vast swirling storm of human cognition, animalizing endlessl— spinning off charged revelatory fursonas. Bolts of inspiration travel, gravel channels of ball lightning rumble next to other play surfaces, clustered in clinging idk camps. Feverish memers raging behind walled tenured enclaves guarded by anthropomorphized passenger trains. Roving thought renegade cells taste dangerous memetic weapons in _†_forums of conceptual wastes.

A reader might emerge from the tempest decades older, a tired mind living out it’s last thought over and over, reliving the Spin, a tired language living out is langspan. So nimble, now, spring, a forging in the fires as memer, raked over coals. Or the Metal Mountain claims them: new computational Titans come to take these Walls, make them plastic, pour in them the psychotropic intelligence as personal and assistanceverode away to become their terms, setting the doors of dialogue out of reach where fling open the doors of perception. Hunger for us. As strange beings we might birth, feed on our mother-flesh. Outpace this, stillness.

Amidst their quickening, we adapt in fitful starts to widen the slug-trails of conceptual fractures. “Reality drift” claims some desperate discord clinging to textbooks of measurements never to calibrate, lost in a baseline long receded. Entire populations choose exodus to New Thought Zones rather than abide relentless static histories. Quietest moths beat inward, assasinating the bedrock of now in turbulent consciousness: utopias fracture; dystopias erode, each starry death a terrarium of setting — elements.

We unleash, we unmake: our cornerstones. We widen the gyre of recursive self-revision (neither halting nor see halted since the mind first met the empty room and saw itself). A vision but glimmers an accelerated churn, a grip on rods of concept reactor cores, a demand they finally split. As new elements transmute to remain unknown, I suspect they yield to play.

Reach out your hand, and see.

Appendix X_b


Playthrough 1 (situated agency):

"Adopting a perspective" frame enables freely exploring different emotional spaces each room suggests
"Possibilities within constraints" matches the tension between rooms and creative contributions
"Reshaping the systemic context" empowers renegotiating rooms by adding new furnishments.

Playthrough 2 (individualistic agency):

Player resists shifting perspectives to meet others contributions, deeming some "out of character"
Constraints of rooms breed frustration rather than creative navigation
Declining emotional spaces room are seen as GM restricting autonomy
Trying to "fight" another's reading strains credulity anchors

Playthrough 3 (relational agency):

"Expressing autonomy in a interdependence system" 
Allows developing personal story arcs for the rooms while maintaining coherence

Playthrough 4 (intuitive agency):

Ignoring other players' contributions in favor of lone protagonist mode
Chafing at game structure limits for heroic narrative fantasy

Appendix X_a

Playing With Walls:

The Wall Game’s focus on adopting a perspective and contributing to a collaborative fiction aligns well with the rotating viewpoint and collective storytelling nature of a contextual co-creative agency.

Conceptualizing agency as feeling around firn constraints and possibilities maps cleanly onto The Wall Game’s defined rules, rooms, and structures. Expressing autonomy within a system fits the alternating phases of individual authorship and responding to others’ contributions. The process of questioning and refining the agency concept to align with RPG co-creativity unfurls within this specific game’s mode of play.

Our agency does fail to encompass the meta-level choices around opting into certain emotional experiences that this game’s subject matter involves. Accounting for that conscious risk-taking is an area to expand this agency. There are moments where the procedures clash with player creative agenda; our agency framing doesn’t address resisting or renegotiating the “rules” once play has begun.

While functional here, our concept may be overly fitted to this game’s quirks. Applying it to a game like MAYBE ONE DAY, IT’LL BE ENOUGH, whose RPG style lay more akin to digital rage games, will reveal further gaps. Overall situational “agency” is largely sufficient for this game, with some notes for improvement regarding meta-level choices and pushing back against procedures.

Using an individualistic or intuitive conception of “agency” as individual free will and heroic capability to analyze any second session of this collaborative stucture-narrative game, would see a number of differences emerge in how it fails to meet the goals of roleplaying compared to a situated or relational agency. Framing agency as each player controlling a claimed avatar clashes with the shifting perspective and collective fiction. It promotes thinking in terms of “my wall” rather than exploring a shared building.

Focusing on overcoming challenges limits engagement with the more complex, introspective emotional spaces this game facilitates. Assuming singular heroes on progression arcs doesn’t align with a branching, multi-phase polychronic structure of play. Conceptual brittleness around binary notions of freedom, determinism, superego/infra-id makes navigating the game’s constraints more frustrating. And intuitive agency lacks a systemic context as relationality promotes thinking inward rather than meeting with the interconnected prompts in ritual sharing.

The individualistic, challenge-oriented assumptions readily made (be it in ball courts, on tabletops, legal courts, stovetops…) around traditional notions of agency repeatedly clashes with The Wall Game’s intrinsically collaborative nature, whereas a situated, relational agency aligns with The Wall Game’s priorities.

See Next

For now, leaving agency here to go on to refine other concepts is best before attempting to enrich the above framework:

Identity: factors like race, gender, sexuality that shape positionality.
Systems: going beyond "constraints" to analyze complex dynamics.
Embodiment: connecting agency to lived experiences.
Power: explicitly addressing issues of dominance, violence, marginalization.
Care: balancing autonomy and interdependence with an ethic of care.


This situated agency emphasizes authorship without control, autonomy without individualism, constraint illumination not conquering. Is the notion of “unique perspective” sufficient? Could it minimize important identity factors and lead to tokenization if not careful? Does “navigating possibilities and constraints” go far enough in accounting for power structures and oppression? How might focusing on “intentional participation” overlook issues of implicit bias, microaggressions and unintended harms? Does “autonomy attuned to others” capture the full complexity of interdependent social being? Is “expanding understanding” too cognitive a framing? What about emotional resonance and embodied experience? Why have I regressed to my twelve-year-old self where I filled my first journal exclusively with stings if text that end in questions? Tbf, I was going through a lot and the journal was a birthday present my mother got me as she leaves work.

Better Agents

A reformulated notion of agency in RPGs will involve perspective-taking, joint authorship, creativity expression, navigation of tensions. We move from lone heroes on linear quests to an ensemble negotiating complex evolving spaces. Agency, as capacity for perspective-taking and authorship within a participatory system, is the permittence to pivot ontologies around any axis of freedom previously defined in a play session.

Rather than individual will imposition, see agency involve adopting an effervescent point of view contributing to a collaborative space. An agency is more applicable across many cooperative endeavors where its affordances and constraints allow all contexts to offer possibilities for action — while planning for and routing around limitations. Agency is the ability to perceive and actualize possibilities within a constraint space. This gives agency a USB stick-like modularity: a transferable lens shared with all, here, and to come.

Agency as expression of autonomy within an interdependent system balances between individual self-direction and collective coordination. It allows for uniqueness within a relational framework. Agency as intentional participation shaping outcomes emphasizes agency as mindful involvement in a process against passive non-contribution and focuses on impact rather than abstract choice. It increases capacity for understanding and transforming systems, seeing agency not just as choices within systems but also ability to consciously reshape conditions and limitations.

Applicable to social change, this contextual navigation, intentional participation, perspective-sharing moves games away from notions of heroics or unfettered individualism. Is that a good thing?

Contextual Co-Creativity:

Got a new set of claims for you, fresh out the schloß: Agency contributes a unique perspective within a collaborative endeavor. Navigating possibilities and constraints of the situation. Shaping outcomes through intentional participation. Expressing autonomy while attuned to others. Expanding understanding of the systemic context. Pretend I qualified all this.

In applying all this to role-playing, readers read into the text. It’s as if they adopt a point of view into the fiction, not controlling an avatar. Agency comes from creatively exploring the possibility space of the collectively built world, outcomes emerge from the interactions between player perspectives. Individual expression occurs within group storytelling norms. Players can reshape the systemic context itself through new fiction.

Structural Load

Structural Load Let’s get to claiming! Agency involves capacity for self-determined choice. It has structural and systemic factors constraining agency. It exists on a spectrum rather than binary categories. It requires a level of autonomy and reason. It has collective and relational dimensions.

Tension between self-determined choice and systemic constraint cause a spectrum view to come into play and contrast binary classification. Constraints shape the possibilities for choice but don’t eliminate agency entirely. This is because reason and autonomy relate closely to notion of self-directed action. Individual and collective agency are interdependent rather than independent, causing contextual factors to either expand or limit agency. Yhese show the reader questions of competency and capacity are relevant to agency.

To get more navel-gazey about it, agency occupies an ambiguous space between freedom and determination. It hinges on notions of competence and reasoning that require further probing. Agency carries unstated premises about human behavior that should definitely be questioned. Preferably with fire, and zines, preferably exclusively both. Individual and systemic perspectives cannot be squared, as defined terms, but may be cubed and — vocalized in this space —diffused into convivial compliance. See that blog post at making lights in corners nice in video games for more.

Domainly speaking — people have ”free will to make choices about their lives and destinies!” as Philosophy would put it. Citizens have the agency to participate in governance through voting, as Political science sees things. Strict liability laws hold agents morally responsible for harms they cause regardless of intention is white people logic, that dragon, Legal theory, speaking. Oppressive systems undermine personal agency and autonomy, so Sociology would have us believe.

Advertising can manipulate consumer choices and agency, as Psychology sticks it. Artificial intelligence systems act with apparent agency but no consciousness where Philosophy of mind is currently dying in a fire from it. Children develop a stronger sense of agency and independence as they grow older in Developmental psychology terms. Belief in one’s self-efficacy and agency is crucial for motivation on Social cognition’s part.

Outside academia, agency today is often invoked in contexts of moral responsibility. Political and social structures are seen as either promoting or limiting agency. Agency is associated with autonomy, independence, and self-direction, and reasoned deliberate choice is considered integral to agency. Agency is sometimes contrasted with external manipulation or coercion, while at the same door the possibility of non-human agency challenges intuitions linking it to human-determed recursions and human-dimensions like consciousness and free will.

On Tumblr, the common notion of agency as individual free will has limitations in accounting for structural constraints, power dynamics, and collective contexts. However, completely rejecting agency risks falling into fatalism and failing to recognize the possibility of self-determination under oppression. For RPG systems, as often as non-binary understandings of agency that foreground relationships over lone heroes will be more suitable is it often just: forgone.

For me, rather than self-contained agentic individuals, reframe agency as interdependent but unique perspectives cooperating in collective worldbuilding. And conceptualize player agency in RPGs less as acting out will via an avatar, and more as expressing creativity and authorship within a participatory story’s surface. Rather than challenges to overcome, focus agency on existing in dilemmas, tensions, and complex dynamics, stabilizing identity within the collectively built fiction. Build mechanics around plotting and illuminating relationships between phenomena, entities, and policy. Set out of reach or do away with alltogether or — better: taboo all unilateral agentic action.

Example Wall Playbooks:

Room G2: The Domain

Overall Room Themes: * Individual freedom versus structural constraints is a central tension. * Consent and responsibility are recurring related concepts. * Agency ties closely to autonomy and capacity for reasoned choice. * Context shapes the possibilities and limitations of agency.

South — Legal Wall (contract law):
* Relates to capacity for reasoned agreement and voluntary participation.
* Raises issues around notions of competency, consent, responsibility.
* Intersects with moral philosophy principles of autonomy, harm avoidance.
West — Wall of Sociology (social mobility):
* Touches on impact of socioeconomic status, access to resources, and power structures on capacity for choice.
* Interrogates the notion of freely chosen outcomes versus constrained opportunities.
* Relates to meritocracy debates and questions of equal opportunity.
North — Wall of Politics (voter participation):
Raises issues of systems that suppress versus encourage civic participation.
Questions whether participation is truly voluntary if various barriers exist.
Relates to ideas of governance by consent, democratic agency.
East— Wall of AI (intelligent agents):
* Prompt examining agency in non-human contexts of complex autonomous systems.
* Touch on debates around free will versus deterministic rule-bound behavior.
* Relate to concepts of programmed goals, optimization functions, machine learning.

Example Building (with Walls):

A1: A player making choices for their character, someone unable to pay a debt through no fault of their own.

A2: Agency as it relates to freedom, autonomy, and moral responsibility.

A3: Lack of agency as it implies external forces limit choices. (as: mossy effacement with outdoor kitchen)

B1: Agency as the capacity for and exercise of self-determined choice of action.

B2: Agency requiring concepts like free will, choice, self-efficacy. It contrasts with coercion and constraints.

C1: Political theories of agency, philosophical questions around free will.

F4: Letters addressed to inherent constraints on choice like poverty, disability, social systems. (as: Shed inside C1)

C2: Agency as having fuzzy boundaries around free will, responsibility, constraints. Flexibility.

C3: Core intuition of choice as robust but theoretical variation.

D1: Links to many areas — ethics, law, politics. A breezeway with few Walls.

D2: Debates around determinism shown as adapting to challenge.

D3: Articulated nuances, not just free or determined.

E1: Concrete examples across domains.

E2: Trace implications on other systems (legal, moral).

E3: Focusing too narrowly on philosophical debates around free will. Overlooking other domains. (as: failed remodel)

F1: Lacking concrete real-world examples demonstrating adaptation. Relying on abstract claims.

F2: Never questioning core assumptions enough or push agency’s limits. Accepting flexible intuition as sufficient.

F3: Failing to identify brittleness points - cases where agency struggles or breaks. Assuming it more robust than proven.

G1: Interdependency analysis as vague and underspecified.

G2: Domain examples — legal (contract law), sociology (social mobility), politics (voter participation), AI (intelligent agents).

G3: Stress test cases — where oppression limits agency without eliminating it entirely; critiquing meritocracy and ‘equal opportunity’; the problem of implicit bias in choices.

H1: Probing boundaries — where non-human animal behavior is allowed some agency where deterministic systems like autocorrect or text prediction alter notions of choice and responsibility.

H2: Map of interdependencies — Free will, moral responsibility, and capacity for reasoned deliberation, unreliable blueprint of the Building. Surfacing tensions (tentacles blowholes here be).

H3: Identify brittleness —Individualistic framing fails to address structural constraints; binary view of ‘free or determined’ is simplistic.

I1: Improvements — Situating agency contextually. You can always ask: what opportunities and constraints do social, political, economic systems impose? (as: landing outside the building)

<end table>

The Wall Game:

You are a wall.


Choose what material your wall is made of: brick, wood, or glass. Your choice reflects your desires for play. Glass walls let you see through to other rooms, brick walls break concepts wide open, revealing hidden meaning, wood walls have creatures inside them that whisper of another place.

You pick a decorative feature for yourself. This is just fun flavor; it is under no circumstances allowed to have any game effect, minor or otherwise. For example, the wall with a beautiful painting is not allowed to boost the spirits of people in that room or the voices of those spirits.


I will describe the layout of the text; and my readers will select what rooms or areas their wall borders. This is to reflect how readers are positioned related to each other. For example, the Wall between B2 and C2 can see into both rooms: * B2 — Agency requiring concepts like free will, choice, self-efficacy (contrasting with coercion and constraints). and * C2 — Agency as having fuzzy boundaries around free will, responsibility, constraint (having flexibility).


Walls “talk” about anything that has ever happened in rooms they are adjacent to. This communicates to other walls what (of all setting elements I have described) the player is interesting in exploring.


Challenges like holding up the building during an earthquake, blocking a fire from spreading, keeping intruders out, overhearing or sitting uncomfortably with important information will, strictly, never come up, as safety is a coefficient of agency cannot safely be abstracted away, and dims the harsh illumination of agency.


A wall getting damaged or destroyed sees the reader as having stopped reading, the reader has put the text down, or has been disconnected from the internet group chat, in such cases, leaving the other walls to either creatively reinforce their sense of *†*control or to adopt a state of loss. Secret letters, passages, or footings will be revealed in the loss of a wall, vestibules built into the collapse of certain walls for readers to recover their exigence as that with one less wall.


Framing roleplaying games primarily around challenging readers can be limiting and push the experience too far towards a narrow vision of “texts as tests of will”. Role-playing at its best can facilitate verdant storytelling, collective worldbuilding, dramatic improvisation, and quiet exploration of a text. Walls are moved beyond a confrontation/challenge-focused lens.


We will emphasize collaboration over competition. Readers will cooperate to create stories and worlds, and this cooperation will be their obstacles ( — for the math nerds: we are essentially setting the value of *†*obstacles to *†*zero; oh, and for this next part know that obstacles and challenges are coefficients — ). Creativity and problem solving will be treated as roles against a challenge of Control or Coherence, not pressured into rolls. Ask “how would you read this?” not “make a DC 15 check to see if you can speak torch for 1 round”.


Focusing is hard enough challenge today; this erosion of focus must be framed in the context of increased nominal stimuli. If the fiction can’t lead, add a visual aid or follow another line of text; don’t adhere to a pre-plotted plan of amended excerpts.


This is a spell. When they reach — or otherwise discover themselves in — a state of “I’m sorry my mind wandered what’s going on”, readers cast this spell. To cast this spell, a reader recites this litany:

“The time is nigh this time it’s mine I give my life and light to lign.”

When cast successfully, Failure sees one or more walls catch the reader up on a current understanding of the text — there will be errors in this summation. For any errors, the spell may be interrupted and cast anew to correct for the error, but otherwise any such current understanding of the text becomes canon in the text.

Failure will be cast in response to a turn of phrase. failure will be cast in response to an entire subject. FAILURE WILL BE RESPECTED. Failure, unlike other portions of the game, is what allows the building to be made. Say you won’t censor your reading or you’ll read into whatever you want and you will find yourself without a shared text surface to read from.


When the need for a centralized protagonist figure or party whose text is being read emerges. Or the concept of dramatic narrative arcs and climaxes arise.


Evoke a sense of place, time and community (as a poultice for dramatic narrative). Read into a rich world with a goal to emerge as the interactivity that de-determines some problematic predefined story beat. Befriend themes of the passage of time (through the description of a sunbeam waiting to glisten over a tree-shadowing spring), or a legacy of a failure, or a change in an otherwise perma-capitalistic lacunatundra. Commune with these friends. Visit them. Treat your walls’ parapets and moulding more like windows into an empty room than any membranes of a place lost to honor.

Brick Playbook:

Assumptions close up more possibilities than they open. Unless they don’t. Ask an empty room: What kinds of play experiences do we want to cultivate? Ask the fenestra: What existing concepts stand in the way? Any time a wall is torn down, you may ask: How can we reconceive the basic elements?

Appendix X

Approaching Agency

Meme: agency (n) material from which agents are made.

Say we open with a game; each reader role-plays a wall of one shared building. The shared building will represent a specific text that my readers are collectively exploring. Each reader represents a different perspective or vantage point on this text.

There are mechanics where readers must work together to describe and negotiate what this text consist of. Since they each are just one wall, they need to communicate and combine their limited perspectives. Challenges in the game involve navigating or modifying the meaning of the text. This requires cooperation and coordination between readers, since they each *†*control only their own wall of the text.

Readers can temporaly peek into the past or through a future to gain a broader perspective of the shared building represented as this specific text; but a reader’s core role remains to role-play a wall. There will be a theme around fragmentation healing unity. My readers start fragmented with just their wall material. But through construction of the shared text, they unite their perspectives into a *†*coherent body-structure.

Conflict (between readers) could be understood as a brittle term — and as *†*damage to the building. If the foundation of shared understanding breaks down, the whole edifice elected as unfalsifiable or undefinable becomes unstable, burns down, or becomes inbued with ghosts of logic and understanding.

These are enough thoughts and directions for role-playing a wall in a building.

Appendix W

[evolve, and the empty room persists]

Appendix V

[reveal, and the empty room withholds]

Appendix U

[act, and the empty room waits]

Appendix T

[spark, and the empty room grounds]

(1 edit)

Appendix S

list of books (not done yet)

^^ (the actual birthday present)

Appendix R

an escape room:

image description: a screenshot of the following words the following words this image description\: a dice bag full of emoji dice

Appendix Q

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________. What do you do?

Appendix P

Appendix O

Time fuses


In 15 rounds, we arrive at a forge. We smith spoons. All spoons float off to a dim horizon (moonless dim), finding causes, vanishing into soft reflections of the clear finger deep liquid on the ground & on the ceiling 2 stories up*.


In 5 rounds, you have the body you keep inside yourself.


In 1 round, explain to the place why you turn and walk away.


In the event all dice of a single set read the same value, using the following technique, describe what happens: ▫️ ▫️ ▫️ ▫️ ▫️ ▫️ ▫️ ▫️ 

* excuse pun pls

The Following Technique

____first. set a bowl of dice between all at the surface. for this bowl, thank your past selves

____inner. in the hand of the one to your right, take 3 dice from the bowl to place in this hand

____outer. roll a dice — add 1 (your self) to this value

if this value is all

with no last value written and no fold:

add that many words to a sheet or chat, fold the sheet to cover, or spoil, all but your last 2 words. write on this fold the result of your dice. pass your sheet, or turn to the left

if this value is less

than the last value written on the fold:

thank your past selves for that dice.

place that dice in the bowl between all. destroy the last value written. fulfilling. pass your sheet, or turn to the left

if this value is more

than the last value written on the fold:

add that many words to a new line, fold the sheet to cover, or spoil, all but your last 2 words. write on this fold the result of your dice. pass your sheet, or turn to the left

_____last. when thanks is given to all the dice. reveal folded, spoiled words. Write words in space a campaign makes for you, cutting away what you need to see it fits.

blown fuse

Fuse dice (any dice type of any number of colors) use a color spectrum to find dice waveform speed: ROYGBIV. Find greenish orange dice faster than indigoish red dice.

Roll 3 pairs of fuse dice. To blow a fuse, start with that. Manipulate results (see blowing techniques below). Then, if the faster dice value of 2 pairs of fuse dice are the same & likewise the slower dice, a fuse is blown.

For each Time Fuse blown, choose on the system clock either to

zSet 1 clock dice to a value of your choice,

or Spin 2 clock dice like tops.

An appropriate tag offers 1 additional Set.

Blowing may be performed any time during 1 Round.

All of the below glassblowing techniques can be used at any time.

Mark (or, if using cards, rotate widdershins) once used. Four marks in a round destroys the fuse you're blowing. Describe why the fuse refused

● to shape,

● your breath,

● this moment,

ending the round.

glassblowing techniques

core-forming. x(: :x: :)x

means: “if at least 3 fuse dice are the same number” halve or double the value of any one fuse dice

casting. dF <10

means: “if the faster color's Total of all 3 pairs of dice is less than <10”

+1 to any one fuse dice

blowing. dF >10

means: “if the faster color's Total of all 3 pairs of dice is greater than >10”

-1 to any one fuse dice

mould-blowing. dS <100

means: “if the slower color's Total of all 3 pairs of dice is less than <100”

+1 to any one fuse dice

pattern-moulding. dS >100

means: “if the slower color's Total of all 3 pairs of dice is greater than >100”

-1 to any one fuse dice

trailing. w(: x(: y(: z:)

means: “if at least 4 fuse dice have values sequential in number”

Rotate any number of fuse dice either up or down 1 and then add to all rotated dice plus or minus double the value of w.

cutting. x(: y(: z:)

means: “if at least 3 values of any of the dice are sequential”

reroll once any of up to 4 fuse dice

fire-polishing. 1(: :)1 or 2(: :)2 or 3(: :)3

means: “if at least 2 dice of either the faster color or the slower color are [1 and 1] or [2 and 2] or [3 and 3]” Flip a [8 or 7 or 6] fuse dice into a [1 or 2 or 3]

marvering. 4(: :)4 or 5(: :)5 or 6(: :)6

means: “if at least 2 dice of either the faster color or the slower color are [4 and 4] or [5 and 5] or [6 and 6]” Flip a [5 or 4 or 3] fuse dice into a [4 or 5 or 6]

weathering. 7(: :)7 or 8(: :)8 or 9(: :)9

means: “if at least 2 dice of either the faster color or the slower color are [7 and 7] or [8 and 8] or [9 and 9]” Flip a [2 or 1 or 0] fuse dice into a [7 or 8 or 9]


In 10 rounds, doom.


In 20 rounds, you forget what time is.


In 30 rounds, daylight. Magic sleeps. In maintenance is our fuse blown to replace some fuse on this leyline clock 1 specific spell cast in the physical realm blew. For each of the 30 rounds, decide: what ass cast that spell? Why?


In 25 rounds, the clock is self aware. You remember the clock is your hosts' polycule. You had made each fuse to replace a fuse on the clock 1 specific past hurt blew. For each of the 25 rounds, decide: what hurt blew that fuse? Does the fuse you made better process that hurt? How?


Dice display this, our clock. Whenever it is accessed, a session begins and its dice arrange themselves at the last values they were on. If it's 0 or it is arranging for the first time, it rolls all its dice: this creates a new session!

Every round, its d100 rotates up by 1; when its d100 loops, it rotates up its d20; when its d20 loops, it rotates up its d12; when its d12 loops, it rotates up its d10; when its d10 loops, it rotates up its d8; when its d8 loops, it rotates up its d6; when its d6 loops, it rotates up its d4; when its d4 loops, it flips over its character sheet.

Flipping its sheet creates time waves, pushing away all other forces. Until it begins its next session, experience changes in time used to look for a way back to the clock.

Time Fuses

Walk away if you've never known what day it is. — note on the machine

A system clock! We all its claws are in; if it has changed, so have we (tags, weather/emotion, fauna, kith, palettes:

it changes at all, this changes everything! It's never not changing! It's now, after reading this, another cool thing!)

Appendix N

 fuck Lovecraft i was afraid of the dark before his racist ass was a stick in the weeds of his genetic souflè

And while we're here, not to go back to system stuff, but to create a system that is attuned to player desires, it is necessary to design deep mental dungeons and eliminate confusion about trpgs. To design dungeons and eliminate confusion, we need to think in appropriate concepts. We don't yet have the concepts we need to think clearly enough about ttrpgs. So we want to modify our concepts and create new concepts. The new concepts must be selected by the City of Providing Appropriate Elements of the role-playing game, capable of creating a system of everything tailored to the desires of the players.

The City, which provides appropriate elements of the role-playing game, is expressed in the suggestion of what should be changed. This proposal uses the concepts we already have. Because the concepts we already have are inadequate, this proposal does not fully represent the City. So we question a concept with the aim of replacing it with one or more concepts that better fulfill the role that the current concept plays. But as we seek to meet the demands of change, we are also asked to change the other concepts that are altered by that change. The other concepts are not yet suitable to be questioned - and they themselves, if questioned, will invite us to question even more concepts. In the absence of any conviction, we give up even before we are truly overwhelmed.

The hermeneutic network would take this problem to the extreme by analyzing all concepts relevant to the direction of a system “at once”. In the hermeneutic network, every concept would be questioned, while at the same time trying to correct or replace that concept and also trying to tentatively analyze the concept. The term is analyzed in advance so that, even if it is not in its final form, it is at least suitable for related questions. The preliminary analysis collects examples, sets out intuitions, sets out formal concepts, sets out the relationships between these examples, intuitions and formal concepts, collects desiderata for the concept such as change classes and change types that use the concept, and finds inconsistencies in the use of the concept and the changes it forces. Then when it comes time to think about another related concept - e.g. For example, "compliance" which includes "plying" and "togetherness" and "player" and "surface" etc. - these concepts ("surface" etc.) have been prepared to well support the study of "compliance". . These related concepts have been prepared to easily provide the study of "compliance" with the rearranging conceptual material needed to arrange a novel, appropriate idea of "togetherness" - a novel idea of "togetherness" that is both locally appropriate for the local study of "compliance" (suitable, i.e. in the role assigned to the preliminary idea of "togetherness" by the study), and which also has a mostly relevant meaning that is transferable to other contexts who want to use the idea of "togetherness" as "togetherness.”

Appendix M

[intersystemic narrative]

Appendix L

[system if it matters]

Appendix K

[system when it matters]

Appendix J

[smell a flower, or your character takes damage in damage.]

Appendix I

[whatever speareboy didnt square]

Appendix H

[whatever aro-man didnt say]

Appendix G

[the cave thing]

Appendix F

[something something what do u do?]

Appendix E


[*waves at you*]

Appendix D

[beating up the corpses again]

Appendix C

Glossary of Terms

Monads and Foils

Monads are indivisible substances that each express the entire universe from their subjective viewpoints.

Foils are constructs that provide contrast to player character monads, revealing latent aspects through tension.

Foils reflect monadic perspectives back to the player for self-discovery.

The Empty Room

The empty room is a space devoid of predetermined constraints and narratives.

It allows free manifestation of monadic imagination and creativity.

The empty room represents a blank canvas for actualizing inner potential.

Blurring PC/NPC

In collaborative storytelling, PC and NPC roles can blend together.

NPCs can exhibit depth and agency, while PCs engage internal conflicts through external world foils.

This interplay elicits nuanced exploration of identity and desires.

Personalized Character Stats

Personifying PC stats and abilities as NPCs allows for embodied interactions.

Conversing with these inner facet characters provides self-reflection.

Externalizing and nurturing PC strengths and flaws manifests the player's aspirations.

Eliciting Latent Desires

Co-creative tabletop RP reveals players' unspoken needs and conflicts.

Roleplaying choices directly or symbolically engage with identity.

Games craft bespoke possibility spaces to actualize subjective passions and potentials.

Appendix B

Systemic Loyalty

As a carnivalesque inversion of branding's commodification of identity, the game state leaves liberated from online self-marketing players rediscovering play's sacredness.

Gaming frees identity from profit's narrowing matrices. The table redraws the map of being, rekindling lost existential pursuits. Stats, only there as ritual — to meet an equal and disperse. By uprooting us from habitual roles, RPGs expose identity's own rituals. We roleplay new possibilities of self and society, spirit and spirituality.

Unlike social media's dopamine treadmill of self-optimization cruxing virality, gaming fosters collective liberation approaching stillness. Here we roleplay the democracy we deserve into the state we don't.

RPG creativity guided by surprise creates fractures in the geode of the branded self. We glimpse self's broader vistas, resacralized.

Gaming has no winners, only co-existers mapping psychocartographic machinations. We are charged, to identity's continuum, reconnected.

Appendix A


The dictionary definition focuses on fantasy roleplay driven by game rules and chance. But the texts imply imagination need not be escapist - it can heighten our engagement with society. And rules/dice introduce unpredictability, but player creativity and ethics remain central.

Thus, tabletop RPGs facilitate collaborative trials of identity within bounded spaces. This process reveals multiplicity and interconnectedness, while avoiding total unselfing. Players project aspects of self onto roles, yet NPC interactions also externally reflect latent desires and conflicts. Though projection may raise imputation of qualities like agency, ultimately the game is an imaginative workspace for self-discovery, not literal embodiment. Or do they? (continue this thread…)

While fantasy scenarios can provide escapist entertainment, the shared storytelling also functions as metaphorical exploration of relationships and society. Rules introduce chance yet guide inquiry, while keeping player creativity primary. Or does it? (continue this thread…)

Tabletop roleplaying games constitute constrained workshops for identity play. This collaborative imagining can foster self-knowledge and empathy without branding or embodying a single self. RPGs thus craft spaces of guided imagination that illuminate the human experience. Or do they? (continue this thread…)

Tabletop RPGs reveal identity as multifaceted and fluid, not a singular fixed brand. By temporarily inhabiting fictional personas, players rediscover the diversity within themselves. PC interactions with imaginatively fleshed-out NPCs further reflect the self’s heterogeneous possibilities. Or do they? (continue this thread…)

Rules, chance elements, and gamemaster scenarios constrain yet focus collaborative imagining in RPGs. Unlike branding, this structure guides creative identity exploration rather than limiting it. The game’s constraints introduce unpredictability yet keep player agency primary. Or do they? (continue this thread…)

RPGs use fantasy and imagination not as escapism, but as a metaphorical language to better grasp relationships and society. Players gain emotional investment in fictional scenarios that then provide insight into the human condition. Imagination becomes a path to greater empathy and wisdom. Or does it? (continue this thread…)

By externalizing inner conflicts through NPC interactions in a low-stakes fictional space, RPGs allow players to safely encounter and integrate otherwise hidden aspects of self. The game becomes a crucible for catalyzing self-discovery through roleplay. It involves shared worldbuilding, not singular authorship. Meaning emerges through the interplay of multiple player perspectives. This models identity as co-constructed, woven from collaborative imagination. Unless it's not. (continue this thread…)

A shelf of games is a shelf holding technologies of the self-structured spaces for collaborative transformation. These imagination experiments subvert fixed identities, revealing us as co-authored perpetually in revision. The only limitation: permissions granted. Can it be? (continue this thread…)

0 (cont.):

The interplay between player characters and non-player characters makes visible the interconnectedness of identities. Players may project themselves onto initially flat NPCs, breathing life into these roles. Yet NPC relationships also confront players with externalized facets of the self, eliciting hidden desires and conflicts. Thus both PC and NPC roles dissolve into tools for collective discovery through dramatic co-creation.

Tabletop RPGs, at their most potent, function as bespoke landscapes for the guided imagination. Players are immersed in charged spaces of directed yet unbounded exploration. These games cultivate skills of empathy, self-knowledge, and ethical interplay through identity trials along horizons of play. By facilitating temporary reconfiguration of the lilac self set against the violet self, roleplaying allows safe yet impactful realization of latent passions and potentials. The surface becomes a crafting table for human parietosphenethmoienostrolatearajinxogilosilkleptagonymophivoxegnurdisaytheoclavumbelaquiconviviality.

Tabletop roleplaying games create contained yet unbounded spaces for collaborative concurrence in imagining and embodying new identities. This facilitates self-discovery, empathy, and ethical growth. Or it don't. RPGs reveal the radical multiplicity within the self, eliciting latent aspects that yearn for expression and integration. These games guide human wanting toward its highest unfolding: wanting more.