Calibration Tools and Setting Expectations

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Keep in mind that not all games are for everyone. These games especially can be dramatic and strange,
and might inch closer to performance art or horror films. If you read a game that has content or content
warnings that may impact your mental health, you do not need to play or even read the game. It’s
important to understand that the individual is more important than the game. That being said, here are
some mechanics that should be used as a part of the players’ toolkit.
If you can, for games with more than one player, please play with folks that you are comfortable with. Try
to play with friends or folks that you trust. Some of these games deal with very heavy subject matter, so we
encourage you to use your discretion when it comes to who you choose to play with.

Cut and Brake

Session Zero
A Session Zero is the time set aside before you start a game
to set expectations and discuss boundaries. During this time,
players can go through the calibration tools that they might
use during the game (listed below), what the game is about and
any content warnings that the game might have, and discuss
which characters players might want to take on the roles of.
Open Door Policy
This means that players may leave at any time they choose,
whether they are not having fun or they’re feeling tired or
something else. To let other players know they are leaving, they
can put a hand over their eyes (as if to shade them) as they
leave, but this is not mandatory.
Ok Check-In
If a player thinks another player is in distress, they may form
an ‘O’ shape with their hand to ask if the other player is okay.
The other player may respond with either a thumbs up (they
are doing well), a thumbs down (they are not doing well) or a
waving flat palm, parallel to the floor (they aren’t doing well,
but they’re okay). In both the thumbs down and flat palm
cases, the game (or scene) should pause or stop, depending on
the situation. At this time, a facilitator should be involved, so
that the player who is in distress can speak with them. If they
feel comfortable enough to talk to the other player, they must
give their consent first. Never try to pressure a response from
the player in distress.
During the game, players can choose to use cut and brake to
indicate whether or not they need to pause and redo or stop the
game all together.
Cut is used when a player is about to encounter physical harm
or has an emergency. The player will call “cut” and that stops
the game. Players may choose to start up again if all players
are comfortable with it, but they can also choose to end the
game there. Other players who notice that someone is about to
encounter a dangerous situation, e.g. someone is about to trip
over a chair, can also call cut to prevent the person from being
hurt.
Brake is used when a player wants to slow things down—things
are getting a bit too intense and they would like to either take it
a step back and redo the scene or continue with a lower intensi-
ty, e.g. if someone is raising their voice, they can lower it when
someone says “Brake”.
Tapping Out and Scratching
These tools are great for larger groups, especially when there
is a lot of action happening and players don’t want to break
character.
If you want to take a break and want to tap out of a scene to
go to another part of the room, you can! Use your hand to
physically tap on someone’s shoulder or your own shoulder,
indicating that you would like to do something else and you do
not need or want anyone to follow them. Remember to respect
a player’s decision to move away when they “tap out” and to
focus on the experience you want.
If you are really enjoying a scene, you can lightly scratch some-
one’s arm or back (or any other negotiated part of the body
that is consensual), to indicate that you are excited about how
things are going and you want to see more of it. You can also
scratch your own shoulder to show that you are really enjoying
the scene.
Lines and Veils
This is a game for adults and folks will have different lived
experiences. Since this is a series of horror games, it is recom-
mended that players use Lines and Veils to establish boundar-
ies.
Before the game begins, during a Session Zero, you will all
list off your Lines. These are lines in the sand that you do not
cross. They are subjects that will not be brought up in-game,
because they will ruin players’ experiences.
Veils on the other hand, are subjects that can be touched upon
briefly, but we’d rather not get into every single detail. For
example, someone brings up sex as a veil. Instead of listing
off every single motion, a scene might go like this: “And then
Alex and Bailey enter into the bedroom. The lights go off. Fade
to black.” This implies that they had sex, without explicitly
saying that they did.
X-Card
Initially created by designer John Stavropoulous, the use of the
X-Card has been changed and reiterated several times. In this
game, we’ll be using it this way:
Ɂ If anyone feels uncomfortable during a scene (as a play-
er), they may tap the X-Card
Ɂ If anyone wants to change the way is scene is going,
they may tap the X-Card
Ɂ If anyone wants to add something to the Lines and
Veils, they may tap the X-Card
What happens after you tap the X-Card? Here are a few op-
tions:
Ɂ You can recalibrate out-of-character
Ɂ You can rewind and redo the scene
Ɂ You can take a break if it gets to be too much
Ɂ You can add something to Lines and Veils
You can tap the X-Card at any time. You can even use it on
yourself. Continue play, once everyone feels ready to move on.
O-Card
The O-Card is something that another player did that you got
really excited about and you want to see more of. Maybe your
character was flirted with, maybe a character did something
very spooky and you want to see more of that. Whatever it is, if
you enjoyed something and you want to see more of it, tap the
O-Card.
Debrief
Move to another room that is not the space you were playing
in. Especially if you were playing an emotionally intense game,
ask the players to take some time to remove themselves from
their characters. The facilitator(s) should tell players to remove
their name tags and use this phrase to ground themselves:
“I am not (character’s name) and I am not a (something that de-
fines the character). My name is (player’s name) and I am (some-
thing that defines the player). I’m currently feeling (any feelings the
player might be aware of).”
Guide the players through a quick breathing exercise, taking
three deep breaths, before going into details about the game.
The next statements you can go through are:
“Something that I really liked about my character was (something
that they liked about their personality) and I’d like to carry that
with me into my life. Something that I really didn’t like about my
character was (something they didn’t like about their personality)
and I’d like to keep that with the game.”
Give players a few more minutes to digest feelings and remi-
nisce some moments from the game. If players would like to
keep their names out of anyone’s account of the experience,
make sure everyone knows so they do not post or tag one an-
other on social media.
In the days afterwards, players might need some time to
process the feelings. If players are comfortable with it, they
may assign a buddy system, so that they can find time to chat.
Everyone processes things differently (and folks get busy!), so
keep in mind that players can opt out or restrict chats to just
one session. If anyone needs to process the feelings on a deeper
level, encourage them to talk to a therapist.
Setting Expectations For Solo Play
Make sure to check the content warnings before playing and
read through the prompts if you would like to get a sense of
what to expect.
Remember that you can stop playing the game at any time.
Take breaks between prompts or when writing, to recognize
if any intense feelings are coming up. If you feel like these
feelings will persist in the hours or days to come after the game,
stop playing. Your time is important and the only way to break
the game is if you are not having a good time.
Debrief For Solo Play
If you were eating, take some time to finish your meal if you
haven’t already, but turn any screens off and put anything you
were using to journal away. Remove yourself from your charac-
ter and remind yourself of who you are and process some of the
feelings that you had while playing the game. Remember that
you were playing a game and the experience has no bearing
in reality. The game might have reminded you of you or given
you some insight into who you are. Take some time to process
those feelings and if you need to, chat with a close friend or
family member. If possible, talk to a therapist.
If you’d like to read what you had written, give yourself a week
before rereading it.
 It Is Hungry Too
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There are many parts of your life, and yourself, that you have sacrificed to keep the monster happy and quiet.
Tonight you give it just a bit more off your plate. What are you willing to part with to live in safety?
What will you give up not to face the monster?
A game about trauma, and the things we give up to avoid facing it.

Time 1 Hour It has been a long day, and you are tired. Work and chores pile up, the
way you smile for your coworkers, the way you cover your discomfort. It
Players 1 wears on you. Still you can’t rest. There’s a worry that sits in your belly,
sister to your hunger. Even now you can feel its eyes on you.
Content Warnings Being Alone, Being
Watched, Darkness There’s a routine to this exhaustion, and to this fear. You must tend to
them both, the demands of your flesh, the demands of that thing in the
Tone & Media Touchstones shadows. You need to make dinner. It is hungry too.
The Babadook It is pressing closer, and you know if you don’t feed it tonight there will
be consequences. What happened today that stirred it?
Calibration Tools Setting Expectations
For Solo Play, Debrief For Solo Play Cook your meal. It can be simple, or maybe leftovers if you have any.
After all it has been a long day and it is not yet done.
Get out two plates instead of one. As you serve yourself, answer:
Items Needed What is something that you are making to nourish you?
Leftovers or ingredients for a meal (it should What is something you are making that you enjoy to eat?
have multiple dishes, or ingredients that are What is something that you’re making that reminds you of a different time?
still distinct in the final dish)
Which one do you give up to the beast?
Two plates Take it off your plate and put it on the empty one instead. It only eats
food like this if it has taken it from you, can only be sated by what you
Nail clippers give up. What else has it taken? Don’t answer that. It’s better not to re-
Scissors member it.
Its gaze is heavy on you. Listen for the sounds in your quiet home. Each
A small vial or cup one is the creature stirring. Each one full of its awareness, its proximity,
its threat. Tonight it will need more than food off your plate to be sated.
A sentimental trinket
That’s alright. You know other things you can give. You’ve done this
A flashlight before. How many times have you done this? Don’t answer that.
What’s something you do with your hands? A hobby, a comforting habit?
Clip your nails. Put them on the creature’s plate.
You don’t like to feed it. Afterwards you always feel different, tracing the
new empty spaces, like a tongue probing the cavity left by a lost tooth.
You have to readjust, to carry on like you are still the same person as
before. Like you are still as much as you were before, even with all you
have given up.
How did the monster find you? Don’t answer that. It’s best not to think on
it.
Even now it watches you, like a dog waiting for table scraps. You are care-
ful as you move. You don’t want to tempt it into the kitchen with you.
What’s something about you other people find beautiful? Something other
people admire?
Do you value it in the same way?
Cut a lock of your hair, or pull out a few strands. Put them on the crea-
ture’s plate.
You try not to make any sudden movements, any loud noises. You try
to act as though you don’t know it’s there. As though you can’t hear it
breathing.
What is something you desire? Not a dream, something your body wants,
an animal want; something basic and urgent.
Fill a vial with your spit. Put it on the creature’s plate. It’s only natural for
your mouth to be dry after that. You can pretend it’s not the taste of your
own fear. Disgusting and too familiar.
What is a small gift that you were given? Who does it remind you of? You will
not see them again.
Put it on the creature’s plate.
As you fill up the plate, try to arrange the separate pieces. You try to
make it look appetizing, which is hard given what it is. Look around you.
Do you have anything left to give?
Can you bear to give it up?
It is easier to eat you this way, mouthful by mouthful, instead of swal-
lowing you whole. Still, someday the monster will look between the plate
of offerings and you, and decide you are the better meal. You will have
made yourself bite sized. What do you tell yourself to convince yourself that
tonight will not be that night?
Go to where the monster lives. (A basement, a closet, a hallway at night.)
Bring a flashlight to read by and to see your own food. The creature
doesn’t like it when you turn on the lights, and you’re already on thin ice.
What did it do the last time you turned on the lights?
You shouldn’t have answered that.
You sit yourself down in the dark. This is on the edge of things, the places Banishing Ritual
you don’t dare look, the places you shut out of your mind to get through
the day. This is where the monster lives, curled just out of sight. You can Turn on the lights. Check any corners you’re
ignore the scratching, the whispers and howls. You can ignore the smell still nervous about. In the light they have no
of damp and earthrot that sneaks into everything. Your clothes, your power.
hair. Except nights like tonight, when it gets too loud, too close, and you
must give it a bone to worry. Give it just enough that it will leave you be Rinse off the monster’s plate. Nothing that
for a while. was on it carries any power over you any-
How did you end up like this? Don’t answer that. more. Let the magic go down the drain with
whatever was left on the plate.
It is watching you. Set down its plate. Say out loud what you have brought
to feed it tonight. Thank the shadows for playing with you,
Take up your plate and sit in sight of the creature’s. and say goodbye. You couldn’t have done it
Eat your meal together. without them. If they scared you it was only
because you asked them to.
Is it satisfied?
When you are finished with the final question, perform the banishing Leave the space where you played the game.
ritual to remove the monster from the space. Your home is familiar. Your worries are no
longer monsters. This is a place where you
are safe.
 Goodbye Father
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Father is always watching. He says he wants the best for you, so you cannot leave his home. The world just isn’t
ready yet for you. You are all his little monsters. And monsters cannot grow up like other children. You must stay
inside, because we all know that the world will never accept you for who you are. Father’s punishments might hurt
temporarily, but he tells you that the world will hurt you even more if you leave.
You are young monsters. Your guardian, Father, has been keeping you inside for years, preventing you from
becoming fully fledged monsters. He has abused you any time you have disobeyed him and though you
have grown used to it, you are ready to leave by any means necessary—especially if it means killing Father.
In this game, you will be playing the monster siblings who are working together, waiting for Father to choke
on his dinner, before ultimately killing and devouring him. This happens at an awkward and quiet dinner
table, where you will be communicating with one another silently. The only time you will be speaking is
when you are acting as Father, reading the cards provided or answering the questions on the cards.

Time 1 Hour Outline of Play

Players 3 1.  Each player chooses a character card and answers the questions on it.
2.  All players will introduce their characters and share their silent and
Content Warnings Abusive Parenting, secret ways of communicating with one another.
Murder, Cannibalism
3.  All players then decide on the answers to the questions on the two
Tone & Media Touchstones We Are group cards together.
What We Are (2013), Pin: A Plastic 4.  Shuffle and pass out all the cards from the Father cards, except for
the last four cards labelled I, II, III and GOODBYE. Set aside the
Nightmare (1988)
card labelled Game End for the end of the game.
Calibration Tools Open Door Policy, 5.  Fill out the questions and ad libs on the cards, then shuffle them
Cut/Brake, OK Check-In, Debrief together and place them in a deck next to the cards labelled I, II, III
and GOODBYE. I, II, III and GOODBYE should be stacked in a deck
with I on the top.
6.  If you’re using a mannequin, place it at a seat at the dinner table,
Items Needed otherwise, have a seat empty.
A dinner meal that is prepared beforehand 7.  Take turns flipping over the cards as they speak with Father. Play out
that serves three the game until you reach the card GOODBYE.
A dinner table 8.  Read the questions on Game End.
9.  Debrief.
Printouts of the prompts to be filled out (the
Father cards)
How To Set Up The Game
A Mannequin (optional)
Decorate the dining room table and set the dinner meal when you are ready
to play. If you are playing with a mannequin, place the mannequin in one of
the chairs. If you’re not using a mannequin, make sure one of the chairs is
empty. This is where Father is sitting.
Write out all the prompts from the Father cards onto cue cards or print them
off. Set aside cards I, II, III and GOODBYE. Hand the prompts to each of the
players to fill out, before shuffling them into a deck and placing them next to
the deck I, II, III and GOODBYE. These prompts are the cards that players
will take turns reading out loud as Father and answering. Place both card
decks somewhere on the table within reach of all the players.
How Does This Work?
Players will be eating around the dinner table in silence. They will only
speak when they read or answer the Father cards or cards I, II, III or
GOODBYE. They can pass notes at the dinner table or use another form
of silent communication to one another to plot their Father’s demise.
Play will happen in this order:
1.  During the game, card I will be drawn first, before any other
cards. Read the prompt on that card.
2.  After card I, any of the Father cards can be drawn and read when
a player’s character feels uncomfortable.
3.  Card II can be read at any time while drawing the Father cards.
4.  Cards III and GOODBYE must be read when there are no more
Father cards.
5.  Cards III and GOODBYE ask the players to describe how they
murder Father and what happens when they leave the dinner
table.
During the game, feel free to pass food around the table, eat, drink and
communicate silently.

Game End
The game ends when the players have finished reading the final GOOD-
BYE card. When the characters have finally gone through the cards, they
will answer these final questions on the last card labelled Game End:
When you finally step foot outside, what does it look like?
Does the outside world align with what Father has told you?
What feelings overwhelm you when you are outside?

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Remember to take some time to debrief after the game ends—this can
be a very intense game, so it is highly recommended that you discuss
your feelings post-larp.
 Character and Group Cards

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Character Cards

Name Pronouns Name Pronouns Name Pronouns

You are Father's least favorite. How
You are Father's favorite. How does Father doesn’t care about you. How
does he show that you are his least
he show that you are his favorite? does he show that he doesn’t care?
favorite?

How do you communicate silently How do you communicate silently How do you communicate silently
and secretly with the others when and secretly with the others when and secretly with the others when
you want avoid Father's cruelty? you don't want Father to see you? you want to hurt Father?

Group Cards

Group Card Group Card

Which sibling is most responsible How do you silently and secretly

towards the group? respond to others' silent gestures to
make them feel seen?

Which sibling do the other siblings

always take care of?

How do you silently and secretly

warn the others that Father is
watching?
Which sibling would leave everyone
and everything behind in a heartbeat?
 Father Cards
These cards represent the life that is left in Father. When this deck runs out, Father will die.

Draw a Father card when Draw a Father card when Draw a Father card when
you feel uncomfortable you feel uncomfortable you feel uncomfortable

Father Card Father Card Father Card

What does Father regularly tell you What does Father say to the child What does Father say he does when
about the outside world? Fill it out he doesn't care about to show his he goes to the outside world? Fill it
here. “affection” ? Fill it out here. out here.

During the game, read the above out During the game, read the above out During the game, read the above out
loud as Father. loud as Father. loud as Father.

Draw a Father card when Draw a Father card when Draw a Father card when
you feel uncomfortable you feel uncomfortable you feel uncomfortable

Father Card Father Card Father Card

What does Father tell the child he What does Father tell you that makes What does Father sometimes say that
doesn’t care about the dangerous you believe you are dangerous to the makes you feel good about yourself?
things that lurk outside? Fill it out here. outside world? Fill it out here. Fill it out here.

During the game, read the above out During the game, read the above out During the game, read the above out
loud as Father. loud as Father. loud as Father.
 Father Cards
These cards represent the life that is left in Father. When this deck runs out, Father will die.

Draw a Father card when Draw a Father card when Draw a Father card when
you feel uncomfortable you feel uncomfortable you feel uncomfortable

Father Card Father Card Father Card

What does Father say to his favorite What memory does Father bring up What event does Father bring up to
child that he hates even though he to their favorite child all the time? Fill their least favorite child all the time?
mentions it regularly? Fill it out here. it out here. Fill it out here.

During the game, read the above out During the game, read the above out During the game, read the above out
loud as Father. loud as Father. loud as Father.

Draw a Father card when Draw a Father card when Draw a Father card when
you feel uncomfortable you feel uncomfortable you feel uncomfortable

Father Card Father Card Father Card

What does Father say that he brought What does Father say to his least What does Father say that he wants
home today from the outside world? favorite to remind them to be grateful for the three of you? Fill it out here.
Fill it out here. towards him? Fill it out here.

During the game, read the above out During the game, read the above out During the game, read the above out
loud as Father. loud as Father. loud as Father.
 Gameplay Cards

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Read this first, before you Read this anytime after you Read this when there are no
flip over any of the other have flipped over any of the more Father cards left.
Father cards. other Father cards.

I. Read This As Father
My children. I’m so pleased to see a
table prepared for dinner. I had a very
hard day outside today.
II. Read This As Father
I hope you are grateful that I am the
only one who loves you as much as I
do. It’s just too bad the outside world
can’t accept you like I do.
III. Read This As Father
You should be happy that I brought
you into this home. Clothed you,
fed you. Without me you would be
nothing. Without me—

Read This Normally

Read This Normally
Father sits down and grins at the three
of you, seeing that none of you have
defied him today. Point to who he’s
speaking to. Draw a card from the
FATHER deck and continue reading
as Father.
Read This Normally
Though he talks about love, he looks
almost disgusted at you. Point to who
he’s speaking to. Draw the next card
from the FATHER deck and continue
reading as Father.
Father is beginning to choke. Point to
who he’s reaching to for help.
You may now speak with one
another. Answer these questions as a
group:
Ɋ What did you put in his food?
Ɋ How do you kill him?

Read this after III. Read this at the very end

after all other cards.

GOODBYE Game End

This is the last prompt and the last
time you interact with Father’s
body. You may now speak with one
another. To all the players, answer
these questions:
Ɋ Which parts of the body do you
devour?
Ɋ Which parts of the body do you
cremate?
Ɋ Which parts of the body do you
bury?
When the characters have finally gone
through the GOODBYE card, they
will answer these final questions:
Ɋ When you finally step foot
outside, what does it look like?
Ɋ Does the outside world align with
what Father has told you?
Ɋ What feelings overwhelm you
when you are outside?