TEXT: The Gentlemen's Entomology Club
  A roleplaying game of wine-drinking, boasting, beetles and some incidental rationalist philosophy.
  By Michael Sands
  Created in 2005 for the Game Chef competition (see http://www.game-chef.com).
  Generic Games
  Contact: michael.sands@generic.gen.nz
  
  Table of Contents
  The Gentlemen's Entomology Club......................................................................................................1
  Introduction......................................................................................................................................3
  What You Need...........................................................................................................................3
  A Note On Jargon....................................................................................................................... 4
  A Note On Pronouns...................................................................................................................4
  Game Chef Constraints............................................................................................................... 4
  Acknowledgments.......................................................................................................................4
  Preliminaries....................................................................................................................................5
  The Club.......................................................................................................................................... 5
  Characters........................................................................................................................................ 5
  Character Sex.............................................................................................................................. 6
  Playing The Game........................................................................................................................... 6
  Structure of Play.............................................................................................................................. 6
  Rounds, Turns & Picking The First Player......................................................................................7
  Starting The Tale.........................................................................................................................8
  Telling The Tale..........................................................................................................................8
  Ending The Tale..........................................................................................................................8
  Scoring........................................................................................................................................ 8
  Stakes.......................................................................................................................................... 9
  Difficulties....................................................................................................................................... 9
  Extra Dice................................................................................................................................... 9
  Challenges......................................................................................................................................10
  General Advice For Play................................................................................................................11
  You Can't Change What Has Been Established Already..........................................................11
  Areas Of Authority....................................................................................................................12
  Story Theme..............................................................................................................................12
  Partiality....................................................................................................................................12
  Being The Storyteller.....................................................................................................................13
  What You Control.....................................................................................................................13
  Dealing With Challenges.......................................................................................................... 13
  Dealing With Difficulties..........................................................................................................13
  Being The Skeptic..........................................................................................................................14
  Challenges.................................................................................................................................14
  Difficulties................................................................................................................................ 14
  Being The Companion...................................................................................................................15
  Breaking Ties............................................................................................................................ 15
  Being The Audience...................................................................................................................... 15
  Three Player Rules.........................................................................................................................16
  References......................................................................................................................................16
  Glossary......................................................................................................................................... 16
  The Cards.......................................................................................................................................17
  
  Introduction
  The Gentlemen's Entomology Club is an club that meets somewhere in western European 
  during the Enlightenment. The members are generally past their days of adventures 
  searching for unusual insects in foreign climes. Instead, they meet to drink wine and tell 
  tales of their greatest adventures collecting insects1. The gentlemen are also educated and 
  intelligent men, which often leads to observations on human nature and the world at large 
  being included.
  In this game you take on the character of a member of the Club for a meeting. Your 
  character will spend the evening imbibing wine and impressing their peers with stories of 
  his entomological expeditions. The accounts will be comical, with absurd events and 
  unlikely references to philosophical ideas. During the game you will find yourself telling 
  tall tales, acting as a judge of a story and challenging the storyteller with accusations of 
  lying and by inventing troublesome situations. 
  The Gentlemen's Entomology Club has a couple of differences to traditional roleplaying 
  games. 
  The first is that your character is recounting stories that happened in the past. This means 
  that you never need to be concerned about being killed on your adventures. We also know 
  from the beginning that the character eventually found whatever insect he was looking 
  for. The challenge is not to survive and reach your goal but instead to come up with the 
  most amusing story about how it happened. 
  The second main difference is that there is no single gamemaster. The responsibilities for 
  narrating the events, adjudicating, creating adversity and rewarding characters are split 
  up. You will do all of these jobs at different points during the game.
  What You Need
  The game requires at least three  players. Four or more players is best2 – I suspect that 
  about eight would be the most that would work. Unlike most roleplaying games, there is 
  no  one  player  who  acts  as  a  gamemaster.  Responsibility  for  describing  the  world, 
  providing adversity and refereeing disputes is given to different players at different times.
  Dice are required. It doesn't matter what sort of dice they are as long as everyone's are the 
  same. Plain old six-sided dice with spots are most in keeping with the setting3. 
  Wine is important. The characters drink wine as they tell their stories and there is no 
  reason for them to have all the fun. All players should drink wine as well. Port, whiskey or 
  brandy would also be appropriate but might lead to a significantly shorter game.
  This game is suited to infrequent, single-Session games, rather than extended or campaign 
  play. It should instead be used to fill in odd evenings between longer games or when some 
  members of a regular group are absent4.
  1
  Often, these Stories may include elements of exaggeration or, indeed, baldfaced lies.
  2
  In fact, three player games have special rules as there's no Audience for the Stories. It probably wouldn't 
  be as much fun, either.
  3
  Especially if they are stolen from an antique backgammon set.
  4
  If anyone does manage to play a long term game, I'd be interested to hear how you did it.
  
  A Note On Jargon
  The game uses a number of technical terms for elements of play. These are described in the 
  Glossary on page 16 as well as in the text. Most are capitalized and the first occurrence is 
  in bold type.
  A Note On Pronouns
  When referring to characters, a masculine pronoun is always used. This is intended to 
  evoke the writing style of the period. Players are referred to in the third person plural.5
  Game Chef Constraints
  This game was designed for the Game Chef competition 2005. The following are the Game 
  Chef ingredients used:
  Historical Period: The Enlightenment.
  Ingredients: Wine, Entomology, Companion.
  Limitations: No character sheets. Specially-designed cards.
  Acknowledgments
  Thanks to Richard Clokie, Andrew McLeod, Bruce Norris and Stefan Tyler who bravely 
  playtested this game which had, at that time, existed for only around 60 hours. Of course, I 
  didn't really give them any option about that. Fortified by a couple of bottles of red wine, 
  they revealed how they had heroically ventured to Africa, Tibet, North America and the 
  South Seas in search of Marksman Weevils, Sociable Stick Insects and other unlikely 
  creatures. 
  5
  I'm not sure if anyone cares about such things, but I am also reluctant to be accused of sexism.
  
  Preliminaries
  Before you begin play, you need to work out details about the Club and the characters that 
  you will play - the members of the Club.
  The Club
  The first thing to establish as a group is when and where the Club is meeting. 
  The Enlightenment isn't a precisely defined era, but 1690 to 1800 is about right. By default 
  the Club meets sometime around 1750. Your group may wish to define the time precisely 
  in order to accommodate particular historical events, but in general the approximate year 
  is good enough. In most cases the Stories being recounted will have taken place from 10 to 
  40 years prior to the time the club meets. These events will be the main focus of the game, 
  rather than events contemporaneous with the meeting.
  The  club  could  be  anywhere  in  western  or  central  Europe.  Cities that  are  typically 
  associated with the Enlightenment include London, Edinburgh and Paris. Often merely 
  deciding upon a city or even country will be specific enough, but your group may wish to 
  invent  more  details.  Consider  the  nature  of  the  meeting  place.  Is  if  a  coffee-house, 
  permanent clubrooms, tavern or a member's residence? How many serving staff are there? 
  Are the fittings luxurious or spartan?
  Think about how formally the Club is organized. It could range from informal (the 
  members are all friends) to extremely formal (the Club was set up by the King as a forum 
  for the best entomological minds of the nation to work together).
  Both the time and place that the club meets are there to give the group a solid grounding 
  for their Stories. It gives your Club some colour that can contribute to the Stories6. Each 
  group should select the level of detail for these elements that suits them. More elements 
  can also be invented during play, as required.
  One thing that every version of the Club has is the tradition of meeting to drink wine and 
  tell Stories of adventures hunting for insects. The members use these meetings as an 
  opportunity to boast and joke, with a prize for the most entertaining raconteur of the 
  night. 
  E.g. The group all decide that their Club will be meeting at one of the member's 
  country estates in Kent, England. The year is 1774.
  Characters
  Now each player should think of a  character. You may want to consider the following 
  aspects of your character:
  •
  A name.
  •
  Some background – places he has visited or lived, insects he has pursued, positions 
  he has held, social status.
  •
  His opinions on particular strands of Enlightened thought.
  6
  Or you may just use it as an excuse to talk in a particular amusing accent.
  
  That's all there is too it. Most details about your character will be invented in play. A few 
  starting points are all that is required at this stage. Of course, if you want to determine 
  more, that's fine too.
  E.g. I decide that my character is wealthy and has never worked for a living, but is 
  not titled. He traveled on several trade missions when he was younger, and managed 
  his entomological excursions around his role of securing valuable trade agreements 
  for the King. These travels were predominantly around Africa and India. His name 
  is Bertram.
  Character Sex
  Characters are almost always men. You may wish to have a female “gentleman” but be 
  aware that this does affect the dynamics of the club and generally forces all characters 
  towards radical opinions such as “women are just as able as men” and “women may 
  engage in intellectual debate.” I leave it to each individual club to determine whether a 
  female might be admitted.
  Playing The Game
  Now that you have established the basic details of the Club and your characters, it's time 
  to begin play. Immediately below this section is a summary of the structure of play. This is 
  both an introduction about how to play and a reference to use when you are playing. 
  Following the summary, further sections explain the details of each aspect of play. 
  One element that is not mentioned in the Structure of Play summary is that of general 
  conversation between characters. This is because such conversation can (and probably 
  will) take place all through the game. While cards are being played and the Story being 
  organized, for instance, you are encouraged to have your characters discuss the previous 
  tale or whatever else may be concerning him.
  Structure of Play
   1. Someone opens the first bottle of wine and pours everyone a glass. Someone else 
  shuffles the cards ands deals five to each player. Place the rest of the cards where 
  everyone can reach them.
   2. Pick someone to be Lead Player in the first Turn of the first Round. 
   3. Starting with the Lead Player and going clockwise, everyone gets a chance to play a 
  card. One card of each type – a Modifier Card, an Insect Card and a Theme Card – 
  must be played. Each player may play only one card each Turn.
   a) The person who plays the insect is the Storyteller.
   b) The person who plays the modifier is the Companion.
   c) The person who plays the theme is the Skeptic.
   d) Everyone else is the Audience.
   e) If you go around the group without one card of each type being played, then 
  everyone draws a new card from the Deck (including those who have played 
  already). Then go around again for the other cards to be played (excluding those 
  who have played already). Repeat this until all three types have been played.
  
   4. The Storyteller now begins to tell the Story of their search for the “<Modifier> 
  <Insect>” that somehow illustrates the <Theme>. They should signal the beginning 
  of the Story with the words “This reminds me of my search for the <Modifier> 
  <Insect>...” The story goes on until it ends or (much more likely) is interrupted by 
  the Skeptic.
   5. The Skeptic can interrupt the Story to:
   a) Put a Difficulty in the way of the Storyteller. In this case, they state what the 
  difficulty is and the Storyteller states how it was dealt with. A Difficulty is 
  announced with the words “I recall that you then came across a difficulty.” See 
  page 9.
   b) Challenge the facts of the matter. In this case, the Storyteller and Skeptic both 
  state what happened and the Companion reveals (decides) which is the true 
  account. A Challenge is announced with the words “Sir, that could not be!” See 
  page 10.
   6. The Audience and Companion's roles during the Story are to make suggestions, 
  heckle and interject as the whim takes them. The Companion also has some duties 
  during Difficulties and Challenges.
   7. The Storyteller signals that the Story is over, once the insect is acquired, by saying 
  “And that's how I acquired this fine specimen of a <Modifier> <Insect>”. 
   8. Once the Story is over, the Audience vote for whether the Storyteller, Skeptic or 
  Companion gets to draw an extra card. This Award is recognition of who added the 
  coolest parts to the Story or addressed the Theme in the best way.
   a) If there is a tie, the Companion gets a tie-breaker vote7.
   b) A card is always Awarded to one of the Storyteller, Skeptic and Companion. You 
  may not abstain from the Award vote.
   9. Go back to step 3, except that the next person is now Lead Player. If it's the end of a 
  Round and time is getting on, then call it a night and go to step 10.
   10. Scoring takes place. Score one for every card played and one for each that is still in 
  your hand. The winner gets to take any stakes that were decided at the start of the 
  game, such as any remaining bottles of wine.
  Rounds, Turns & Picking The First Player
  At the beginning of the Session, the first Lead Player must be selected. This isn't really 
  terribly important, so any method to do it is suitable. Here are some suggestions:
  •
  The person who brought the nicest wine.
  •
  The oldest8 player.
  •
  The first to arrive.
  •
  Whoever knows the most about entomology.
  •
  Whoever would like to tell a Story first.
  7
  Except in a three player game. See page 16.
  8
  Or, perhaps, “oddest”.
  
  Play is organized into Rounds. A Round is made up of one Turn per player – each person 
  gets a chance to play the first card on a Turn. This person is the Lead Player, and who this 
  is rotates clockwise each Turn.
  A Turn is made up of a Round of card playing to determine roles and constraints on the 
  Story and then the Story itself. 
  Each Turn, the Lead Player gets the opportunity to play a card, then everyone else going 
  clockwise around the group. This continues until all three cards required for the Story 
  have been played. A Story requires one Modifier, one Insect and one Theme card. 
  If everyone has had a chance to play and all three cards aren't there, that generally means 
  that nobody could play the missing one(s). Everyone gets to draw a new card and those 
  who haven't played a card yet get another chance to play (in the same order). Repeat this if 
  necessary9. 
  Each player should keep the cards they have played in front of them and separate from 
  their hand. These will be used for Scoring at the conclusion of the Session.
  Starting The Tale
  The people who played cards take the roles of Storyteller (Insect), Companion (Modifier) 
  and Skeptic (Theme) for the next Story. Check that everyone's glasses are charged, after 
  which the Storyteller should begin their Story with the words “This reminds me of my 
  search for the <Modifier> <Insect>...”
  Telling The Tale
  The tale goes on with suggestions and comments welcomed from everyone present. The 
  Skeptic has the special role of creating Difficulties that hinder the Storyteller's attempts to 
  capture this insect and Challenging the Storyteller about events that are implausible (these 
  are addressed on pages 9 and 10, respectively). The Companion was present at the time 
  being described and acts as an adjudicator in certain circumstances.
  Ending The Tale
  Once the Story is concluded, the Storyteller should signal this with the phrase “And that's 
  how I acquired this fine specimen of a <Modifier> <Insect>.” They may wish to briefly 
  describe the appearance and attributes of the specimen. The other members will, of course, 
  be suitably appreciative10.
  Scoring
  Scores are counted at the end of the Session. Score one for each cards that was played and 
  one for every card in your hand.
  Scoring is mainly a justification for further boasting, but this time of your own abilities 
  rather than those of your character.
  9
  You may be interested to know that the chance of anyone drawing all five cards in the same category is 
  merely 0.239%. That's less than a 1 in 400 chance.
  10 Although some murmuring about the specimen being inferior to those in one's own collection is to be 
  expected in many cases.
  
  Stakes
  If you and your fellow players are amenable to some gambling, you may wish to stake a 
  wager on the game. In this case, the player with the highest Score at the end of the Session 
  wins whatever was agreed upon. I suggest that “any remaining bottles of wine” is a fine 
  stake. 
  If you are wagering, it is important to only stop the game at a point in which everyone has 
  had  a  chance  to  lead  a  Round.  If  you  do  not  do  this,  some  players  would  be 
  disadvantaged11.
  Difficulties
  The Skeptic may add a Difficulty to the Story at any time. This can be anything that makes 
  the search for the insect harder but would not result in the death of the Storyteller. 
  To announce a Difficulty, the Skeptic uses the phrase “I recall that you then came across a 
  difficulty.” When this is said, the Storyteller  must stop his narration. The Skeptic then 
  explains the nature of the Difficulty. The Storyteller then responds with his plan for 
  dealing with the problem. Then the two players dice off to see who wins the right to 
  narrate how the situation turns out.
  In the most basic situation, the Storyteller and Skeptic both roll a die and the higher roll 
  wins12. The winner then describes what happened as a result of the Difficulty and draws a 
  card from the Deck. If the Deck is exhausted, the loser gives a card from their hand to the 
  winner13. If both the Deck and the loser's hand contain no cards, too bad.
  E.g. The Storyteller is describing his conversation with a South Seas chieftain when 
  the Skeptic says “I recall that you then came across a difficulty. You happened, as I  
  heard it, to have come to their village on the day of the year in which a stranger must 
  be sacrificed to their volcano god.”
  The Storyteller replies “In order to deal with this situation, I will attempt to 
  convince  them  that  they  should  abandon  the  tradition,  by  showing  that  their 
  primitive religion is filled with contradictions.”
  Both roll a die14. The Storyteller rolls 4 and the Skeptic rolls 3. The Storyteller then 
  gets the chance to narrate the conclusion of the Difficulty. “So, after showing that 
  their superstitions should be abandoned, I then taught the village medicine man 
  about what the modern philosopher knows of the causes of volcanism. The people 
  were  left  somewhat  more  knowledgeable  about  the  world  and  I  continued  my 
  journey.” They then draw a card from the Deck.
  Extra Dice
  In some circumstances, one or other of the players may get to roll extra dice to add to their 
  total.
  11 And might see fit to challenge others to a duel for this barely-concealed cheating. As we are all rational 
  men here, I am sure that we all agree that dueling over something so easily avoided is foolish.
  12 This is why it doesn't matter what dice are used, as long as they are the same.
  13 Yes, the loser may choose which card the winner receives.
  14 In all examples, six-sided dice will be used to illustrate play.
  
  The Companion may give a single die either the Storyteller or Skeptic, at their discretion. 
  It is generally expected that the die will go towards whoever is likely to provide more 
  amusement if they win.
  If the Storyteller has previously in the Session described the use of a skill, ability, talent, 
  object or anything that would help them in this situation, they may roll an extra die. If 
  there is any doubt, the Companion decides whether it applies. The Storyteller may only 
  ever gain one extra die per Difficulty this way. 
  E.g. Previously in the evening, the Storyteller related that they climbed a mountain. 
  The  Skeptic  has  stated  that  the  insect  being  pursued  lives  only  halfway  up 
  precipitous cliffs. The Storyteller reminds everyone that he is a mountaineer and 
  thus knows how to climb such a cliff. The Companion assents and the Storyteller 
  gets an extra die.
  Lastly, for each of the three cards that define the current Story, either the Skeptic or 
  Storyteller may gain an extra die for somehow relating that card into the Difficulty. The 
  first player to work the card into the situation gets the die. If you can think of a way to get 
  two or even all three to apply, then you get two or three extra dice. Once again, if there is 
  any doubt about the way the element has been brought into the Story, the Companion 
  determines whether the player gets a bonus die. Note also that you do not have to make 
  the element helpful to your side of the conflict, just mention some way that it is related to 
  the current situation.
  E.g. The cards defining this Story are “Marksman..” “Weevil” and “Nature is 
  hostile.” The Skeptic has said that the Storyteller was attacked by a lion for a 
  Difficulty. The Skeptic gains an extra die for illustrating the hostility of nature, as he 
  is quick to point out. The Storyteller states that he had a marksman in the expedition 
  who shoots at the lion, and also gains an extra die. Neither can think of a way to 
  make “weevil” relevant, so no more dice are used this time.
  Challenges
  If the Skeptic believes that the Storyteller is making things up, he is obliged to Challenge. 
  He should announce “Sir, that could not be!” He should then explain why this part of the 
  Story must be untrue, and may suggest an alternative that the Storyteller is trying to hide.
  The Storyteller and Skeptic may each elaborate on details. The Skeptic is obliged to make 
  things as embarrassing as possible.
  The Companion then tells the rest of the Club whether the Storyteller is 'exaggerating'15 or 
  not. The Companion may use the key phrase “I was there, and what happened was this” 
  when they declare their decision. In some cases, he may need to say this with some force 
  in order to end an argument. 
  Then the actual events are described by the Companion16. These events need not match 
  either the Storyteller or Skeptic's versions, but must be consistent with one or both of 
  them17.
  15 By this, of course, I mean 'lying'.
  16 Obviously, in some cases the Companion may decide against the actual truth. However, they are the best 
  authority available for the events and the Club defers to this. Anyone claiming that a Companion is lying 
  in this circumstance might find themselves excluded from future Club meetings.
  17 So the Companion may make up a third version of events as long as it does not contradict both what the 
  Storyteller described and what the Skeptic heard.
  
  The loser must then give a card from their hand to the winner18. If they have no cards in 
  their hand, the winner draws one from the Deck. If the loser has no cards and the Deck is 
  exhausted, they gain nothing.
  The Storyteller then continues their anecdote.
  E.g.  The  Storyteller  explains  that  they availed  themselves  of  a  Chinese  flying 
  machine in order to scale the mountains that hid their elusive quarry. 
  The Skeptic says “Sir, that could not be! Everyone knows that the Chinese have no 
  such flying machines.”
  The Storyteller replies “Perhaps 'everyone' knows that, but how many of these men 
  have journeyed into the Chinese interior and been feted by high Imperial officials? 
  Obviously the machines are generally kept secret from foreigners. My friendship 
  with the province governor, however, meant that he allowed me the use of the 
  machine.”
  “I have never heard anything so preposterous. I expect you will now tell us that the 
  machine was propelled by elves!”
  At this point the Companion decides that the flying machines are worth keeping in 
  the Story, so says “I was there, and what happened was that we traveled by flying 
  machine as described. Obviously, it was not powered by elves, but by the wind 
  carrying it on huge sails.”
  The Skeptic's player then gives a card from their hand to the Storyteller and the tale 
  continues.
  General Advice For Play
  In general, you should aim to be either the Storyteller or the Skeptic whenever possible. If 
  you can't take either of those roles, then you should go for Companion. The only reason to 
  abstain from playing a card and sitting a Story out is if you are feeling uninspired and 
  would prefer to wait the Turn out.
  You may also want to consider previous events when playing your card. Perhaps another 
  player was extremely annoying in your previous Story and has now played an Insect? You 
  can play the most obscure Theme you have to pay them back. Alternatively, you might 
  want to play the Modifier to help out someone who helped you out previously.
  All players should beware of getting caught up so much in a Story that others will miss 
  their turns. If a particular Story is dragging, the Audience and Companion should not be 
  shy – just tell the Storyteller to get to the point. The Skeptic should also do this, although 
  they may be part of the problem. Storytellers should take such comments in a good-
  natured manner and get on with the catching of their insect19. 
  You Can't Change What Has Been Established Already
  This is a general rule that applies to several different parts of the game. What it means is 
  that if something has been described and accepted by the group, you can't just change it. 
  18 Again, the loser may give the winner any card they wish to.
  19 Storytellers should also note that if the Audience were bored, they are very unlikely to give you the 
  Award for this Story. 
  
  You have to build on what's already happened or been described without removing 
  elements.
  Say my character mentioned in a Story that he has always been trusted by wild beasts. 
  Later, after failing a Challenge, the Skeptic narrates that you are attacked for no reason by 
  a normally harmless animal. In this situation, you are entitled to remind the player that 
  this cannot occur due to what has been previously established20.
  Areas Of Authority
  In general, facts about the game world are established by group consensus or by the player 
  telling a Story. Here are specific examples of parts of the game where particular players 
  have the authority to establish facts:
  •
  Details about the insect that is the subject of the current Story are solely the domain 
  of the Storyteller.
  •
  Details about your own character are your own domain, except for when you have 
  lost a Challenge or Difficulty. In those situations, the Companion and Skeptic may 
  determine elements of your character without your agreement, within the limits of 
  the  situation21.  Normally,  for  example,  nobody  else  could  declare  that  your 
  character has lost a leg. But in the context of a Difficulty in which you were attacked 
  by a tiger, this is quite a legitimate change for the Skeptic to make.
  •
  When the Storyteller has lost a Challenge, the Companion describes the true events. 
  These must be consistent with either the Storyteller or Skeptic's version of things.
  •
  When the Storyteller has lost a  Difficulty roll, the Skeptic describes what the 
  outcome of the Difficulty was. 
  Story Theme
  Alluding to the theme in Enlightened thought can be done in many ways. For example: 
  •
  A direct example of the theme. 
  •
  A metaphorical allusion to the theme, illustrated by the insects.
  •
  A tangential element of the Story.
  •
  A digression from the Story.
  Players should be aware that the requirement to address a Theme in each Story is there to 
  add comedy, not intellectual depth. Although analysis of many of these concepts may be 
  interesting and useful, in this game they are intended to force an extra layer of absurdity 
  into the Stories told.
  Partiality
  Often during play you'll be in a position to comment on other Stories or make a judgment 
  about how things play out. It is not required that you impartially make the best or correct 
  decision each time. Your character may have other motives that mean that he prefers to 
  20 If they had a good reason for this, that takes account of the previous facts, then you might find that this 
  should be allowed anyway.
  21 However one should not make changes to the character that are disagreeable to the player. It's just not 
  polite.
  
  rule in favour of a particular person. You might want to take a petty revenge on someone 
  who interfered with your Story earlier. You may be peeved at something another player 
  said about one of your previous Stories. Motives like this are fine – don't hold back. And if 
  someone accuses you of being unfair... that's just too bad for them.
  Being The Storyteller
  This is the key role in the game. You should attempt to be the Storyteller as often as 
  possible. Your main role is to make it as entertaining as possible, so that you get the 
  Award at the end.
  You will want to endeavour to leave openings for the Skeptic to Challenge you or impose 
  Difficulties quite often. When you have a good plan for how to deal with it, of course. It 
  can  be  useful  to  say  things  that  sound like  lies,  if  you  have  a  good  explanation  to 
  bamboozle the Companion. And setting yourself up for obvious Difficulties when you 
  have previously mentioned something that will get you a bonus (perhaps by mentioning 
  lions prowling nearby when you earlier talked about your special lion-shooting musket).
  What You Control
  As  the  Storyteller,  you  have  control  of  all  aspects  of  the  Story  unless  the  Skeptic 
  Challenges or adds a Difficulty. The other players may make suggestions at any time but 
  they are merely suggestions until you decide to make them part of the Story.
  In particular, you have the final say on the nature and habits of your insect. If you say it 
  can fly, then it flies. If you say it can play the violin, then it can play the violin. In this, 
  even the Skeptic may not accuse you of lying. During or at the end of the Story, you may 
  wish to describe the specimen(s), as if you are displaying them to the club members. Here 
  also, you have total control of what they look like (or its habits, if you have a living 
  specimen).
  Dealing With Challenges
  When you are accused of lying, you need to quickly review the events you have just 
  recounted and work out a plausible justification for them. You only need to convince the 
  Companion that you are right. In fact, you do not necessarily have to appeal to actual facts 
  to have them rule in your favor. Perhaps you made a concession to them earlier? Perhaps 
  they might wish for one in the future? Companions may be more agreeable if you top up 
  their glass. These are things that you might want to consider when defending your claims. 
  Dealing With Difficulties
  When a Difficulty is created, roll with it rather than getting annoyed. Your job now is to 
  think of the coolest way to get out of the situation. Be open to using any suggestions from 
  the other players (even the Skeptic). You also need to try and work elements from the 
  current cards into your plan and try to convince the Companion to give you the bonus die. 
  To get the Companion to give you the die, try to appeal to what they will be the most 
  amusing outcome of the Difficulty. You can also try convincing them for other reasons (“I 
  helped you out last time!”). 
  
  If you lose, be good-natured about the results that the Skeptic narrates. You can always get 
  your revenge in their next Story.
  Being The Skeptic
  This is the secondary role in each Story. You are responsible for providing adversity and 
  challenge to the Storyteller, with the objective of entertaining everyone (preferably being 
  just a bit funnier than the Storyteller, so you get the Award at the end).
  Challenges
  If  the  Storyteller  says  something  implausible,  you  should  Challenge  them.  You  are 
  accusing them of lying to make their Story more interesting. 
  Begin a Challenge with the words “Sir, that could not be!” 
  Then explain why you believe this to be a lie. This may involve some discussion before the 
  Companion decides whether you or the Storyteller is in the right.
  If the Companion declares that you are correct and that it was a lie, you get a new card 
  from the Storyteller. This makes Challenges better for your Score than Difficulties – you 
  still gain one, but additionally someone else loses one.
  Note that you may not accuse the Storyteller of lying about the insect's nature or habits. 
  Anything that they say about the insect is automatically correct.
  Difficulties
  Difficulties are there to make the Storyteller work a bit to get where they want to go. You 
  should aim to put a Difficulty into the Story whenever things seem to be going smoothly. 
  Make the Difficulty as dangerous and embarrassing as possible, but leave room for the 
  Storyteller to get out of it.
  A Difficulty is announced with the words “I recall that you then came across a difficulty.” 
  You should then describe what you 'recall' might have happened to the Storyteller.
  To start with, here's an example of how not to set it up:
  E.g. (Probably a bad Difficulty to use) “I recall that you then came across a 
  difficulty.  As  you  walked  through  the  jungle, a  herd  of  stampeding elephants 
  trampled you and knocked you into a spiked pit which was then filled in by cannibal 
  pygmies leaving you buried alive”
  That example is kind of funny, but it doesn't give the Storyteller much room to maneuver. 
  Rather than presenting a Difficulty, rolling the dice, and having the winner narrate what 
  happened, you have already forced the Story off track. This isn't really what we're aiming 
  for (there'll be plenty of time for that if you win the roll). Here's a better way to set up the 
  same Difficulty:
  E.g. (A better way to introduce a Difficulty) “I recall that you then came across a 
  difficulty. As you walked through the jungle, you heard the sound of stampeding 
  elephants approaching you just as you entered the kingdom of the cannibal pygmies 
  of Zug.”
  
  In this case, you still have the amusing elements, but the Story hasn't been forced away 
  from what the Storyteller planned yet. The spiked pit and burial hasn't been mentioned – 
  that can wait until you win the roll.
  You should also stay alert to pick up on anything dangerous that the Storyteller mentions. 
  If they mention anything like this, they want you to grab it and turn it into a Difficulty22. It 
  may be that the Storyteller already has an escape planned. Try to do something unusual 
  with the hazard to make it more challenging for the Storyteller and more amusing for 
  everyone else.
  Being The Companion
  Your role is to be the referee whenever the Storyteller and Skeptic disagree. Whenever you 
  have to make a judgment, you should consider which outcome will be the most amusing 
  as well as which side is more plausible23, or consider rewarding the player who has made 
  the better effort to address the theme of the Story. Or someone who's had bad luck. 
  You can make your choices based on anything you want. It's your call. 
  Take advantage of the fact that you were present on the expedition. Your suggestions to 
  both the Storyteller and Skeptic have more weight than everyone else's.
  Deciding Challenges should be done with a little more care than Difficulties. There are two 
  reasons for this. Firstly, if a Challenge is lost one player gains a card and the other loses 
  one. In a Difficulty, the winner just gains one, so the stakes are a bit lower there. The other 
  aspect is that you get to describe the real story, and it need not exactly match either 
  version that's been previously mentioned. You have to make sure that it's consistent with 
  at least one of the Stories that has been suggested, but aside from that you can make up 
  anything you want. And, as you are the authority on what actually happened, you cannot 
  be gainsaid. If you wish to abuse your power and tell another lie, nobody will know. As in 
  all these cases, go for whatever makes the most entertaining Story.
  The role of the Companion is quite different in a three-player game. See page 16 for how 
  things work with just three of you. 
  Breaking Ties
  Note also that you have the job of tie-breaker in the vote for who gets a card at the end of 
  the Story. You are one of the possible beneficiaries, and the only thing to prevent you 
  ruling in your own favour in such a situation is the possible revenge rulings from the 
  other players later on. 
  Being The Audience
  As the audience, you have a chance to sit back and drink some wine while the others do 
  the work of amusing you. Enjoy the Story, Challenges and Difficulties. You may wish to 
  interject, heckle or discuss the Enlightenment theme. Do whichever seems the most fun.
  You also have the responsibility of voting for the most entertaining contribution to the 
  Story. You may vote for the Storyteller, Skeptic or Companion. You may not abstain. The 
  22 Or, possibly, they're just being careless. No reason not to take advantage of it.
  23 This includes allocating your die to one side or other in a Difficulty. 
  
  winner draws a card from the Deck into their hand. Note that the Companion decides ties 
  in the vote, if necessary (this can give them the chance to award the card to themselves).
  Three Player Rules
  In a three-player game, the Audience cannot vote to give the Storyteller, Skeptic or 
  Companion  the  award  for  each  Story.  Instead,  the  Companion  decides  whether  the 
  Storyteller or Skeptic gets it. Just as in normal play, the award is mandatory – it must be 
  given out for each Story.
  The Companion has all the responsibilities of the Audience as well as their role as a judge 
  but otherwise play is the same as normal.
  References
  Insects: http://tolweb.org/tree?group=Hexapoda&contgroup=Arthropoda
  Enlightenment  thought:
   http://en.wikipedia.org/wiki/The_enlightenment.  I  also 
  recommend Enlightenment by Roy Porter, a fine British-focused history of the period.
  Glossary
  Game Term
  Definition
  Audience
  All players who are not currently the Storyteller, Skeptic or Companion. 
  When playing a member of the audience you are expected to enjoy the 
  Story, suggest embellishments and heckle the others as it strikes your 
  fancy. You vote for who gets the award when the Story is finished.
  Award
  After a Story concludes, the Audience vote for which player was the most 
  entertaining. That player gets to draw a card from the Deck.
  Card
  One of the cards that is used to constrain elements of a Story.
  Challenge
  This term is used for when the Skeptic accuses the Storyteller of making 
  up lies as part of their Story. Both the Skeptic and Storyteller appeal to 
  the Companion with explanations of why this part is or is not a lie. The 
  Companion then decides which is correct. This person then draws a card 
  and explains what actually happened.
  Character
  A member of the Club. Each player has a character, who they control 
  during play.
  Companion
  The person who  is  currently  acting  as  referee.  The  Companion  role 
  means that your character was also present on the expedition being 
  recounted, which is why you get to judge who is lying in a Challenge and 
  why you  get a  tie-breaker  in  votes. You are also  expected  to  make 
  suggestions as to what had occurred, and you may win the award if you 
  manage to entertain the Audience more than the Storyteller or Skeptic.
  Deck
  After initial hands are dealt, the remainder of the Deck is placed where 
  people can draw more cards when necessary.
  Dice
  You need several matching dice to play. Normal six-sided dice are fine. If 
  you wish to use dice with a less orthodox number of sides, that fine as 
  long as everyone gets the same ones.
  
  Game Term
  Definition
  Difficulty
  A problem that must be overcome, added into the Story by the Skeptic. 
  The  Storyteller  and  Skeptic  roll  dice  to  determine  who  narrates  the 
  outcome of the problem. 
  Difficulty Roll
  The rolling of dice by Storyteller and Skeptic to determine who narrates 
  the  outcome  of  a  Difficulty.  Each  starts  with  one  die  to  roll.  The 
  Companion may give a die to one of them. Each may also gain a die by 
  relating one of the current cards to the situation (one per card). Then both 
  roll their dice and total them. Highest total wins and gets to narrate the 
  outcome. In addition they draw a card from the Deck to their hand.
  Insect Card
  A card that determines which type of insect the current Story is about. 
  The player who plays the Insect Card becomes the Storyteller for this 
  Story.
  Lead Player
  The person who gets to lead a card this Turn. This role rotates clockwise 
  every Turn.
  Modifier Card
  A card that adds a descriptive modifier to the insect type, to partially 
  define its nature. The player who plays the Modifier Card becomes the 
  Companion for this Story.
  Player
  Any person who is playing the game. In contrast to 'character'.
  Round
  A section of the game in which every player has had a Turn. Play only 
  finishes at the end of a round.
  Score, Scoring
  You Score a Session by totaling the number of cards played and the 
  number remaining in your hand at the end.
  Session
  A single, contiguous period of playing the game, such as one evening. 
  Skeptic
  The person who is currently given the task of challenging implausible 
  parts of the Story and interjecting Difficulties to provide some conflict 
  and adversity for the Storyteller. You may win the award for the Story if 
  you are more entertaining than the Companion or Skeptic.
  Story
  A tale told by one of the club members about their pursuit of a particular 
  insect, illustrating a theme of Enlightenment thought in the process.
  Storyteller
  The person who is currently recounting a Story.  You may win the award 
  for the Story if you are more entertaining than the Companion or Skeptic.
  Theme Card
  A  card  that  determines  which  theme  of  Enlightenment  thought  the 
  current Story must address in some way. The player who plays the 
  Theme Card becomes the Skeptic for this Story.
  Turn
  Card play to determine roles and Story elements followed by the Story 
  itself.
  The Cards
  The  remainder  of  the  document contains  the  cards. These  are  currently  in  a rather 
  primitive state, but the essence is there. They need to be printed on card and cut out for 
  use24.
  Cards with a type of insect are the insect cards, obviously. The categories used are broad 
  and not especially biologically justified. Beetles are intentionally over-represented, for 
  instance. As the game is set prior to the discovery of natural selection and evolution, this is 
  probably not a very significant failing.
  24 Although, in playtesting, I found normal paper to be acceptable for this purpose. Shuffling suffered 
  somewhat, but not enough to detract from play.
  
  Cards with an adjective followed by ellipsis are the modifiers. Not much more to say 
  there.
  Cards with a bold phrase are the themes. These are based upon Enlightenment thought as 
  it occurred to the author, primarily chosen for the possibility of absurd interpretations 
  while hunting insects. 
  Players are encouraged to add their own cards if desired (this is probably beneficial for 
  extended campaigns of The Gentlemen's Entomology Club, if anyone were to consider such a 
  thing). The mechanics do assume that there are equal numbers of all card types, so you 
  should always add sets of three – an insect type, a description and a theme of Enlightened 
  thought. I'd even be interested to hear of cards that you add. Please email any of your 
  ideas to me and they may be included in a second edition.
  
  Gigantic...
  Uncivilized 
  Men are 
  brutes.
  Deadly...
  Uncivilized 
  Men are noble.
  Earwig
  Minuscule...
  Reason
  defeats
  superstition.
  Termite
  Sociable...
  There is no God.
  Mantis
  Solitary...
  God is immanent
  in Nature.
  Stick Insect
  Dragonfly
  
  Cockroach
  Parasitic...
  All Men are 
  brothers.
  Cricket
  Intelligent...
  Women are just
  as capable
   as men.
  Locust
  Acidic...
  Men should be 
  free to live as 
  they wish.
  Beetle
  Army...
  Laws should
  treat all Men
  equally.
  Fly
  Dangerous...
  You should
  tolerate beliefs
  you disagree 
  with.
  
  Flea
  Trapper...
  Human society
  may be studied
  scientifically.
  Butterfly
  Biting...
  Slavery is wrong.
  Moth
  Farmer...
  All races of Men
  have the same
  natural 
  capacities.
  Scarab
  King...
  Nature is
  benevolent.
  Weevil
  Swimming...
  Nature is
  hostile.
  
  Wasp
  Marksman...
  Social class
  has nothing to
  do with a Man's 
  worth.
  Bee
  Builder...
  Men may 
  perfect 
  themselves
  with reason.
  Ant
  Tyrant...
  Society may be
  perfected
  through reason.
  Stag beetle
  Carnivorous...
  Democracy.
  Bug
  Cave...
  Machines can
  tame Nature.
  
SOURCE: textdata/thevault/The Gentlemens Entomology Club/The Gentlemen's Entomology Club Corebook (2).pdf