TEXT: 1
  INTO THE 
  FLAMES
  a storygame by Adam Dixon
  
  2
  
  3
  Gather   5
   
  What is this?   6
   
  The Flames   6
   
  What you need   7
   
  Trinkets   7
   
  A Ritual for Play   7
  Scouting the Path   10
   
  The Story   11
   
  The Game   12
   
  The Roles   12
   
  The Stucture   13
   
  Themes   14
   
  The X-Card   15
   
  The Road   16
   
  The Pilgrims   18
   
  The Spirits   20
  Walking the Road   21
   
  Reflection   22
   
  Gathering   22
   
  Moves   24
   
  Ending the Scene   26
   
  Tribute   26
   
  The Harrowing   27
   
  Spirits   28
   
  The Next Day   29
   
  The End   30
  Miscellanea   32
   
  Roleplaying   33
   
  Horror   34
   
  Physical Contact   35
   
  Fire Safety   35
   
  Acknowledgments   36
  Contents
  
  4
  One day on the road and your feet are already starting 
  to blister. You’re not used to this much walking. Til now 
  your life had been led away from the roads that snake the 
  country. They brought you luxury - art from a continent 
  away, furs from a frozen north, fish from the coast - but 
  you rarely traveled on them, and, when you did, you sat in 
  cushioned carriage, walls between you and the landscape.
  Now, you’re forced to take notice. Forced to feel the sun 
  burn at your neck, lips cracking in the dry air, muscles 
  tightening with every step. This is not what you were 
  made for. You were never prepared to sacrifice comfort for 
  the frugality of pilgrimage. But, if what they say about the 
  thing at the end of the road is true, it will the sacrifice will 
  be worth it.
  
  5
  Gather
  One person should read through this book before you play—this will 
  help you to understand the game’s rules and the set up it needs. This 
  chapter outlines the kind of game this is and what you’ll need to play.
  
  6
  What is this?
  Into the Flames is a storytelling game. We work together to tell the tale 
  of a pilgrammage on a strange and accursed road. Think horror film 
  version of Canterbury Tales.
  Most of us will play as a pilgrim, someone who has decided to undertake 
  an arduous journey. We will each have our own motivation for taking to 
  the road - faith, wanderlust, exile, a flight from persecution. We play to 
  find out what happens to our pilgrims; to see which one of us survives to 
  reach the end of the road.
  One of us will play as the spirits—the fickle ghosts that tug at cloaks and 
  snap at heels, who whisper doubts and suspicions into our ears. Over 
  our journey we will attempt to appease them by offering tribute, if our 
  offerings are found wanting we may be dragged into their ranks.
  The Flames
  This game is designed to be played in front of a fire. Ideally this would 
  be a firepit or bonfire, but a fireplace, barbeque or circle of candles 
  works just as well. The game involves “burning” tokens and objects—
  depending on your set-up this might be literal or metaphorical.
  
  7
  What you need
  The game is designed for four or more players, six to ten is ideal. It plays 
  over a couple of hours. To play the game you’ll need:
  • Trinkets for each player (about 5-10 each)
  • A fire to gather around
  • A stone or piece of paper, marked with an “X”
  • Food and drink
  • A copy of these rules
  Trinkets
  Each player should have a collection of trinkets. They are used to 
  represent things important to their character, whether objects, memories 
  or ideals. During the game players will cast them into the fire as offerings 
  to appease the ghosts.
  Each player should have a number of objects roughly equivalent to the 
  number of players in the game. You might get players to bring objects 
  with them, or spend some time foraging for them together - at a local 
  market, forest or beach. You can also use the Into the Flames trinket 
  cards.
  
  8
  A Ritual for Play
  Gather together, somewhere wild
  d
  Walk together to discover your spot
  d
  Gather your pilgrm’s trinkets as you travel
  d
  Share food, drink and stories while your fire grows
  d
  Read through the rules together
  d
  Begin
  
  9
  There are others making this journey with you. By day 
  you stick mostly to yourself, but in the evening the suns 
  disappearance robs the land of heat. You’re forced to gather 
  together, close to the fire.
  You pass your evenings talking with the others. You share 
  stories about the journey so far, about your lives, about each 
  of your reasons for leaving them behind. You listen to their 
  stories and keep your own reasons close to your chest.
  
  10
  Scouting the Path
  Read this part together, passing the book between you.
  10
  
  11
  The Story
  They say that salvation lies at the end of the road. Or riches, or power, or 
  safety, or… Or one of a thousand other things worth risking your life for. 
  We are all travelers on that road. 
  We each have different reasons for traveling, different hopes, different 
  motivations for leaving our lives behind. We might be the heretic, hoping 
  to find justification for their beliefs; or the disguised rebel, looking for 
  the artifact that will help them overthrow the throne; or the child fleeing 
  a fractured family, hoping for shelter at journey’s end. Whatever our 
  backgrounds, on the road we are forced together. We are all pilgrims.
  We have heard stories about the strange things we will face on your 
  journey. The spirits that will hound our every step. Know that not all of 
  us will make it. And know, that even if we reach the end, we may not be 
  worthy of what we find there.
  
  12
  The Game
  This is a storytelling game about travelling on an accursed road to reach 
  a mythical destination. We all play as characters journeying on this 
  road, banded together out of necessity.
  For an hour or two we’ll take on their personality and voice, we’ll make 
  the decisions we think they would make. We’ll collaborate with each 
  other to tell the story of their journey.
  The Roles
  There are two roles in this game, pilgrims and spirits. Most of us will 
  start the game as pilgrims. We play as people brought together by the 
  road. We will each have different reasons for travelling, which we will 
  explore through play.
  One of us will play as the spirits—the greedy ghosts that demand ever 
  more valuable tribute. Over the course of the game most of us will join 
  their ranks, as we run out of things to give.
  We should choose a player to begin the game as the spirits now. Everyone 
  else plays as pilgrims.
  
  13
  The Stucture
  This game has a structure. As we play we split things up into days and, 
  on each of these days, we play a few different kind of scenes.
  First we play the gathering, a scene of our pilgrims coming together in 
  the evening, sat before their campfire. We use it as an opportunity to 
  look back over their day, telling the story of what happened on the road. 
  We might discuss things that our characters saw, people they met or 
  hardships they faced, “Remember that strange man we met by Whistler’s 
  Yew?” We might also play out conversation and moments shared by our 
  characters in front of the fire, “Could you pass me that hipflask?”, “Why 
  are you on the road?”.
  After we’ve all had our say we play the tribute. Each pilgrim offers one 
  of their trinkets to the flames, describing the meaning it has to their 
  character.
  Finally, we play the harrowing. The spirit(s) decide whose tribute was 
  worthy. If our offering is found wanting we may be claimed into their 
  ranks.
  We repeat these scenes, playing out the length of our journey, until there 
  is only one of us left. When that happens we play out one final scene.
  
  14
  Themes
  Before we start playing we should talk about the themes of the game 
  and some tools we can use to make sure everyone is as comfortable as 
  possible while playing.
  Firstly, this is a horror game; it features supernatural themes and death. 
  If anyone isn’t comfortable with that, even if just in this moment, we can 
  stop the game and do something else. 
  Agreeing to play now doesn’t mean that you are locked in for the whole 
  game. If things get to much we can pause or stop the game at any time. 
  This is important for every game of Into the Flames, but especially so if 
  we’re playing outdoors where the environment can become too much.
  If there’s anything we particularly don’t want to see in the game we can 
  state them now. They might be things you don’t want to see at all, or 
  things you want to have passed over without details when they occur.
  
  15
  The X-Card
  Not everyone’s idea of what constitutes a good story is the same. 
  Everyone has different lines and boundaries. To help manage that we 
  play with the X card, a tool created by John Stavropoulos. Here’s how it 
  works for Into the Flames:
  This game should be fun for everyone. If anything makes anyone 
  uncomfortable in any way during play, we have the X card. This might 
  be a single card or rock with an X drawn on it, or several objects if there is 
  a fire between you. It might even be a gesture such as raising something 
  above your head; whatever it is it should be clearly visible in low light 
  [we should decide now what object or move is our X card, the organiser 
  might have already provided them]. 
  If we feel uncomfortable during play, lift or simply tap the card. You 
  don’t have to explain why. It doesn’t matter why. When we lift up or 
  tap the card, we simply stop, edit out anything we have X-Carded, then 
  return to the story without it. If there is ever an issue, anyone can call for 
  a break and we can talk privately. It can sound kind of funny, but it will 
  help keep the game enjoyable for everyone.
  The description above is adapted from Stavropoulos’ version. You can 
  read more about the X card and use it in your games at tinyurl.com/x-
  card-rpg.
  
  16
  The Road
  The first thing we need to do is create the road. Working together we imagine 
  the world we’re playing in and the place we’re travelling.
  To do this we answer  some questions. We should take it in turns to be the first to respond 
  to each question, though once we’ve said our piece others should feel free to chip in. 
  Keep things short, we can fill in a lot of the details as we play.
  How is this world unlike ours?
  d
  Whose power makes lives in this area dangerous?
  d
  
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  What things are rumoured to be at the end of the road?
  d
  What hardships will you have to steel yourself against to reach its end?
  d
  What is the most beautiful thing on the road?
  If you want, add your own questions to the list. If people haven’t had the chance to answer to a
  question first, they might elect to add a detail to the world - to describe a custom, place or myth. 
  At the end of this process you should have a shared understanding of what the world is like,
  and have a rough sketch of the road and its features.
  
  18
  The Pilgrims
  Next we define our pilgrims, the characters that each of us plays. The person playing the spirits should 
  take this book and leave the comfort of the flames, lurking behind the pilgrims. They might stand beyond 
  the edge of the light if you’re playing around a firepit, or simply stand apart from everyone else if you’re 
  around a table.
  The pilgrims lower their heads and look into the fire. The spirit reads aloud:
  Pilgrims, I see you and know you. While you may appear to be united as you travel together on this road, I 
  know this as myth. I see the divides between you, fractures caused by difference of dream and ambition. In 
  your split intents I see your downfall, in the ungathered direction of your hearts your doom.
  Know that as you walk this path, we follow. That with every step there will be more of us.
   Know that if you falter we will be ready to claim what is ours. To bring you into the cold.
  Now, ask these questions in turn to each pilgrim. They should answer out loud.
  
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  What did you leave behind, to go on this journey?
  d
  What do you hope awaits you at the end of this road?
  d
  What one thing do you carry that you can least afford to lose?
  d
  What name do you wear?
  Once everyone has answered these questions, answer this one in silence.
  What secret do you carry?
  
  20
  The Spirits
  Finally, we define the nature of the spirits. Together we should agree on how they manifest in the world.
  Are they literal creatures, with desire and agency? Are they manifestations of our own doubt and fear?
  Are they the echoes of those who ravelled this path before us, now used to turn away the unworthy.
  Each of us should offer a detail about the spirits. This could be a rumour you’ve heard about them, a guise 
  they wear or a weapon that they are said to use against unwary travellers.
  The spirit player can utilise these details as they wish, as they portray the creatures that haunt the road.
  
  21
  Walking the Road
  The spirit should pass the book back into the circle. Continue taking 
  turns reading as we learn how to play.
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  22
  Reflection
  As mentioned, when we play we split time into days. Each day we 
  explore three scenes—gathering, tribute and harrowing.
  Before we begin each day, we should allow ourselves a moment to 
  breathe. Sit in silence around the fire, listen to the crackle of flames, get 
  into your character’s way of thinking, imagine the world they live in.
  Gathering
  After enough time has passed, the spirits select one of the pilgrims to 
  begin the day’s narration. To do this they touch the selected pilgrim 
  with both hands, one on each of their shoulders.
  Is everybody comfortable with being touched in this way? If not, we can 
  do it differently. There are alternatives we can use on page 35, we can 
  discuss them and see what works best for our group.
  Check how everyone feels. If anyone is unsure about being touched read 
  the Physical contact section on page 35, and find something that works 
  for everyone.
  
  23
  The selected pilgrim starts the gathering scene. They should let their 
  voice fill the silence, covering the crackling of the fire. 
  Speaking from their pilgrim’s perspective, they should describe some of 
  the things that happened on the road today. They might discuss places 
  passed, people met and hazards overcome.
  When it’s our turn we might decide to start with a summary of the whole 
  day, “I didn’t think things would be so tough when we set out from Elgary 
  this morning. First, the broken bridge, then climbing those bloody hills 
  and, now, nowhere to camp but marshy ground.” or they might narrow in 
  one one point, “Velgree, who the hell was that man I saw you talking to?”
  The other pilgrims should give the chosen narrator time to have their 
  say, before slowly beginning to join in with their own perspectives and 
  thoughts.
  Over the course of the scene our conversation should start folding 
  inwards. This will usually happen naturally. We might start with a 
  description of the day, which becomes a discussion about something 
  specific on the road, before finally turning into a heated discussion 
  about parts of our character’s beliefs. 
  The game shines in those moments where things turn inwards and 
  pilgrims share intimacies with each other, sat in front of the flames.
  
  24
  Moves
  This conversation may be easier for some of us than others. To help us 
  out there are series of “moves” that we can call on when it is our turn to 
  speak. Each is a way of responding to someone else’s narration. We can:
  Prompt, by asking a question…
  This allows us to find out more about the journey and focus 
  the story on the things we find most interesting.
  “Do we know who those people following us were?”
  Reinforce, by saying yes, and… 
  This allows us to add our pilgrim’s perspectives to the 
  conversation, backing up what the other people are saying.
  “I saw the Green Cloaks too. They were a few miles back, on the ridge we 
  crossed yesterday.”
  Doubt, by saying yes, but…
  This allows us to change small details in the narration. We agree 
  with most of what a character is saying, but add details or 
  contradictions.
  “Yes, I saw something, over on the ridge we crossed yesterday. I’m not sure 
  they were Green Cloaks though. In fact I’m not sure they were human.”
  
  25
  Contradict, by saying no and offering an alternative
  This allows us to refute something that another pilgrim has said and 
  offer a completely different version of events.
  “I don’t know what you’re talking about. I’ve not seen another soul on 
  the road for days.”
  It is important to note is that even when we’re contradicting or doubting, 
  our additions do not supercede anyone else’s. These moves allow us to 
  give our pilgrim’s perspective or challenge what a character has said, but 
  they don’t overwrite another players additions. If one of us says, “We 
  lost the map in the marshes”, and another says, “No, I saw Olvus with the 
  map long after that”, we have to work out what our character believes.
  When we make a move we might explicitly state its name (“I’m going to 
  doubt what you’ve just said…”) or we might mask it (“Oh, but I thought 
  that was around twelve…”). Either of these techniques is fine, use the 
  one that feels most comfortable for you. 
  The moves are a tool, a way of understand the structure of play and 
  make it easier for each of us to contribute.
  
  26
  Ending the Scene
  We end the scene when it feels right. This might be when words grow 
  thin or the pilgrims start to turn in for the night. Once we’re are ready, 
  we play the tribute phase.
  This is a game about dwelling, it works best when we let things breathe. 
  Spend quiet moments staring into flames mulling over words as heavy 
  as rocks. Let scenes linger, allow silences, stumbles and hesitations.
  Tribute
  At the end of each evening the pilgrims offer tribute to the spirits. Each 
  of us chooses one of our trinkets and offers a few sentences about it. We 
  should turn our trinket into something more than its physical meaning. 
  The acorn we sacrifice might represent our heart’s ability to grow new 
  love. The stick is the sword that protects us on our journey. The torn 
  journal page might be our childhood memories. 
  All that is offered is taken by the spirits. If it is safe, we should burn 
  them. Otherwise we should break them, tear them up or otherwise 
  remove them from the game.
  
  27
  A pilgrim may choose to not offer tribute. You might decide to do this 
  if you’ve run out of things to offer, if what you have left is too precious 
  to part with, or if you feel it’s the right time for your pilgrim’s journey 
  to end.
  What the tribute scene looks like depends on our world. How it ties 
  to the fiction is up to us. Our pilgrims could be literally sat together 
  offering things flames, spending time in private prayer and meditation, 
  or bargaining with the spirits in dreams.
  The Harrowing
  Not all tribute is equal or worthy. It is hard to know what the spirits 
  desire. After all pilgrims have offered tribute, the harrowing commences.
  The spirits consider the value of what has been offered. They mark those 
  whose tribute is unworthy by placing one hand one their left shoulder. 
  Those pilgrims have passed, pulled from life into the spirit’s realm, they 
  leave the campfire and join the spirits.
  If you have decided to not use physical contact, decide on an alternative 
  to touching here too, see page 35.
  The spirits are free decide how many of the pilgrims are culled each 
  night. It could be several, it could be none.
  
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  Spirits
  The spirits lurk at the edge of light, shadowy figures rendered invisible 
  by the fire. They play an important role in the game.
  They pace the game by deciding who is taken, and when. They can 
  change the dynamics of our group with a simple touch on the shoulder. 
  The rate pilgrims are claimed determines the length of our game.
  They give voice by deciding who leads the narration each day. They 
  should make sure to vary this, as each of us can bring something new 
  and interesting to the game.
  They sow chaos. While they cannot give their voice to scenes, they 
  interfere by whispering suggestions and doubts behind us. They can 
  sow rumours, build hubris, make us doubt our version of events.
  They haunt by lurking at the edge of the fire. They form barely seen 
  figures, that howl into the night. They might crawl or dance, make strange 
  noises in the darkness with their voices, banging logs or snapping twigs.
  It is up to us to decide how the spirits’ activities blend into the fiction. 
  We can choose whether we want to work the noises and activities of the 
  ghosts into our conversations. They can be a real threat in the world or 
  a metaphor for the curse that lurks over us.
  
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  The Next Day
  After the harrowing we begin a new day, playing through each scene. 
  We spend time in reflection until the spirits choose a new narrator,  
  placing their hands on one of our shoulders. 
  The selected pilgrim starts a new gathering scene, telling the story of that 
  days events. During the narration they should work in the deaths and 
  disappearances of the pilgrims who were selected during the harrowing. 
  This might have happened during the night, the pilgrim discovered 
  frozen in their sleeping bag. It might have happened on the road—a 
  tragic accident, a run in with brigands, a pilgrim sitting down and 
  refusing to go any further.
  The pilgrim who was culled has no say in this, those who are left tell 
  the story of how they passed (though they might choose to whisper 
  suggestions in the pilgrims’ ears).
  You’re ready to play now. After a moment’s reflection the spirit 
  should choose a person to lead the first gathering scene.
  Play until there is only one pilgrim remaining, then pick up the 
  book and read The End.
  
  30
  The End
  When there is only one pilgrim left everything changes, as we play one last scene. 
  They approach the end of the road and we work together to determine their fate.
  The lone pilgrim stays sat before the fire. The rest of us, the spirits, circle them asking questions and 
  demanding answers (some suggestions are printed below). We  should (if our space and agreed way of 
  playing allows it) swarm around the player, leaning in close. Put the pilgrim on the spot, ask leading
  questions and demand better answers.
  What pain do you carry with you?
  d
  Wouldn’t it be easier to just stop?
  d
  Do you really think you’re worthy enough to reach ___?
  
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  d
  Who are you to survive when the others did not?
  d
  Do you even know why you’re travelling?
  Once the flurry of questions ends, the spirits confer. Together they 
  decide whether the lone pilgrim makes it to the end.
  Gather back around the flames. If the pilgrim made it to the end, they describe what they
   found there. If they perished or gave up on their journey, they tell the story of how.
  As the words end, let your eyes drift back onto the flames. Let silence settle for a moment. 
  When you are ready, reflect on the game. Gradually fall back into discussing life. Let reality 
  seep back in as the flames burn low.
  
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  Miscellanea
  32
  
  33
  Roleplaying
  When we play Into the Flames we take on the character of a pilgrim 
  on the road. We take on their voice, make decisions on their behalf, tell 
  their story. It can be daunting, if you’ve never played this sort of game 
  before—here are few things that might help.
  Say what’s obvious. Sometimes you’ll be listening to your friends add 
  incredible details to the world, and worrying about what to say when 
  it’s your turn to speak. Here’s a secret—say what’s obvious. That simple 
  thing in your head, that’s good enough. It’s much more important to 
  keep things flowing than to say something clever, and the likelihood is 
  that the obvious thing in your mind won’t have crossed other peoples’. 
  Ask questions. Ask questions of other players, work with them to 
  establish the world and characters. Questions are your best way to shine 
  the spotlight on other players, showing interest in what they have to say. 
  Also, questions are a useful tool for when you don’t know a thing. Not 
  sure on a name of a place? What your character would do? What a thing 
  looks like? Ask for other people’s ideas. 
  Which also brings us to, build on others contributions. Listen to 
  what other people have to say, fold their contributions into the world. 
  It’ll help everything seem more organic and lets your friends know their 
  contributions sung with someone else.
  
  34
  Discover through play. Don’t worry too much about knowing every 
  detail of your character and the world up front. You can learn more 
  about them through playing. In this game your character might only be 
  around for a few scenes, don’t get too attached—a piece of great advice 
  paraphrased from Avery Alder is to “treat your character like a stolen 
  car”. Leave them burnt out by the side of the road.
  Have fun. If there’s any point where you’re not feeling the game, 
  pause it. Try and solve why or, if you need to, stop it. No big deal. Play 
  something else, watch a film, burn this game in the fire. If it ain’t your 
  thing, it ain’t your thing (even if just in the moment).
  Horror
  This is a horror game, or at the very least horror-adjacent. Make sure 
  that everyone is comfortable with playing a game that features the 
  supernatural and death before you start. Tell everyone that they have 
  veto power over anything that may be introduced into the game, no 
  questions asked. Follow through.
  There are very few tools for conflict resolution baked into the game. It’s 
  not really a game about inflicting stuff on other players. I’d reccommend 
  avoiding it, or if it comes up, focus on negotiating outcomes.
  
  35
  Physical Contact
  The base version of the game features light physical contact. This 
  includes touching on the shoulders from behind and whispering into 
  ears. Ensure that everyone is comfortable with that before you start 
  playing. If not, here are some other suggested solutions.
  Instead of touching the backs of shoulders, the ghosts can call names. 
  Instead of whispering, you might have the ghosts pass notes or symbolic 
  objects.
  You could also introduce breaks between scenes where ghosts can confer 
  with the other players by inviting them to talk outside of the circle.
  Fire Safety
  The game involves flames, fire and burning things. You might also 
  decide to play it outdoors. Take the necessary precautions. Dress up 
  warm. Have first aid equipment available. Have bags so you don’t litter.
  If you’re playing with a fire, read up on fire safety and ensure you’re 
  doing it somewhere that actually allows fires. Make sure you have ways 
  to put out the flames when you leave, or if you have to during play.
  
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  Acknowledgments
  Into the Flames was first created for and played at Furtive Shambles, an 
  event focused on playing small, experimental games. I’d like to thank 
  everyone who played it for the first time there: Beck Michalak, Cel 
  Davison, Eli Rainsberry, Hana Lee, Ian Salmons, Patrick Monaghan 
  and Tine Nielsen.
  Undying gratitude goes to Thryn Henderson for being my collaborator 
  on Furtive Shambles, helping me to refine this game and book, and for 
  supporting all my ideas, no matter how terrible.
  All images courtesy of The British Library.
  
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SOURCE: textdata/thevault/Into the Flames/Into the Flames.pdf