The Oracle v1e

The Oracle is a tool for storytelling.

Use it to replace the Game Master
(GM) in a role-playing game, for solo
play, or to facilitate ction writing.
MATERIALS
Grab three six-sided dice (3d6); two of
a matching color and one of
contrasting color. Whenever you roll,
roll all 3. Sometimes you will be
looking at the single, o f-color die
(1d6), sometimes at the pair (2d6), and
sometimes at all three (3d6).
1d6 2d6 3d6

! 23 !23
I like to use small dice in a clear plastic
shaker-container (see back cover).
fi
f
 TELLING STORIES
Start with a notebook, a world, one or
more characters, and an idea for the
rst scene. (Italicized terms are covered
in the CONCEPTS section.)
As you play, develop motifs and threads.
Motifs are thematic notes you want to
hit and threads are plot lines you want
to follow. Keep a list of each.
Stability starts at 6 – things are largely
under control, unless you choose
otherwise. As stability decreases, the
“impossible” becomes more possible
and the “certain” less certain.
SEQUENCE
1. Frame a scene Where is it? Who is
there? When does it take place?
What is happening?
2. Roll 1d6. If the result is ≥ stability,
then twist the scene.
3. Ask a yes/no question to start the
scene.
fi
4. Predict the possibility of a “Yes”
answer. (See the Y-axis on The
Oracle.)
5. Cross reference possibility with the
current stability (the X-axis) to nd
the Target Number (TN).
6. Roll the 3d6. A result ≥ TN is a “Yes.”
Otherwise it s a “No.”
• Check the 2d6 (don t re-roll), if
they are doubles the result is
exceptional (add a “but” or “and”
clause).
• If all of the dice are odd (e.g.
1-5-3), roll on the Events table.
7. Interpret the results.
8. If the scene is unresolved, go back
to step 3 and repeat. If it is
resolved, update your notes
(characters, threads, motifs) and
adjust the stability if the situation
got crazier (-1) or settled down
some (+1), then go to step 1 and
frame a new scene.
’
’
fi
THE ORACLE Stability
Possibility Lo-4 5 Hi-6
"Certain" 7 6 5
Very likely 9 8 7
Likely 10 10 9
Somewhat 11 11 11
Not very 12 12 12
Unlikely 13 13 14
No way 14 15 16
"Impossible" 16 17 18

Summary
At the start of a scene, roll d6. If the
result is ≥ stability, twist the scene.
Ask a Y/N question, suppose the
possibility of a “Yes” answer, nd the TN
by Stability, then roll 3d6.
3D6 ≥ TN is a “Yes;" otherwise, “No.” If the
2d6 are doubles, add a “but” or “and” to
the answer. If all of the dice are odd, roll
on the Events table (opposite)
fi
 2D6 EVENTS*
2 Resolve a thread
3 Introduce a new character
4 A good thing happens to a non-
viewpoint character
A good thing happens
5 viewpoint character to

6 Reveal something about, or

advance a thread
7 A non-viewpoint character
takes action
A bad thing happens
8 viewpoint character to

9 A bad thing happens to non-

viewpoint character
10 A notable, but unimportant
thing occurs
Something
11 “o f screen” important happens

12 Complicate a Thread
* If you struggle with an interpretion,
look to your motifs for ideas.
f
 CONCEPTS
World: choose a genre or established
ctional world and recall its tropes.
Maybe even list some as motifs.
Characters: each character is a
potential viewpoint. Are you seeing
the world through their eyes, or
observing, godlike, from above?
Character personalities are revealed
through play, but it helps to jot down
a name, a few mannerisms, beliefs,
etc. the moment they appear.
Scenes: you are like a director staging
the next scene of a movie. Dress the
set, place characters, and push things
into motion with a question.
Motifs: these are thematic concepts
you want to touch on frequently: e.g.
love at rst sight, urban decay, or you
can t always believe your senses.
Threads: any major unful lled plot
lines that arise. Jot them down as
things to be resolved in future
scenes.
fi
’
fi
fi
 Stability: this re lects the intensity of
the story for a given scene. What s a
stake? How desperate are the
characters? How fast is the pacing?
As things get more frantic, the
stability goes down. As things calm
down, stability goes up.
Questions: a yes/no question phrased
such that either answer leads to
interesting possibilities.
Twists: add, remove, or alter a key
scene element: characters, time,
tone, events in motion, etc. Maybe try
a lashback or “meanwhile” scene.
Possibility: make a gut call and don t
consider stability. When in doubt,
“somewhat” is 50/50.
Exceptional Results: add detail using a
“but” or “and” to make the Yes/No
more impactful or interesting.
Interpretation: the art of The Oracle is
in reading the dice. Always move the
story forward so that characters are
facing new and interesting choices.
f
f
’
’
 The Oracle by Ray Otus is licensed
under a Creative Commons Attribution
4.0 International License.