Okay, here’s the deal: when you sit down to play Going For Broke, everyone plays as one of the roommates of a collective house. There isn’t a special player who’s “in charge” (like a GM in many other roleplaying games).

There are some additional duties involved in playing the game: framing scenes, introducing plot twists, playing bit parts, and so on. The game calls all that stuff showrunning. Going For Broke expects all players to share the showrunner role. Maybe some do more showrunning than others, that’s fine, but it’s not a role that is owned by a single player.

With that said, social games tend to rely on someone willing to step up to teach, facilitate, lead by example, nudge their friends, and generate momentum. If you’re reading this text, there’s a good chance that person is going to be you! So here’s a helpful way to think of it: when you sit down to play Going For Broke with new players, you start with the showrunner role in your lap. But throughout the process of teaching and diving into the game, you want to nudge people to get involved in sharing the role. By the end of the first episode, ideally you’re all just roommates (who moonlight as part-time showrunners).

Every group learns differently. If you end up being the person who’s responsible for teaching the game to the other players in your group, trust your gut about the best approach.

If you’re not sure about the best approach, some simple guidelines:

• Use the reference cards and roommate cards to your advantage! They can serve as helpful visual aids as you explain new concepts.
• Just focus on teaching what people need to know right now. You don’t need to explain the ins-and-outs of the entire game before people are able to pick out a roommate to play.
• Avoid assumptions. Avoid using unnecessary acronyms or jargon. Explain not just the procedure, but also the purpose behind it.

Everyone is invited to share the showrunner role. It involves a number of little duties.

• Frame scenes. Say where the characters are and what’s happening. Make sure to skip right to the moment when things get interesting; don’t worry about all the little details that get us to that moment.
• Narrate. Does your sitcom have a narrator, like Arrested Development? If yes, everyone should feel welcome to jump in with their best narrator voice.
• Play bit characters. Every time the roommates interact with someone new, someone who’s not in the scene should jump in and play as that bit character.
• Nudge others to participate. Ask leading questions. Invite shy players to step in and play as bit characters. Point out when it seems like someone just unlocked their coin by answering their Classic Question.
• Introduce plot twists. When a plot twists, anyone can jump in with a clever thorny detail about what happens next.
• Cut scenes. Once it’s clear that the point of a scene has been fulfilled, look for a good moment to cut: a punchline, a lull in conversation, or a dramatic reveal. You can do this by announcing “cut!” or “…and scene!” if you’d like, or by simply framing the start of the next scene.

Here’s the secret to playing a comedy game: don’t try to be funny. Trying to force a joke at the expense of the flow of the story almost never works out. When you go goofy, it kills the momentum, and everyone else at the table has to figure out how to get it back.

Instead of trying to be funny, create contrast and anticipation. Create contrast by playing a character straight, to highlight just how weird everyone else around them is. Create contrast by establishing a predictable pattern, so that it feels significant when that pattern gets disrupted. Create anticipation by playing with repetition. Create anticipation by delaying the inevitable for as long as possible.

All of this will help you to offer another player the perfect setup. Give their character a moment to shine. Create an opening for the perfect punchline. Aim to make those around you seem really brilliant and witty, even if they’re just saying the next obvious thing.

Finally, the big exception to the ‘don’t try to be funny’ advice: when someone else offers you the perfect setup, take it!

This video about It’s Always Sunny unpacks why the best bit characters are often normal and relatable.

Fan out the roommate cards, face side up. Have your players browse through these playable characters to see which ones spark their interest. Encourage people to read aloud any snippets that are particularly delightful.

As people are looking at the roommate cards, explain the components:

• Name and a quick snippet of description are located on front and back.
• Tendencies are the iconic behaviours that the audience comes to expect from your character. They’re the iconic “Phoebe being Phoebe” moments. They’re useful little roleplaying suggestions.
• The Big Secret is something that everybody in the writer’s room knows, but that all or most of the other roommates don’t know. It’s actually encouraged for the players to talk about the big secret with one another! That creates the possibility for dramatic irony down the line.
• The Classic Question is the final section of the card. This is the eternal back-and-forth tension at the heart of who the character is, and it’s what keeps their story interesting from episode to episode. Answering the question—for today, at least—is how you unlock a character’s coin, a key mechanic that drives the plot forward.

Once people have had 3-4 minutes to browse the roommate cards, ask everyone to choose one to play for the episode. Once everyone has chosen their character, go around and introduce yourselves! Read off the details on the card and get a feel for the ensemble.

It’s important that everybody really ‘gets’ the roommate that they choose. This is especially true for their Classic Question. Sometimes a player will ask to be dealt a card at random, or will choose a character to specifically play against type. Make sure that they take the time to read the card and figure out whether it’s a character they vibe with. If not, suggest they make a swap.

Once everyone has chosen a character, the next step is to take a look at the Episode Guide and choose which episode you’re going to play. There’s an Episode Guide reference card, and you’ll also find a more extended list below. Each episode introduces a huge expense that will inevitably lead to arguing among the roommates, as well as a handful of questions to lead you toward some interesting A Plot and B Plot possibilities.

If you’re introducing people to the game for the first time, The Rent is a perfect pilot episode to start with.

Set out a small pile of coins – one for each player. Set out the reference cards. As you do so, explain the flow of an episode, how the mechanics work, and what people should keep in mind as they play.

Once everyone understands the basics and knows what to look for on the reference cards, dive into your opening scene!

Sitcoms are procedural. Some might even say formulaic. They follow a predictable structure and flow. Change rarely sticks.

This isn’t just lazy writing! It’s actually an important part of how comedy works: setting up a stable platform so that you can tilt it later. If everything is goofy then nothing is funny.

Going For Broke has a consistent episode structure: the house is presented with a huge expense, arguing ensues about how to address it, two plots emerge, opening credits roll, there are a series of quick scenes that cut between the A Plot and B Plot, one of the plots succeeds and the other fails, and in the end the roommates barely get by.

Since roleplaying games and television are different mediums, Going For Broke follows a slightly different structure than the one outlined in the above video (and also this one). But I’m still excited to share it, because I found it really illuminating.

The opening scene establishes that there is a huge expense (or limited-time opportunity) that needs to be addressed. All the characters get dragged into an argument about the best way to deal with it. The characters find themselves split (ideally 50/50) between two plans. These become the A Plot and the B Plot for the episode. This opening scene should take 2-5 minutes.

The A Plot should be a way to raise money to pay the huge expense. The B Plot is more flexible – it can be a competing way to raise money, a strategy for avoiding needing to pay, tying up a loose end created by the huge expense, or a side drama about several of the characters.

You don’t need to force the two plots to be either funny or clever. The plots can start out sounding mundane, straightforward, and obvious. Trust that as the episode plays out, character quirks and failed attempts will show up, bringing the funny in almost by accident.

Once the A Plot and B Plot have been loosely established, cut to the opening credit sequence. Name the song that plays during the opening credits (or put it on, if you want!). Describe the vibe (camera style, imagery, tone, era) as well as the specific shots that introduce your characters. This might seem silly but it helps clarify tone and lets you practice fast-and-loose scene framing. Keep it to a snappy 1-2 minutes total.

Think about the exuberance, quick cuts, shaky close-ups, and of-the-moment flair of Living Single‘s opening. Compare it to our soft, playful, timeless, meandering introduction to the Golden Girls. What promise do you want to make to one another about what’s coming up?

Are you doing a modern sitcom that only has a quick title card and bumper (like Fleabag or Broad City)? That’s fine. Still describe it!

Most of the episode consists of Quick Scenes, alternating between the A Plot and B Plot. Each roommate is typically only involved with one plot or the other, and so only shows up in every other scene. Quick Scenes are where the roommates encounter bit characters, encounter obstacles, attempt to navigate those obstacles, play to their tendencies, and showcase their Classic Question.

Everyone shares the showrunning responsibilities: framing scenes, narrating (if your show has a narrator), introducing new plot points, playing bit parts (including every character that the roommates encounter), and deciding when it’s time to cut to the next scene. Each of these scenes should take 1-3 minutes.

Quick Scenes are when players can start using the mechanics described in the Coin Mechanics section: answering their character’s Classic Question to unlock their coin, and then in a later scene, using their coin to try to resolve the plot. Quick scenes continue to cut back and forth between the A Plot and the B Plot until one of them either succeeds or fails.

This is a fast-paced game, so players shouldn’t be shy about answering their Classic Question early, or being the first to flip their coin. It’s possible that the very first coin flip of the game is the one that seals the fate of both plots. Don’t worry! That’s great!

One plot always succeeds and the other always fails. That means that the moment that you resolve one plot, the fate of the other is sealed. For example, if the A Plot succeeds, the B Plot is automatically doomed. You don’t need to worry about the Coin mechanics any longer.

Each plot typically gets one more scene in order to show the audience how it all works out. As storytellers, your job is to make sure that the two plots cancel out so that at the end of the episode, the roommates are right back where they started: barely getting by.

If one plot makes a small fortune, the other eats up every surplus dime. If your benefit concert fails to raise enough money to hire a plumber, your attempt to fix the plumbing issue DIY goes surprisingly well.

The final scene is your chance to bring everyone back together again, show how the two plots have cancelled one another out, and to restore the status quo. Every episode ends the same way: with the roommates barely getting by.

Because one of the plots succeeded only to be cancelled out almost immediately after, this scene is an opportunity for irony, wry quips, and a dash of pathos. Find the final punchline, and end there. This final scene should take 1-4 minutes.

Going For Broke is designed for 45-75 minute episodes. The traditional sitcom is 22 minutes long, which means that for every 2-3 minutes of roleplaying you can imagine it as one minute of screen time.

Each roommate has a Classic Question, located at the bottom of their card. This question captures two sides of the character’s personality, which together create an eternal back-and-forth tension in how they handle things. Finding out today’s answer to a character’s Classic Question is what makes them interesting to watch in any given episode; returning to ask the same question again next week is what gives their character a sense of balance and continuity.

Once Quick Scenes are underway, you can answer your character’s Classic Question at any time, by demonstrating which of the two sides of their personality is going to shine through in this episode. You can announce this if it feels right to do so, by saying something like, “Alright, I think it’s clear that my character is more Sucker than Sweetheart in today’s episode.”

When you answer your character’s Classic Question, you unlock their coin. Take a coin from the center of the table and place it in front of you. You can only ever have one coin in front of you at any given time. In future scenes, you can use that coin to try and resolve the plot. You can’t unlock your coin and use it in the same scene.

Roleplaying games thrive on collaboration, so make sure to set your fellow players up to succeed by nudging their characters into situations where their question can easily bubble up. You help them answer their Classic Question, they help you answer yours, everybody gets to shine.

You might be wondering: why not both? Can the answer to a character’s Classic Question be “I am clearly both at the same time”? Sure! If you explore the tension and it feels like ‘both’ emerges as the definitive answer for the episode, go ahead and unlock your coin. But on the other hand, if it feels like ‘both’ is still more of an unresolved uncertainty, keep digging.

Once your coin is unlocked, which means you’ve got it sitting in front of you, you can use it in future scenes to attempt to resolve your plot.

You can only ever unlock one coin. You can’t have multiple coins stacked up in front of you. And you can’t use your coin in the same scene that you unlock it – you have to wait until at least your next scene.

Hush’s Classic Question is “Are you baddie or baby?” So if you’re playing as Hush, every situation is an opportunity to demonstrate that you’re either a fierce, flawless baddie or a lovable, vulnerable baby. In some episodes, we see Hush’s baddie side; in other episodes, its her baby side that shines through.

So, the A Plot and the B Plot are rolling, and you’re involved in one of them. You’ve answered your character’s Classic Question, which means you’ve unlocked their coin. It’s been sitting in front of you since a previous scene. You’re now able to attempt to resolve the plot.

Attempting to resolve the plot means taking some sort of useful action that could conceivably make the plot succeed,  and then flipping that coin.

On a heads, the plot succeeds. Narrate how the plot works out in your favour.

On a tails, the plot twists. Someone else should jump in to narrate what unexpected twist complicates things and delays any sort of resolution. Return your coin to the center of the table and keep playing. You’ll need to unlock it again if you want another chance at resolving the plot.

On a tails, if this particular plot has already twisted, then it fails. Between yourself and the other players, narrate how it goes awry and what the immediate consequences are.

Once a plot has succeeded or failed, the fate of the other is sealed and the Coin mechanics are done being used for the remainder of the episode. One Succeeds, One Fails, and the episode moves toward wrapping up.

What you may notice is that each episode is resolved in a total of 1-3 coin flips. This is a quick game and every coin flip matters! But some groups may find that having the episode potentially decided by the very first flip of the game is a little too abrupt for them. If that’s the case for your group, you can consider adding the optional Stealing the Win rule to your game.

Stealing the Win only applies to the very first coin flip of the game. If you’re playing with this rule and the very first coin flip of the game is a heads, rather than meaning that the plot immediately succeeds, it instead means that things are going amazingly and success seems inevitable. Something would have to go horribly awry for this plot not to succeed!

With this success seeming inevitable, continue playing Quick Scenes. When there’s a scene for this plot, describe how incredibly well (almost too well??!) everything continues to go. When there’s a scene for the other plot, play normally: encounter bit characters, encounter obstacles, overcome those obstacles, and look for opportunities to unlock coins by answering Classic Questions.

The first coin flip that gets made to resolve the other plot now determines the fate of both. Heads means that they steal the win from the plot whose success seemed inevitable only moments before. Tails means they fail immediately, and the previously-earned success of the other plot stands. Either way, One Succeeds, One Fails, and the episode moves toward wrapping up.

If you play the game using this optional rule, every episode that you play will be resolved in a total of 2-3 coin flips (Succeed-Steal, Succeed-Fail, Twist-Succeed, Twist-Fail, or Twist-Twist-Fail).

Published 2025
Buried Without Ceremony

Designed by
Avery Alder

Photos (on this page and on the cards) by Lia Bekyan, Natalia Blauth, Ave Calvar, Levi Meir Clancy, Mikail Duran, Getty Images, Jordan Gonzales, Erica Leong, Nappy, Tabitha Turner, and The Funkship.