Pregame Arena · Thank You M'am · Session Zero DM Brief

0Pre-session checklist

Fifteen minutes before bookworms arrive. The DM should have these in hand, on a table, in a folder, or open on a tab. If any are missing, do not start. Reschedule and finish the substrate first.

Texts

The Hughes story printed, one copy per bookworm, plus one for the DM.
DM's annotated copy with the seven Mrs Jones verbatim lines underlined (see Mrs Jones card below).
Backup copy of the story on a phone or laptop in case a bookworm forgets theirs.

Bookwormcards

Blank bookwormcard printed for any bookworm who does not already have one. Source: /bookwormcard/print/.
DM's own bookwormcard. Yes, the DM has one. The bookworm-self of the DM does not disappear when running.
Pencils. Dark ink as the card says. Block letters.

Substrate access

cc* loaded or tab-open. cmp-001 substrate at /polymyth/campaigncodex/. Seven NPC dossiers, 15 streets, Mrs Jones voice samples, Roger voice samples, object inventories, ghost-firings.
bb* methodology section accessible. /polymyth/bookwormburrows/. dm-002 (session-zero structure), dm-009 (four-axis adjudication), dm-031 (leveling-system ruling).
ml* sabachtan section open in another tab for the cave-as-limited-POV entry. The dimension introduction script below pulls from it.
Curriculum-anchor map at cc-cmp001-curriculum-anchor-map. Six-phase session-to-specific-expectation template. Grade 7 overall expectations per cit-013 plus ENG3U specific expectations per cit-022 (codes 1.4, 1.6, 1.7, 2.1, 2.3 plus A.1.7, A.1.8). Use when the teacher-of-record needs to surface OSSD anchoring during or after the session.
Triangulation rubric at cc-cmp001-triangulation-rubric. Three evidence kinds (observation, conversation, student product) mapped to four achievement-chart categories (Knowledge and Understanding, Thinking, Communication, Application). Use for end-of-session assessment-of-record per Growing Success cit-005.

Room

Chairs in a circle or around a table where every bookworm can see every other bookworm.
Water available. Mrs Jones feeds Roger. Hospitality is a method-claim of the dimension.
A clock visible to the DM but not to the bookworms.

DM check If the room is in your house, the bookworms are physically inside a kitchenette-adjacent space. The campaign opens in a kitchenette. The diegetic and the actual are sitting on top of each other. Notice it. Do not announce it.

IThe opening 90 seconds

From the moment the last bookworm sits down. Do not skip. Do not improvise the timing. The exact sequence below has been compressed so the bookworms do not have time to fall into pre-session chatter that will then need to be cleared.

DM, standing, eyes down at the story in hand, no greeting

"Roger is eleven. It is Saturday night, about eleven o'clock. He has been planning this for a while. He has not eaten. The strap of the woman's purse is canvas and her arms are full and he runs at her from behind."

Pause. Look up. Do not smile. Do not invite questions yet.

"We are going to live in those forty-eight hours. Not in the story. In the forty-eight hours around the story. Hughes wrote nine pages. The world he wrote about kept going whether he wrote about it or not. We are going to find out what the world did when he was not looking."

Hold for three seconds.

"Hand me your bookwormcards. If you do not have one yet, you are about to fill one out. The character you bring with you tonight is not Roger. Not Mrs Jones. The character is someone you smashed together yourself, who has been carried by you long enough that they can walk into a 1958 Harlem kitchenette and look around without falling apart."

Why the cold open. The bookworms have not heard "good evening" or "welcome." The dimension is already in the room. Mrs Jones grabs Roger by the shirt without preamble. The session opens the way she does.

IIDimension introduction

Per bb* dm-002, the second movement of session zero is the dimension introduction. Two axes are named explicitly so bookworms know what kind of dimension they are entering. The third movement (canon-absorption versus frame-break) is declared so bookworms know what the dimension will hold against them and what it will release.

Playstyle versus lore axes (per dim-002)

Axis	Position for cmp-001	What this means at the table
Playstyle	story-privileged	Resolution by quality of narration, per dm-003. A bookworm who writes a strong paragraph about lifting Mrs Jones's purse succeeds in lifting it. A bookworm who writes a weak paragraph fails. dm-009 four axes (VOICE / TRUTH / RESTRAINT / FORM) score the writing. No dice.
Lore	canon-heavy at the encounter spine, flexible in the surround	The Hughes encounter (purse-grab, kitchenette, $10 and lima beans, departure) is fixed. The 47-and-some-hours of Harlem around it are open. The MLK stabbing at Blumstein's two days into the window happened. Everything else in the streets is fair game.

Canon-absorption versus frame-break declaration

Declare aloud, verbatim

"This dimension absorbs you. If you stand in it and you are not respectful of the people who actually lived there, the dimension does not break to teach you a lesson. The Hughes encounter happens whether you are watching or not. Mrs Jones does not need you to make her real. She was already real. Your bookworms are visitors, not the lesson's audience."

"This dimension does not let you frame-break. You cannot pull out a phone. You cannot quote Twitter at the people who lived in 1958. If you try to, your bookworm just looks at their hands and finds the phone gone. The dimension keeps the artifacts of its own time."

This is the most important thirty seconds of the session. The frame-break prohibition is what distinguishes this dimension from a costumed sketch. The bookworms have to operate inside the period or the dimension stops being available.

IIIThe burrow point

Per cc-cmp001-emergence-point, the burrow opens into Mrs Jones's kitchenette. Not Hughes's writing room. Not the Theresa lobby. The kitchenette is the cave because it is the architecture-of-transformation in the canonical text. Roger enters as a thief and leaves with $10 and lima beans in his stomach. The room is the lesson's home address.

Icons in this arena (the technical term) Per the May 13 2026 ml* entry on icons, every entity that populates this arena is an ICON. Icons are documented entities: canonical text figures (Mrs Jones, Roger), historical persons (MLK at Blumstein's, Izola Ware Curry), real places (East 128th Street, Hotel Theresa, Blumstein's), documented events (the Curry stabbing), real objects (Mrs Jones's pocketbook, the lima beans, the half-pint of milk), period registers (1958 AAVE markers per Hughes). What is NOT an icon: AI-invented supplementary NPCs, AI-drafted dialogue not in primary sources, composite stand-in figures. The arena is built only from icons. Bookworm-characters are visitors, not icons.

This is the outer layer (nesting is possible) Per the dream-within-dream ml* entry, the kitchenette is the outermost dimension. Sub-dimensions exist inside it: a dream Roger has while eating, a memory Mrs Jones recalls of her own past, a story she tells. Each sub-dimension follows the same arena-population rule (icons only, no AI-invented NPCs) and the same off-canon-layer protocol on first entry. First-burrow stays on the outer layer. Subsequent sessions may nest deeper.

When the bookworms cross

The burrow opens at a specific moment, not a generic location. The moment is roughly 11:35 PM Saturday September 20 1958. Mrs Jones has Roger in the kitchenette. The lima beans are on the stove. The half-pint of milk is on the table. The pocketbook is on the day-bed. Mrs Jones's back is mostly to Roger but not fully. The window over the air-shaft is open. The bookworms arrive in the room without entrance, the way bookworms always do, and Mrs Jones does not notice them because they do not exist in the canon-layer of the room.

What the bookworms can see

Mrs Jones at the stove, large woman with her hair pinned up, dressed in beauty-shop work clothes she has not had time to change out of.
Roger at the table, the back of his neck still grimy from the morning he did not wash, watching her with the question of his own life sitting on his face.
The pocketbook on the day-bed, four feet from Roger, eighteen inches from the open window over the air-shaft.
The kitchenette: roomette in a furnished room building on East 128th Street. Hot plate on the table by the icebox. One window. A folding chair, a day-bed, a few belongings in a wooden box.
The hallway outside. Through the door (mostly closed), the sounds of other roomers laughing and talking. The corridor light visible at the door's edge.

What the bookworms cannot do yet

Per dm-002 step three, the first burrowing is a light scene without plot stakes. The bookworms practice being in the dimension. They can look. They can move within the room. They cannot interact with Mrs Jones or Roger in this first attempt. The canon encounter runs to its end (Roger leaving with $10, Mrs Jones closing the door, "Goodnight! Behave yourself, boy!") and the bookworms watch.

DM ruling on visibility The bookworms are not invisible. They are off-canon-layer. Mrs Jones and Roger do not see them because the canon does not contain them. If a bookworm acts inside the canon-layer (touches the purse, takes a lima bean), the bookworm becomes visible and the dimension shifts. The first burrow does not permit this. Subsequent burrows do.

IVThe first scene

Light scene. No stakes. The bookworms are in the kitchenette while the Hughes encounter completes itself. Their job is to notice what they notice and write it down for homework. The DM's job is to keep the canon running and not get sucked into bookworm chatter.

DM script for the scene

DM reads the Hughes text aloud from Mrs Jones's "Eat some more, son" onward through "Goodnight! Behave yourself, boy!" Pace: slow. Take the breaths Mrs Jones would take. At Mrs Jones's "Eat some more, son". Pause. Look up.

"You are in the room. Where are you standing. Where are your hands."

Wait. Each bookworm answers in one sentence. Do not let it become a discussion. Move to the next bookworm. Then continue the Hughes text. At "I have done things, too, which I would not tell you, son. Not even God, if he didn't already know". Pause. Look up.

"What does your bookworm hear in that sentence."

One sentence per bookworm. Move on. Continue. At "She heated some lima beans and ham she had in the icebox, made the cocoa, and set the table". Pause.

"Notice the food. Where on the table. What does it smell like to you. Mrs Jones did not have to do this."

One sentence per bookworm. Continue. At "Goodnight! Behave yourself, boy!". Close the story-book. Hold the silence for five seconds.

"The door closes. You are still in the room. Mrs Jones is on the other side of it. Roger is in the street with $10 and a fed stomach and forty-eight years of life still ahead of him. The room contains the dishes and the air-shaft window and you. Write what you saw."

What to listen for. The bookworms' answers are first-burrow evidence. Whether they wrote inside the period (no anachronism in word-choice), whether they looked at the right textures (the lima beans are warm, the room smells of beauty-shop hair products and food), whether they recognized Mrs Jones as a person and not a parable. This is the first input to the bookworm-clock evidence-record per dm-031.

VMrs Jones quick-card

The full dossier is at cc-cmp001-npc-mrs-jones in cc*. This card is the runtime extract. Use the verbatim lines when she is speaking. Do not paraphrase her into smoother English. Hughes wrote her voice precisely.

Mrs Jones's pocketbook is the canonical token Per the token ml* entry committed May 13 2026, Mrs Jones's pocketbook is the textbook example of a subjectivity-anchor. She knows its weight (heavy enough that when Roger pulls on the strap the strap breaks and he falls backward). She knows its contents ($20 in bills, comb, lipstick, change-purse). Roger does not. The pocketbook would not test the same in his hand as in hers. Hughes wrote a perfect token-anchor and called it a pocketbook. When teaching, surface this: every bookworm-character at the table should leave the session asking what their own character's pocketbook is.

Mrs Luella Bates Washington Jones

Full name

Mrs Luella Bates Washington Jones. Hughes gives the full name. She uses it as authority. Address her with all four parts when establishing her presence.

Build

Large woman with a large purse. Hughes's phrasing. Take it literally.

Trade

Beauty-shop work, late shift (Saturday until 11 PM at minimum). Implied weekly-shift pattern would place her at the Hotel Theresa beauty parlor (per cmp-001 historical overlay).

Voice register

Southern-migrant Black-American working-class adult. Direct and authoritative. Period AAVE markers. Calls Roger "son" and "boy" interchangeably. Does not soften her speech for him. Does not perform niceness.

Posture toward intrusion

Faces it. Does not flee. Does not call police. Does not lecture. Acts. (She kicks Roger square in the blue-jeaned sitter when he runs.) Decides what the encounter becomes.

Verbatim lines (use these, not your own paraphrase)

"Pick up my pocketbook, boy, and give it here."

"I am Mrs. Luella Bates Washington Jones."

"Then it will get washed this evening."

"Eat some more, son."

"I have done things, too, which I would not tell you, son. Not even God, if he didn't already know. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable."

"Shoes come by devilish like that will burn your feet. I got to get my rest now. But from here on in, son, I hope you will behave yourself."

"Behave yourself, boy."

Posture rulings (when a bookworm pushes on her)

Asked about her past

She names one thing she has done that she would not tell anyone, except God already knows it. She does not specify. The dignity is in the form of the disclosure, not the content. Do not make her tell.

Pressed about money

She gives Roger $10. (1958: roughly $115 in 2026 dollars.) She does not ask if he will repay. She does not moralize about him spending it on shoes. She does close the door before she can be thanked properly.

Implied to be lonely

She lives in a kitchenette in a furnished room building. Other roomers are audible through the wall. She is not lonely. She has chosen what her life looks like. Do not pity her on the bookworm's behalf.

Implied to be saintly

She tells Roger she has done things she will not tell him. She is not Christian-charity-personified. She is a person whose own life included things-not-told-to-God. Her treatment of Roger comes from her own history, not from a virtue-template.

VIAdjudication notes for the first burrow

The bookworms cannot interact with the canon-layer in the first burrow (see III above). The DM still needs adjudication rulings for the four most-likely off-canon-layer moves the bookworms will try anyway. These are written so the DM does not have to invent in the moment.

Off-canon-layer is the fourth-wall position Per the fourth-wall-breaking ml* entry committed May 13 2026, off-canon-layer is structurally the bookworm's fourth-wall position. The bookworm-author sees Mrs Jones and Roger as constructed (canonical figures from a 1958 text) AND simultaneously inhabits the same kitchenette as their own bookworm-character does. The two-way teaching fires from this position: the bookworms learn about the canonical encounter (work-direction) AND about the structure of their own attention (audience-direction). The off-canon-layer rule is therefore not a restriction on interaction. It is the pedagogical operation that makes interaction productive once it is permitted in later sessions.

Bookworm tries to grab the purse

The bookworm's hand passes through the canvas strap. Their hand does not touch it. Mrs Jones does not see. The bookworm experiences the canonical weight as a felt-impression but not as physical grip. They feel what is in the purse (comb, lipstick, change-purse, $20 in bills) without being able to lift any of it. The first burrow is for noticing, not taking.

Bookworm tries to speak to Mrs Jones

Mrs Jones does not hear them. She is in the canon. If the bookworm raises their voice or moves into her line of sight, she does not register. She continues her sentence to Roger. Other bookworms can hear the speaking bookworm. The off-canon-layer rule holds.

Bookworm tries to leave the room

They can. The door opens for them at the canon-layer adjacent to Mrs Jones's; the hallway is visible. Beyond the door is the boarding-house corridor and the rest of Harlem. The DM should NOT let them wander out yet. The first burrow is the kitchenette. Soft redirect: "You feel the room asking you to stay until it has shown you what it wants you to see." Bookworm gets the cue. If they push: let them go, but they miss the rest of the canon, which is the cost of the move and a story they explain on homework.

Bookworm tries to write something down in the moment

They cannot bring out a phone or a notebook from their own time. (Frame-break prohibition.) They can pick up Mrs Jones's pencil from the wooden box of belongings near the day-bed. They can write on a scrap of paper from the same box. What they write stays in the room when they leave. Mrs Jones does not find it because it was never visible to her canon-layer. This is a useful exercise to assign: write Mrs Jones a sentence she cannot read.

If a bookworm escalates Some bookworms will push against the off-canon-layer rule because they want their character to "do something." Hold the rule. The first burrow is structured to demonstrate that the dimension is not an interactive movie. It is a place that has its own existence and the bookworms are visitors. If the bookworm refuses to accept this, name the move out loud: "Your bookworm is asking the dimension to bend to them. The dimension is not going to do that. The dimension is asking the bookworm to bend to it." If they still escalate, end the burrow early and use the homework prompt to ask why.

VIIClosing the burrow and the session

The Hughes canon ends with Mrs Jones closing the door. The first burrow ends the same way. After the closing line, the DM closes the story-book, holds the silence for five seconds, and brings the bookworms back.

DM, quiet, after the silence

"The room is still there. Mrs Jones is on the other side of the door. Roger is in the street. You can come back. You are coming back. You are sitting in the chair you were sitting in when you arrived."

Pause. Let bookworms adjust.

"That was the first burrow. The next time you enter this dimension you will be able to interact. Tonight you watched. Tonight you noticed. The bookwormcard in front of you is for that noticing."

Why the explicit return. Bookworms can carry the dimension out of the session uncleanly if the close is fuzzy. The named-and-explicit return cues their nervous system that the room has returned to being your room.

Homework prompt (per dm-002 step four)

Bookworm homework, due by next session

Write one page (handwritten, please) on this question:

"You were in the kitchenette while Mrs Jones fed Roger. Mrs Jones did not see you. Roger did not see you. The room saw you. Describe what the room would say about you if the room could talk."

Constraints. Stay in 1958. Use period-faithful language. Use your own bookworm's voice (not Mrs Jones, not Roger, not a narrator). One page is enough. The DM is grading on dm-009 four axes (VOICE / TRUTH / RESTRAINT / FORM) and on whether you noticed the room.

What the DM watches for going into session two

Bookworm voice consistency. Did the bookworm's homework sound like the same character that filled out the bookwormcard? If yes, the smash held under pressure of the dimension. If no, the smash needs work.
Period faithfulness. Did the bookworm avoid anachronistic word-choice? Frame-break prohibition test.
Restraint. Did the bookworm write the room or write themselves? The prompt was about the room. A bookworm who answers about themselves has not yet seen the dimension.
What the room saw. The homework is a stealth test of the bookworm-clock evidence-pattern. The answer that names what the room actually saw (the bookworms standing in it, decentered, watching a real woman feed a real boy) is silkworm-stage evidence per dm-031. The answer that turns the room into a stage for the bookworm's own feelings is still bookworm-stage. Both are useful. The DM records both.

VIIIProject-opportunity matrix (added 2026-05-16)

The campaign now carries forty-three branching project options across the three scenes. Session 001 surfaces thirteen options. Session 002 surfaces fifteen. SS-0 parametric template surfaces fifteen. Each project keys to a Sanpaitai choice or NPC encounter at session-runtime. AI engine filters by age band per cc-cmp001-age-band-restriction-matrix before surfacing to the DM. DM assigns one or two projects per Sanpaitai per session by default.

Timing correction 2026-05-16

Session 001 is Saturday September 20 1958 at approximately 11 PM TM2. Mrs Jones is walking home from her late beauty-shop shift, hours after the King stabbing at Blumstein earlier that afternoon. The Hughes canonical "about eleven o'clock at night" timestamp anchors here. Prior Friday-night framing was an error.

Four age bands

JUNIOR (ages 9 to 12, Grade 7 mode). Seventeen projects eligible across the three matrices. Restricted from Holiday narcotics content, the Hegel ADULT seminar, Blumstein stabbing event, surgical procedure detail, ADULT scholarship.
MID (13 to 16, ENG2D and ENG3U entry). All JUNIOR options at higher complexity plus MID-flagged. Tier-2 content surfaces only on educator-trigger.
SENIOR (17 to 18, ENG3U-strong and ENG4U). All MID options at full intensity. Surgical-team protocol study, Hegel master-slave, Pearson 2002 emergent ghost engagement.
ADULT (18+, Leizu tutees). All projects unmuted. ADULT-only options include Hegel master-slave seminar paper, race-gender-class integrative essay, retrospective Powell-Rustin 1960 analysis.

Four trigger categories

Primary-NPC-present. Mrs Jones in Session 001. Powell in Session 002. Project always available.
Secondary-NPC-conditional. Holiday at Theresa lobby late TM2. Bunche at Hospital TM2 Saturday afternoon. Coretta at Hospital across TM2-TM4. Hutson at Schomburg TM1 Friday afternoon or TM2 Saturday morning. Mahalia via documented radio broadcast surface only.
Crossing-point. The Sanpaitai routes to one of seven crossing-points; projects anchored there become eligible.
Venue-and-time constraints. Schomburg branch closed Sundays 1958 and after evening hours. Hospital open 24 hours but visitation rules. Apollo active 11 PM Saturday. Window-leg impossibilities enforce documented-timing.

Session 001 four-beat branching gates

Beat i after "Eat some more, son". Question routes P001-04 plus P001-06. Silent routes P001-01 plus P001-10. Bathroom routes corridor-drift toward P001-07.
Beat ii after the half-pint detail. Corridor-drift continues. The hours-old radio bulletin about King stabbing fires only if Sanpaitai is in the corridor.
Beat iii after Mrs Jones describes her youth. Disclosure routes P001-02 plus P001-06. Reserve routes P001-12 at ADULT only.
Beat iv after the ten dollars and "Goodnight, behave yourself, boy". Route past Hughes brownstone activates P001-05. Past Apollo activates P001-09. Past Blumstein (now closed front window, midnight scene-of-yesterday-afternoon vignette) activates SS-0 cross-route. Direct exit holds baseline.

Session 002 branching gates

Pre-sermon vestibule. Front-pew routes P002-02 plus P002-13. Back-of-sanctuary routes P002-04 plus P002-10.
Moment ix prompt. Response naming Mahalia activates P002-04 radio-broadcast secondary. Response naming the news activates P002-05. Response naming Hughes activates P002-07.
After-sermon steps. Hospital route Sunday surfaces Coretta and surgical-team-on-rounds activates P002-06 plus P002-12. Schomburg route surfaces sidewalk-Hutson activates P002-11 plus P002-14. Newsstand route activates P002-15. Home route holds baseline.

SS-0 parametric branching

The SS-0 template generates further runcards by selecting one of eight narrative threads, one of seven crossing-points, one of four window-legs. Project-opportunity matrix carries fifteen options. New P-SS0-15 Roger-walking-to-school Monday morning peer encounter closes the Roger-peer thread density gap. Crossing-point selection drives the project routing. JUNIOR cohorts must not select Blumstein Saturday 3:20 PM or Harlem Hospital Saturday 4-5 PM crossing-points for direct event participation.

Where the full matrix lives

cc-cmp001-runcard-001-other-roomer-encounter. Session 001 thirteen-project matrix.
cc-cmp001-runcard-002-abyssinian-sunday. Session 002 fifteen-project matrix.
cc-cmp001-ss-0. SS-0 parametric fifteen-project matrix.
cc-cmp001-project-catalog. Canonical substrate entry holding the full forty-three audit-tweaked project specifications.
cc-cmp001-engine-brief. One-page AI-engine session-start briefing document consolidating timeline, NPC roster, project-catalog, age-band rules, branching gates, content-handling protocols, citation discipline, no-fabrication constraints.
cc-cmp001-project-trigger-conditions. Trigger-condition logic across the forty-three options.
cc-cmp001-age-band-restriction-matrix. Substrate-level enforcement of the tier ruling across the forty-three options.
cc-cmp001-curriculum-strand-crosswalk. Ontario OSSD plus IB plus AP strand mappings across the forty-three options.

·Cross-references

cc* (Campaign Codex)

cc-cmp001-emergence-point. Kitchenette-as-cave-of-transformation, the burrow's home address.
cc-cmp001-npc-mrs-jones. Full Mrs Jones dossier (4015 chars).
cc-cmp001-vs-mrs-jones. voice sample (2258 chars)
cc-cmp001-oi-kitchenette. kitchenette object inventory
cc-cmp001-oi-purse. purse object inventory
cc-cmp001-tm-saturday. Saturday timeline (the encounter window)

bb* (Bookwormburrows)

dm-002. session-zero structure
dm-003. story-quality adjudication
dm-009. four-axis writing rubric (VOICE / TRUTH / RESTRAINT / FORM)
dm-031. leveling-system ruling (XP-as-evidence-record, two clocks)
dim-002. playstyle vs lore axes
bw-007. bookworm continuity vs character locality

ml* (Methodologylist)

Icons (the jewels of Indra's web in polymyth). Technical term for documented arena populators. cmp-001 is icon-populated only.
Token (Inception-derived subjectivity-marker for bb* characters). Mrs Jones's pocketbook is the canonical example.
Dream-within-dream (nested-dimension architecture). The kitchenette is the outer layer; sub-dimensions remain accessible in later sessions.
Inception of ideas (installed ideation, hivemindidiom parallel). What the scanner counters.
Inception arena rule (DM builds, subjects fill, no AI-invented NPCs pre-session). The build discipline cmp-001 follows.
Inception as confluence on already-always-true substrate. The methodological warrant for borrowing from the Nolan film.
Fourth wall breaking as two-way teaching (general methodology). The pedagogical hinge bb* sessions operate on.
Synthesis distinction filter. The rule for integrating outside frameworks (Hughes-text, D&D-mechanics, OSSD-curriculum) without framework-imperialism.
Cave-as-limited-POV plus sun-as-totality-of-valid-angles (April 10 substrate). Substrate for the "the dimension is not an interactive movie" ruling.
Sabachtan engagement protocol. Sequential engagement, benefit-of-the-doubt, internal-logic test, witch identification.
Persona-gate as user-trajectory + AI-trajectory alignment. The off-canon-layer ruling is a persona-gate at the encounter layer.

Public student-facing

/campaigns/thank-you-mam/. student-facing campaign page (story, 48-hour window, setting, stabbing, scene-set pack, dragons, homework)