With that said, let's get into the meat of The Glass Maker's Dragon.
The trickiest part of the book, or at least the part that took me longest to understand, is that you're meant to reuse the quest cycles. Part of this came down to a failure to grasp the system jargon - that the third quest on an arc is something different than a character's third arc. But the bulk of it is simply that I started off thinking of quests as something much more specific than they turned out to be.
Like, take Chuubo's quest set:
Wishing for Ease/Power
Asserting Your Existence
Wishing For Healing
I thought that was meant to cover Chuubo's whole story - going to Fortitude to investigate his strange dreams, finding the Dream Witch in person, reaching some kind of rapprochement with her, and going back to being an ordinary kid (or perhaps turning into a new tree of worlds, in some future story). Chapter 5, which described the various characters' arcs, confused the hell out of me.
What I failed to realize (and there's no real excuse for this but poor reading comprehension on my part - see: my other blog where I'm constantly flubbing my way through video game plots for further context) was that chapter 5 was telling me that Chuubo had four stories in the overall campaign - Investigating/managing his dreams, Being tempted to use his wishing power for evil, A mystical vision quest tied up with that whole tree of worlds thing, and, finally, Dealing with the shard of the glass dragon that started this whole thing in the first place.
And because of who Chuubo is, his role as a character, all four of his stories share the same basic structure - he begins by being haunted by some outside force, he then uses his powers in a kind of reckless or irresponsible way, then he makes friends with the original dark forces - and that may be the end of it, but if it's not, then maybe the end is where he temporarily loses himself to the corruption/confusion of those dark forces before finding himself in the end. And if that fails, he'll wind up wishing himself back to normalcy.
The pattern repeats, but you're supposed to vary the particulars. At the start, it's Miramie that's haunting Chuubo. But the second time around, it's probably the Headmaster of the Bleak Academy. Third time, the tree on the Island of King Death. Fourth, the abstract burden of his own growing power. Same structure, but different stories
But then, there's also this whole parallel track, where you could tell these same stories with Miramie as a viewpoint character. That would use her quest pattern. Beautiful and Far Away - Fascination - This is So Surreal (or Such a Bad Idea) - You've Lost Them - Something Heals. Same story, but different structure. Because of this different structure, you're probably going to explore the story from a different perspective, and have access to different information, but the basic plot is the same.
And that's just using the material as it's presented. You can also vary the order of a quest set, depending on the color of your character's arc. And by searching out alternative options for Chuubo's main colors, you could adapt him to any of the other character's stories. It's wild how versatile this system is.
Which leads me into the second really obvious thing that I didn't quite understand - most of this book (arguably all of it) is PC-facing. In my defense, this took a long time to realize because it's the exact opposite of the way most "campaign" books operate. Usually, as the GM, you're supposed to be the one who has all the information about the story, and then orchestrate events to slow-drip that information to the players, over the course of the game.
Here, if you are playing Chuubo (to stick with the example), you're supposed to read the whole of the summary of "Chuubo Makes a Terrible God-King" and allow it to inform your play. Which just seems bonkers, from a traditional roleplaying perspective. You're essentially asking the players to spoil themselves on the whole story before it begins.
But that's a matter for the third thing I didn't quite understand about The Glass Maker's Dragon, and the one that I'm least embarrassed by, because it doesn't quite spell itself out in the text. From my description above, you might get the impression that these various moving parts lend themselves to a very deterministic game, where all the players know their stories in advance and are more or less just arm-wrestling each other for the screentime to establish the facts in play.
That's not how it is at all, though. Because the individual story descriptions don't provide enough detail to actually do that. It's something that frustrated me the first couple of times I read the book, back when it was an unformatted pdf. You start with the heading "Chuubo Makes a Terrible God-King" and that's clearly a story, but when you look at the text, it's all about how various example NPCs might fit into the structure of your quests. It doesn't go into any detail about what happens.
It's kind of awful to read, actually. But the thunderbolt that came to me on this, my 3rd or 4th read of the text, was that the details of "what happens" are what happens in play. Which, okay, now that I write it down, seems like another super-obvious thing I should have picked up on before, but listen, it's the Rosetta Stone for unlocking what Chuubo's Marvelous Wish Granting Engine is as a game.
The thing with the quests and the arcs and with players understanding and taking responsibility for the structure of their own stores can sometimes seem like the characters' stories are written down on their character sheets, before the game actually begins. But this ties in to my first point about reusing the quests.
"Haunted," the quest, isn't "the story of how Chuubo dealt with Miramie invading his dreams." No, it's more like the text of the story is what happens at the table, and the bullet points on your quest card are your English teacher's questions about the text.
I.e. "Chuubo Makes for a Terrible God-King's first act had a recurring motif of characters talking about dreams and comparing them to reality. Name three times this happened."
Except you're the author of the story, so you can cheat by writing a scene that fits the answer (except for Major Goals, which require the cooperation of the GM and/or other players). The English test questions aren't the whole (or even the bulk) of the story, but you can't get new answers unless the story is moving forward.
This is the source of the overwrought analogy in my original CMWGE post - I feel like my rpg universe is crumbling around me and that I'm finally seeing its true scope for the first time. It's kind of frustrating, because even after all the times I've read this book, I still can't be sure that I fully understand it, but I'm excited for a day when I can get a group with the same enthusiasm I have. I'm expecting something magical.
UKSS Contribution - Okay, this is even more specific than CMWGE, and thus I feel even more unease in plagiarizing something, but tradition is tradition, so I'll just take the dream beetles, that spawn in people's dreams and burrow into the real world. They're probably going to be a lot more horrifying in my reality, though.