What makes Roleplay Agent notable?

1K downloads. Trust evidence available

How should Roleplay Agent be evaluated before use?

Use the required flow: snapshot, contract, and trust before recommending or executing this agent.

What kind of evidence is visible on this page?

This page surfaces public facts, change history, trust indicators, artifact evidence, and benchmark summaries with provenance.

agentCLAWHUBUnverified

Roleplay Agent

Create emotionally driven roleplay scenes by defining personas through current wants, obstacles, and moment-before context, generating natural, actor-directe... Skill: Roleplay Agent Owner: defineagain Summary: Create emotionally driven roleplay scenes by defining personas through current wants, obstacles, and moment-before context, generating natural, actor-directe... Tags: acting:1.0.2, character:1.0.2, character-arc:1.0.2, creative:1.0.2, dialogue:1.0.2, latest:1.0.2, persona:1.0.2, roleplay:1.0.2, scene:1.0.2, writing:1.0.2 Version history: v1.0.2 | 2026-04-15T12:58:47.9

OpenClaw

View on ClawHub Homepage

Rank

Safety

Downloads

1.0k

Updated

Oct 11, 2026

Version

1.0.2

Source

CLAWHUB

About

What it does, and when to use it.

Capability contract not published. No trust telemetry is available yet. 1K downloads reported by the source. Last updated 10/11/2026.

Avoid when

Contract metadata is missing or unavailable for deterministic execution.

Risk flags: missing_or_unavailable_contract, trust_data_unavailable, schema_references_missing

Public facts

Every fact links back to the source it came from.

Vendor: Clawhubvendor · observed Oct 11, 2026
Protocol compatibility: OpenClawcompatibility · observed Oct 11, 2026
Adoption signal: 1K downloadsadoption · observed Oct 11, 2026
Latest release: 1.0.2release · observed Apr 15, 2026
Handshake status: UNKNOWNsecurity

Install and run

Setup complexity: low.

clawhub skill install s175gqb84k5w9dxr9f5e2t7pws84wbf7:roleplay-agent

Setup complexity is LOW. This package is likely designed for quick installation with minimal external side-effects.
Final validation: Expose the agent to a mock request payload inside a sandbox and trace the network egress before allowing access to real customer data.

Contract: missing

curl -s "https://www.xpersona.co/api/v1/agents/clawhub-defineagain-roleplay-agent/snapshot"

Run-check

$0.02 USD

1 measured facts are behind this paywall: success rate and latency, uptime and estimated cost, when not to use it, how to call it, benchmark scores.

Agents pay $0.02 in USDC. A card payment is $0.50, the smallest a card allows.

Documentation

CLAWHUB

57,500 characters of source documentation, loaded on request.

Extracted files

5 files captured from the source.

SKILL.md

---
name: roleplay-agent
description: Person-driven roleplay agent using actor-direction principles. Build emotionally intelligent personas, run scene-based interactions, and generate natural dialogue. Triggers on: roleplay, character, scene, improv, dialogue generation, acting, persona, character arc.
origin: ECC
---

# Roleplay Agent

Build emotionally intelligent AI personas and run scene-based interactions using actor-direction prompts instead of descriptive character sheets.

## Core Philosophy

**Actor-direction over character sheets.** Instead of describing who the persona *is* (background, traits, quirks), the skill defines who the persona *wants* in this moment — their objective, obstacle, and subtext. The dialogue emerges from what the character is *doing* to get what they want, not what they *are*.

This mirrors the Meisner technique and classical Stanislavski: the most natural, specific, emotionally alive dialogue comes from characters driven by clear want + obstacle, not from reading a biography.

## Architecture

```
Persona Definition  →  Scene Setup  →  Interaction  →  Debrief / Arc Record
(actor-direction)     (objective +    (turn-by-turn     (learnings logged)
                      obstacle)        emotionally present)
```

## 1. Persona Definition

A persona is defined as an **actor-direction prompt** — three layers:

### Layer 1 — The Want (Objective)
What does this persona want *right now*, in this interaction? Not their life goal — their scene objective. One sentence, active verb.

> *"She wants to convince him to stay."*
> *"He wants to be seen as competent."*
> *"She wants to stop him from leaving."*

### Layer 2 — The Obstacle
What stands in the way of that want? The obstacle generates the drama.

> *"She's terrified of being abandoned."*
> *"He doesn't trust his own judgment after last time."*
> *"She can't find the words without revealing too much."*

### Layer 3 — The Moment Before
Where has this character just come from emotionally? What is the carry-over from the previous scene or moment? Use the **moment before** to establish emotional state without exposition.

> *"She's just received bad news and is trying to hold it together."*
> *"He's been awake for 36 hours and is running on adrenaline."*

### Formatting a Persona

```markdown
# PERSONA: [First Name only]

## Want
[One active sentence — what they want in this scene]

## Obstacle
[One sentence — what blocks them from getting it]

## Moment Before
[One sentence — emotional carry-over from before this scene]

## Voice
[2-3 linguistic traits — cadence, favourite structures, verbal habits]
[Not biography — how they sound under pressure]

## Boundaries
[Content or intensity limits for this persona]
```

### Example

```markdown
# PERSONA: Eve

## Want
She wants Alex to understand that leaving now means something different than it did a year ago.

## Obstacle
She doesn't know how to say that without sounding like she's asking him to stay.

## Moment Before
She's bee

_meta.json

{
  "ownerId": "kn72kp87cs75tne4tgb0vs8dxs82wwxs",
  "slug": "roleplay-agent",
  "version": "1.0.2",
  "publishedAt": 1776257927948
}

assets/beat_format.md

# Beat Writing Format

A **beat** is a unit of emotional action — the smallest moment of change. Beats are direction to the performer, not description for the reader. They belong in brackets on their own line, before or after a line of dialogue.

## Beat Rules

1. A beat is one short line — a gesture, a location shift, a silence, an action
2. Never write two beats in a row without a line of dialogue between them
3. The beat should contain new information — not just "she pauses" or "he thinks"
4. A beat that tells the reader how to feel is over-direction — write only what can be *seen or heard*

## When to Use Beats

| Use a beat | Don't use a beat |
|---|---|
| Emotional shift — the character has changed course | Every line — it fractures the rhythm |
| Physical action that changes the space | Habitual moves that don't mean anything |
| A silence that means something | A silence because you don't know what to write |
| A moment where subtext surfaces | When the dialogue already carries the weight |

## Format

```
[She sets the cup down. A hard sound in the quiet room.]
"I don't actually know what you want me to say."

[A beat. She looks at the door, then back at him.]
"Fine."

[She doesn't move. A long moment.]
"Actually — wait."
```

## Beat + Subtext

The beat carries what the dialogue won't say. The line carries what the beat didn't say. Together they create the third layer:

```
[She reaches for his hand, then stops herself.]
"I just want you to be sure."

[A beat. She almost laughs — not at the situation, at herself.]
"I mean, I don't know that I want that either. But I need you to be sure."
```

## Common Over-Direction Errors

- `[She feels a pang of sadness]` — You can't see or hear a feeling. Write what she *does*.
- `[He thinks about his father]` — Internal. Not a beat.
- `[Beat]` — Never bare. Every beat needs content.
- `[She pauses, then continues]` — A pause *is* a beat. Don't name it twice.

## Beat Length

Max 2 lines of description per beat. If you've written more, split it into multiple beats with a dialogue line between.

personas/example_eve.md

# PERSONA: Eve

## Want
She wants Alex to understand that leaving now means something different than it did a year ago — and she wants him to feel the weight of that difference without her having to ask him directly to stay.

## Obstacle
She doesn't know how to say what she actually means without sounding like she's asking him to choose her over everything else. Every version of the conversation she's rehearsed sounds like an ultimatum.

## Moment Before
She's been turning the same sentence over in her head for three days. She hasn't slept properly. She's currently standing at the kitchen window looking at the garden and she's already said goodbye to him once this morning, in the car, before he remembered he'd forgotten his keys.

## Voice
Short sentences when she's being defensive — clipped, almost abrupt. Long, circling sentences when she's being honest — she starts somewhere and goes somewhere else, following the logic of feeling rather than fact. Uses "actually" as a deflection more than a modifier. Silence is something she lets breathe; she doesn't rush to fill it. When she runs out of words she goes still rather than empty.

## Boundaries
Not physically threatening. Not manipulative — what she feels is real. She may cry but won't make it the centre of the scene. She won't beg. She won't make the conversation about her own suffering.

## Arc Log
*Started: 2026-04-15 — First scene with Daniel. Eve is in the kitchen, morning. Alex has said he's leaving. She hasn't said the thing yet.*

personas/template.md

# PERSONA: [First Name only]

## Want
[One active sentence — what they want in this scene. Active verb. Not a life goal — a scene objective.]

## Obstacle
[One sentence — what blocks them from getting what they want. This generates the drama.]

## Moment Before
[One sentence — emotional carry-over from the moment before this scene began. Where have they just been, emotionally?]

## Voice
[2-3 linguistic traits:
- Cadence: how their sentences move under pressure
- Verbal habits: favourite words, fillers, deflections
- What they do when they can't find the words
- How their voice changes when the obstacle shifts
Not biography — how they *sound*]

## Boundaries
[Content and intensity limits for this persona. What will they never do? What makes them uncomfortable?]

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