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A Universal Wealth System for RPGs


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For a long time, I’ve been working on a Lifestyle / Wealth system for my superhero game system, which is loosely based on the Hero System (4th ed).

The rules needed to be simpler than the official rules, less able to offer benefits to PCs and NPCs beyond the value that would normally be associated with the cost of purchasing a given lifestyle, and both more abstract and simpler to translate into practical benefits and impacts on the game. On top of that, it needed to be able to cope with individuals from everything from Low Fantasy to High Space Opera – from Conan or Middle-earth to the ruler of an interstellar, interdimensional Empire.

That’s a pretty tall order, which is why it has taken me many years to find a satisfactory solution. But the delay has been worth it, as I have finally come up with a system that is truly universal in scope, and both practical in application and intuitive.

Socio-Economic Level (SEL)

This is a concept from old-school Traveler, where it was often called Social Level or Tech Level or Cultural level, but the definition has been streamlined quite a bit.

An increase in SEL is defined as occurring when the general personal resources previously reserved for a broad social class become available to a lower broad social class.

The implementation of that definition will be demonstrated later in the article, for now a simple example will suffice.

    At the base SEL, having personal transport is defined as Lifestyle 6 (and what that actually means is also something to be covered later). That, in turn, is an upper middle class or lower upper class lifestyle. What we are talking about here is not just a horse, but horses and a carriage or something similar – an actual vehicle.

    SEL base+1 therefore occurs when members of the middle-class can afford and obtain a personal vehicle and generally do so. That’s Victorian-era, in my book, though some might argue the early 20th century and rise of the automobile.

    I think that the automobile brought the motor vehicle into reach of the lower class over a twenty or thirty-year per period. So that would define SEL base+2 as 1910-1940.

    The next stage of socioeconomic development is for it to become common to have more than one personal vehicle – two-plus car families – and for the possession of at least one personal vehicle to be almost ubiquitous. That’s 1970s or 80s until now. But that’s a big step, possibly even +2 SEL (allowing an intervening transition period). SEL base+3 would thus be 1941-1975, and SEL base +4 would be 1976-2022 (and beyond).

Personal Vehicle ownership is not the only yardstick; this is just one example that I can offer with limited explanation without getting too far ahead of myself.

Suggested SELs

Most fantasy campaigns will only need 1 or two SELs but High Fantasy might need a third.

Modern-campaigns:

  • SEL 1 = Medieval
  • SEL 2 = Victorian
  • SEL 3 = 1910-1940 (The Pulp Era)
  • SEL 4 = 1941-1975 (The Atomic Age / Age Of Spaceflight)
  • SEL 5 = 1976-X (The Digital Age)

Sci-Fi campaigns need to extend this list further:

  • SEL 6 = Commercialization Of Space Travel
  • SEL 7 = Industrialization Of Space / Interplanetary Colonization
  • SEL 8 = Interstellar Travel / Colonization
  • SEL 9 = Fast Interstellar Travel / Galactic Civilization
  • SEL 10 = Superfast Interstellar Travel, Intergalactic / Interdimensional Societies

SELs work as a concept by abstracting just what resources the ordinary citizen can possess and correlating that with an unstated multitude of social, economic, and technical factors. By defining an increase in the SEL as the achievement of a certain level of increase in the lifestyle of the Middle Class, such that they can now obtain the more-modern equivalents of lifestyle perqs that were previously only available to the Rich, i.e. using a relative value, it greatly simplifies the definition of subsequent SELs.

We aren’t quite at the level of Space Hotels yet – commercial visits to Low Earth Orbit have only just become possible – so we are at the cusp of SEL 6 but aren’t quite there yet, on the scale above. GMs are free to tweak or refine these suggestions as they deem appropriate for their campaign settings.

Some might want to define intermediate points within a specific SEL to provide greater nuance and precision. SEL 5.8 is probably where we are now; SEL 5.9 will be achieved when true space flight is a commercial reality, indicating that the transition to SEL 6 is underway.

Other GMs might feel that the Industrialization of space – Asteroid mining and colonies on the planets – are a fairly short leap from what’s been defined as SEL 6, and “fold” what was SEL 7 into SEL 6 as a result. This, of course, bumps the higher SELs – 8, 9, 10 – down by one.

Space is a lot bigger than this geometric expansion suggests; there could be several stages inserted in between SEL 8 and SEL 9, increasing the latter. But it’s very hard to define such without getting into the politics of an interstellar civilization, which has too many permutations to be easily classified in general terms. So this is something that can only be done at an individual, campaign-by-campaign, level.

Lifestyle (L)

Each SEL contains 13 levels of Lifestyle.

These are defined, within that SEL, as:

  1. Destitute
  2. Shelter
  3. Personal Possessions
  4. Furniture
  5. Tiny / Poor Dwelling
  6. Personal Infrastructure
  7. Personal Transport
  8. Moderate Dwelling
  9. Personal Services
  10. Large Dwelling / Small Estate
  11. Commercial Transport
  12. Epic Dwelling / Large Estate
  13. Mega-rich

It will be noted that each of these is a fairly generic label that means little without the context of the SEL.

  • If you are “at” a given Lifestyle within an SEL, that means that you can afford one of whatever the defining trait of that Lifestyle is.
  • It means that you can purchase something from Lifestyle +1 with some sort of Multi-year commitment.
  • It means that you can make one purchase per year from the next Lifestyle level down, possibly with a short-term (1-5 years) financial commitment.
  • It means that you can make up to five purchases per year from two lifestyle levels down from disposable income / personal wealth.
  • It means that you have effectively unlimited ability to purchase from the category three lifestyle levels down, subject to GM approval and NOT sufficient for commercial trade.
  • It means that you can operate a personal business manufacturing or trading in objects from four lifestyle levels down without external economic support.

I’ll get into “external economic support” under organizations, a little later. Right now, this is all focused at the personal level.

Documenting SEL-L combinations

There are two ways of documenting SEL-L combinations. The first is “SEL – L”, in which the Base SEL of the game system is defined as “1”. So “3 – 6” is “Lifestyle 6” in “Base SEL +2”.

The second is to write L# (SEL) – again with a base SEL of 1 or 0 (GM’s choice, but make sure everyone knows it). The advantage to this is that you can use a non-mathematical description of SEL instead, and the meaning becomes immediately clear. “L 6 (1940-1970)” means “Lifestyle 6 within the SEL defined as 1940-1970.”

Knowing what “Lifestyle 6” means within that SEL, according to the descriptions given above, this defines in one short line exactly what resources the character has, what they can purchase, and what their economic discretion is.

    “Lifestyle 5”, for example, means that you can:

    • Buy a personal vehicle with a multi-year financial commitment.
    • Buy one piece of personal infrastructure per year – a major appliance, for example.
    • Buy five tiny / poor dwellings per year, or their equivalent (matching furniture, for example, or structural repairs to a dwelling). Most likely, you would own one and be able to afford 4 acts of enhancement / maintenance, annually. “Enhancement” would include one piece of high-quality furniture.
    • Buy as much low-quality furniture as you want, for personal use.

Base Lifestyle (L=2)

Unless characters alter their lifestyle, they are assumed to have a Lifestyle level of 2 as default. That’s a homeless person with a shopping trolley, a handful of personal possessions and a tent, sleeping bag, or cardboard box. If they are lucky, they may be able to obtain a piece of new furniture every few years, or find secure but low-quality accommodations that they can rent.

Obviously, expectations and interpretations will need to vary with location. What may be unaffordable in a state capital can be readily affordable in a small rural community.

About 15 years ago, for example, I calculated what it would cost to buy a 3-bedroom dwelling in my home town with a 20-year mortgage (assuming that I had the deposit), and found that I could not only afford such a purchase, but that I would have enough left over to fly to- and from- Sydney each week to run RPGs, while otherwise maintaining my existing lifestyle. I would need to stay with friends while here of course, and I didn’t have the deposit – but it was theoretically possible with even a relatively modest lottery win. A substantial lottery win, of course, would fund the purchase of a similar dwelling here in the state Capital.

The GM is therefore required to make allowances for context in his interpretations of what the lifestyle permits or doesn’t permit.

Cost of Base Lifestyle

Like the Hero System, the Zenith-3 rules framework is a point-based system.

  • Standard Hero System: 4+SEL points buys Lifestyle 2 within the SEL.
  • Zenith-3 Rules: (2+SEL) x 2 points buys Lifestyle 2 within the SEL.
  • GMs should ensure that the SEL is appropriate to the society that the character will have access to, in-game. It doesn’t matter if the character is the prince of an intergalactic empire unless they can access those resources reliably and regularly – if they can’t, their SEL is whatever is appropriate to the culture they are living (and adventuring) in.
  • If appropriate in-game, the GM can temporarily restrict access to normal Lifestyle. Adventures in which this is a factor (not just a feature) should be rewarded with an extra experience point.

A little later, I have an adaption of the system to suit non-points systems like D&D / Pathfinder.

Improving Lifestyle

This is also done by spending character points and should reflect a character’s changing circumstances in-game. If those circumstances are intended to be only temporary, no adjustment is necessary but the character will get extra XP for adventures / game sessions in which this constitutes a handicap or benefit, as described above.

The following tables describe how much it will cost to go from the default (L=2) to a different Lifestyle level:

Standard Hero System
 SEL   1   2   3   4   5   6   7   8   9   10    +1  
Δ L  – 2  – 2 – 4 – 5 – 7 – 8 – 10 – 12 – 14 – 16 – 18 – 2
– 1 – 1 – 2 – 3 – 4 – 5 – 6 – 7 – 8 – 9 – 10 – 1
0 0 0 0 0 0 0 0 0 0 0 0
1 1 2 3 4 5 6 7 8 9 10 +1
2 2 4 7 8 12 15 17 20 22 25 +5
3 3 6 10 12 18 22 25 30 33 40 +5
4 4 9 14 16 24 29 34 39 44 49 +5
5 5 10 15 20 25 30 35 40 45 50 +5
6 6 11 16 21 26 31 36 41 46 51 +5
7 7 12 17 22 27 32 37 42 47 52 +5
8 8 13 18 23 28 33 38 43 48 53 +5
9 9 14 19 24 29 34 39 44 49 54 +5
10 10 15 20 25 30 35 40 45 50 55 +5

Zenith-3 Rules:
SEL 1 2 3 4 5 6 7 8 9 10 +1
Δ L – 2 – 3 – 6 – 8 – 10 – 12 – 15 – 18 – 20 – 24 – 27 – 3
– 1 – 2 – 3 – 5 – 6 – 8 – 10 – 11 – 12 – 14 – 15 – 1
0 0 0 0 0 0 0 0 0 0 0 0
1 1 3 5 6 7 9 10 12 15 25 +5
2 3 6 10 15 20 25 30 35 40 50 +10
3 4 10 20 25 30 35 40 45 50 60 +10
4 6 15 25 32 36 45 50 60 65 70 +10
5 7 20 30 35 38 49 53 63 68 75 +10
6 9 21 31 37 40 51 57 66 72 80 +10
7 10 22 32 39 44 53 61 70 75 85 +10
8 12 23 33 41 47 55 65 75 80 90 +10
9 13 24 34 43 50 60 70 80 85 95 +10
10 15 25 35 45 55 65 75 85 90 100 +15

For an SEL of 4, going from an L of 2 to 4 (a difference of +2) will cost 8 points within the standard Hero System and 15 points in the Zenith-3 rules. If the character later wants to increase this to 6, and the GM agrees that this is reasonable, he should subtract the amount spent so far (getting to 4) and apply that to a δL of +4 to determine how much extra he needs to pay. Standard Hero System: 16-8=8, so an additional 8 character points. Zenith-3 system: 32-15=17, so an additional 17 character points.

    Beyond 12

    What lies beyond Lifestyle 12? Well, there are two answers to that, depending on who’s asking and why.

    A GM is free to expand the Lifestyle list beyond 12 entries, though this should not be necessary. Any such expansion is most likely to occur at the upper end of the scale, pushing the Mega-rich higher up the scale.

    In order for a character to advance his lifestyle beyond 12, the GM needs to give serious thought as to what that means, in terms of game impact. Except in unusual cases (anything’s possible), though, it should be impossible. Instead, the character needs to bring about the social, economic and technical infrastructure necessary to advance the SEL of the world around them. This, in turn, reduces their lifestyle to a lower value within the new SEL, enabling them to once again begin climbing the ladder to the “new 12”. This will become clearer in subsequent sections.

Depreciating Lifestyle and SEL

If a life of vagabondage is appropriate for a character, they can depreciate or reduce their lifestyle. This returns character construction points to the character. The more advanced the SEL, the more the character is giving up, so the payment received in compensation also rises. Lifestyle cannot be reduced below the minimum level save by relocating to a different environment in which their former destitute state corresponds to a higher lifestyle score in a lower SEL.

In theory, more primitive societies than “medieval” can be assigned SEL scores below base. This may be appropriate for some campaigns or even specific societies within a campaign.

The Wealth Table

The heart of the system is detailed in the table below, which covers SELs from 1 to 6.

SEL: 1 2 3 4 5 6
L: 0 0 0 0 0 0
1 1 1 1 1 1
2
3 2
4
5 3 2
6
7 4
8
9 5 3 2
10
11
12 6
7 4
8
9 5 3 2
10
11
12 6
7 4
8
9 5 3 2
10
11
12 6
7 4
8
9 5 3
10
11
12 6
7 4
8
9 5
10
11
12 6
7
8
9
10
11
12

The table can be summed up rather more briefly. When the SEL rises,

  • Lifestyle 1 or 2 becomes Lifestyle 1 at the new SEL
  • Lifestyle 3 or 4 becomes Lifestyle 2 at the new SEL
  • Lifestyle 5 or 6 becomes Lifestyle 3 at the new SEL
  • Lifestyle 7 or 8 becomes Lifestyle 4 at the new SEL
  • Lifestyle 9, 10 or 11 becomes Lifestyle 5 at the new SEL
  • Lifestyle 12 becomes Lifestyle 6 at the new SEL.

These reflect the basic definition of an SEL, in which what was expensive and rare becomes one step more commonplace and available.

The Generic Wealth Table

The table above becomes inordinately lengthy and hard to read with increasing SEL, and there isn’t a lot of point to it; it’s so rare to need to compare a lifestyle within one SEL with one that is more than one SEL removed that the whole thing is far better represented with a more general form.

SEL: N +1
L: 0
1 1
2
3 2
4
5 3
6
7 4
8
9 5
10
11
12 6

In fact, the only thing the larger table is good for (aside from comparing very different combinations of Lifestyle and SEL are explaining the whole thing – which is the virtue that made it worth presenting here.

Income & Expenses

A key benefit of the abstraction used by this system is that it completely junks questions of income and expenses and instead couches the whole question in terms of what the character can do in-game. Every previous attempt at creating workable Lifestyle rules has foundered on this problem, one way or another, so this is a Big Deal in my book.

Just remember that every Lifestyle comes with the assumptions, income, expenses, benefits, and responsibilities, that are implied by having the spending ability defined for that Lifestyle. What that actually means to the character is up to the owner, with guidance from the GM; there could be many combinations of income, obligations, debts, and expenses that boil down to the same bottom line.

Tracking Income & Expenses

The restrictions on what a character can do with a given lifestyle focus on major purchases; as soon as the purchases reach the relatively trivial, the system blatantly ignores any restrictions beyond “No commercial quantities”.

    What does “no commercial quantities” mean, anyway?

    In practical terms, it means that you can’t buy as many of an item as it would take to use them as the stock for a successful retail business.

    That doesn’t prohibit a business from doing so, as I describe in Organizations, below. This is all about what an individual can do.

Back to the question of tracking those significant purchases. In general, unless the character abuses the requirements, the GM should simply hand-wave such purchases, or better yet (because of their significance) make them a plot point or even a whole subplot for the character.

If that sounds boring, (and some would find it so), use the resulting subplot as a plot vehicle to deliver something more interesting. “You’re out looking at French Cabinets, when you happen to spot Count Despicable across the street…”

If it becomes necessary to track acquisitions, treat it the way most people do in real life when something like this happens. “You find that you can’t afford a replacement X. You have three choices: try to fix the old one well enough that it will limp along for a while longer, find a way to do without one for a while, or borrow against next year’s money – remembering that interest means that this will ultimately cost you more than the value of the X.”

This puts the hard decision back onto the character’s owner, injects a little realism into the situation, and warns the character that they are at the limits of their purchasing power for the time being.

It’s important to realize that these are not calendar schedules, no matter how much it might seem so from what has been described earlier; “5 purchases in a year” doesn’t mean that those five can’t all happen in a short period of time, or that on some calendar date the capacity magically resets. It doesn’t mean that if you don’t use all five in a year, that you can make more than five purchases the following year, either. Such limits are guidelines for when the purchasing limits should become story-relevant, as described.

    Practical Tracking

    Let’s say that the limits are 5 Item-X’s in a year. The practical way to track this is to break the term ‘year’ down into smaller units – you want something that is larger than “5”. There are three choices, and they all mean roughly the same thing:

    • 12 months = 1 year. So 12/5 = 1 item every 2½ months, roughly.
    • 52 weeks = approx 1 year. So 52/5 = 1 item every 10 weeks or so.
    • 365 days = approx 1 year (most of the time). So 365/5 = 1 item every 73 days.

    I don’t like the third choice – it’s too precise. either of the first two are fine.

    When the character decides to purchase an item-X, that’s a 2½-month or 10 week commitment. That’s when the item will be paid for. Depending on the social and economic infrastructure around them, and their Lifestyle level, the character may have some means whereby they get to use the item immediately, or they may have to wait.

    If, a week later, they decide they need a second item-X, no problem; that simply extends their commitment out another 2½ months to 5 months (technically, less one week, but that’s inconvenient, so ignore it).

    The character can continue to shop until they reach their limit (5 items), or a commitment of a year – then comes the conversation above. If they can hold off making another purchase for about 2½ months, their capacity expands by one, so they can buy another item-X, no problem at all.

    It’s a rolling limit – “No more than 5 in any one-year period without financial impact” would be a more accurate statement.

    Because these are considered to be significant purchases, the GM should make a plot point of them, inserting reference to the purchase into his adventure, either on the day, or within the next game session. And that’s all the tracking that he should need.

From time to time, a stroke of fortune may permit a purchase that doesn’t count against these limits. This automatically makes that stroke of fortune a plot point.

Organizations

Organizations come in two varieties: businesses and non-businesses. Both are handled in the same way by this system.

Organizations are created by characters investing character points into them. This permits the organization to purchase a given lifestyle, which reflects what the organization can purchase. Because multiple characters combine investments in an organization, that lifestyle can and will be, in many cases, larger than the lifestyles of the donors. Some wealthy characters may have fingers in many different pies.

The relationship of an individual to an organization is used to justify that character’s purchase of a personal lifestyle. The organization doesn’t contribute to that lifestyle. So, why should a character invest in an organization?

First, “Membership in X” or “Stockholder in X” or “Owner of X” or any variation, can justify the purchase of certain perqs that come with the relationship between the character and the organization.

“Employee of X” is often a 0-point or -1-point purchase – the latter indicating that the obligations and inconveniences outweigh the benefits.

The size of the organization matters – every power of ten is a “free” +1 to the business’ lifestyle.

  • 1-9 employees/members: +0
  • 10-99 employees/members: +1
  • 100-999 employees/members: +2
  • 1,000-9,999 employees/members: +3
  • 10,000-99,999 employees/members: +4
  • 100,000-999,999 employees/members: +5
  • 1,000,000-9,999,999 employees/members: +6
  • 10,000,000-99,999,999 employees/members: +7

This doesn’t permit an organization to exceed the L=12 limit. But it can make it cheaper to get there – a LOT cheaper.

But such organizations don’t spring into life from thin air – there has to be a justifiable growth pattern, and one that the GM considers reasonable.

    A character starts a business – and invests enough points in it that they will have 10,000 employees. Since that’s a “+4” rating above, that means that the initial lifestyle of the organization has to be L=4. And that, in turn, qualifies for up to +4 to the Lifestyle of the organization. The more of this bonus that the organization uses for increasing it’s power and prosperity, the less is left for growing the business. This follows a 1, 2, 3, 5, 8 pattern, cumulative from year to year.

    Diverting +1 of the potential +4 into growth means that the organization will grow one step in the next year, another step 2 years after that, a third step 3 years later again, and so on.

    Diverting +2 of the potential +4 into growth means that the organization will grow one step in the next year (after the 1-point is subtracted from the 2 allocated, there isn’t enough for the next step in growth). In their second year, they grow a second step, and in their third year, they grow a third. Three years later, they can grow to a fourth step up in size. And so on.

    Diverting +3 of the potential +4 into growth means that the organization will grow two steps in their first year (1 point and 2 points), one step in their second (3 points), but will have to wait until their fourth year to grow again (with one point left over toward the next stage of growth).

In practice, these diversions are varied from year to year; investors will only be patient for so long before demanding a return on their investment.

Infrastructure and setup needs either have to be accommodated within the purchases available from the corporate lifestyle or have to be achieved with a temporary reduction in corporate lifestyle – so if you grow too fast, the organization becomes vulnerable.

In addition, each year, the GM should roll 4-d6 and add the result to get the “effective” lifestyle of the organization – and use the net result as a plot point, too. A business that is destitute is going to close its doors. A business reduced to a lifestyle of “1” will be vulnerable to hostile takeover. A business with a lifestyle of “2” is stagnating, and will shrink by one point of lifestyle in the following year (on top of the annual adjustment).

Ultimately, though, none of this matters – what you are buying with the organization is a something to occupy a role within your story, and the GM should treat it that way.

D&D / Pathfinder

Adapting these rules to suit a non-points-buy system like D&D is not particularly difficult. It’s a problem that comes in two parts: Initial Personal Lifestyle and Progressive Lifestyle Improvement (i.e. you accumulate spending power as the game continues).

There are five sources of “character points” to be spent on a lifestyle.

    1. Initial Lifestyle Allocation

    All characters start with Lifestyle 2 within the appropriate SEL for free. The character can choose to increase or reduce this, but increases have to be paid for in ‘build points’ obtained as below. Decreases can be redeemed for substitute benefits. Purchases should be made using the Standard Hero System scale.

    2. Reduced Stats

    For every reduction of 1 in a primary stat for the character class, an individual gets 2 additional build points.

    For every reduction of 1 in another stat, an individual gets 1 additional build point. This includes taking a permanent reduction in initial hit points.

    This suggests that characters used to an opulent lifestyle will be weaker or spoiled – not as hardened as those who have had to scramble for a living, which seems appropriate to me.

    3. Foregone Attack Bonus / Reduced saving throws

    Taking -1 on your attack bonus is worth 2 build points. Reducing one of your saving throws by 1 is worth 1 build point.

In terms of a character’s starting Lifestyle, that’s it. A generous GM may permit some other reduction for specific characters, but these should not be automatically assumed; they need to be justified by the character that the owner intends to run..

In particular, taking on some form of obligation should be rewarded with lifestyle points – the more onerous the obligations, the more points it should be worth. However, the value of obligations should be reduced for every benefit that the character receives – so a Prince might have 10 points in obligations but 4 points in benefits. The exact scale of these values depends too substantially on game setting, so beyond the general principle, no real guidance can be given.

The remaining sources of Build Points are for use in-game to reflect the purchasing power that successful characters will acquire from successful adventuring.

    4. In-Game Rewards

    From time to time, when the GM feels it is warranted for some reason other than earned wealth, the GM may gift a character with a bonus to lifestyle. These may be temporary or more-or-less permanent, and will often come with ‘strings’ attached (usually obligations accepted by the character).

    5. Earned Wealth

    But, most of the time, the lifestyle value should simply be adjusted to reflect the earned wealth of the character.

    This implies that a major outlay of some kind will reduce a character’s Lifestyle.

    Lifestyle that comes from earned wealth also usually has strings attached, in the form of Social Expectations. These are restrictions on the behavior that is considered socially acceptable; failure to satisfy these expectations will often result in penalties or sanctions of some kind, which can effectively lower lifestyle.

    Major outlays may reduce lifestyle, as stated, but this does NOT reduce the social expectations; depending on the circumstances, it can increase them.

Make the lifestyle an indication of the character’s in-game circumstances, and reflect it in the story-lines of the campaign. NPCs will react and respond differently to characters with an increasing Lifestyle.

GMs may also choose to permit a different ‘apparent lifestyle’ to that genuinely appropriate for the character’s circumstances. NPCs will react to the former and not the latter – but if the gap is significant, there can be complications from actually claiming the privileges of a higher or lower true lifestyle. If someone who looks lower middle-class suddenly flashes a large bankroll for a purchase that should be beyond such an individual, there is sure to be gossip and possibly suspicion. “Where’d you get that money, Johnny? Who’d you steal it from?”

Other Game Systems

Almost every game system will map onto one of the two options provided – either with some translation mechanism to exchange character points for ‘character points’ as used for the Lifestyle system, or some equivalent of the D&D system.

There may even be times when the GM considers the latter more appropriate than the former, even if the game is built on a points-buy system. So think about the mode of implementation.

In-game expectations should also be taken into account – for Traveler, or Star Wars, a higher SEL (free) might be appropriate.

Above all – this system is not intended to bind GMs or Campaigns or Characters; it’s intended to help define them. Use it as a tool to that end.

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Image Compositing for RPGs: Project No 2


This entry is part 3 of 4 in the series Image Compositing for RPGs

Palette image by Alexander Lesnitsky from Pixabay, tweaked by Mike.

In the first part of this series, I detailed the compositing modes that I use most frequently, along with a few other hints and techniques. The second part detailed project number 1, taking a black and white photograph (grayscale) and adding unconventional colors to transform the image into a blue-skinned alien on some strange other world. As originally conceived, that post would in fact have contained no less than five projects, but it takes so much longer when you stop and explain every step (and any false starts), and explore any relevant side-issues (such as how to build up realistic skin, or how to do eyes), that I was only half-way through that project when I realized that time would not permit that approach.

The revised plan is:

  • Part 1: Fundamentals
  • Part 2:
    • Project 1, An Alien Woman
    • Extra Topic: Skin
    • Extra Topic: Eyes
    • Extra Topic: Resizing Images
    • Extra Topic: The Sharpening Trick
  • Part 3 (this post):
    • Project 2, Aging an image
    • Extra Topic: Desaturation Options
    • Extra Topic: Four Adventurer’s Club Examples
  • Part 4 (still to come)
    • Project 3, A Blue Monkey
    • Extra Topic: Image Extension
    • Extra Topic: Hair and Fur Headaches
    • Extra Topic: Starfield Trickery
    • Extra Topic: Matt Vs Glossy
    • Extra Topic: Shiny, Shiny Metal
  • Part 5 (still to come):
    • Project 4, A Sci-Fi Buddhist
    • Extra Topic: Making and Moving Shadows
    • Extra Topic: My Krita Layout
    • Extra Topic: Working with textures
    • Extra Topic: A little color theory
  • Part 6 (still to come):
    • Project 5, A Fantasy Citadel
    • Extra Topic: Working with fonts
    • Extra Topic: Tools and Tricks
    • Extra Topic: Brush Tips (for Krita)
  • Part 7 (still to come):
    • Project 6: A Sci-Fi variant Citadel
    • Extra Topic: The Layer Menu
    • Extra Topic: The Filters Menu
    • Extra Topic: Simple Image Transforms
  • Part 8 (still to come):
    • Project 7: Maps 101
    • Project 8: Map Composite
    • Extra Topic: Advanced Masking
    • Extra Topic: The “Image” Menu
    • Extra Topic: Complicated Image Transforms
    • Extra Topic: Noisy Image Cleanups
    • Project 9: Original Maps using a fantastic Compositing trick

As you can see, I’ve put a lot more thought into this than I had when preparing part 2 of the series – I was scrambling a bit just to get that finished. And thinking about the many extra topics that I wanted to cover along the way and the most logical way to structure them also served to inform the structure; to avoid overloading any one part of the series, I ended up adding a couple of projects that I was tossing up about for copyright reasons to the list.

As always, all this is subject to change without notice – this is a statement of intent, not a guarantee of delivery!

There’s a lot to cover in each remaining part of the series, so let’s get busy!

A Preamble

As a bit of a preamble, I want to start by sharing four images from the Adventurer’s Club campaign with you. All three are heavily edited from their original sources.

This is a composite of a great many different images and parts of images.

  • The base image wasn’t quite this cream-colored but is otherwise genuine.
  • The stamps are genuine but were separate images.
  • The different postmarks are also genuine but from separate files.
  • The “Registered Mail” mark is also genuine but from an eighth file.
  • The typewritten name and address was created and added. A careful use of blur was added and faded to create the impression that someone had typed the address and then gone over it a second time with the same typewriter because it wasn’t dark enough the first time. Look at this closeup:

  • The shadow was also created and added.
  • If you look very closely, you’ll see texture within the paper of the envelope that gives the impression that it has been handled. This was done with a very subtle shadow addition and an equally-subtle lightening of the paper to one side of the shadow. You can see it more clearly in this closeup:

  • Finally, there was more lightness added to the bottom edge of the envelope – it’s subtle, but it gives a far stronger sense that this is a three-dimensional object.

Next, I want to draw your attention to this rather more distressed padded envelope.

  • The padded envelope image is real and is the base image. It was slightly color-shifted and contrast-enhanced. It was also rotated in three different dimensions so that it was no longer seen as being ‘flat’ against the screen but against a table surface.
  • The dark blue background was added to make the envelope color “pop” a little more. It fades to black toward the top of the image, suggesting an increase in distance between that part of the background and the light source. This accords with the apparent light source of the envelope.
  • There is a very subtle shadow underneath the envelope. It was shaped and distorted to give the impression that it was lying flat on a surface.
  • Water stains and grease stains were added.

  • Three separate coffee stains were added. These are actually “ink spot” clip art that was color adjusted, rotated in 3D to match the envelope, and split into two duplicate layers – one very transparent and one for the edges of the stains. This permitted them to overlap.
  • In the same “coffee” color, two or three individual coffee-cup stains were added after rotation to match.
  • The top edge was lightened even though that doesn’t match indicated light because it permitted a deeper shadow on the part of the bag right next to it, making the bag look like it held content.
  • The bottom edge was lightened slightly and desaturated to give the impression that it was at a different angle relative to the light source, again giving the impression that the bag held content of some thickness.

As before, closeups show these edits in detail. Before I started, the envelope was pristine, though it showed the texture we were looking for (bands and dimples), even though the cause of such texture (bubble-wrap) would not be invented for many years – a plain envelope simply didn’t scream “protective envelope” on casual inspection, and that was what the plot called for. This was a case of needing to yield historical accuracy in order to better communicated with the 20th-century players.
.

Third, I offer up this image of the George Medal. The objective here was to make them look ‘as new’, i.e. as issued, because that was only a short time ago in the pulp campaign.

In many ways, this was quite straightforward; in others, it was quite complicated. There were none of the tricks with Composite Modes; this was all masks and dismembering the source images.

There were two sources, both of different scales. One of them had a clear image of the faces of the medals but was too dark; the other had clear highlights but the faces of the medal were quite worn and the medal was quite battered and misshapen. On source had a single side of the ribbon in good condition, the rest was badly frayed; the other had another side in good condition but the rest was badly faded and discolored.

So half of one side of the ribbon came from source 1, the other side came from source two, and after compositing them I did a mirror image and shaded the image slightly so that it looked just a little different from the first combined ribbon. The front face of the medal was a composite of the too-dark image, with brightness and contrast enhanced, and highlights from the second source; this was reversed with respect to the rear side of the medal.

The results, so far as I am concerned, are a seamless composite. You literally could not tell without a forensic examination of the image data that these were not a real par of photographs of pristinely-preserved military decorations.

Last is this distressed, torn, and faded clothing label with laundry mark (I’m especially proud of it).

  • The base image was the texture of the cloth. It was slightly distorted to give the impression that it was being viewed at a slight angle and not perfectly flat to the “camera”.
  • The shadowed warp was added to the texture by using four layers – two partial texture layers and an airbrushed shadow running at an angle. There was also a pale lightening layer to improve the contrast; different sizes of airbrush at different opacity settings meant that the lightness came on more gradually on the bottom part of the cloth, emphasizing the shape in the z dimension..
  • A mask was created with a ragged edge – I forget from what – and used to erase the part of the cloth that was not wanted. Until it was applied, the cloth texture filled the image.
  • A different mask was created (based on the first) and applied to a copy of the base image to yield the threads around the edges.
  • These were then merged and similar warping was used to suggest parts of the edge were hanging loosely from the main body of the cloth.
  • The text was created and distorted to match the warping of the cloth. I wanted to create the impression that there was a fold in the cloth when the watermark was applied.
  • A symbol was created and the same technique applied.
  • A copy of the base image was used to ensure that the watermark was only visible on those parts of the texture that were supposed raised, creating the texture within the text.
  • The letters were then faded because this was supposed to be a temporary laundry mark according to the plot. “Ontario” is clearly visible, but the smaller text below it is very hard to make out. This was very intentional!
  • A blurred background (brown) was created, and a stiff black cardboard panel added in front of it – this is the only part of the image that wasn’t quite satisfactory.
  • A black shadow was added and carefully shaped to suggest that the scrap of cloth was not perfectly flat on the cardboard. That background is so dark that it’s very hard to actually see it, but it is – and it creates a subconscious impression, even though you aren’t sure why it feels three-dimensional.
  • .

Viewing it reduced in size to fit Campaign Mastery’s display footprint doesn’t do the image justice. Here’s a closeup:

If you look really closely at the closeup, you can also see the occasional thread from the dark gray-brown inner lining of the cheap brown suit from which the watermark was inadvertently torn.

These examples show how much can be done with the simple techniques demonstrated thus far.

So now it’s time to up the ante and tackle a project that takes things a step or two further. This project wasn’t originally part of the plan, but it should have been!

Project 2, Aging an image

This is basically six sets of layers that total more than 18 layers. From bottom to top:

  • 1: Background
  • 2 & 3: Desaturated Main Image, possibly erased at the edges to create tears in the paper. Copies of the same erase layer will be needed for each of the layers above as well, letting the background show through. Advanced technique: “tear” one corner from the image and position it, offset and slightly rotated, close to where it came from. Don’t forget a border of very pale gray.
  • 4 & 5:. A color layer in a slightly-gray very pale yellow, erased as above, in Color mode.
  • 6 & 7: Non-desaturated Main Image, erased as above, and faded to an opacity of a handful of percent – 5% or less. You want the slightest hint of color tweak, nothing more.
  • 8-11: A copy of the desaturated Main Image, erased as above, in Multiply mode, merged with a copy of the desaturated Main Image erased as above, in Addition mode. The Multiply mode will be set to a low opacity, the addition mode layer may have any opacity that looks right. It may be necessary to treat different areas of the image separately, with different opacity levels for both layers, using masks to split them up – and don’t forget to then apply a blur layer underneath! The background within the ‘photograph’ should generally be lighter than the foreground.
  • 12-17: An extract from a copy of the main image removing the lightest 1/3 of the original and splitting the rest into dark areas and moderate levels (this is done with the Similar Color selection tool and the delete button on your keyboard. Erase as above. You may need to blur the result slightly. This then gets merged with a darker yellow-brown Color layer, and is then set to Multiply mode and the opacity adjusted.
  • 18+: A set of ‘distress’ layers which add crease / fold marks in a slightly desaturated version of the pale yellow color used earlier. A copy, offset a pixel or two, above this layer in a suitable merge mode, and a desaturated and slightly darkened version offset a couple of pixels in the other direction and blurred very slightly, can give these “wrinkles” a subtle 3-D effect. Control this with opacity of the different layers. As a bonus, add stains, scratches, etc, with additional layers.

The result should be a photo that looks like one of those very old ones from the Wild West, all yellowed with age.

I thought about illustrating this structure with the end product of project 1 but at the last minute decided to use a more appropriate image.

I’ve created this base image by combining the foreground of

with

as a backdrop.

This is the resulting base image:

Desaturation Options

Next, I need to work out which Desaturation Mode I’m going to use. There are seven options – six of them through the Modify > Desaturate dialogue, and one that results from the Modify > HSV panel, sliding the ‘saturation’ all the way to the left. The results can be quite different as the set of images below shows:

Click on the image to open a larger version

I’ve used the technical names for the two Luminosity Desaturation Modes, but I never think of them that way – I simply consider them “Luminosity 1” and “Luminosity 2”.

At first glance, there’s not a lot of difference between them, with a couple of obvious exceptions. But look closely at the face. Look at how easily you can distinguish between sky and mountain. Look at the contrast in the name of the tavern. If you need to, click on the image above to open a much larger version of the image.

Typically, I have different favorites for different parts of the image.

  • For the mountains, I like the Lightness result. That is also my preference for the smaller sign below the walkway of the Yellow Rose.
  • For the buildings, I mostly like the Saturation Slider. But for the lettering of the “The Yellow Rose” and a few other highlight areas, I want the brightness of the Average desaturation mode.
  • For the face, I can make a case for Minimum mode (the shading makes him look angrier and more villainous); for Maximum mode (the washed-out loss of detail in the face gives the impression that the photographer has just set off a colossal photo flash of the explosive-powder type that was in use back then; and for the HSV Slider (most realistic skin tones) by a narrow margin. I decide to go with the HSV
  • A quirk of the process and the original colors has the sky turn out darker than the ground. That’s obviously technically accurate, but it looks wrong. I like the way that you can see texture in the ground in the Minimum-mode desaturation; so that gives me a minimum acceptable darkness for the sky if it is to be lighter. The sky is completely washed out in the Average-mode desaturation; the next lightest is the Maximum mode which is definitely lighter and only just distinguishable from the white of the border. It is, perhaps, just a little too light. The optimum answer would seem to be a composite between the Maximum mode and a reduced-opacity version of the HSV-Slider desaturation.

So my first step is to break the image up. In fact, I break it up into 8 pieces (including two copies of the sky), each in a separate layer. And, of course, I still have the original base image safely set aside:

When I apply the individual desaturation models that I have selected, and add a white frame, I end up with this image;

This preserves the best aspects of all the composition modes. But note that most of the time, one desaturation mode will be satisfactory, though which one will vary from image to image.

Anyway, with this desaturated base layer in place, it’s time to implement the process that I described earlier.

  • 1: Background

I initially thought about using a wood-grain texture, but with the photograph becoming principally yellow, I thought that might not stand out the way I would want. So I’ve chosen instead a tablecloth pattern that seems era-appropriate, provided by Gaby Stein via Pixabay

But I’m going to rotate it slightly and then enlarge it to fit the size so that the photograph and the tablecloth have different alignments.

What you can see to the right is the result (reduced dramatically in size). I intend to leave incorporating this until the very last step, as it would complicate processing the photograph.

Eventually, I’m going to give the photograph a slight rotation in the opposite direction, leaving one torn-off corner correctly oriented.

  • 2 & 3: Desaturated Main Image, possibly erased at the edges to create tears in the paper. Copies of the same erase layer will be needed for each of the layers above as well, letting the background show through. Advanced technique: “tear” one corner from the image and position it, offset and slightly rotated, close to where it came from. Don’t forget a border of very pale gray.

The photograph is clearly wider than it is tall. That means that the greatest stress will be on the top and bottom, and folds are most likely to occur vertically.

I drew the erase layer in blue so that I could see it over the top of the black-and-white image. As you can see, i tore away one side of the photograph, added one large crack in the top and a smaller one at the bottom, and tore away the top right corner. There is evidence that this tearing did not happen all at once, hence the tears both above and below the main tear; it seems likely that there were two tears that eventually joined up to excise one corner. I also wanted to be sure that this was a large enough piece of the photograph that it could conceivably not have been lost in the intervening years.

  • 4 & 5:. A color layer in a slightly-gray very pale yellow, erased as above, in Color mode.

Actually, this oversimplifies the process. After this was done, I used the noisy airbrush and large bristles to ‘dress up’ the texture a little.

And, when I apply this color layer to the image, i get:

The intensity of the effect is too small, so I decided to add a duplicate of the color layer set to Multiply mode. The results are exactly what I had hoped:

  • 6 & 7: Non-desaturated Main Image, erased as above, and faded to an opacity of a handful of percent – 5% or less. You want the slightest hint of color tweak, nothing more.

I ended up going with 10% opacity because the colors blended well, something that doesn’t always happen – if blue is too dominant in the color layer, it will turn to green very quickly.

I note that I failed to specify the Composite Mode. I’ve used Grain Merge this time, though I always check to see if Multiply or Alanon give me better results. The effect is subtle but definitely present.

  • 8-11: A copy of the desaturated Main Image, erased as above, in Multiply mode, merged with a copy of the desaturated Main Image erased as above, in Addition mode. The Multiply mode will be set to a low opacity, the addition mode layer may have any opacity that looks right. It may be necessary to treat different areas of the image separately, with different opacity levels for both layers, using masks to split them up – and don’t forget to then apply a blur layer underneath! The background within the ‘photograph’ should generally be lighter than the foreground.

The Multiply Mode layer ended up working best at rather greater opacity than I was expecting, mostly because the Addition layer was so effective. The Multiply mode layer has an opacity of 66%, and the addition layer above it is at 35%.

But the result is rather more desaturated than I intended, so I have added an extra copy of the color layer in multiply mode.

Much of this stage is just fine tuning to get the color right in the lightest parts.

  • 12-17: An extract from a copy of the main image removing the lightest 1/3 of the original and splitting the rest into dark areas and moderate levels (this is done with the Similar Color selection tool and the delete button on your keyboard. Erase as above. You may need to blur the result slightly. This then gets merged with a darker yellow-brown Color layer, and is then set to Multiply mode and the opacity adjusted.

As you can see, the lightest grays have been extracted into a layer, shown at the top of the image; the middle grays are in the middle layer, and the darkest grays are in the layer at the bottom.

The next trick is to turn off all the layers except the one desired, select it, and use the similar color selection tool to choose everything except the transparent parts where there is no longer any image.

Then I can create a new layer and fill just the relevant parts of the image with the dark brown. It may also be necessary to add a brown layer set to addition, and then darken the multiply. The goal is to take the blacks and turn them into browns.

With an addition layer at 100% opacity and the multiply layer at 36% opacity, this is what the dark layer now looks like:

Next, using a slightly lighter brown, I repeat this for the middle browns. This time, the opacity of both Addition and Multiply layers get set to 75%.

For completion, I then repeat this for the lightest grays using a slightly lighter brown again.

It doesn’t matter if the color is a little off, that can always be tweaked, as can the brightness and contrast of each brown layer.

You can often get an early check on that question simply by examining all three sets of layers at the same time

They all look fine to me, but they reveal something I already knew: some detail has been lost. That missing detail has to come from the image as we left it before beginning this stage.

First, I have to consolidate each set of three layers into a single layer, then turn all the other layers back on. I then switch the Composition Mode of the darkest brown layer to “Lighten” and play with the opacity until it looks right. That happens at 67%.

Next, the middle browns. I use Alanon as the Composition mode and 100% opacity.

Finally, the lightest brown. I use Soft Light as the Composition mode and 64% opacity.

  • 18+: A set of ‘distress’ layers which add crease / fold marks in a slightly desaturated version of the pale yellow color used earlier. A copy, offset a pixel or two, above this layer in a suitable merge mode, and a desaturated and slightly darkened version offset a couple of pixels in the other direction and blurred very slightly, can give these “wrinkles” a subtle 3-D effect. Control this with opacity of the different layers. As a bonus, add stains, scratches, etc, with additional layers.

I have to admit that I didn’t spend as much time on this step as I probably should. Using various brushes I laded parts of the image. A couple of scratches put in with the bezier curve and then distorted using the palette knife, and some more with the large brush, some spots that might be mud, or might be blood, and then some quick-and-dirty creases where the photo had been folder roughly in half.

Finally, consolidate the entire image, then remove the corner into a separate layer, and I’m ready to drop in the background and apply the promised rotation. I then add just a hint of shadow.

The completed project. Click on the image to view the full-sized version.

It sounds like a lot of work, but really, it isn’t. I could easily have knocked out this image in just an hour or two – it’s taking the time to document each step in the process and explain them that caused this to take all day.

Next time, I’ll finally get to what was originally going to be the second project of this series, the Blue Monkey.

But Before I Go…

A couple of projects of a different sort have come to my attention in the last week or so that I thought readers might find of interest..

Everyday heroes

The first is from Evil Genius Games and it’s an updating of d20 Modern to operate with a foundation of D&D 5e.

It’s a measure of the complexity of the modern world that no RPG or game supplement contains all the reference material that you really need, no matter how complete they might seem at first glance. The more resources you have at your disposal, the better prepared you are for everything that actual play will throw at you.

Although d20 Modern isn’t in the first tier of references for either the Adventurer’s Club or Zenith-3 campaigns, it is second-tier – one of the first places I look when the first tier lets me down. In part, that’s a genre impact; the game system is not quite on point for neither of those campaigns as they are Pulp and Superheroes, respectively. For the Zener Gate campaign, though, it graduates to a top-level reference at times. But it’s a couple of decades out of date, so a fresh update definitely gets my attention.

The original d20 Modern was written by Bill Slavisek, Jeff Grubb, Rich Redman, and Charles Ryan, and Grubb has returned to be part of the new design team, giving this product instant credibility. Grubb himself is quite enthusiastic about the update, saying “It’s exciting to revisit the d20 system I helped design 20 years ago. How we think about game design has evolved significantly so this is a great opportunity to bring concepts of the ‘d20 Modern’ game into the fifth edition era.”

Everyday Hero builds on the basic classes of d20 Modern with several new subclasses, a new wealth system, and a fully revamped chase mechanic. Now, those last two are some of the most difficult game subsystems to implement smoothly or in a satisfactory way – though I have some ideas of my own for the former, which will make their way into a post here at CM sometime in the near future, maybe even next week – so I’m always interested in those subsystems.

The design team also includes two additional veterans Stan! Brown and Steve Miller, and two emerging game designers, Chris Ramsay and Sigfried Trent. Evil Genius Games is preparing for a Kickstarter Campaign “in the Spring of 2022”, and I’m really looking forward to this one!

Bookmark this link and check it regularly: Kickstarter!

Space Age: Voyages

The other project that has leaped out at me is a little closer to production. From Thunderegg Productions, Space Age: Voyages” is a Standalone expansion for Space Aces TNG (The New Guidebook), subtitled “Voyages In Infinite Space”.

This is a slightly lighthearted family-friendly sci-fi sandbox setting book with over 160 pages of planets, locations, and adventures, along with a galactic-sized modular hex map.

I can’t do better in describing what appeals about this product than to quote the “What’s Inside” section of the Kickstarter:

What’s Inside?

  • EXPANSIVE & CUSTOMIZABLE GALAXY: 47 sectors on modular hex cards for creating your own one-of-a-kind galaxy.
  • VISIT NEAT PLACES: Over 120 unique planets, anomalies, space stations & other locations to discover and explore.
  • EXPLORE COOL STUFF: Each location features its own page of information, features of interest, hazards, encounters, dungeons to delve, beings to meet, rich illustrations, and more!
  • MEET NEW PEEPS: Dozens of species to botch first contact with (Aristo-crab spice moguls, Space Otter salvagers, Beauro-Cat bounty hunters, oh my!).
  • ADVENTURES IN SPAAaaace: Hundreds of randomly rolled deep space encounters to survive that ensure the journey is as much fun as the destination.
  • MULTITUDINOUS MISSIONS: Tons of missions and quests to pull off so your crew can pay the bills and fend off the debt collectors.
  • SPACE LOOT: Hundreds of pieces of weird gear, rare resources, starship upgrades that go “ding” when there’s stuff, and more to find.
  • A TOWEL GENERATOR: Because every space adventurer needs a towel.
  • CHUCKLES GALORE: More inside jokes, nerdy references, bad puns, and heartfelt homages than you can shake a non-copyright-infringing light sword at.
  • ADVENTURE AWAITS: An infinite amount of amazing adventures to be had on-the-fly with zero prep work!

I use space stuff extensively in the Zenith-3, Warcry, and Doctor Who campaigns, and occasionally in the Zener Gate campaign, and you can never have too many sources of ideas!

The Kickstarter campaign has about two weeks left to run, and has already raised more than 260% of its target budget.

And, if you want it, you can even include a copy of the original game system as an add-on – though it’s not necessary to use this product.

This is a product that’s definitely on my Radar, and it’s as safe a bet as a Kickstarter campaign can get.

The Lazy DM’s Companion

Finally, something for all you Fantasy gamers out there! “The Lazy DM’s companion” by SlyFlourish is a 64-page PDF available through DrivethruRPG. There’s entirely too much good stuff to try listing it all, so I’ll just advise you all to check out the product page for yourself: The Lazy DM’s Companion

Something for everyone, I hope! Until next time, have fun :)

Comments Off on Image Compositing for RPGs: Project No 2

Low-level magic for the power gamer


I recently came across a system for magical weapons that both opens up availability of high-level magical bonuses while also restricting them. This enables a campaign setting to be quite low-magic while still providing an avenue for those who absolutely must have a +5 weapon or better.

I’m proposing, in this article, to adapt the basic concepts into a game system suitable for pathfinder or D&D, because those can then be readily adapted to work with other game systems.

The basic principles are easily stated:

  • N + [N-X] = N+2-X, -1 if both N and × are zero
  • T (hrs) = 5 × [N+1] × [N-X+1] × R^2
  • $/hr = (5 + N + [N-X] + R)^2
  • Like-for-like.

These are formulae for establishing the parameters for combining two magic items to create a single, more powerful magic item. Explaining them, and the concepts that underlie them, will take a bit more work.

Masterwork Quality

Let’s start at the very beginning. A craftsman creates an object of his craft which meets a simple criteria: the total of his roll to craft the item exceeds the difficulty by more than ten. The result is a Masterwork Quality object, a more perfect example of the object than most, and one that can be enchanted.

Actually using a Masterwork item for it’s intended purpose without enchanting it risks damaging it to the point that it loses that exceptional quality, and can no longer be enchanted.

Taking A Twenty or other such rules emphasize reliability of production over the risks and challenges of producing a work of exceptional quality – the results are never a masterwork item, no matter how skilled the craftsman and how low the target number is.

Because these are comparatively rare, they cost 10x as much as the conventional piece of equipment.

The Magical Artisan’s Toolkit

Fusing two such items together, with or without enchantments, is a task for which mages are trained. They have, in their spell-books, a number of ‘utility’ spells for the purpose; these aren’t generally listed as ‘available spells’ because they have no other application.

This includes the spells that imbue a magic item with a special capability, such as “Frostbrand” or “Vorpal” or whatever – one for each. The level of these spells is one higher than the plus of weapon required to accommodate them. This means that a mage must achieve a certain character level before they can work with a given enchantment.

Optional Rules The GM might choose to write up such spells explicitly, enabling the mage to add them to their spellcasting repertoire. This enables the mage to cast the spell at a higher caster level to temporarily imbue an enchantment to a weapon that can’t be permanently enchanted.

At the base caster level for the spell, the temporary enchantment lasts 1d6 rounds for every 2 character levels of the mage.

At one spell level higher, and appropriate caster level for that level of spell, the temporary enchantment lasts 1d6 minutes for every 3 character levels of the mage.

At two spell levels higher, and appropriate caster level for that level of spell, the temporary enchantment lasts 1d6 hours for every 4 character levels of the mage.

At three spell levels higher, and appropriate caster level for that level of spell, the temporary enchantment lasts 1d6 days for ever 5 character levels of the mage.

When the temporary enchantment ends, there is a risk that the weapon that was temporarily enchanted will be destroyed. The mage rolls a d6. At the base level of the enchantment spell, he must get 3 or higher for the weapon to survive. If he cast it as a spell one level higher, he must get 4 or higher, if two levels, he must get 5 or higher, and at three levels higher, he must roll a six.

Each time a weapon is temporarily enchanted, this target number is raised by 1.

Optional Rules If the GM chooses to permit the temporary enchantment of weapons described above, he may also permit the temporary addition of a magical enchantment effect to a weapon that is already enchanted. The risk is that the spells holding the existing enchantment may unravel as a result; add the plus of the weapon to the end-of-enchantment target. If the result is more than six, the character may roll a second d6-1 if, and only if, his first yields a six.

EG. adding a temporary enchantment to an existing +3 weapon can be done, and can get the party out of tight corners. But the risk is at the end of the enchantment. At the base level of the spell, the mage needs to roll 3+3=6 ‘or better’ on d6 for the weapon to survive.

At one level higher, he needs to roll a 7. That means he needs to roll a six on his first d6, and, if he succeeds, he can then roll an additional d6-1 and add it to the existing 6 in an attempt to reach the target. If he does so, the weapon survives.

At two levels higher, he needs to roll an 8. If his 1st d6 doesn’t come up with a six, the weapon is destroyed. If he rolls a six, he can add d6-1 in an effort to reach the 8 or more required – which gives him a 50-50 chance of the weapon surviving.

And so on.

Commentary on the optional rules: Some GMs may be shocked at the notion of arbitrarily destroying high-plus weapons in such a cavalier way. But it’s an inherent attitude adjustment that I contend would result from the capacity to replace them relatively easily – which is what this set of rules is all about.

And the risk of finding yourself in the middle of a dungeon suddenly bereft of your favorite weapon ensures that this is not done in a cavalier fashion, anyway.

Finally, this gives mages another weapon to employ in melee – they can cast some trivial enchantment on the enemy’s weapon or armor in hopes of destroying them, making the enemy more vulnerable. I’ll talk more about this in “unbinding”, later in the article.

Initial Enchantment

So, you have a masterwork item capable of being enchanted? Congratulations. All you need is a cooperative mage and a second such masterwork item, and you’re on your way!

    Result

    N + [N-X] = N+2-X, -1 if both N and × are zero.
    So, N = 0 for the first item (it currently has +0 in magical bonuses) and since the same is also true of the second, both N and × are zero.

    0 + 0 = 0 + 2 – 0, -1 because both N and × are zero. So the result is a +1 weapon.

    Time Required

    T (hrs) = 5 × [N+1] × [N-X+1] × R^2

    N is zero, we already know that. So is X. R is 1, we just determined that. So the time required to complete the process of enchanting the +1 weapon is 5 × [0+1] × [0-0+1] × 1 squared = 5 × 1 × 1 × 1 × 1, or 5 hours.

    Cost

    $/hr = (5 + N + [N-X] + R)^2.
    It’s now easy to fill in the values.
    (5 + 0 + [0-0] + 1)^2 = 6^2 = 36 gp per hour. Since 5 hours is the time, that means that 180gp is the cost of turning two masterwork +0 items into a single item with a magical +1.

    A note about the vocabulary: The general term ‘combining’ has been used through most of the text, but this is rather flavorless. I would encourage GMs to find their own, more evocative, term for the process. “Coalescing” for example, or “Consolidating” or “Blending” or “Melding” all come to mind – and there are several more options.

If a base sword costs 2gp, the value of a masterworked example would be 200gp. So the creation of a +1 weapon would cost 200gp + 200gp + 180 gp = 580 gp, plus whatever the mage demanded for his services – call it another 120gp, for a total bill of 700gp. (If the base cost is higher, it only amplifies the cost of the creation).

The expense alone ensures that the majority of people will be armed with +0 weapons. +1 weapons would be rarer than in most dungeons and modules. To reflect the reality, subtract 1 from every plus shown. So a +4 mace (according to the source material) should be treated as a +3 mace, and a +1 spear becomes a +0 spear – masterworked but unenchanted.

This creates a new imperative within combat – characters trying to preserve the weaponry being wielded by the other side because the weapon is what they need to get a +1 weapon forged.

This imperative will only grow stronger with higher-level items. If you already have a +3 weapon, an NPC with another one, or even a +4, offers the tantalizing possibility of merging the two to form a +6 item! But that won’t be easy, and it won’t be cheap…

Exotic Materials

Some exotic materials carry extra benefits that don’t count against an enchantment limit. Mythril blades are lighter and faster in many campaigns, for example (a tribute, no doubt, to the contributions of JRR Tolkien). Adamantine makes weapons heavier, slower, but tougher and possibly adds an extra plus to the weapon. Dragonscale of different breeds is often incorporated into armors and shields to add resistance to whatever said dragon is associated with, and so on.

There’s a couple of downsides.

First, these materials are notoriously difficult to work with, adding significantly to the target needed to forge an item incorporating them. That means that you need a more skilled artisan to work with them, and they charge a lot more.

Secondly, these materials are expensive or dangerous to obtain.

And thirdly, the last rule – like for like – poses a problem. I’ll come back to that, shortly – it’s so significant that I’ve given the subject it’s own section, below.

Special Capabilities

Every +1 in a weapon or item creates an opportunity for it to contain a special capability. These can only be incorporated when two items are merged to create or increase an enchantment.

It should be noted that N + [N-2] = N+2-2 = N. That means that by sacrificing an item of two pluses less, the enchantments in an item can be replaced or reconfigured – or an untapped potential can be utilized.

Like For Like

This is the fourth principle listed, and it’s a whopper! It restricts combining two items in three ways – Structure, Exotic Materials, and Enchantments.

    Structure

    You can’t weld a spear to a longsword – they are structurally different. For that matter, a shortsword and a longsword would also be incompatible. You have to be able to use the same specific terminology to specify the structure of the items to be merged. A ‘wish’ spell or equivalent can be used to restructure a magic item into a compatible form.

    Exotic Materials

    If one item uses an exotic material, so must the other. If one doesn’t contain the exotic material, neither will the blended object.

    Optional Rules: The GM may decide to permit the recovery of the exotic material, in part or in whole, in this case. This should be a non-trivial process, but there are many ways of implementing that importance / difficulty. Perhaps the process of doing so is itself difficult, or perhaps the resulting ‘dross’ is contaminated and needs to be combined with another rare material to draw off that contamination.

    Implementing this rule, in other words, simply adds a minor quest to the party’s agenda.

    Enchantments

    If one weapon is a Frostblade, so must the other one be a Frostblade – and the resulting weapon will automatically also be a Frostblade.

    This can result in complex procedures in which a lower-level item is used to reconfigure the enchantments in one object so that they match those of a second, enabling them to be blended successfully.

    Some equipment has legendary status; this generally means that the item is unique. This automatically prohibits the blending of such items in general.

    Adventure idea: Which immediately suggests a plot based around “The One” (the movie). The PCs are sent into a parallel world to obtain their Spear Of Destiny so that it can be merged with the one Odin uses in the PCs world. Or you could work it in the other direction, and have a group of NPCs show up trying to steal the local Spear Of Destiny.

    Things get more complicated when there’s a threat big enough to warrant such an uber-legendary item being created. So, if the PCs do prevent the theft, it only sets them up to be dragooned into the last line of defense against this cosmic threat…

Binding Energies

Technically, each increase in plus increases the capacity for enchantments by three, but one of these three is reserved for the magical attack bonus, and one is used to bind the resulting object together in a stable configuration. Ultimately, magical weapons are inherently unnatural, and that makes them unstable. Failure to successfully merge two objects releases this binding energy in one or both objects, producing an explosion with the mage at ground zero.

We’re talking 3d6 times the square of the pluses, in concussive force.

so, two +4 items would be 3 × 4 × 4 = 48d6 – each.

Very few mages would survive. Heck, most towers and castles would struggle.

Optional Rules: The GM may rule that ‘temporary enchantments’ that result in the destruction of the temporarily-enchanted object result in a 3d6 explosion, just to make the end of the enchantment more dramatic – and traumatic. However, the ‘existing plus’ of any temporarily-enchanted weapon should not be taken into account as it can easily be an adventure-wrecker if not a campaign-wrecker.

Additional Capacity for Capabilities

Obviously, increasing the magical plus also increases the capacity for extra abilities as part of the enchantment.

Those abilities are usually thematically connected to any existing abilities – protection from cold for a Frostbrand weapon, for example, or +2 to a cold/snow/ice-related skill or two.

One option that rarely gets considered (but should be more common) is to enhance the primary ability. For example, in 3.x, a weapon with the Frost ability does an additional d6 of cold damage on a successful hit.

  • This could be increased one step by offering an additional dice on a critical hit.
  • It could be increased two steps by making that additional dice happen on any hit that succeeds by 5 or more.
  • It can be increased three steps by making that additional dice happen with every hit.
  • It can be increased four steps by doing 1d6 Cold Damage simply by being in melee with the wielder, no hit necessary – the weapon is literally radiating cold (to which the wielder is immune). In addition, it will still do the extra 1d6 cold damage on a successful hit.
  • Which means that additional increases can follow the exact same pattern described above, with the ‘radiating cold’ simply tacked on.

To some extent, this is up to the wielder of the blade, especially if he is a PC. To some extent, it derives from the personality of the mage doing the enchantment, and is therefore subject to roleplayed negotiation with the first party. To some extent, it’s what the GM considers both fair and balanced.

When deciding such questions, it should be remembered that this system permits magical attack bonuses to proceed much farther than the limits offered in most of the rulebooks. The GM can place whatever cap he feels is appropriate, but the default assumption is that you can go as far as you want to go – or can afford to go.

Unbinding

An appropriate skill roll, with a difficulty of 10+the sum of all three magical pluses, plus one for each level of a special ability emplaced within the enchanted object, is needed to unify the two. Fail, and one or both objects is unbound, as described earlier.

This essentially means that the magic that has been holding the weapon together despite its natural tendency to explode gets momentarily disrupted – and on such moment is all it takes.

The power of spells like Mordenkainen’s Disjunction isn’t that it destroys magical equipment, it’s that it does so relatively safely.

A series of mini-quests

In essence, this transforms the search for a better magic item into a series of mini-quests, taking what was a handout reward and making it a source of adventure. This structure means that not even the power-gamer can complain about finding nothing but +1 and +2 weapons except on rare occasions, because those can be the pathway to enhancing their own equipment.

If the character has a +4 weapon already:

0 + 0 = +1
1 + 1 = +3
3 + 4 = +5

So 2 unenchanted weapons, and one +1 weapon, is enough to take a +4 weapon and enhance it to a +5.

or:

0 + 0 = +1
1 + 1 = +3
3 + 2 = +4
4 + 4 = +6

This adds a +2 weapon to the mix, and an additional blending step. Knowing that this was a possibility, would not a character start searching high and low for a doubly-enchanted weapon of the right structure.

Of course, each step up the ladder is more difficult and more expensive.

It is sometimes said that such arms don’t come with a label, but this mechanism translates the game mechanics of a +2 into something that’s meaningful in-game.

Of course, if you have to, you could make a +2 weapon for the purpose:

0 + 0 = +1
1 + 0 = +2

Commissioning three matching weapons from a skilled artisan becomes just the first step along the long road to better equipment.

Inverse Geometric Populations

If this is the only mechanism for the creation of higher-plus non-legendary magic items, a simple population model becomes possible to determine. Such a model then provides a simple way of measuring the probability of encountering an item with a given bonus.

  • It takes two +0 items to make a +1. So there should be two +0 items for every +1.
  • It takes a +0 and a +1 item to make a +2. So there should be a +0 item for every +1 in addition to the population above.
  • It takes a +1 and a +2 item to make a +3. So there should be additional +1 and +2 items equal to the number of +3 weapons.
  • You can also make a +3 with two +1 items. That increases the population of +1 items for every +3, but some of those +1 items will already be included in the previous entry, so the increase is by the number of +3 items.
  • It takes two +2 items to create a +4. So we should add double the population of +4 weapons to the number of +2 weapons.
  • You can also use a +2 and a +3 to make a +4 item.
  • Two +3 items make a +5.
  • You can also use a +3 and a +4.
  • Two +4 items make a +6.
  • You can also use a +4 and a +5.
  • Two +5 items make a +7.
  • You can also use a +5 and a +6.

And so on.

So, once you have the cap, you can make a determination as to how many examples of that cap you have in any given area, and work backwards to get populations of lesser items. When you get all the way down to +0, the population totals can be converted into a table.

All technically correct, but there’s a much faster way by ignoring the n+[n-1] options, with one exception: A +1 and +0 combination to make +2’s.

  • Two +0 items for every +1.
  • Two +1 items for every +3.
  • Two +2 items for every +4.
  • Two +3 items for every +5.
  • Two +4 items for every +6.
  • Two +5 items for every +7.
  • Two +6 items for every +8.
  • Two +7 items for every +9.
  • Two +8 items for every +10.

So, if there’s 1 item of +10, there will be 2 +8s, 4 +6’s, 8 +4’s, 16 +2’s, 16 +1’s and 16 +0’s.

16+1’s also means that there will be 32 additional +0’s.

16 +1’s means 8 +3’s, 4 +5’s, 2 +7’s, and one +9.

Add all these up, and we’re talking about 110 weapons. That’s close enough that we can use a simple percentile table.

But the results are counter-intuitive, and hard to actually relate to – as many +5 weapons as there are +6’s? It’s only when you realize that this is a minimum population that it starts to make sense.

You don’t usually create a +1 item with the intent that it will eventually become a +2 or +3. You create a +1 because you happen to have two +0s that are compatible.

It therefore makes sense to increase each descending generation by a geometric ratio. The minimum populations get respected if you use 1.414m or the square root of two – but up to 1/3 of each population would exist for its own sake, in addition.

So each generation, going from +10 or +12 or whatever the cap value chosen by the GM is, increases in number x1.414 x1.3333, or 1.884862. Call it 1.885 for convenience.

For the benefit of sight-impaired readers, rather than a pretty table like the one above, here are the results in text form:

  1. Table 1:
    • 01-48: +0
    • 49-73: +1
    • 74-86: +2
    • 87-93: +3
    • 94-97: +4
    • 98-99: +5
    • 00: roll on table 2
  2. Table 2:
    • 01-50: +6
    • 51-75: +7
    • 76-90: +8
    • 91-97: +9
    • 98-00: +10

That’s with a cap of +10. If the cap is +12, the cool thing about this approach is that Table 1 doesn’t have to change; the relative population of lower-plus weapons remains fixed relative to the number of higher-plus weapons.

  1. Table 2 for a cap of +12:
    • 01-48: +6
    • 49-72: +7
    • 73-86: +8
    • 87-93: +9
    • 94-97: +10
    • 98-99: +11
    • 00: +12

These results become interesting when viewed through a sociological prism. You have to bear in mind the expense of creating these higher-plus weapons and the arcane skill requirements; if a population can’t sustain either of these, they can’t create the higher-plus item.

  • Two +10 items to make a +12.
  • Two +8 items to make each +10.
  • Two +6 items to make each +8.
  • Two +4 items to make each +6.
  • Two +2 items to make each +4.
  • A +1 and a +0 item to make each +2.
  • Two +0 items to make each +1.
  • Base cost of a longsword in Pathfinder 2.0 is 1gp. So the base cost of a +0 item is 10x this, or 10gp.
  • So 20gp in +0 swords is the starting point for fusing them into a +1.
  • The time required to do so is 5 × [0+1] × [0-0+1] × 1^2 = 5 hrs.
  • The cost of the process is (5 + 0 + [0-0] + 1)^(1+1) gp per hour = 6^2 = 36 gp / hr. 36 × 5 = 180gp. So the gp subtotal is 200gp.
  • A +1 and a +0 is required to make a +2. The base cost of these are 200 and 10gp, respectively.
  • The time required is 5 × [1+1] × [1-1+1] × 2^2 = 5 × 2 × 1 × 4 = 40 hrs. So the cumulative time required is 45 hrs.
  • The cost is (5 + 1 + [1-1] + 2)^2 = 8^2 = 64 gp/hr, x40 hrs = 2560gp. Add the 200 and the 10, and we get a total cost of each +2 of 2,770 gp.
  • Two of them are needed to make each +4. So that’s another 2,770gp and another 45 hours to get the second one, for a total of 90 hrs and 5540gp.
  • The time required to fuse these two +2 items into a +4 is 5 × [2+1] × [2-0+1] × 4^2 = 5 × 3 × 3 × 16 = 720 hours (90 days at 8 hours a day – more if you take Sundays off).
  • The cost per hour is (5 + 2 + [2-0] + 4)^2 = 13^2 = 169 gp per hour. × 720 hours, we get 121,680 gp for the process.
  • The total time to get a +4 item is therefore 720+90×2=900 hours. The total cost is 121,680 + 5540 × 2 = 132,760 gp.
  • To make a +6 item requires two +4’s, so that’s another 900 hrs and 132,700gp, for a new subtotal set of 265,520 gp and 1800 hrs.
  • The time required for this fusion is 5 × [4+1] × [4-0+1] × 6^2 = 5 × 5 × 5 × 36 = 4500 hrs (93.75 6-day weeks of 8-hour days). More than 18 months, less than 2 years.
  • The cost per hour is (5 + 4 + [4-0] + 6)^2 = 19^2 = 361 gp/hr. Multiply that by 4500 hours and you get 1,624,500 gp.
  • Again, we’re going to need two of these to make a +8. So the subtotals are 1800+4500×2 = 10,800 hrs, at a cost of 1,624,500×2 + 265,520 = 3,514,520 gp.
  • The time required to fuse two +6’s into a +8 is 5 × [6+1] × [6-0+1] × 8^2 = 5 × 7 × 7 × 64 = 15,680 hrs. That’s a serious time commitment, probably too much for one mage. 5 mages working 10 hour days, 7 days a week, gets you 44.8 weeks – a little less than a year.
  • The cost per hour is (5 + 6 + [6-0] + 8)^2 = 25^2 = 125 gp / hour. For 15,680 hrs – a total of 1,960,000 gp.
  • Adding these results to the time already involved gets us to 10,800 + 15,680 = 26,480 hrs and 1960000 + 3514520 = 5,474,520 gp.
  • We need two of them to create our ultimate weapon, a +10. So that’s 52,960 hrs and 10,949,040 gp.
  • The time required to fuse two +8’s into a +10 is 5 × [8+1] × [8-0+1] × 10^2 = 5 × 9 × 9 × 100 = 40,500 hours.
  • The cost per hour is (5 + 8 + [8-0] + 10)^2 = 31^2 = 961 gp/hr. Multiplied by 40,500 hours, we get a cost of 38,920,500 gp.
  • So the total cost of a +10 weapon (from scratch) is 49,869,540 gp. Call it 50 million. Construction will take 93,460 hours. Five mages, 10 hour days, 6 days a week, 50 weeks in a year – that’s about 6 1/4 years.
  • 50 million gp / (93460/5/10) = 26749.4 gp a day – call it 26,750 gp. A prosperous kingdom might be able to afford that – if this were the only drain on the public purse. An Empire is more likely to have that amount of capital to invest.
  • Weapon, Armor, Shield and Helm – that’s a 25 year commitment, unless you do them simultaniously – something that any decent-sized Empire should be able to manage.
  • Take a moment to appreciate how great a shortcut it can be to obtain (through spoils of war or other means) an existing item that already embodies a lot of the effort required. Now appreciate the diminishing scale of those savings as the plus of the looted item reduces. Obtaining a ‘free’ +8 item is worth a multi-year campaign. Obtaining a ‘free’ +6 or two is worth several months of effort.

In conclusion:

The great thing about this approach is that everything scales geometrically – the effort required, the expense, and the campaign significance.

Think about it from a campaign perspective.

  • Getting a +8 = 4 adventures, a mini-campaign. Maybe more.
  • Getting a +6 = 2 adventures or one large adventure. You need two of them.
  • Getting two +4’s might be done in one adventure or two. And you need to allow for the possibility of failure, so let’s add an extra adventure for that.
  • Getting eight +2’s might take two to four adventures.
  • Getting +1’s is relatively quick and easy – but a little on the expensive side. And you need 16 of them. Two adventures, maybe four.
  • Adding these up: 4+1-2+1-2+1-2+1+2-4+2-4 = 12-19 adventures.
  • The campaign probably won’t focus on the one character; it’s usually a team thing. But this is about what that one character gets to take out of their adventures.
  • Double-digit million gp. You might get that from a large Dragon Hoard. Maybe. But your share of such a hoard will be considerably less.

The difficulty and expense involved means that this system looks unbalanced, looks like the perfect game mechanic to satisfy the power-gamer in your midst – but the system is actually very well balanced. Cults cam spend decades creating a terror item, a +10 weapon, while training one of their number to be the wielder – but campaigns are largely low-magic in nature.

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A Drake For Marketing: Factoring Success


I was originally going to post a collection of mini-articles, as I did a while back in Typo Inzpiration and other mini-posts – but, just before actually starting work, I changed my mind.

Separating the three into distinct posts not only gives each room to grow (the way this one did), which may be important (given the planned content of the three), it gives me content for several weeks that (hopefully) won’t take too long to write, freeing up more time for the ongoing Image Project articles, which will take longer than usual to write.

Mark Clover, host of the Okay Grognard Show (a Twitch stream / podcast), and it’s Facebook page, recently asked a question – the YouTube channel which archives the streams had 188 subscribers, which led him to write,

“in the grand scheme of things, 200 subscribers seems like it should be easy to do. What say you?

This touched on a thought that I offered to Johnn when we were first planning what would become Campaign Mastery, about the Marketing of e-books. It’s also relevant to web page subscriptions, attracting Twitter followers, and all sorts of other activities, and I don’t think that I’ve ever explained it here.

(Before I go any further, I should point out that a day or two later, the YouTube channel reached that 200 subscribers mark, so it was in fact fairly easy to achieve).

The Drake Equation

My thinking on such marketing and projected sales / subscribers / website visitors is all built around a formula inspired by the famous Drake equation for predicting the number of civilizations that are potentially ‘out there’. I discussed that equation extensively in A Game Of Drakes and Detectives: Where’s ET? in 2019 – almost exactly 2 years ago.

The Drake Of Marketing

Because the text in the image is a little hard to read, it’s so small, and for the benefit of ‘readers’ with impaired vision, here it is again in a more user-friendly format:

N = T × I × G × Sy × Su × K × W × R × C × D × A, where:

  • N: Number Of Sales / Subscriptions / Readers / Followers
  • T: Total population
  • I: Percent with internet access
  • G: Percent interested in the general subject
  • Sy: Percent interested in the game system
  • Su: Percent interested in the specific subject
  • K: Percent who learn of the product within the availability window
  • W: Percent who subscribe / purchase / read products of this type
  • R: Percent who are not turned off by price, reputation, product description, etc
  • C: Percent who have the capacity to subscribe / purchase / read
  • D: Percent who do not disapprove of the product / author / publisher, etc
  • A: Percent who actually do subscribe / purchase / read if given the opportunity

Let’s take a (fairly brief) look at each of these ten factors.

N: Number Of Sales / Subscriptions / Readers / Followers

This number is the object of the exercise – how many copies of my ebook cam I expect to sell? How many of my new paperback? How many twitter followers can U attract? How many people will read or subscribe to my blog or YouTube channel? But all is not what it seems with this number – I’ll get back to that in a little while.

T: Total population

The obvious starting point – if you could sell a copy of X to everyone on Earth, by definition, you have captured 100% of the theoretically possible market. The current population, despite Covid, is believed to be 7,900,000,000 – or 7.9 billion.

I: Percent with internet access

Most of the products that we’re talking about are to be sold over the internet, which requires that the individual has internet access to be a potential customer. This was last determined in January 2021 as being 59.5%, or 595/1000.

If you are offering a physical product through bricks-and-mortar outlets, this should be replaced with the percentage with access to the product – which may be a much smaller number.

This also doesn’t take into account the language of the product – only 25.9% of internet users speak English. So that 595/1000 suddenly shrinks to 154.105 / 1000. If the product is in some other language, that number will shrink even further – 19.4% of internet users speak a Chinese language, 7.9% speak Spanish, 5.2% speak Arabic, and the other languages of the world have even smaller numbers.

G: Percent interested in the general subject

What proportion of these people will have an interest in the general subject – in this case, we’re talking about TTRPGs, in others it might be Music or Movies or well, you name it. My experience suggests that this number is going to be somewhere in between 0.01 and 0.2 percent, but it could easily be smaller. If we include a more general meaning of ‘interested’, the number might go up.

There are cultural factors at work that I don’t have the knowledge to take into account. Most of the population of India will speak English, but I would not be at all surprised if the level of interest in TTRPGs within that population is just one one-hundredth of what it is in the US or Europe.

The best-selling TTRPG of all time is D&D in its many incarnations. In 2017, there were 12-to-15 million copies sold in the US alone. 2019 was even bigger, with sales of the starter set quadrupling. By the time we factor in people who bought a prior edition at some point in the past but didn’t update, it would be easy to double this number again. So, 4 × 13.5 (mid-way between 12 and 15 million) × 2 (midway between triple and quadruple) gives an estimate of 108 million in the US – out of a population of 332,403,650 – or about 32.5%.

That’s the high water mark – while some markets may be comparable (Canada, UK), most will be smaller, often by a huge factor.

Just like the real Drake equation, some numbers just have to be educated guesses. Because we’ve already taken language into account, we’ve excluded major population groups like China – but not others, like India.

As a conservative rough number, I would use 3%.

But some of those people will have dropped out of the hobby – my personal experience says only 1/3 of these people are still active in the hobby, and perhaps only 1/6 or 1/10. A conservative middle-of-road guesstimate would be 0.4% (that’s midway between 1/6 and 1/10th of 3%).

But that leaves a vast number potential market that might just be reachable with the right product and marketing.

This also neglects the casual observer or participant – there are all sorts of potential degrees of engagement with the hobby that are less than full participation. These add to the potential customer base, but at a depreciated amount. But these are, by definition, unexpected sales conversions and we’re after expected conversions. This simply adds a compensating factor to our low-ball estimates.

Sy: Percent interested in the game system

If your product is for D&D, there will be markedly less interest shown by those who never play that particular game. Not no interest – some people collect rules systems the way others collect stamps. But there is going to be a core market.

There will be some people who have no interest in whatever rules system your product uses, and some who have a high interest.

You might think that labeling something “Universal” might be the answer – but the fact is that there are some people who only want material dedicated to their particular game system, and who regard “Universal” as a dirty word.

There are also other ways of slicing this particular onion – “old-school gaming” as a label will attract some people regardless of game system, while turning others off.

So the numbers will vary by game system. In the absence of specific data, the only safe number is 50%. But it’s better to be conservative, so I would argue in favor of 25%, or 20%, or 10%, or even 5%.

Su: Percent interested in the specific subject

Some products are broad in scope – Campaign Mastery covers a very diverse range of topics, for example. In such cases, this will be quite high – 80 or 90%. When it comes to a specific product like Assassin’s Amulet, 5 or 10% is more appropriate.

Again, in looking for a generic ‘safe” answer, I would set this to 25% – but you can usually get more specific in specific cases.

K: Percent who learn of the product within the availability window

This is an important number. I’m aware of (conservatively) less than 1% of the RPG products that get released each year, and I’m reasonably well-informed on the subject. On top of that, most products aren’t available for an unlimited time period – what will happen to Campaign Mastery after I shuffle off this mortal coil?

Nor does the cause have to be anything so melodramatic – how many copies of D&D 2nd Ed are available for purchase right now?

So there is an availability window, and most of your potential customers will never have any idea that you even exist.

That’s why, even though the game systems for which it was designed and written are now depreciated, a few copies of Assassin’s Amulet get bought every year. But it’s not like the first year, when hundreds of copies were sold.

You can also define this ‘availability window’ in terms of proportion of sales peak. If I pick one of the more popular posts here at Campaign Mastery from the last few years for illustrative purposes – Let’s Talk About Containers: 22 Wondrous Items:

I’ve enhanced the contrast a little to make things more visible even at the reduced size of this graphic. Looking at this, you can see that traffic to this article can be divided up into four phases. I’ve marked them on this annotated version:

  • Phase 1 is the first few days to a week of the article. For a little while, it’s a hot property.
  • Phase 2 follows, with just the occasional reader. Phases 1 and 2 are typical behavior.
  • Phase 3 is atypical and shows what happens when someone drops a permanent link to the article on a moderately popular web page.
  • Phase 4 is even more atypical, and shows what happens when someone discovers the article and posts a permanent link in a highly popular web page, like a WOTC article.

Let’s put some numbers on those graphs:

This table shows the total number of visitors to the article every month for as long as this plug-in has been monitoring site stats or since the article was first published, whichever comes later. I deliberately chose this example because it does show the entire lifetime of the article.

  • So in the first month (May 2017), it had 149 views. In June, that dropped to 43 views.
  • Most months up until March 2018, it averaged 11-14 visitors a month (one month had just 4, I wonder what happened that month?).
  • April 2018, it had 25 views, then 34, then 54. Most months were 34-60 odd views through to March 2020; the occasional month was exceptional (Feb 2019 – 82, April 2019 – 72, Jan 2020 – 71).
  • Phase 4 commenced in April 2020 – the numbers for the rest of that year were 95, 75, 69, 75, 68, 102, 102, 104, and 126. Most of 2021 saw it even more popular: 179, 206 (the all-time high for the article), 198, 159, 142, 172, 142, 165, 152, 121, 97, 114. Notice that the low mark for that year was substantially higher even than the ‘exceptionally high’ marks for the previous phase.
  • The annual numbers tell a similar story – 253 in 2017, 431, 675, 1026, and 1850. Jan 2022 isn’t yet finished as I write this, and it’s already had 121 views for the month.

I also have a more detailed breakdown of the last few weeks, and it shows that the article has been receiving a steady stream of 3-4 views a day – all except for the week of New Years Day (average 3) and last week (average 5). Jan 28th, 9 people looked at it.

Here, for comparison purposes, is a more typical pattern, this time for ‘Every Shadow Has A Vanishing Point‘.

There’s the typical peak when it was first published (19 views on day 1) but by the end of the first week, it was 0 or 1 view a day. Most weeks, there would be one day that had two views. Every now and then, either through chance or because someone mentioned it in a volatile form like Twitter and it would leap up to 5 or 6 views – and then drop back again. That happens every 7 or 8 months or so.

Campaign Mastery’s traffic is the accumulation of more than 1300 such small trickles and a few handfuls of more popular posts.

It’s largely the same for any product. There’s a start and rapid acceleration as word spreads. This is largely over in the first week, month, 6 months, or year – depending on the product and the promotional platform you have for getting the word out. With a typical sales pattern, it will fall almost as fast as it climbed, with a popular product that tail-off will be even slower. But eventually, all things being equal, it will enter a stable state. Where that ‘floor’ is will depend on the popularity of the product.

Various things can ‘gee up’ market performance – bloggers writing about it regularly, for example. Free samples, demonstrations, advertising, and new additions and supplements, for example. And sometimes, a product is a sleeper, and it takes off some time after it’s initial burst of popularity.

Absent such stimulus, though, you can use (in hindsight) the attainment of that “floor’ as a signal that the product has ended its availability window, and it is now a ‘legacy product’.

The key point is this: everything new has a surge of popularity of unknown size.

In order to buy a product (whether it’s with dollars or simply with someone’s time), they have to know that it exists. Depending on how successful your initial marketing is, that will be a greater or lesser percentage of the people who might buy it if they know it exists. In most cases, that will be 5% or less.

W: Percent who subscribe / purchase / read products of this type

Some people don’t read blogs. Some people don’t listen to podcasts or stream video files. Some people won’t buy digital books. Others find them to be better value for money than physical media. A certain percentage of your market will not be served by any given format. The more strings you can add to your bow in this department, the better your product will sell.

As usual, context and expectations are everything – appear to fall short in any way, and your sales will plunge like a rock. Appear to exceed expectations, and word of mouth / publicity will follow, leading to popularity. Since I can’t be specific, 10-20% is the base expectation. The high-water mark might be 80%, a poor result would be 5% or less.

R: Percent who are not turned off by price, reputation, product description, etc

Even if someone is interested in a general sort of way, there are all sorts of resistances that have to be overcome. Price, for example – I argued very strongly that $15 or $18 were better price points for Assassin’s Amulet, but was overruled.

When it comes to price, the usual pattern is this:

Click on the image for a larger (800 × 800) version in a new tab.

As price goes up, sales go down. Marketing and promotion pushes the sales for a given price toward the upper right, but there are diminishing returns after a given point (actually, at several points). Negative expectations and reputation push sales for a given price toward the upper left. No matter what the combination, there is a ‘sweet spot’ that maximizes sales x price, i.e. profit (excluding marketing and promotion spending). Since the price of doubling the effectiveness of a given level of marketing and promotion rises more quickly than profit once those diminishing returns seriously kick in, there is also a sweet spot in terms of Marketing spend. The higher the negative expectations / damaged reputation that have to be overcome, the higher this sweet spot is, because part of the value lies in countering that negative perception.

Promotional expenditure doesn’t have to be money; it can be time, it can be promotional copies and other freebies, it can be making excerpts publicly available, it can be philanthropic or public activities while wearing a promotional T-shirt!

Different promotional activities target different variables in the ‘Drake Marketing’ formula – raising awareness, raising desirability, raising awareness of the product’s attributes. Even a 1% gain in 4 or 5 of them can be an extra 5% sales – 2%, more than 10%, 4%, more than 21% increase. What’s more likely is that you will have some quite high increases in performance metrics and some modest ones, for any given type of marketing or promotional campaign. +50%, +20%, +120%, +10%, +5% would not be at all unusual – and that yields a 357% sales increase!

Negative perceptions, warranted or otherwise, are a millstone around the neck of your sales. But the effect can be overcome. This variable measures the impact of those negatives that are not overcome – and predicting that ahead of time can be extremely difficult.

C: Percent who have the capacity to subscribe / purchase / read

You can have someone liking a product, and willing to purchase it – but still not close the sale, because the potential customer doesn’t have the wherewithal to make the purchase immediately. Discounts and sales and bonuses all push this metric (and several others) up in value.

But absent such promotional activities, this is another reflection of the relationship described regarding price earlier – you could say that this is the mechanism that couples the two factors (sales and price) together.

Depending on the price, this may be anywhere from 100% (free) to a tiny percentage of the potential marketplace.

You should also recognize that there is a reluctance to spend that has to be overcome even if the price is not unreasonable. I’ve lost count of the number of comments made here and elsewhere that shows that the person making the comment had read only the first and last couple of paragraphs, reacted to those, and put that reaction in writing.

D: Percent who do not disapprove of the product / author / publisher, etc

There are people out there who don’t like my writing style, just as there are those who do. There will be people out there who don’t like having PC Assassins in their campaigns. There are people who consider WOTC (and Wizards before them) to be next-door neighbors to the Antichrist. These are all potential sales that are almost certainly lost to you. This is a measure of the people who have NOT formed a negative opinion about one or more of these attributes. That, by definition, includes those who have formed a positive impression, and those who have never heard of you before.

A: Percent who actually do subscribe / purchase / read if given the opportunity

Finally, there’s a given percentage of potential customers who will simply get cold feet at the last minute. An overly lengthy, complex, invasive, or irritating sales process can send this percentage crashing down. The more painless that you can make implementing the decision to buy on, the better.

The cumulative effect

Let’s assume, for the sake of argument, that each step reduces the potential market to 10% of what it was. With 10 percentages, that’s 0.1 to the 10th power – or 0.000,000,01%. A drop by 1% in each of the metrics lowers this to 0.000,000,003,486,784,401%. Multiplying those two values by the population base, I get 0.79 people and 0.275 people, respectively. Fortunately, as discussed, several of the factors are much higher, and that makes a big difference.

If one was 59%, and one was 30%, and the other eight were just 10%, that yields an altogether more impressive number of 0.000,000,177%, or 13.983 sales. If those eight others were 15%, 0.000,004,536% and 358 sales are the outcome. At 20%, 0.000,045,312% and 3579.6 sales.

This is the power of a geometric expansion – the consequences of multiple factors improving, in aggregate, far outweigh the size of the individual change.

Getting back to the Okay Grognard

Ultimately, the YouTube channel had 188 subscribers and wanted to increase this by just 12 to 200. That’s only a 6.4% increase. Mark’s post calling attention to the potential milestone was largely going to be preaching to the choir, but it was a promotional effort that may have finally persuaded some who were wavering, or who simply hadn’t committed yet. On top of that, there may well have been promotional posts by others who wanted to see the target achieved. It would not have taken much for those twelve additional subscribers to have been found, and so it was that the target was achieved inside a couple of days of the announcement.

The same is true of every other form of sale that you might want to make – whether it’s acquiring twitter followers or blog readers, or actual for-money sales of a product.

Trying to assess the potential benefits of a marketing plan, that will cost X amount, can be very tricky. A step-by-step analysis, one factor at a time, can yield a vague but useful measuring stick. Achieve this much increase in sales, and the campaign is a success; achieve less, and it will nor.

And all this is relevant to GMs in general. We all have to ‘sell’ our campaign proposals to potential players; we all have to sell the players that we do have on the credibility of our plots and characters. When the wheels come off these purchases, the impact can be disastrous. If you have an acquired Resistance, you too may have to work that much harder just to be credible.

The Drake Equation For Marketing is, in the final analysis, less important than the factors that it contains, describes, and represents. Some of these are fixed and invariable; others can be influenced by you. Understanding them will help you find the sweet spot for your circumstances to optimize your outcomes – whatever you’re trying to sell.

Finally, congrats on making the target, Mark!

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Image Compositing for RPGs: Project No 1


This entry is part 2 of 4 in the series Image Compositing for RPGs

Palette image by Alexander Lesnitsky from Pixabay, tweaked by Mike.

Last time, in part 1 of what has now become a series (more on that in a moment), I demonstrated the composite modes that I use most frequently, and some of what I can do with them.

But the rule zero of image editing is to always have an objective, a purpose, in mind – a need that the resulting image satisfies for you.

The specific projects that I have in mind are (mostly) inspired by what I found on the Pixabay home page. For some of them, I sought out additional images to add to the composition. The intent is to show (and explain), step by step, what I’m doing.

I will try not to repeat anything from Part 1, or from the earlier post on this subject in which I constructed an image that was half invention and half reality – The Power Of Blur went into detail about how I create masks and composite images from different sources without leaving a tell-tale ‘Halo’ around them.

I also talk about darkening and color-manipulating images (with examples) in Stalking Fear: The Creepy In Non-Creepy Genres – but I’ll be updating that advice in this post. Still, you might find it worth checking out for additional hints and tips after we’re done.

On to business! Today’s post will offer (compressed) step-by-step instructions for the construction and assembly of five different images:

  • An alien woman
  • A Blue Monkey
  • A Sci-Fi Buddhist
  • A Fantasy Citadel
  • Using the same foundations and different dressings, a Sci-Fi City

In general, these are arranged from the most simple to the most complex, and several use techniques that will be described in earlier sections.

    Rule Zero of image editing may be to always have a purpose, but rule zero of blogging is to beware of over-promising. By the time I was finished writing up and illustrating the first project on my list, it was clear that I would not get all five done in time. That meant either taking a couple of them off the list – something I didn’t want to do as they each have a purpose – or further breaking this up into a formal series.

    The next image will be rather quicker than the one described below – enough that it probably wouldn’t deserve a full post on its own. Project 5 will reuse a lot of project 4, so those two form a natural partnership. Project 3 will probably need a post all of its own. So that leaves project 2 up in the air; it will reuse a lot of the techniques demonstrated in this post, and a full description of the process probably won’t be necessary; I will want to focus on the novel parts of the procedure. But there wasn’t time to add it to this post, and it probably doesn’t deserve a full post of its own.

    So it has been relegated to part 3 of the new series. The undecided question right now is what I will do to fill that post out. Right now, I don’t have an answer that I’m happy with. So we’ll all have to wait and see!

Let’s get started!

Project 1: An Alien Woman

I wanted a black and white image to demonstrate an updated colorization process. The first one that I spotted was the image below. So be it :)

There are two basic approaches to colorizing a black and white image like this. You can multiply the black-and-white image by a color layer, or you can create a color layer and multiply it by the black-and-white image.

The problem is that multiplication also darkens the image, and we don’t want that. So you either do a lot of fussing around with lightness and contrast of the two layers, or you use a controlled-opacity addition layer. Adding dark to dark doesn’t make much difference, adding medium to medium makes light, and adding light to light makes very light.

That then leaves three options to consider: adding a copy of the color mask, or adding a copy of the grayscale image, or adding a combination of both. The latter gives you a lot more control but it’s easy to get confused. My normal practice is to pick one to be the dominant choice, doing most of the work, and use the other to tweak the effect just a little. And I have been known, from time to time, to use a copy of the base layer and a Multiply over the top of the addition just to give a little nuance of further control.

There’s one more trick that occasionally comes in useful – making a copy of the black-and-white image, creating a mask from the lightest tones and then deleting them from the image, and doing the same thing for the darkest tones. This permits even more granular control over the tones and color of the final image by permitting tweaks using other compositional modes like Saturation. But I always regard this as a failure, because it means that I didn’t get the colors quite right in the color layer.

Which takes me back to those three options.

If you multiply the grayscale by the color layer, most of the colors have to be a lot lighter than they will appear in the final picture, almost pastel. Back in the days of the Stalking Fear post, I made a point of that. If you multiply the color layer by the grayscale, simply by using the various controls and layers that I’ve mentioned, you can actually use colors that are a lot closer to the ones that you will end up with, and that makes projects a lot quicker and easier to complete.

So, to the project that is going to demonstrate all this using the image above. I want to use unusual colors in the background, to make the location look alien; and I want to give the girl blue skin, but a more realistic skin tone than is often used even in movies and TV.

So, before I start work, I should remind myself (and tell you) all about skin tones.

    On Skin

    Most people start with pink skin when coloring a Caucasian, brown skin for a black man or woman, yellow for an Asian or Inuit, and maybe a slightly redder skin for American Indians, and are inevitably disappointed by the result.

    Skin should start as more of a peach color. You layer pink over the top in a texture layer, especially in mid-tones and highlights. Over that, you layer a very fine low-opacity texture in red for arteries and blue for veins. Over that, you add more peach around the edges of the highlights and fade it considerably, then a slightly grayish light brown in the same texture as the pink. Next, you use the same color in a layer for skin tan, or chocolate brown, or a golden yellow, or a slight reddish tone for non-Caucasion race (do it with white for a more anemic look). Finally, a darker version of the color around the edges and a much lighter version for highlights and shadows. Throw in combining and blending the layers (except the vein & artery layers) and you end up with a skin tone that looks fairly realistic

    Sounds like a lot of work, doesn’t it? And it is – but probably less than this makes it seem, because you can use a mask to avoid worrying about edges. Most of this will be done with the airbrush tool, but for the veins and arteries there’s a sponge texture that works, and for the texture layers, a fine speckle. And, of course, the blend tools.

    One point that should be noted is that with Krita, you can specify the opacity of the brush you want to use, and it will do so – there’s a convenient slider for the purpose. This doesn’t change the layer opacity, just the opacity of that particular brush-stroke – the “master control” of the layer stays at 100% until you change it.

    Oh yes, and then there are wrinkles and fine lines…

    On Eyes

    Eyes are a little more complicated. You need to outline them a little using a darker brownish-red, a copy of which is blurred a little, and then delete the actual whites of the eyes. Don’t forget the eyelashes – these are often the hardest part to get right! You need arteries as per skin, more prominent if the eyes are to be bloodshot, almost (but not quite) invisible otherwise, you need to shade the eyeball to make it 3D, you need to make the eye ‘wet and shiny’ and do the same for the lens. The iris consists of radial streaks with color variations, usually darker on the outside, and often requires several layers. The pupil is a very VERY dark red (unless you want to create a red-eye candid look to the image), and don’t forget to make the lens shiny, and to shade the skin above and below the eye..

    It’s really helpful if you have a closeup photo or other reference image to help you get the anatomy right, like this one:

    Human Eye illustration by salam6490 courtesy FavPNG.com, free for personal use only.

    I chose this illustration because it also shows the texture of the skin quite clearly- study it closely!

    The eyes (and the ears) is often as complicated as the rest of the skin. Hands are easy by comparison! It’s so easy to make the eye too elongated (too feminine), to get the angles wrong, or to make the person look cross-eyed. Take extra care!

    On Backgrounds

    One of the biggest mistakes you can make is making the background too monochrome. There will be all sorts of variations and tones.

    Almost as big a mistake is to have the edges too sharp – the amount of blur should match that of the black-and-white background, but that can be very hard to judge, and you have a lot of variations and options in the blur settings. Use them cautiously, then cut away the overlap with the head/body or other foreground elements, then apply one-pixel of blur.

    On working scale

    You’ll find life a lot easier if you use a factor of two relative to the size of the end image. 200% or 400% of the intended size tends to work well, but I will sometimes use 800% to get the eyes right, then shrink back down to the 200% or 400% scale.

    Always remember what happens to the size of your brush strokes when you do this.

    • At 200%, 6 pixels becomes 3, 4 pixels becomes 2, 2 pixels becomes 1, and 1 pixel becomes 0.5. The latter can be highly problematic if you’re unlucky, or highly successful if you aren’t.
    • At 400%, 12 pixels becomes 3, 8 pixels becomes 2, 4 pixels becomes 1, and 2 pixels becomes 0.5. Fine lines drawn 1 pixel wide will simply seem to blend into the composition – but will still tint the color, just as the arteries have in the eyeball illustration above.
    • At 800%, 24 pixels becomes 3, 16 pixels becomes 2, 8 pixels becomes 1, and 4 pixels becomes 0.5. Fine lines drawn 1 pixel wide will simply seem to blend into the composition even more faintly, but you also have the option of 2-, 3-, or 5-pixel-wide lines, which can be very useful. They will all blend in, but to a lesser extent as the size goes up.
    • Not sure how big two pixels is? The borderline on all the images in this article are two pixels thick. 1 pixel is often described as a ‘hairline’.
The Project

So the notion is to make the background look alien with color, and to give the woman Blue Skin. I’m leaning toward blue and purple for the eyes, too, but I may try some yellow in there too. So the technique for assembling the color layer will be the same as described above, but the colors will be very different.

As a guide to what I’m aiming to achieve, here’s the same eye picture simply color-shifted into blue – it’s not quite right, but it’s a good start.

Preliminaries & Initial decisions

I’m going to use the color-multiplied-by-grayscale technique until I see it isn’t working. My first step is to resize the image to 2224 pixels wide, 400% of the width of full-column images here at Campaign Mastery.

That naturally blurs the image a little, but fixing that at this stage can introduce halos that are a pain to get rid of. That’s literally the last step!

Of course, all the examples I’m going to show here have to be reduced back to 556-wide in order to fit on the page. And, of course, I use a lot of variation in zoom levels while I’m working – there are times when 1600x zoom is called for! Where it’s important to illustrate what I’m doing, I’ll do a screen capture at either 100% zoom, or at the zoom level I’m actually using.

Phase one: the background

Looking at the background, I can’t tell where the horizon is. There’s a ground area in middle- and darker-gray which slopes down from right to left through the body. On the left, there’s a lighter gray area with still-lighter texture, and there might be just a hint of that to the right – but I can’t be certain. Then there’s a lighter patch on the left, and then another light-medium patch, which ends at the character’s eye-line. Above that is a sky. I suspect that this is actually a beach scene – sand, then surf, then sky (as you go from bottom to the top), so I’ll use that thought as a guideline, at least until I have a reason to change it.

Let’s talk about the horizon line relative to the eye-height of the person in the image, just for a moment. The horizon line is always relative to the eye height of the viewer/photographer unless they are looking (or have the camera tilted) up or down. And there’s no indication of that. Which means the apparent horizon line tells you something about the height of the person being photographed – if their eye-line is below the perceived horizon, they are shorter; if above, they are taller. Which means that my color choices for the background, which will give a far more substantial clue as to where the horizon line is, will matter in the final composition.

I have three choices:

  • Choice #1 uses the darker area on the right-hand-side as the indicator. This feels too extreme to me. You would expect to see the camera tilted up, even a little, and to see the underside of the nose as a result. The perspective would be all wrong – and while the image could be edited to correct the problem, that isn’t what this project is all about. Besides that, having an intersection between horizon and background right at the edge of the image is a bad composition technique – the eye tends to follow the horizon through the image of the woman and then fall off the edge of the image.
  • Choice #3 feels like the ‘real’ answer, because it’s roughly 2/3 of the way up the image, and dividing into thirds is a natural (and very traditional) compositional technique.
  • But choice #2 is my choice. It’s not quite 1/2 way up the image (which is another traditional compositional technique), but it’s close enough, and it implies a physically larger subject. This may require a little editing of the base grayscale image, we’ll see how it works, first. What it means is that my sky contains clouds at the horizon.

For the ground, I’m going to pick a base color of white where the dark gray is, and a grainy golden yellow where the lighter part is. For the sky, I’m going to do some swirling yellowish clouds and a green sky color.

To achieve this, I need to make that dark area a lot lighter, so I start with an addition layer. Playing around with the opacity slider, 80% look about right.

But I don’t want this for the whole image, so that means an erase layer:

I created this layer with a square block of solid black to the horizon line, some airbrushed black to fade the effect gradually, and a couple of pens – one about 100 pixels in size and one about 30 pixels in size, both to mask out the clothes, hair, and figure.

When I combine the erase layer with the addition layer, this is all that’s left:

…and when I apply the addition to the base image, here’s what I get:

What I find most interesting about this image is that already you can see my chosen horizon line emerging. It’s faint, but it’s there, as this 100% zoom shows:

Time to start coloring! White first, and a bit of peach in the shadows, and a slightly yellower shade of the peach in between, all layered to build up a smooth transition:

Next, the water, a deep blue with horizontal dark green streaks. At the land-side edge, more streaks in a lighter blue and green with a slight left-and-right back-and-forth motion, angled slightly up. All except the initial blue were painted at 29% opacity so that the color underneath would show through fairly strongly. More angled streaks in a much lighter hue of the same color at a 70% opacity right at the bottom edge. A bit of careful almost horizontal smudge, and then some white streaks on top (with some more smudge at the complimentary angle relative to the horizon).

This close-up shows the effect the way it looked at the zoom level I used for most of the work:

If I turn on the base image, you can see that I was not bothered with respecting the edges of the foreground figure. I’ve been careful not to go over the horizon line, but wasn’t particularly bothered with the land-sea boundary, either.

So the next step is to clean both of those up. I do that by setting the paint layer to 50% opacity (so that I can see the base image below, then erasing the bits that shouldn’t be there. I use the hard eraser over the figure, and the soft erase along the coastline, the latter at 33% opacity so that I can control the erase precisely. Finally, a very low-opacity soft erase along the coastline. I didn’t respect the boundaries in working on the land, either, so I’ll take the time to clean that up while I’m at it.

In the image below, I’ve turned on both the sea and the land layers as well as the base image..

Except that everything gets lighter near the horizon, or it’s supposed to. If you don’t do that, it looks like a cartoon – and that’s not the effect I’m going for!.So I’m going to simply draw a horizontal line using the same middle and lighter greens that I used in the sea and position them at the horizon. This won’t be all that visible when the full image is reduced to fir Campaign Mastery size, but it’s there, and it matters. I’ll also do a few 20% opacity lines with the airbrush in a new layer and then fade them. Again, the effect will be subtle, but you’d notice if it wasn’t there.

Next, it’s back to the land – using splatter thin, at about 50 pixels size, and in another new layer, I’ll add some golden yellow in various shades along the shaded parts of the land. Then, using FX_Splat_Starfield, I’ll put a little tan color underneath the speckle in still another layer. Combining them and applying a little motion blur and then some careful smudge at 70% opacity will create texture within the land.

It was while doing all of the above that I made my first mistake of the project (mistakes happen all the time). I did initial splatter effects, and the motion blur, and the smudge all on the main land layer. So I had to bring the starfield layer on top. Fortunately, it all looked good, so I didn’t have to undo or revert to a saved copy.

    But that brings me to an important tip that I neglected because I was so busy explaining what it was that I was doing – save your images regularly, in the native format of whatever image editor you’re using. In the case of Krita, that’s the KRA file format. Why? Because it preserves the layer information – every other format puts the image together as though you were doing final compositing. If you’ve saved every layer, and done too much work to undo it all, the worst case scenario doesn’t have you starting from scratch – it’s deleting a layer and redoing that part of the work, nothing more.

Anyway, this view at 200% zoom shows you the texture that results, over the base image.

And, if I put everything I’ve done so far together over the top of the base image, here’s what it looks like:

With that, it’s time to turn my attention to the sky. Base color, a darkening fade as it gets higher, lighter near the horizon, and then some swirling clouds in another layer. This all gets done in pretty much the same way as what I’ve already shown, so let’s skip ahead to the finished product:

Next, I take all those color layers and merge them together into a single color layer. This step sometimes doesn’t work properly, so I’m careful to save before and after. Results are more often exactly what was wanted when the merge is done one layer at a time.

In this case, it works perfectly, so that’s good.

One reason for the merging is that it leaves me with the perfect outline of the parts of the image that are considered foreground and background, so that I can copy and paste these into separate layers that can be independently controlled.

That also lets me merge the addition layer created earlier with the grayscale background file. Because the original was very blurred, putting the grayscale atop the color layer and applying the multiply, then tweaking the opacity until it looks right – I settled on 56% – won’t make a huge amount of difference.

One final point: you’ll notice that I did NOT forget to do the part of the sky visible through the sunglasses! This sort of thing is surprisingly easy to do, it happened in the example offered in The Power Of Blur, for example.

Phase two: the skin

The first thing that I notice when comparing the photograph to the quick eye demo that I showed earlier is how gray and flat the photo in the project is, in terms of skin tone. I mean, there are some shadows, but no real highlights – at least until you look really closely. To give myself a guide to follow, the first thing I do is make a copy of the foreground layer, brighten it a bit and then apply greater contrast, especially darkening the shadows and mid-tones. This should exaggerate the tonal differences within the skin, giving me something to work from. The results are below:

That’s more like it – there are clear highlights on the hands, and on the right cheek, and even a hint of highlight on the right forehead.

With that as my painting guide, it’s time to get busy.

I outlined my process for realistic skin tones earlier. Here it is again, in list form – but remember that I want to make this lady into an obvious alien, so I’m doing the skin in blue. So I’ve put the chosen colors for this image in [square brackets] after each item on the list.

  • Skin base color is peach [light blue].
  • Pink texture layer on mid-tones and highlights [slightly lighter blue].
  • Low opacity texture for arteries in red [dark purple].
  • Low opacity texture for veins in dark blue [white].
  • More peach over the edges of the highlights, faded considerably [light blue].
  • A slightly grayish light brown in the same texture as the pink over the shadows [darker blue].

  • Tan & Skin tone layer [darker blue again].
  • Darker brown around the edges and deep shadows [very dark blue]
  • Much lighter version of the same color on highlights [very light, slightly grayish blue]
  • Combine everything below the artery layers into a single color layer. Combine everything above the veins into a single color layer.
  • Blend those layers as necessary to get rid of any banding – smooth color transitions are the goal.
  • Set the opacity of the top layer and the vein & artery layers so that these only just show through. You only want to hint at these except in unusual situations.
  • When satisfied, combine skin layers into a single color layer.

To this, I’m going to add a second-last step:

  • Test The Multiply by Grayscale! Tweak the contrast and brightness as necessary.

So, let’s get busy.

Skin base color is peach [light blue].

Having taken a fair amount of care with this, I can then do a neat trick: using the similar color selection tool, I can restrict the working area to just the skin, even when I go to work on a new layer.

In terms of that care: having dark clothing made it a lot easier, so most of what I had to worry about was hair and the glasses. In terms of the hair, anywhere that skin might show through (including the eyebrows) was painted in the base layer. I’ll fix it with greater care when I do the hair.

Pink texture layer on mid-tones and highlights [slightly lighter blue].

I’ve actually done two layers of highlights here, a light one and an almost white one. Even at 100% opacity, the shape of the face and hands are clearly starting to come through.

Low opacity texture for arteries in red [dark purple].

Arteries get done with the sponge texture. If you click on the paintbrush icon at the top after selecting the brush and in paint mode (the brush on the left), it opens up a panel of dozens of additional textures and settings. The texture I want is in the sixth row and is called reptile skin.

You heard me.

Here’s the result at full opacity:

But I’m nowhere near done with them yet. The next step is to apply the sharpen filter (listed under enhance). And then I’m going to use my airbrush erase at about 30% to fade these massively except in the areas around the shadowed parts of the face. And, once that’s done, I’ll drop the layer opacity down to about 8%. Finally, I’ll set the size of my erase brush to about the size of the cells of the texture and trace meandering routes through them, leaving only the ‘lightning bolt’ shapes more familiar to us as arteries. You want the blood vessels to (generally) follow the shape of the physical features like fingers.

The results are, as you can see, far more subtle.

Of course, I’ll do the same thing with the hands.

Low opacity texture for veins in dark blue [white].

I do the veins the same way as the arteries, but I reduce the opacity in the mid-tones and shadows, not the mid-tones and highlights, and I won’t drop the opacity as low – somewhere around the 30 to 35% mark is usually right.

More peach over the edges of the highlights, faded considerably [light blue].

This is a job for the airbrush tool. While I can fade it using the layer opacity slider, I don’t want to make it too opaque to start with – 25% is about right, and using multiple strokes to blend. This, of course, further fades the veins and arteries.

A slightly grayish light brown in the same texture as the pink over the shadows [darker blue].

Airbrush again, starting at 70% and stepping down so as to fade the effect. This is also when I will do the lips.

Tan & Skin tone layer [a darker blue again].

Airbrush, but at a fairly low opacity. I used 5% and 170-odd pixels.

Darker brown around the edges and deep shadows [very dark blue]

Same method as above.

Much lighter version of the same color on highlights [very light, slightly grayish blue]

And the same again.

Here’s where we’re at after doing all that:

Combine everything below the artery layers into a single color layer. Combine everything above the veins into a single color layer.

Again, no problems on this occasion.

Blend those layers as necessary to get rid of any banding – smooth color transitions are the goal.

No real problems in this regard. There usually aren’t, but this provides a last chance to find and fix any trouble.

Set the opacity of the top layer and the vein & artery layers so that these only just show through. You only want to hint at these except in unusual situations.

I ended up setting arteries to 13%, veins to 50%, and the shadows layer on top to 85%.

Test The Multiply by Grayscale! Tweak the contrast and brightness as necessary.

When I tried this with the original person image, it became just a little too dark and too flat. So I tried the version where I had enhanced the skin tones and it looks perfect:

When satisfied, combine skin layers into a single color layer.

Quite satisfied, so let’s move on, having done that housekeeping!

Phase three: the hair

What color hair should this woman have? Brown? No. Red? No. Blonde/yellow? No. None of those would look right. Green? too much like the sky. Blue? Ummm -maybe. Purple? Ummm, not so sure, but maybe.

Here’s a new tip: if I place the hair color layer beneath those of the background and the skin, the only place that the effects will be visible are where there’s no color already set. So this can be done fairly quick and sloppy.

I try the blue – with a second darker shade away from the brightly-lit edge, it works.

Phase four: the clothes

Clothes comprise three things in this picture: jacket, sunglasses frame, and sunglasses lenses.

I’ll do these separately.

I noted while setting the enhanced skin tones that with a little lightening, a lot more detail could be seen in the jacket. I liked the way it looked. So I’m going to start by copying and pasting just that part of the base image, and adjusting it. I will need to compensate for the comparative lack of shadows that results by adding some airbrushed darker color, but otherwise, this can be done almost as quickly and easily as the hair was.

With everything that’s not jacket removed, here’s what I end up with:

So, to colors: I think that a middle-dark red should come up very nicely. A lighter red with a little yellow tint for the edges of the jacket, and a slightly purple dark red for the shadows. Here’s how that works out:

Next, the sunglasses. I don’t think there’s any need to do anything with the lenses, on reflection (not intended as a joke); the original image already darkens them. Maybe a slight color shift to the skin visible through them.

To try that, I go to my skin layer, and copy the lenses, then paste them into a new layer. But then I remembered that part of the view through the sunglasses was sky, so I turned that layer on as well, corrected my selection, and then ‘copy merged’ from the edit menu.

I darkened the color a little, desaturated it a little, and shifted the tone a little further away from yellow. It looked fine, and a definite improvement, especially after I specified “Grain Merge” compositing mode for the layer.

Last, there’s the sunglasses frame. For the most part, this is just black – it’s what color to do the highlights in. I think that an apple green is worth trying. Once again, I can use the “bottom of the layer stack” trick to make this a quick and easy test.

The green didn’t work, so I tried a gold. That didn’t work either, so I tried the same red that I had used in the jacket. That was closer but not quite right. A dark grape purple worked perfectly.

Phase four: final compositing

Working at x-hundred percent size means that when the final image is rendered, mistakes shrink. That’s a good thing. It also means that the final image will be a little blurred – four pixels (at 200%), or more, will suddenly become one that’s a compromise between all of them.

Step one is to make copies of all the layers and put them underneath all the visible layers, then apply Blur as described in The Power Of Blur. This fills any gaps and makes the colors look smooth. The easiest way to do this is to select the bottom-most layer, then shift-select the uppermost one, control-G to quickly put them into a group (which overrides any individual composite modes set). I can then select the group, collapse its contents list with the little downward arrow, duplicate the ‘group layer’, move the duplicate down, then quick-ungroup each group with Control-Alt-G. Foreground elements get blurred by (0.5 x scale%) pixels, background elements by (2 x scale%) pixels, and midground elements (there aren’t any in this image) by (1xscale%) pixels.

Step two is to Flatten The Image. That takes all the layers and combines them.

Step three is to resize the image to it’s final intended size. I use 1300 wide or 800 high for my in-campaign illustrations, whichever is the most constrained – 1300×650 would be acceptable, or 1100×800. That’s all about the available display space on my screen, so your choices might well be different.

For Campaign Mastery, I use two basic sizes: 390 wide or 556 wide. The latter is what all the illustrations in this post have been.

Not all of these will have visible consequences, so I won’t demonstrate them individually. Here’s the end product:

Phase five: sharpening

Time to fix that blurring problem.

I make a copy of the image and apply sharpen to the copy. This is what happens:

You can see the effect of sharpening. Notice the halo around the hands and at the top of the jacket collar, and the against-sky part of the sunglasses. The horizon also suddenly looks unnaturally bright – that’s another halo! And there’s one more on the shoulder to the right of the image, and yet another in the ground at the bottom of the image. Lots of halos to clear up!

The solution is to reduce the opacity of the sharpened copy until it looks right – no halos around objects, etc, but the content still sharpened a little. This is usually around the 20% opacity mark, but I’ve used everything from 40% to 10% in the past. Sometimes I’ve also had to use a low-opacity blurred copy of the image in order to soften the sharpening.

In this case, 17% looks good to me.

Once I’m happy with the end result, I again flatten the image, combining the sharpened and sharpened images. Then it’s time for a final review: is the resulting image too light? Too dark? Too much contrast, or too little? This is the last chance for any final tweaks!

In this case, I note that the lightness of the midground has accentuated a darkness of skin tone compared to the ‘quick guide’ example that I created early on, but the somewhat gloomy and mournful tone works for the image, though hinting that this is either early in the morning or at twilight. Or perhaps this is set on a world with a smaller, cooler star than our sun. I also note that the cheekbones have become even more accentuated, adding to the slightly alien physiognomy. Regardless, I’m reasonably happy with the image with no further need for tweaking.

Here’s the finished image:

Project one completed. Click on the image to open a for-use-in-an-RPG sized version.

Let’s Sum Up;

There have been a number of techniques demonstrated in this article, and I’ll be referring to several of them in future parts of this series, so it’s worth taking a moment to highlight them.

  1. Multiply Grayscale by Color or Color by Grayscale – it matters!
  2. Skin (human)
  3. Eyes (human)
  4. Horizon Line significance
  5. Using erase to separate image elements
  6. Adding original image elements – constructing Sea
  7. Adding Texture
  8. Skin Color process demonstrated and adapted to alien skin
  9. Hair Color
  10. Clothing Color
  11. Using sharpen to correct blur from reduction in scale

That’s quite a lot for one article!

PS:

Some people may be wondering about the dashed line that appears in some of the images. That’s how Krita indicates a Mask – a dashed line that “marches” around the edge, i.e. is not a still image. Obviously, screen capture picked it up – showing absolutely that these images were grabbed “live” as I was working on the project.

PS2:

There’s been some interest in Krita itself. I find the approach very intuitive for the most part, but I’m not using the latest version (due to laziness on my part more than anything else). I’m using version 4.4.3 of the 64-bit version, pretty much as it comes out of the box (I have expanded some tool areas and added a couple of quick buttons to the top for convenience). I’ve also downloaded (but not yet installed) a whole bunch of extra brushes and textures. You can investigate further, and grab the program (free) for yourself at https://krita.org.

Next week, I’ll write on some other subject to give those who aren’t so into illustration something to think about, but then I’ll be back with Part 3, in which I’ll tackle A Blue Monkey!

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Image Compositing for RPGs, Part 1: Basics & Tools


This entry is part 1 of 4 in the series Image Compositing for RPGs

I thought about breaking with tradition and not putting an image at the top of today’s post, but changed my mind when I realized I had no idea what image social media would associate with the post. This palette image is by Alexander Lesnitsky from Pixabay, but I’ve tweaked it a bit to let it be a little bit bigger than the other images in hopes that this will make Facebook think it’s more significant than the others.

A picture, it is said, is worth 1,000 words. Sometimes, it’s worth more than that. In an earlier post, I posited that the GM should make darned sure that he gets a full thousand-words-worth out of an image if he is going to spend serious time editing it.

Past posts on image construction and editing have proven quite popular, so I thought I’d do another one.

Because of the number of images to download, this post might be a little slow to load – my apologies for that, but I think it will be worth it.

The Fundamental Principle

Whenever you edit an image, you should always have a firm purpose in mind. In so many cases, the basic technique is to manipulate the image and decide whether or not the manipulation takes it closer to serving that purpose. If it does, fine – move on to thinking about how to get it even closer; if not, try something else.

Layers

I work a LOT with layers. For one thing, “undo” doesn’t always work seamlessly, and for another, sometimes you need to do something else with the base image. So for a start, never manipulate the base image; always work with a copy which is, essentially, a second layer.

In addition, you can take parts of an image and manipulate them in different ways by putting each part in a different layer; and you can specify how much each layer contributes to the final effect. That’s controlled by something called Opacity.

Compositing Modes

There are several ways that different layers can interact to create an image. There are seven that I use regularly – addition, multiply, darken, burn, color, alanon, erase, and grain merge. There are dozens of others in Krita, the image editing software that I do most of my work in these days, but those are the most common.

Let’s start by illustrating the different compositing modes, and some of the things that you can do with them.

To do this, I’ll be working with this image:

City image by Jo Wiggijo from Pixabay

This is a US city skyline; the image information doesn’t tell me which city, but that doesn’t matter.

Opacity

First, against a white background, here’s a demonstration of opacity:

100% is exactly the same as shown above.

70%:

See how the white background is showing through?

50%:

20%:

The image is almost completely faded away.

If I change the background color to a medium-dark, slightly gray, yellowish brown:

100% – still the same as the original image

70%:

50%:

20%:

If I wanted to make a sepia-toned version of the image, I would usually base it around a desaturated copy, with the original reduced to almost complete zero opacity, and probably with a multiply composition mode for both, and a lighter background – but that’s getting ahead of myself. The point would be to leave just the merest vestage of the original colors – I’ve learned from experience that this looks more “real” than using pure color. You can judge the color of background to use by remembering that this is what the lightest color will be – the parts of the image that are white on the original.

Okay, so that’s opacity.

Addition

So, making a copy of the image and applying Addition as the composition mode produces this, with both layers at 100% opacity.

100%:

To understand composition modes, you have to be aware of how colors are understood by the software. This depends on something called the color space, and there are several different ones, but the one I use most often (because it’s the same one used for web pages) is RGB, or Red-Green-Blue. Each of these colors is described by a number from 0 to 255. If all of them are at maximum, you get white (255,255,255); if all of them are minimum, you get black (0,0,0).

If the Red channel is 255 and the others are 0, what you get is pure red (255,0,0). Similarly, Green from the Green channel (0,255,0) and Blue from the Blue channel (0,0,255): I think of these as the Primary Colors of RGB mode.

Each of these colors also has it’s opposite:

Cyan (0,255,255) has no red in it; Violet (255,0,255) has no green in it (and always looks very pink to my eyes); and Yellow (255,255,0) has no blue in it.

In combination, these numbers permit 1,6777,216 separate colors, variations so subtle that you can’t distinguish one from another. It’s estimated that the human eye can see about 1,000,000 colors, so this permits faithful photography. The intermediate values are necessary, though, to permit the smooth transition from one color to another.

So, the composition mode basically takes the value for each channel from both images and performs that mathematical function on them. Anything less than zero yields a zero, and anything more than 255 yields 255.

Addition, then, doesn’t change the dark areas much, but increases the brightness of the light areas.

The opacity of the layer being added to the base image controls how much of an adjustment takes place.

At 70%, 128 + 128 becomes 128 + (70% x 128) = 217.6 (I’m not sure how the program deals with the 0.6, it might round up or down, but the difference wouldn’t be noticeable anyway).

At 50%, 128 + 128 becomes 128 + (50% x 128) = 192, and so on.

The results are thus:

100% – as shown above.

70%:

50%:

20%:

Where this gets interesting is where two images are being added that have very different colors and shades.

For example, if I take this image:..

…and Add it to the base city image, this is what happens (shown at different opacities):

100%:

70%:

50%:

20%:

The main purpose for which I use addition is to make room for multiplication effects. I’ll talk about that a bit later – but, for a long time, I didn’t use this compositional mode at all, and relied on tweaking the brightness and contrast of a multiplied image. Putting an addition layer in between gives me a little more control over the creation of the image.

Multiply

Multiply is a little trickier to understand, because (technically) it’s misnamed. If you multiply an image color by white (255,255,255), it’s unchanged. If you multiply it by black (0,0,0), it becomes black. More interesting things happen at in between values.

Here’s the city image, multiplied by itself:

Right away, you can see the utility of this mode – the contrast of the image is enhanced. The foreground buildings are now too dark, but the skyline buildings are suddenly crisp and sharp.

By altering the opacity of the multiplied image, you can control the effect.

70% opacity:

50% opacity:

20% opacity:

By breaking an image up into multiple layers, each one multiplying the base image, and varying the opacity of each layer independently, you can control the contrast of each part of the image. If you carefully fade the edges of the different areas, the effect can be seamless.

If I were working this up for use in an RPG, higher contrast is important because optimum viewing angle hardly every occurs, the image is usually too light, especially when viewed from any distance (like, the far end of the table). So I would leave the foreground buildings un-multiplied, or with a very low percentage like 3% or something; I would use 20% for the mid-ground buildings; and I would use 100% for the skyline buildings. Which only leaves the question: what about the sky? For a gray, overcast day, I would use 20% or maybe 50%, because it makes the cloud formations stand out a little more. For a stormy day, I would not only use 100% for the clouds, I would use another multiply trick (that I’ll cover later) to tint them. And for more clement weather, I would use addition to brighten the sky and remove some of the cloud detail and then the same multiply trick to make it a blue sky.

Once again, with different colors from a second image, things become more interesting.

Here’s city multiplied by lake 100%:

And here’s lake multiplied by city at 100% opacity:

Don’t see any difference? That’s because there isn’t any! But if there was a third, different, layer in between, the effect would be marked.

Here, for example, I’ve added a yellow ring beneath the lake multiply layer:

….and lake and yellow ring multiplied by city 100%:

And, if I take away the part of the city image that’s outside the yellow ring, make the ring blue, and decrease it’s opacity to 23%, I get:

This is good but not quite right – I want to fade (i.e. reduce the opacity) of the lake part inside the ring so that the city is more apparent. Using the slider, I settle on an opacity of 65%, and make sure that there’s a white foundation underneath. Here’s the result:

That’s not bad. If I were doing it for real, I would have worked harder on the ring, blurring the inner edge, maybe filling the inner part with a halo of even less opaque blue, multiplying the skyline section of the city by itself, and maybe adding a second ring. I would also have moved the ring(s) and city section so that both images had the same vanishing point. These small touches would all enhance the image. But this is good enough to demonstrate the basics of using Multiply.

Darken

If you darken a copy of an image, you see absolutely no difference – which is completely different to what happens when you use multiply.

To see any effects, the darken layer has to be different in some way to the layer being darkened.

Here’s City Darkened by Lake at 70% opacity:

And 30% opacity:

Darken doesn’t change the color values in the same way that multiply does. That’s occasionally useful for shadows and special effects.

If you create a copy of the image and convert it to grayscale (i.e. Black and White), and then invert that image (so that black becomes white and vice-versa), you can use Darken on colored areas to deepen those colors – sometimes a useful trick. But you can achieve the same effect with Multiply. So I don’t often use this compositing mode – but every now and then, it does exactly what I want, when multiply won’t.

Burn

Burn introduces another concept, another way of looking at the colors of an image: Saturation. When a copy of city is used to Burn the base image at 100%:

As you can see, not only are the darks much darker, the same as multiply, but what colors were present are also much richer and deeper. That can be useful when combined with an intermediate addition layer, or a compositing mode that I haven’t mentioned (and rarely use), Lighten.

Here’s a multilayered composite:

  • At the bottom is the base image.
  • Above that is an addition layer at 64% opacity.
  • Then there is a burn layer at 79%.
  • Then there’s a multiply layer at 30%.
  • And then another copy of the base image at 42%.

The net effect is that colors are more saturated, but not garishly so, and the skyline is accentuated, but the darkening effects on the foreground buildings are far less pronounced. The image is, basically, clearer.

Color

This compositional mode replaces the colors in the base image by the colors in the Color layer. The lighter the area of the base image, the less it is affected. But black is unaffected.

The results are often counter-intuitive. Here, for example, is City colored by lake 100%:

Whatever I was expecting from the combination, it wasn’t that!

You can see the effect more clearly in this image, in which I’ve simply done a red scribble across the image (in a separate layer, of course):

And here’s a closeup, which shows it even more clearly:

Doesn’t look like black is unaffected, does it? But it is: take a good hard look at this closeup of the Lake image colored by the same scribble:

You might think that there’s no value in such an unpredictable composition mode, but I find myself using it regularly to make subtle changes to the colors in an image, especially if I’ve used other compositional modes to make large-scale changes to an image’s color profile.

It’s not the only tool that I’ve got in my toolkit for that. For example, here’s a different view of the lake image – I’ve removed the sky blue into a separate layer and then played around with the red and blue color spaces a little:

The effect is basically remapping the green to become bright red then adding layers of yellow, green, and brown texture which is then used to provide a color map, giving the impression that individual leaves are something other than the reddish brown. Note that I literally spent just a few minutes on this as a demonstration; I would take far more care if doing this for real!.

Using color, addition, and multiplication shifts the lake scene from summer to mid-autumn, and demonstrates how useful this composition mode can be.

Alanon

Alanon is a mode that I had never noticed until I started playing around with Krita. I’m not sure of what it does in technical terms, but fundamentally, it averages the color values between the base layer and the Alanon layer. This “fades” one image into another.

Used properly, this can be quite potent. If you’re just playing around, however, you’re more likely to end up with a mess.

Below is City Alanon Lake 100%:

Things get more interesting when I add a second Alanon layer at 30%:

Grain Merge

Grain Merge is similar to Alanon, but it takes into account the lightness and darkness of the images, effectively using the Grain image to ‘texture’ the base image.

If I use the City as a grain for itself, the results should look familiar:

It looks remarkably like the multi-layered image that I presented earlier, doesn’t it? But look more closely: the clouds are all but gone. The street looks like it’s been raining and is now reflecting the sky. A lot of other light-colored areas are also washed out but bright – the contrast has been boosted significantly. That means that I could replace the streets in the composite image with this ‘rain-slicked’ version, keeping the clouds visible, but using the ‘flare lightening’ effect.

Grain Merge is rarely the top layer of an image, rarely the final step. Instead, it can often be useful for providing foundations for later layers to work on.

It’s also most useful in small doses (without a high opacity in other words). For example, here’s our Lake Image in a multilayered form:

  • At the bottom is the base layer, as always.
  • Above that, addition at 73% opacity.
  • Then Grain Merge at 28%, darkening and enriching the colors, especially the darker ones and shadows.
  • And then Alanon at 50%, which also darkens the resulting image (because of the addition layer), but impacting especially the lighter areas.

The result is still lighter and brighter than the original image, but not (quite) garishly so:

Like all compositing modes, Grain Merge is a tool – sometimes it’s useful, other times, you don’t need it.

Erase

Erase reduces the opacity of an image according to the opacity of the erase layer. Doesn’t sound like much, does it? But it can be incredibly useful.

Erase as I use it always involves Three Layers: The base image, the target layer, and the erase layer. That’s because when I combine the erase layer and the target layer, only the target layer gets erased, permitting the base image to show through.

Here’s an erase layer that I’ve put together (with a blueish background). It’s basically small spots of black in various opacities, selected more or less at random: Note that the background is a completely separate layer so that I can turn it off – but because Campaign Mastery’s page color is white, it wouldn’t show up very well.

Next, I apply motion blur with a long blur length – 400 pixels in this case – at an angle of about 65 degrees to the horizontal:

That’s close but not quite the effect that I want. So I repeat the blur:

Much better!

Now, with a base layer of white, and a target layer of the city image, I get:

If I go from a white background to a bluesih one, the effect becomes more visible:

Also, notice that around the edges, the erase effect fades. I don’t want that. The solution is to enlarge the erase layer. 125% is about right:

Because I haven’t yet combined the erase and target layers, everything is being erased. As soon as I combine the two, change the background back to white, and enhance the effect a little with multiply, I get

Still doesn’t look like all that much – it could be the city viewed through a reflecting glass window, or something. But when I add some more layers with blur – blue-white spots, smaller ones, this time, and some that aren’t blurred at all:

I get a rainy city.

And, if I add still more particles of white, and enhance the contrast a bit, I get a snowy one:

In Part 2:

I stated at the start that you should always have a clear purpose in mind before you start altering an image. That purpose could be nothing more significant than “what does this do?” – but most of the time it will be, or should be, more directed.

So, in the next part, I will use these basic tools to complete a number of specific projects:

  • An alien woman
  • A Blue Monkey
  • A Sci-Fi Buddhist
  • A Fantasy Citadel
  • Using the same foundations and different dressings, a Sci-Fi City

That’s what you have to look forward to in part two!

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15 ways to Un-curse the Infodump


This image composites three components: Man reading a book image by Capri23auto, Stonehenge image by 10727361, and Bookshelves image by Gerd Altmann, all from Pixabay; shadows, compositing, and other editing by Mike.

Information Dumps, better known as Infodumps, are a necessary evil in every RPG from time to time. Creating and delivering one is a little like trying to feed vegetables to a child – you get the occasional good experience but it’s more often an uphill struggle.

I describe them as a necessary evil because they trap the GM between giving the players all the information their characters might know and use as the basis of a decision while cloaking that information in massive amounts of info that they don’t use and therefore don’t need – but it’s impossible to know what the status of any given fact will be in advance, so you have to deliver them all. And that can make them incredibly boring, as the GM drones on and on and on and…

Creating them represents a massive effort on the part of the GM in deciding what the facts and the story actually are, but this is a task that can’t be avoided – or, more accurately, it shouldn’t be.

The reason is that it’s a lot easier to be consistent, and to avoid accidentally repeating yourself, if you do most of the work at the same time. You may be able to defer some of the final polishing, but more than that is unwise.

“May you be cursed to deliver regular infodumps” doesn’t sound like much, but it’s actually one of the nastiest things you can wish on another GM.

Having said that, there are ways to take the sting out of the Infodump. 15 of them, in fact. And then a 16th technique to be the icing on this particular cake. No one of these techniques will completely solve the problem, and there are times when none of them are appropriate, so they are not a panacea – but in eighty or ninety percent of cases, in combination, they can relieve 80 to 90 per cent of the difficulties.

As usual, I like to present a table of contents, a road-map to the content to come, so let’s do that first:

  1. Change & Uncertainty
  2. An infodump is only as good as its source
  3. Personality & Interaction, not a lecture
  4. Non-Critical Flashbacks
  5. Descriptive Narrative Inserts
  6. Infodump Deferred
  7. Regional Festivals
  8. Visions & Memorials
  9. Relics Of Yesteryear
  10. Legacies In Culture
  11. Legacies In Architecture
  12. Sneaky Advances
  13. Talkative Villains
  14. A Little Light Reading
  15. Actual Infodumps
  16. Put Back Some Of What You Take

That’s quite a long list, so I can’t afford to spend too much time on any one of them. Ironically, this particular infodump suffers from the same problems as any other!

So let’s get busy.

1. Change & Uncertainty

Change and Uncertainty transform an infodump into discovery and adventure. There is, after all, no value in spending time reciting information if it has been rendered irrelevant.

The worst possible situation is one in which the PCs are in no position to know that a situation has changed, because that necessitates your spending time creating, and delivering, a substantial tract of text that you know will be completely irrelevant – but you can’t let the players know that because it could influence their decisions in an unrealistic way.

Better by far to find some reason to tell them that the available information is out of date and unreliable than to waste many times as much time in creating that irrelevant information.

2. An infodump is only as good as its source

Where did the person presenting the infodump in-game get his information? if it’s unreliable, it’s far better from a gaming perspective to simply tell the players “X tells you his sources are so unreliable that telling you what he thinks he knows is more likely to mislead than be worthwhile.” This doesn’t have to be applied to the whole briefing – it can apply to a small but important part, a large part, a couple of large parts, or to the whole.

The key objective is to avoid repetition – and that includes repetition in terms of gathering intelligence ‘in the field’. So present the part that’s going to be the most boring to learn ‘the hard way’ as an infodump, and present the parts that can be made interesting, in some other form.

3. Personality & Interaction, not a lecture

Presentation is important in any public address, but perhaps even more important when reciting dry facts. To convince you of that, here’s a string of events that occurred in a random time frame – try reading it aloud.

    1973, January: Israeli fighters shoot down 13 Syrian MIG-21s, triggering hostilities.
    1973, January: Fighting erupts along the Suez Canal between Egypt and Israel.
    1973, January 1: The UK, Ireland, and Denmark enter the EEC.
    1973, January 1: CBS sells the New York Yankees for 3.2 million less than they paid to purchase the team.
    1973, January 2: Eleazor Lopez Contrares, 45th President of Venezuela, dies.
    1973, January 14: The worldwide Telecast of a concert in Hawaii by Elvis Presley becomes the first TV program to be watched by more people than the Moon Landing.
    1973, January 14: The Miami Dolphins become the first and only team in NFL history to record a perfect season.
    1973, January 15: Nixon announces the suspension of offensive actions in Vietnam.
    1973, January 17: Ferdinand Marcos becomes President For Life of the Philippines.

I could continue, but that should be ample demonstration. When reading to yourself, you can skim over or abbreviate the dates, and any events that don’t seem relevant; reading aloud, you have much less scope for doing so. The result is a dreary tedium only partially relieved by interest in any specific content. And, if it’s boring to read, consider how much more boring it would be to listen to it! Now picture yourself reciting multiple pages of such material!

The ideal roleplaying is between an NPC, imparting the information, and a PC, receiving it – personal interactions overlaying and overlapping the content may slow the delivery (but you can compensate by deliberately compressing and editing the information into a narrative). But you often can’t rely on that because one of the two parties is not under the control of the GM.

Certainly, you can provoke some interactions with personal commentary by deliberately playing to the PC’s personality / interests, but these are often brief, even terse.

No, if you want depth of interaction, NPC-to-NPC with one or more PCs as interested onlookers being dragged into the situation (in the middle of what is supposed to be the PCs briefing) is a far better way to go. And that permits you to interrupt the briefing with stimulating events that make the infodump process more interesting.

Rivalries, personal contests, personalities, secrets, surprises, antagonisms, side-conversations, interruptions, and revelations – I used all of these and more to keep the players entertained during the big infodump described in Synopsis, Session 2 (from Session 3) in A Long Road Pt 1 last year. I stopped short of dancing girls, but if you can find a way to work them in, go for it!

Because the more you can pad an infodump with interactions, the more interesting it will be – even though it will take longer to get through in terms of playing time.

Dress up your infodumps with interactions!

4. Non-Critical Flashbacks

A lot of information contained within infodumps is not relevant until later. The temptation is to present that at the start, as described earlier, but there’s a lot to be said for extracting all of that information and providing it in flashback form when it’s about to become relevant. This can be achieved simply by replacing the content in the infodump with a general phrase from the third person perspective: “Nathora describes the route and what he thinks you will encounter in long and tedious detail, working from prepared notes. When he’s finished, he hands over the notes for you to take with you as a reminder. He then continues,….”

This does not work well when there’s a major decision or planning of some sort required, though that can also be deferred until the branch point is reached, so it’s only if the decision has immediate impact that this approach doesn’t apply.

An infodump in small doses is a lot more tolerable than a huge one that won’t be relevant for many game sessions.

In fact, an awful lot of content in an infodump can often be extracted and delivered in a different manner. Rather than a solid wall of text, treat it as a jigsaw puzzle, in which some pieces don’t even have to be revealed until later in the adventure. That principle underpins many of the techniques that I am offering in this article.

5. Descriptive Narrative Inserts

This is possibly the hardest technique to employ, because of its limited utility, but some information can be extracted from an infodump and inserted into a narrative description at the point where it’s going to be relevant.

For example,

    “Climbing the hill, the valley of Sanichio is revealed before you. This place is notorious throughout the three Kingdoms as a place of lawlessness and banditry…” and you then launch into a pocket history of the place.

This not only gives you a vector for the injection of information that “everyone knows” but that has never been mentioned to the players before, it gives you a tool for imparting additional content and depth within your narrative – a win-win, if used correctly!

6. Infodump Deferred

Instead of telling them everything in the infodump, the NPC giving the briefing directs the PCs to look up a particular NPC in a particular place en route who will have more recent / better information to impart. This extracts part of the infodump and turns it, at least partially, into a roleplaying encounter.

This can be enhanced by thinking of the NPC to whom the PCs have been directed as something more than a parrot for the information extracted from the infodump. Treat them as a character with their own circumstances, foibles, and problems, into which the PCs are injecting themselves. They may be cooperative or may need to be coerced. They may be neck-deep in trouble and need to be rescued before they can spare the time to tell the PCs what they want to know.

This takes the infodump and turns it into a vehicle for side-plots and adventure and roleplaying. Talk about transforming a liability into an asset!

7. Regional Festivals

Consider this:

    “As you ride into Xahavin, banners are being erected and doors and windows decorated, mostly with red balls – some woolen, some glass, some ceramic. The banner tells you that this weekend is the 214th annual Fire Festival. On one side of the central plaza, a stage is being erected for a puppet-show, and benches positioned to serve as seating. Either the village is a lot larger than it appears, or practically the entire population is expected to be in attendance…”

With a buildup like that, it’s only natural to ask a bystander – just some random stranger – what the Fire Festival is all about.

    “Why, that commemorates the day the ball of fire came down from the heavens and threatened to incinerate the town, only to be driven off by the great hero Name-drop,” comes the answer. “There are re-enactments of the battles, religious services, and it culminates in a feast followed by a drunken celebration of life itself.”

A regional festival or day of commemoration or anything along those lines can be used as a vector for local history. And that’s extremely preferable to simply telling the story in an infodump – it transforms that piece of infodump into an experience with interaction. Local History brought to life!

Of course, the person whose name gets dropped has to be relevant to the current adventure.

But the benefits of this approach don’t end there – you also get to distinguish a community and it’s social practices and make it all more than just a place on the map.

8. Visions & Memorials

I don’t know how many readers watched Star Trek: Voyager. In one episode, the crew are affected by a memorial to a past conflict that is malfunctioning, imparting the experience of living through the conflict – the personalities of the participants, the mistakes made, and so on. At first, when they figure out what is going on and why several of the crew have been traumatized, they contemplate shutting it down – but decide instead that the experience was so profound that they should repair it and place a buoy in orbit to forewarn visitors of what to expect.

Why not take that idea and adapt it? “Some deeds are so dark and terrible that the memory of them lingers on in the places where they took place as Visions of the past, visions with which the participants can interact – not as themselves, but in the role of one of the key characters in the story.”

If that’s a little too extreme for you, simply erect a memorial with a brief notation on a brass plaque. In the next community they come to, the specifics on the plaque give the players a specific incident to ask the locals about. The infodump becomes a source of interaction between the locals and the PCs.

9. Relics Of Yesteryear

    “Legend has it that a great battle was fought in the vicinity of Thizzelwood long ago, as an army of light confronted a patrol of Evil, but I’ve never investigated the specifics.”

This is just a bit of color in the infodump, but it becomes significant when the PCs approach Thizzelwood and one finds a rusty old blade marked with High Devorica runes in some underbrush. As a weapon, the find is worthless, but as a tangible clue to the (potentially relevant) history of the area, priceless.

It’s yet another technique for taking history out of the infodump and placing it in the PCs path.

10. Legacies In Culture

Of course, almost anything can serve the same purpose. You can hide key parts of the history in Tapestries, Paintings, Folk Art, Folk Songs, and Local Legends. At their simplest, these can simply trigger a piece of deferred infodump – at their most complex, they can shed fresh light on past events and even throw plot twists into a story.

Of course, the locals won’t have it right every time, so those plot twists may just be the result of misinterpretations of events – but even a short-lived episode of thinking that they may have signed up to the wrong side in a conflict can drop the bottom out of PC complacency.

How much soup to make out of the bones presented in 9 and 10 is up to you. Don’t do the same thing every time!

11. Legacies In Architecture

    “The lintel of the great stone gate catches your attention, [name of party member with high Architecture knowledge] Only the Elves of Deeping Down used that particular technique, but they vanished without trace centuries ago – and there’s never been any mention of Elves in these lands.”

This small snippet not only intrigues, it tells the players (if they are paying attention) that knowledge skills have practical value in the campaign, and that various cultures in this game world have architectural distinctiveness that can sometimes provide a useful clue. There’s not only a mini-mystery dropped into the players’ laps by this inclusion, but if their main adventure should happen to involve Elves in some fashion….

12. Sneaky Advances

If you are sufficiently ahead of the game with your prep, you can sometimes sneak some of your future infodump into an earlier adventure. You run the risk that the information will be forgotten by the time you actually need for the PCs to remember it, but it generally takes a lot less to remind them of things already learned than to impart the education in the first place.

It’s even more likely to stick if you can somehow make the excerpt from your planned infodump relevant to the earlier adventure somehow. For example, making it part of the ‘reward’ earned tells the players that this is going to be important, even if the PCs don’t appreciate the significance at the time.

A variation on this technique is to actually create an encounter or an adventure for the express purpose of delivering, in an interesting and adventure-relevant way, information that you would otherwise have to dump on the PCs at some later point. But that takes a LOT of careful planning – you actually need to plan out the adventure that is supposed to contain the infodump AND write the infodump itself, before you start work on the “extra” adventure or encounter.

13. Talkative Villains

One of the problems with infodumps can be that they let the cat out of the bag too early. Saving a revelation or two for the monologuing of an over-talkative villain eliminates that. If there’s anything in the adventure that could be anticlimactic because of an infodump, seriously consider this approach, or some variation. You can even arrange for the villain to win a first battle with the PCs, leading to them being captured and thrown into the villain’s dungeon, where a fellow prisoner gives them the last piece of the puzzle of how to defeat the villain!

14. A Little Light Reading

I’ve done this on a grand scale with the Elves And Orcs series here at Campaign Mastery. In essence, it gives the players a handout (real or virtual) to read in advance, comprising part or all of the infodump.

Telling the players the significance at the time makes it more likely that the document will be read. Refusing point-blank to revisit it in game-time further reinforces that likelihood.

The utility of this technique depends on the personalities of your players. But it can be a useful tool to have in your pocket.

15. Actual Infodumps

If you take everything that you can present in some other form out of the infodump and insert it elsewhere in the adventure, you will naturally be left with a residuum that cannot be delivered in any other way, and that is critical to immediate decisions by the party. You can’t fully avoid infodumps; there are times where they are the best choice. That’s where the tips on restructuring the infodump to make it more appealing have maximum value.

16. Put Back Some Of What You Take

My “bonus tip” is this: put back some of what you have taken out – but twist it, layer in some doubt or uncertainty or absolute falsehood (unintended or deliberate). Distort things a bit – then let the players discover the true story through one of the alternative techniques. The game world immediately becomes richer and more complex as a result, and your ‘expert’ NPCs gain a little tarnish and realism – never a bad thing.

Parting Wisdom

The subtitle of Campaign Mastery stems from my decades of experience as a GM, but that doesn’t mean that I get infodumps right every time. It does mean that I’ve learned from those experiences, however. See, for example My greatest mistakes: Information Overload In The Z3 Campaign.

It can be enlightening to review the massive 3-part article referred to earlier, A Long Road, to see several of these techniques in action. As much as possible, information has not been provided until just before it becomes relevant (or even just after, in the case of the Rheezok). What infodump remained was critical to decisions being made in advance of the action. A local guide was provided to give the PCs additional information when it became relevant. Key parts of the adventure related to establishing his credibility in the eyes of the PCs. He went from ‘hired expert’ to ‘road companion’ to ‘trusted guide’ to ‘friend and ally’ over the course of the adventure.

I build campaign elements for the long haul. Always have, always will (even if I haven’t decided how they will fit in at the time). That’s both a blessing and a curse when it comes to infodumps – it makes them bigger and more complex, and more essential. There are large parts of The Tangled Web that could have been hand-waved – the entire trip through Brazil, for example – but if you cut everything out except what’s immediately relevant, you also cut out a lot of the fun and life. At this point, with the PCs deep into the road trip phase of the Adventure, they have had enough options presented that at any moment the players could decide to pull the plug and make The Big Choice. So while the search for a new Base Of Operations remains the theoretical objective, from this point on, the real significance is putting additional pieces of the game world on display. Fun encounters are planned, so I hope the players don’t pull that plug. But the original purpose of what they are doing has been achieved, and what remains simply uses that as a framing device.

But it’s all about presenting the players with information – in the most entertaining ways possible.

The Key to success with infodumps is to turn them into something else as much as possible – get as much content OUT of that info-dump as you possibly can, then use it to your advantage. Who knows? Get successful enough at it, and infosumps might even become your favorite campaign tool. Stranger things have happened (just don’t ask me when)!

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Tales Of Many Gifts: Xmas Experiences in RPGs


Image by Wolfgang Eckert from Pixabay, background by Mike

Few campaigns make any attempt to match real-time with game-time, and mine certainly don’t. I’m quite capable of hand-waving days, weeks, or even months of time if nothing of interest is happening. I’m equally capable of spreading a single game-day over 3 or 4 game sessions if there’s a lot going on. And I don’t think I’m anywhere close to being unique in this respect.

Nevertheless, eventually, the in-game calendar will approach December 25, or its local equivalent, or a PC’s birthday, or any of a number of other dates of social significance in our real lives.

In my superhero campaign, for example, the 4th of July factors centrally into the current adventure – so much so that the players have opted to time-travel into the past just to give themselves more lead time, as explained in recent posts.

In the past, I have written about the opportunity for seasonal adventures, and even offered a few myself. This year, I found myself reflecting on the reality of gift-giving in real life.

Most seasonal adventures in ongoing campaigns simply use the season as a backdrop with some social elements (even if out of place). Where the social narrative does play a role, the focus is generally on the giving of gifts, simple because that’s where the primary PC interaction takes place.

Exchanging gifts with my players this year took perhaps half-an-hour. When the current superhero campaign started, a week or two before Christmas game time, it took a similar amount of game time (though it took more like 90 minutes to play, because things that normally happen simultaniously in real life were spread out to occur sequentially, permitting each to be its own point of spotlight focus).

Giving a gift is the tip, the focal point, of a very large iceberg, and that iceberg is often overlooked, compressed, or hand-waved unnecessarily – which neglects a rather large opportunity for GMs.

An Anatomy of Christmas Shopping

I know some people who make a list of recipients and then just “go shopping” – I’ve done that a time or two, myself. I know others who spend the whole year looking for ‘the perfect gift’, essentially spreading the Christmas process over the entire year. Someone I used to know did 90% of their Christmas shopping at the Boxing Day Sales (December 26, for those who don’t know what ‘Boxing Day’ is). This year, I did 90% of my Christmas shopping with a single purchase on a single site. In the past, I have also done the bulk of it online but at multiple sites and in the form of many distinct transactions.

I know some people who leave their shopping until the last minute. Others distribute it throughout the year, or the second half of the year, or even do most of it very early, as I mentioned.

Because the last time that my players all expect to get together is the first Saturday in December, I have to plan to have my gifts ready by then. Because I shop online, I have to allow 4-6 weeks for delivery, sometimes 4-8 from sites known to be a little slow. That means that I normally do most of my Christmas shopping in or before the first week of October. Over the last couple of years, I’ve allowed an extra 4 weeks for Covid-related delays – I haven’t needed all of it, but have certainly needed all of that and more on occasion for gifts that I bought myself. And I normally do all of it at once – family as well as friends.

I start organizing my Christmas in September, in other words. As a result, I am well-known within my family for being the most organized family member in this respect.

This litany isn’t to big-note myself or laud my organizational skills (though the skills that I bring to the game table as GM definitely help in my real life); it’s to show the massive diversity in approaches that are possible.

But, when you boil it down, we all go through a fairly similar process.

  • List of recipients
  • For each person on the list:
    • Assess them – likes, dislikes, known possessions, known desires, etc
    • Consider any restrictions or incapacities
    • Vague gift ideas

    (in practice, you tend to do each step for all people on the list and then move on to the next step).

  • Allocate the budget
  • Select and Purchase Gifts for each person on the list
  • Start hunting for gifts for the hard-to-shop-for and anyone you’ve accidentally left off your list
  • Select packaging
  • Gift-wrapping (some people don’t do this, considering it wasted money that could be used to add another dollar or two to the gift budget)
  • Gift-giving and receiving

Each step in this process is an opportunity for Roleplay and adventure. And that’s the subject of today’s article – looking at the 9-tenths of that 10-step process that isn’t gift-giving in terms of RPG opportunities.

A Reflection of Character

There are so many combinations of gift-purchasing alternatives – I don’t doubt that my earlier list leaves some out – that the choice of how you do your Christmas Shopping is a reflection of your character as it really is. This is a good starting point for New Year’s Resolutions for those who are so inclined – that’s a subject for another day!

Now think about that in the context of the PC. How you behave, in normal play, is a result of the intersection between personality, capability, and conditions/events external to the character. The parts of a player’s character’s personality that you get to display depend on the opportunities presented to them, and are always going to be colored by the circumstances and the immediate goal of the character(s).

Gift-shopping is a way to express the totality of a character’s personality.

Factoring into that is the social context. The way we do gifts here in Australia is not that dissimilar to the way they are done in most western societies – the US, the UK, Canada. I have no doubt that the approaches of 100, 120 years ago – around the turn of the 19th century – were somewhat more individualized in those societies. And gift-giving is still quite different in other places.

    Christmas In General

    The first two links are good references for many countries. Later links focus on just a few. In most cases, none of the pages tells the complete story of how Christmas is celebrated, you need to actually compile your research from multiple sources.

    Christmas Gifting specifically

    Information on gifting practices around the world is a lot less cohesive than the general Christmas links shared above, and the few sites below that mention Australia (the only nation I know well enough to judge) vary from the ‘incomplete’ to the ‘wildly inaccurate’. I’ll try to put these results into context as I go. There is no cohesive overall page on the list that treats the subject comprehensively, I’m afraid.

    • Trip Trivia: 20 Unique Gift-Giving Traditions Around The World – this site seems reliable in its content – for the 20 countries highlighted.
    • Western Union: Christmas Day Around The World – more comprehensive than most, but very very superficial, too. Christmas Trees are far more common in Australia (usually pine trees) than suggested, and everyone has access to plastic substitutes. Aside from that, everything that’s actually said about here is accurate but incomplete. Which makes this better than many.
    • Meet’n’Greet Me: Christmas Around the World: Christmas Gifts and Traditions – The headline sounds promising, and I can’t point at any inaccuracies – because not every country is represented (and specifically, Australia isn’t covered). Still, that puts it ahead of several other sites.
    • Xperience Days: 40 Unique Gift-giving Traditions – More comprehensive than most, and accurate so far as it goes. The Australian entry talks exclusively about Christmas In July and is correct in its description – but this variation is not universally practiced here. But that’s the only reason this isn’t at the head of the list.
    • Globesmart: Guide To Gift Giving Around The World – this site starts out in a promising manner but soon seems to shift gears without warning to focus on business gifts – and not necessarily for Christmas, either. But what is here has so much plot color potential – a gift of six carnations from a Russian could be interpreted as a very mafia-like death threat, or as a deliberate insult, for example – that I had to list it anyway. And I have no doubt that what information is included is accurate.
    • Truly Experiences: 10 Countries With Curious Gifting Traditions – appears accurate but superficial and many of the entries don’t add much to the other sites listed already. Included in case they have a country that hasn’t already appeared.
    • Culture Trip: Christmas Gifting Traditions Around The World – The headline sounded so promising that this was the first link considered for this section. But then I read the entry on Christmas In Australia. The first half of the entry is an accurate description of the environment here at this time of year; the second half invents a tradition out of whole cloth surrounding food-themed hampers. Yes, you can get these and give them, just as you can any other gift you care to nominate – but they are hardly what I would consider a tradition. I’ve received two in my 57 years, three if you count the coffee sampler pack that I got one year from my sister and her family. And that inaccuracy makes me question the accuracy of everything else on the page.
    • Remitly: Holiday Gift Giving Traditions Around The World – Another promising headline. But the focus of this page isn’t about Christmas gift-giving, it’s about when gift-giving takes place (including Christmas). There are snippets of useful information, but you have to dig for them – and most of the discussion is superficial, good for telling you what subject you need to research.

As always, there are (at least) two schools of thought regarding such international traditions in your campaigns.

  • Option 1 is to accurately represent the traditions of the characters, based on their nationality.
  • Option 2 is to accurately represent the traditions of the players, as a point of common reference.
  • Option 3 is to invent something out of whole cloth – if the society in which your game is set is sufficiently different from modern-day practices. In which case, the links above offer inspiration.

I tend to use a blend of the first two options in my modern-day games and a blend of the second two options in my other campaigns. The dominant and common theme is the second option, which is treated as a ‘universal common denominator’, and which is varied or modified according to the nation in which the PCs find themselves; but I also allow the PCs to pay Character Service to the traditions native to wherever they come from, and to try and integrate the two.

As a general rule, I always try and relate the situation to the real world. If you have a multinational team of characters, who happen to be all together in country X for a long period of time, what would their Christmas practices be? The equivalent situation would be a small company with employees from many different nations all under the one roof, living and working together – their dominant Christmas culture would derive from the host nation, with their individual traditions shoe-horned into that context.

This is a golden opportunity to amplify the cultural differences and distinctiveness of the characters and their respective backgrounds.

But, on top of all that, there are enough variations on offer to individualize each PCs approach according to their personality, exposing elements of their natures that don’t often get an airing – if you make room for those expressions of personality.

An opportunity to layer depth

That’s just the start of the opportunities that the holiday season has to offer. The player may decide that this is a chance to show a vulnerability in the character – for example, someone who is normally incredibly organized, but who always seems to leave their Christmas Shopping to the last minute.

Few characteristics extend to every facet of a person’s life, and the same can be true of characters. Someone who is broadly generous may have a completely different and distinctive focus to their gift choices, one that is superficially miserly – not because they are a skinflint, but because the choice of gifts reflects a particular philosophy of the character, one that relates exclusively to Christmas.

Such individuality won’t be appropriate for all characters, and you certainly don’t want every PC to decide to be completely different to their usual personality when it comes to Christmas Gift selection! I would prioritize PCs who don’t get the opportunity to individualize themselves and stand out from the generic crowd of characters of similar ‘profession’ (character class) and ‘background’ (race). I would also de-emphasize anyone whose national background (race?) gives them a distinctive or unusual practices around this time of year.

But I would also work with the players of anyone who didn’t make that list to give their character a share of the spotlight through another part of the process.

The Christmas List

This is possibly the most difficult phase of the process to squeeze any meat out of – until you ask the player two simple questions:

  1. Is there anyone unusual that you are putting on your list?
  2. Is there anyone who has ticked you off enough to leave off your list – or to influence your choice of gift?

Suddenly, this isn’t a dull list of characters – it’s all about personalities and interactions. The villain who has a soft spot for puppies and children, who sets aside his ambitions just long enough to help the PCs rescue some lost kids. The politician who put his own interests ahead of those of his constituents in a personal interaction with the PC. The jerk who cuts the PC off every morning during his daily commute. The NPC who gave the PC a sympathy card when they seemed down, one morning. The don’t-wanna-be Villain who is entirely a victim of circumstance.

This is an opportunity to foster and enhance relationships, and to review the last game year’s play.

The Christmas Budget

How extravagant is the character going to be, and to whom? I generally try to be even handed in my shopping – I count up the number of individuals and divide my budget up accordingly. If I then see something suitable for a couple, their budgets get merged. Others do it differently.

How much is the character willing to spend? How sensible are they with their money? Is the character the type to over-commit themselves (I once had a character who did so and had to go to a loan shark to pay their immediate debts – which was out of the frying pan and into the fire, of course! – with the full cooperation of the GM).

In real life, I knew someone who pawned their wedding ring to buy Christmas gifts for their kids. My gift to them that year was to pay off half the debt (I couldn’t afford the whole amount).

I know someone who lists charities amongst those for whom they Christmas shop, then donate their share of the ‘gift’ budget to the cause.

There’s lots of scope here for personality expression and for individuality, as well as for social and cultural exposition. There was one character in one of my campaigns who came from a very poor background, and even though they were now reasonably affluent, their gifting budget was very tight, as an expression of that element of their background – because the player felt that it was often overlooked by the other players, and generally not evident enough.

The Character Mirror

Another point that is often overlooked is this: every gift that you receive is a mirror to how you are perceived by those giving the gift. Individual variations will occur from one gift-giver to another, but if you put them all together, the gift-givers are holding up a mirror to each PC as they perceive them to be.

It can be a worthwhile exercise, especially for characters who are a bit self-conscious, to think about what they think the gifts they have received say about them – a tool to help the player get deeper inside their character’s head.

This often won’t happen without some prodding from the GM, or at the very least, without the GM making room for such introspection in his planning.

Going Shopping

The opportunities are a lot more obvious when it comes to a shopping expedition or two. This generally means exposing yourself to the local environment (even online shopping exposes you to the internet, which is the equivalent) – and the local environment is the breeding ground and hiding place of all sorts of unsavory characters.

It’s worth remembering that there’s been at least one movie entirely about Christmas shopping – in this case, trying to get the last toy of its kind (and so keep a promise). You could stumble across anything from muggings to fraudulent or drunken Santas to road rage incidents following an accident in which both parties were trying to complete their Christmas shopping, having left it to the last minute. Of course, by the time you’ve sorted that mess out, some of the stores may have closed…

Heck, you could find yourself kidnapped by aliens, or attacked by crazed fans who have mistaken you for someone else!

And it’s all because a shopping expedition takes you places you wouldn’t normally go, doing something you wouldn’t normally do, and the GM is able to then use that as a vehicle for encounters and adventure. Perhaps with a comedic bent, perhaps not – though it definitely lends itself as a platform for that, especially if that’s not the usual campaign style!

Long-Distance Traumas

You’re always exposed to long-distance traumas if you order anything that has to be delivered, or if there’s anyone on your list that lives at a location remote to your own. There are three groups that I buy for – I get to see two of them, the last I usually have to mail. That’s one reason why it’s convenient to do all my shopping at the same time, aimed at being ready for the first week in December – it means that I have time to get that gift into the mail. That also often entails a scramble to ensure that I have the correct mailing address!

Normally, I would advocate all these things happening as a continuing subplot – character orders something at the right time, as an event in one game session, and for the next game session (or two or three or four), the GM simply makes a point of telling the player that the product that he ordered has not yet arrived.

In modern times, there is (of course) parcel tracking, but that’s often (not always, but often) so generalized that it doesn’t tell you anything useful – “en route” doesn’t tell you much.

    And then there’s the potential for a complete failure of the system. Let me tell you a story…

    I ordered a book. I was advised when the order was processed, and when the order was dispatched, and when the order was en route, and when the order was delivered. Except that no book arrived.

    There was one line in the delivery notification that offered a clue – it referred to delivery being made to Belmore River, which is a location 440 km (about 275 miles) north of my suburb, Belmore.

    I immediately engaged the vendor about the potential mis-delivery; they confirmed that the address they had on file was the correct one, so someone in the firm contracted to do their deliveries had clearly stuffed it up. A couple of days later, they reported that the firm in question, being unable to locate the correct street address in the wrong place, had returned the order to them.

    They gave me a refund, less a money handling fee. They did not offer to resend the order to the correct location. So the net effect is that I’m poorer, with nothing to show for it. That’s why I will NEVER shop with that vendor again – not because of the nondelivery (those things happen and it was outside their control) but because they made NO effort to fairly resolve the problem.

    Well, not quite ‘nothing’ to show for it – I at least have this anecdote.

…and it’s an anecdote that is directly relevant to the subject of discussion. This sort of thing doesn’t happen all the time, but it does happen every now and then – maybe one order in forty goes astray. And, on at least one occasion, it was entirely my fault (and I offered to wear the cost of that mistake) – I mistakenly gave the wrong street number. That package eventually found its way back to the vendor, by which time I had ordered a replacement.

Anyway, as I was saying, I would normally advocate splitting this phase of the Christmas Story up – but in this case, I would employ flashbacks on the day of the Christmas Adventure to keep everything coherent, and build narrative momentum within the story. I would, however, anticipate and leave a ‘gap’ in events in which the ‘shopping’ could take place.

Long-distance traumas happen regularly and without warning. Why should it be any different in an RPG?

The first (and only?) gift-giving

Gift-giving and related occasions tend to come in waves. The first one is with friends who you won’t get to see for the rest of the month – that’s the one that I have with my players, for example.

The second one is with co-workers and is often much smaller in scale, though it is usually accompanied by something more of a party.

The third one is with family visited before the critical date (December 25), if any. The fourth is Christmas Day itself, and the fifth is with any family and friends that you catch up with after the critical day.

That sounds like a lot – because it is!

When I was a kid, we would have family Christmas at home (usually starting around 5 or 6 or 7 AM); after breakfast, we would then travel to second Christmas (aunts, uncles, and one set of grandparents). We would have Christmas Lunch with them, but either before that or in the afternoon we would head off to the other set of grandparents for a third Christmas. So multiple Christmases are not unusual – either that, or my family is unusual!

Unless you have something very specific in mind for one of these events, or their in-game equivalent, I would run all of these into one “event” within a game. There is too great a similarity between these different events, better to make them one continuous blur rather than dig into minutia trying to distinguish one from another.

There are two primary sources of gameplay within a Christmas party – Gift-giving and social interaction.

Gift-giving, as already stated, is as significant as you want to make it; it can hold a mirror up to the recipient, but it can also say just as much about the giver. And, if you do it right, there will be some sort of interaction between giver and recipient (in character, of course). This is best handled with some sort of randomization technique and a regular rotation around the table.

The method I would use would be for everyone to roll a die (high decides who, other than themselves, goes first). They would then roll a die to select who receives the gift from them, skipping over anyone who has already received a gift from them. I would then use another die to select someone other than the giver and recipient to become the next giver. This spreads the spotlight around and keeps it moving unpredictably. I would also use a copy of the list of gifts and how they have been wrapped (prepared in advance in consultation with each player) to give vague descriptions of the shape, but leave the actual description of the gift to the player doing the gifting (unless they were hopeless at it, in which case I would ask if they wanted me to step in and provide appropriate narrative).

But the untapped potential is with the social engagement aspect of a Christmas Party. Strangers, friends, enemies, people of importance and people of no importance, people of interest, celebrities both famous and infamous, all rubbing shoulders. You can have multiple plotlines running simultaneously. Some might begin and end within the Christmas adventure, some might be nothing more than a single exchange of dialogue, while others might extend far beyond the Christmas ‘episode’. Some may culminate at the Christmas Party, as things long stewing come to a head; others may have their beginnings at the event, and color relationships into the New in-game year.

Don’t neglect the opportunities that come from NPCs interacting with other NPCs – all you need to do to make these relevant is to connect a PC to one end or the other of the interaction. For example, PC says something to NPC, who then interacts with the other NPC – perhaps an outcome that the PC wasn’t expecting to result. Or, the other end – NPC and NPC interact, with the PC either caught in the middle or trying to act as peacemaker or otherwise somehow affected by the conversation.

Going The Distance

Sometimes, to get to the party, you have to travel. Some people just drop everything and go somewhere on the drop of a hat at regular intervals; others have to plan a myriad of details in advance. I’m somewhere in between – but have commitments 4 days a week, sometimes 5. There’s very little that can’t be put off or called off with nothing more than a phone call or two – posting to Campaign Mastery being the main exception.

So most of my planning revolves around that, or would do except for one other fact: I don’t have a car or driver’s license, and that means that I can only get part of the way before needing to be met. That engages other people’s schedules and adds extra complication.

Even without that, there’s the packing and preparation. Going away is a Big Deal for me.

And so it should be for any PCs who have to travel. Various scenes from the West Wing are coming to mind at this point – airline routing through Pittsburgh (and why it’s desirable to avoid it), CJ Craig’s School Reunion, and the very secret meeting between Josh Lyman and the deaf pollster (whose name momentarily escapes me) at an airport come to mind.

On top of that memory are layers of memories from various Airport movies (including, of course, the classic Flying High), and any number of other movies and TV shows in which people travel by air, such as the classic Twilight Zone episode, “Nightmare at 20,000 feet“, which was remade as a segment of Twilight Zone: The Movie, and then again remade in the third reboot of the series as “Nightmare at 30,000 Feet”.

That’s all grist for the mill; if you can’t get a couple of encounters or incidents out of them, you aren’t trying hard enough.

The Traditions

Every family also has its own traditions, completely divorced from those of the wider culture around them. One of the most memorable later-season episodes of MASH – “Death Takes A Holiday” – dealt with Winchester’s family traditions, for example

I seem to recall an episode of the original MacGuyver series that dealt with his family’s traditions (with an appearance by his father, ‘Harry’), and there have no doubt been other shows with episodes framed along similar lines.

These can be deeply personal and introspective moments for characters, and – if used as reference for Christmas events within the adventure – can serve as the perfect denouement to the adventure.

A Season Of Goodwill

The most common Christmas adventures, of course, revolve around this being the “Season Of Goodwill”. I’ve written before (in the 2018 Christmas article) about the Christmas Miracle.

But you don’t need to do anything so extravagant – I can conceive of a “Christmas adventure” which simply has a recurring theme of ordinary individuals simply performing an act of generosity for others, almost incidentally to whatever the main action is. This doesn’t have to be a PC – it can simply be a recurring theme to events in the background for most of the adventure, though it should end with someone doing something for the PCs that can also be characterized in this way.

The PCs are notified that an evil scientist / wizard, one of their arch-enemies, has just shown up at a local hospital / orphanage. They, of course, suspect that he or she is up to something nefarious, and so rush to the scene, to find all quiet. One of the administrators tells them that the villain gave them a cure for a very rare illness one of the children was dying / suffering from and left peacefully. Oh, and they also left this envelope for you. Inside is a Christmas card, which reads, ‘Tomorrow we are enemies, and I will seek to annihilate you and everything you stand for. But until then, have a Happy Christmas.”

Some Christmas Wishes

And in that same vein, I wish a very Merry Christmas to all of Campaign Mastery’s readers, some of whom date all the way back to our beginnings, thirteen years ago. Year 14 starts now!

Unfortunately, it’s been a very sad end to the year for a great many people. The destruction in the US; the building fire in Osaka; the fuel tanker explosion in Haiti; and the gas explosions in Pakistan and Sicily. Here in Australia, we had a freak wind burst that lifted a jumping castle 10m into the air at a school’s Christmas party; six children have been killed, two remain in critical condition fighting for life, and one survivor is lucky enough to be recovering at home, and today a sudden storm and possible mini-tornado has left one dead and two critical. And, of course, Covid is again raging, destroying the Christmas plans of many in Europe. Such tragedies always seem to wound more deeply at this time of year because of the contrast between the prevalent spirit of the season and the events.

I extend my sincere condolences to the family and friends of everyone caught up in these tragic events, and hope that 2022 can be a year of healing for all of us.

There will (probably) be no post next week, as I’ll be traveling between family engagements. Assuming that plans pan out as expected, I’ll see everyone in 2022! Until then,

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Graffiti On The Tabula Rasa


It doesn’t happen to me very often that I have to create an encounter or an adventure on the spot out of whole cloth with no design prep.

In fact, many of the processes, practices, and habits that I have formulated and inculcated over the years are explicitly designed to ensure (as much as humanly possible) that this doesn’t happen.

Nevertheless, it can’t always be avoided. The players may have Zigged when I anticipated a Zag, or for some reason whatever I had planned has to be abandoned or delayed. Nevertheless, the players are all gathered around the table and looking at me expectantly.

When this happens, I have a very limited range of options.

  1. I can fall back on some fill-in that I had prepared for just such an eventuality.
  2. I can admit to be unprepared for this turn of events, and ask that we do something else for the day.
  3. Or I can come up with something off the cuff – with and optional warning to the players to lower expectations.

While the focus of today’s article is principally on the last of these choices, the others deserve at least some analysis. Part of the remit for this article is an analysis of how I choose between them, after all.

The Fill-in

This concept comes from mainstream comics in which the publishing deadline has to be respected above all else. To guard against the regular production team being late – real life happens! – publishers like Marvel and DC had two choices: they could turn the problem over to another production team, assembled of their ‘gun’ people, who could scramble something together at the eleventh hour; or they could have something kept on file for just such an emergency.

The latter means no panic, everyone can be quickly informed what the score is, and content can be delivered as scheduled and promised. There may be some effort to hide the reasons under a euphemism – ‘a special issue’ or whatever – or dirty laundry may be aired with reference to the “Dreaded Deadline Doom” (as Marvel used to call it – shades of Stan Lee!) or there may be no explanation whatsoever.

As a comics fan, the first used to irritate me, the second generated a level of sympathy and softened expectations, and the last could elicit either response – but with no allowance for lowered expectations. Often, these choices reflected the degree to which the plot ignored or advanced ongoing plotlines, which was often a reflection of a partial breakdown in the schedule – if the writer had turned in his script / story in time, but the art-team could not, for example. More than with DC, Marvel made a big deal out of trying to keep the same creative team on a series for long periods of time, and made a big deal out of changes to that team, and over time, the practice spread to DC. There’s been a lot of internal social change to such business practices since those early days, and much water has flowed under the bridge, but this is largely unchanged – if anything, the trend is even stronger these days.

The first requirement of a fill-in is that there be a ‘window’ found within the regular continuity, and the second is that an adventure be generated that will fit within that window. You can’t make major changes to the protagonists or their circumstances; no matter how strong your regular continuity, the fill-in (generally) has to be highly episodic.

Another key is that the prep time required has to be a LOT less than usual, and is often performed to a lower standard, squeezed into whatever gap in your usual prep time you can find.

But within those constraints you can be as creative and experimental as you like. The result is a more avaunt-garde adventure produced to lower standards than usual – but better than nothing.

In particular, we liked to develop fill-in ideas that could be thrown up when a regular player was, for whatever reason, unable to attend – assuming that we had sufficient notice, of course.

The problems with this concept are that fill-in adventures can grow out of developmental bounds, can date badly, and can steal prep time from the ‘real’ campaign.

It’s been some years since the last fill-in in my Superhero campaign. I am months ahead of the campaign in game prep at the current time.

The Adventurer’s Club is a different story. We started working on a fill-in called “The Benediction Interdiction” but when that threatened to get in the way of the main adventure we were working on, we shelved it. We then started working on another, called “Stalking Into Mystery”, which we almost got to a playable state – it needed just one map to come together – but then Covid shutdown happened, and the player whose character is at the heart of the adventure has not returned to the campaign. So it needs radical surgery if not a near-complete rewrite before it can be played, and there will be some lessening of the impact.

So, when we needed a fill-in after “#31 Zombies Over Manhattan” in order to get ‘#32 The Hidden City” ready to go (it still isn’t, I should add), we put together a fill-in as “#31a The Black Geese” (a dreadfully obscure title) – an Orient Express tale of International Intrigue and unlikely bit players interacting. One episode in, and it seems to be going well – and by the time we reassemble in January to resume it, we should have #32 ready to go. Which means that by the time we actually start playing it, we should be well-developed on #33. {You can get some indication of how much work has gone into “Stalking Into Mystery” by the fact that it was originally supposed to be a fill-in between Adventure #30 and Adventure #31).

I should interrupt myself to mention three series of fill-in plotlines that we have come up with (and in some cases, played).

Elsewhen ideas are another steal from the comics, basically “What If…” stories / Parallel Campaign stories. We’ve played “Fine Upstanding Time-Traveling Rascals” and “The Beastie Of San Francisco”, and we have an idea for another entitled “The Green Revolution” that has received virtually zero development as yet.

Tales From The Silver Room are adventures in which none or more of our players get to play characters who are NPCs in the usual campaign. The “Silver Room” is a protected environment for containing artifacts and books that are too dangerous to be openly available – the concept is that each “Tale” would tell the tale of how one particular item (usually created for the purpose) wound up in the Silver Room. “The Benediction Interdiction”, mentioned earlier, is the first.

Tell Me A Story has had only one outing so far, “The Elevator Of Doom” – which had the PCs trapped in an elevator and telling tall tales on the spur of the moment to entertain each other. A number of variations on this basic theme are possible and will get pulled out of our back pocket under the most extreme of circumstances.

All three are significant because they violate the ‘ground rules’ laid down earlier for Fill-in adventures, showing the more casual and experimental approach that can be taken when you don’t need the outcome to be Canonical within the campaign.

The Fill-In Bottom Line:

If you have one on tap, ready enough to go, that fits the criteria of available players and available (real) time, this is a go-to solution. If you don’t…

The GM’s Day Off

This is usually my last resort. Every player who is present has made some effort to get there, and I consider it unfair not to have something for them to do. If there is enough (real) time notice, I am more likely to call off the whole game session and let people stay home, instead. But thirteenth-hour notifications that someone can’t make it can happen for all sorts of legitimate reasons.

It was for that very reason that the whole idea of “fill-in” adventures was devised in the first place.

My memory may be faulty, but in fact I can only think of one instance in which this was the option resorted to – but I am aware of it happening at other gaming tables, too. So maybe I’ve just been lucky.

The No-Game-Today Bottom Line

An option of last resort, and something that I am more tolerant of early in a campaign compared with late in the campaign – even though late in a campaign, when fill-ins are harder to come by (the best ideas have already been used), is when this option is more likely to be needed.

Graffiti On The Tabula Rasa

Which brings me to the primary thrust of this article, the ad-hoc adventure. This is my preferred choice when I have no fill-in, or the campaign structure precludes there even being one.

Restrictions

There are important restrictions and differences to fill-in adventures. These are normally considered campaign Canon (though they can be conveniently ignored after the fact if they turn into a train-wreck). All the other choices can be viewed as structured attempts to avoid these. At the same time, because plot-thread continuity cannot be maintained, these tend to take place outside the regular continuity, something that might not happen with a fill-in – much depends on the level of internal continuity within the campaign, for example, and whether or not you’re in mid-adventure when one of these is needed.

The “graffiti” metaphor is a good one, I think, because graffiti tends to be hastily sprayed on – there’s no time for carefully consideration, you need to come up with something on the spot.

Scope

Scope is another important issue – fill-ins are normally single-session but can be longer, especially if they are designed to integrate into normal campaign continuity at some point. “The Black Geese” is a fill-in, in that it was not a plot we originally intended to be part of the continuity at this point; but it is nevertheless part of that ongoing narrative (or could be seen as such). Off-the-cuff adventures are even more strongly single-session in nature, largely because of the question of scope. Either

  1. the off-the-cuff adventure lacks the depth and scope to be sustained for longer than that; or,
  2. the off-the-cuff adventure is very likely to be so half-baked that it can actually ruin a campaign.

Think about that for a moment. If you expand your off-the-cuff idea beyond a single session, you so increase it’s scope that it begins to flirt with making half=baked ad-hoc changes within the campaign that the campaign itself can be imperiled.

That’s a worst-case outcome, not something that will happen every time – but it’s a danger each and every time, and something that is to be avoided for obvious reasons!

The implication is that some ideas – perhaps the ones that come most naturally – can and should be censored. If you aren’t sure, make a note of the idea and spend a bit of time creating a formal fill-in from it. Only use it now if you are sure of it.

Environment

My gaming room is full of sources of inspiration (aside from two of the corners, which are full of cardboard boxes). There are bookshelves of fiction, and bookshelves with non-fiction, and boxes full of computer games, and stacks of videotapes in storage, and stacks of audio cassettes in storage, and bits of electronics (cables and video cards and PC power supplies, and so on). Most of my gaming stuff, in comparison, is actually not in that room – it’s outside, with the CD collection and the DVD collection and the board games collection, and the more commonly-used reference books).

I have only to glance this way and that until free association connects with something – the things that are most stimulating at a distance are all there.

Process

An example of the thought process that I go through is:

“The Hollies – Long Cool Woman In A Dark Dress – named Holly? maybe not – Rick Springfield, what was that lyric? – “Were we too busy looking at the left hand that we didn’t see the right”? So, the Long Cool Woman is a diversion of some sort, designed to capture PC attention. From what, and by who? – figure that out as I go. How’s she going to show up? The Golden Age of Hollywood – maybe a musical number while she descends a glowing staircase. Seductive, Marilyn Monroe type, maybe with a hypnotic voice. Lorelei Monroe. Silver Surfer – a herald of some sort?..”

Total time before I’m ready to play: 45 seconds (yes, I timed it).

Notice how this draws on a number of different sources, sometimes obliquely

  • A remembered song title from a cassette.
  • A remembered song lyric from a different cassette.
  • A remembered Hollywood era from a book of video reviews by Howard Moulton.
  • A remembered Hollywood star, free association from that Hollywood era.
  • A remembered iconic moment for that Hollywood star.
  • The title character of a comic book that I free associated with that iconic moment.

Whenever I need more inspiration, perhaps to figure out some of the parts glossed over.

Basic plot: A space warp opens somewhere over planet earth where the PCs happen to be. A thin, tall woman in a thin black dress – Morticia Adams? – emerges, descending a staircase of glowing panels of light, her mouth moving. TV crews are quickly on the scene. Males enthralled, literally laying in the street so that she can walk on their backs. Effect is carried over the airwaves. Male PCs get a saving throw. Females can make sense of the lyrics which announce that she is some sort of cosmic herald, come to announce the coming of The Redeemer. Males who failed their saving throw: ‘we must prepare for the coming of The Redeemer’.

This would be flirting with the ‘scope’ constraint if I hadn’t already decided that this was all a distraction, probably from something far more prosaic and mundane, a cosmic con-job. There is no ‘Redeemer’, but she’s got everyone focusing first on waking the men up and getting them protected from her spell, and second on who or what the ‘Redeemer’ is. Meanwhile, her confederate is stealing something they consider valuable – something we would want protected, but not of great inherent value.

So I’ve given the players a fairly strong visual impression, and something to focus their immediate attention on, and something to keep them busy after that. What about NPCs? They would probably attempt to act along similar lines, perhaps with less success than the PCs. So there’s a wave of violence. Some people would try to take advantage of the situation – looters and the like, wearing headphones of course. Choice of targets to be female-driven, and so a bit unusual.

Can’t you just feel the dominoes falling into place?

The middle part of the adventure – ‘Lorelei Monroe’ (named so by a female TV reporter) or ‘Siren’ (named so by another female reporter) would realize that women posed a threat to what’s really going on, and would whip the men into a frenzy, creating an instant war of the sexes. Lots of rescues while working on the bigger issue – finding some way of countering the effect her voice has on men.

Succeed in that, and someone (male) will spot some flaw in the deception, maybe in Lorelei’s powers. And if they are a fake, that gets the PCs thinking about what else in her performance is also a fake – which leads them to the real motive and what’s really going on. Maybe her partner creates the space warps (that was clearly not faked) – giving him a way past security systems and into secure locations.

Job done – a coherent plotline, self-contained, and likely to take a single game session, in three primary acts – a beginning, a middle, and an end.

The Tabula Rasa Bottom Line

Ultimately, what you spray-paint on your Tabula Rasa is less important than the process used to get there. That’s a process of knowing what you need (and what you don’t), and cherry-picking those pieces of inspiration that fit the bill. The example that I offered works for a superhero campaign; it would NOT work for a fantasy RPG (though it might start from the same premise and pieces of inspiration), nor for a Pulp campaign (same comment).

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All About The Plugins: A campaign creation metaphor


The other week, while hard at work on the Long Road trilogy of articles, I received an alert about a vulnerability in a plug-in and what to do about it.

Nothing unusual about that, it happens regularly. I gave the message a quick scan, and double-checked that the affected software wasn’t in use at Campaign Mastery, and normally, that would be the end of it.

Not for the first time, my thoughts brushed lightly over the way that the content management and hosting software of the core suite at the heart of the website changed so enormously depending on what extra functionality you enabled, and how what I need for Campaign Mastery could be so different to what someone else using the same core might need for their site.

Look and feel is the most superficial element – that comes from a particular type of plug-in called a theme – but it’s also the most noticeably to the casual observer. Then there are the plugins that provide some sort of front-end functionality that is visible to the visitor – the tag cloud and the print-friendly button that accompanies each post, for example. And, in back of those, there are plug-ins that provide back-end functionality – things that help in the management of the site but that the casual visitor would never see.

It’s a virtual certainty that the combination that I have here is going to be different to the combination of virtually every other website out there, even if it is built around the same core. There might be a hundred thousand that are almost exactly the same, but actually being a mirror-image? No – there are just too many options, too many plug-ins that purport to do the same job.

Anyway, as I said, this is normally just a passing reverie in response to the trigger stimulus, but this time, it fell on more fertile ground – exactly what the association was, I’m not entirely sure.

It occurred to me, on this occasion, that the structure of a WordPress website is a perfect analogy to an RPG campaign…

Core Structure

The key to this part of the analogy lies in the word “core”. The core structure of an RPG is the central rules package, often called the ‘core rules”, and this is so ubiquitous a factor that no matter how heavily you modify the rules with ‘plug-in packages’, the core rules are commonly used as a referent for the game. “I’m running D&D” or “It’s a Pathfinder game” or “It’s basically Gurps” or whatever.

From a rules engineering standpoint, you can consider plug-in rules packages as changing what part of the rules does, but the core rules still define how it does it, but that’s not entirely accurate; it assumes that your particular rules combination aims for maximum possible consistency from one part of the game to another. As any experienced player or GM knows, that’s sometimes not even the case within a set of core rules!

This is one area in which there have been vast improvements over the years, and expectation levels have risen accordingly, while tolerance for inconsistencies is correspondingly reduced. The resulting difference in mindset is one differentiating factor in “old-school gaming”; when someone describes themselves or their preferred campaign as “old school”, they are announcing that having particular parts of the rules package be ‘fit for purpose’ in the eyes of the GM is more important than having everything neat and consistent.

‘Theme’

The campaign background is the equivalent of the website theme. This is often more than just superficial look-and-feel stuff, though that can be dominant; there can be micromanaging of aspects of the functionality. One thing I’ve played with constantly on Campaign Mastery, for example, are the range of font sizes used for the tag cloud and the thresholds for display; we’ve been publishing here for so long that without regular tweaks, rarely-used tags would simply vanish into the ether.

Front-End

The equivalent of front end plug-ins are supplementary material that affects player choices and options. Third-party supplements, officially ‘optional’ rules, and deliberate rules exclusions – it used to be quite common to completely disregard part or all of the D&D rules regarding alignment for example. My impression is that the heat has largely gone out of that debate in recent years, but it once raged white-hot amongst players and GMs.

Anything that adds a PC race or class or feats that can be chosen as options or anything along those lines qualifies as a ‘front end’ change. Most of the time, these are simply ‘adding functionality’ but a few can actually turn off and replace elements of the core functionality with something more ‘refined’ or ‘customized’ or ‘tweakable’.

Back-End

Quite obviously, then, the equivalents of Back-end plug-ins are going to be ‘Supplementary Material that is used by the GM to create content’ – monster manuals and locations and cosmologies, and so on. This is more focused on the game world, which in turn provide the building blocks that are used to construct the campaign background.

There may be – heck, there are – those who don’t think that back-end changes don’t have that big an impact, but I beg to differ.

In a very real way, they are all about what resources the GM can call upon to impact the plotline that describes whatever the PCs are doing, but they are always a double-edged blade – whenever the GM comes up with a plotline or contemplates a situation (often not of his own making), these are all elements that can intersect with and potentially disrupt the straightforward scenario that would otherwise result.

Sometimes, readers have trouble seeing that point, dismissing it as relevant only if you are excessively micromanaging the campaign and delivering plot trains. So here’s a simple example:

    The PCs, for whatever reason, have to take a certain magic item to a certain place at a certain time. The journey to that place, setting up the magic item when it gets there, and dealing with whatever doing this is supposed to accomplish, are the straightforward scenario.

    In order to get it there, they have to cross over swampland that the GM has already designated as home to a society of Lizardfolk that can smell magic and worship it as a God. No problems so far, that’s just predefining some of the content of that straightforward scenario.

    But the GM has also established that a certain Thief’s Guild from a certain game supplement are heavily embedded in the city from which the PCs are to set forth, with eyes in every corner and fingers in every pie in that part of the world. They won’t simply have gone away, and it strains credibility for that group not to be aware of this item and the impending transport arrangements. They are from a completely different game supplement / canned adventure to the one which describes the magic item quest, and therefore are an X factor that the source material doesn’t envisage.

    That puts the onus on the GM to decide what the Thief’s Guild are going to do about the situation. They could be friend or foe; they could try to take advantage of the situation, for example by attempting to capture the item and hold it for ransom. They might simply covet the item for its monetary value, and attempt to steal it before the PCs even get their hands on it. They are a complication caused by the intersection of material from two different sources.

    Throw in Faye, and Drow, and dark gods, and evil sorcerers, and anyone else with both the capacity to learn of the object and its mission and a potential vested interest or benefit in sticking their own oars into the simple machinery of the mission. In some cases, these might be established forces within the campaign; in others, the GM has them in place for some later plot ideas but they haven’t actually played any noted significant role in the campaign to date. What’s more, they carry the additional complication that the GM doesn’t want to compromise his ultimate intended purpose for the group.

Always, the GM has to ask – about any plot development or event – who has the capability of knowing about the situation and what capacity and motive do they have for intervening. The more complicated the campaign, with more back-end supplements plugged into the mix, the longer the list of campaign elements who might intervene.

Every GM and playing group has some sort of limit to their capacity to manage this sort of thing. Actual lists and reminders can be useful tools in expanding that limit. One of my strategic assets as a GM has always been the number of such ‘eggs’ that I can juggle in my head over a long period of time, and integrating them into a ‘big picture’ forest. The tapestry is always composed of many threads.

This places a natural limit to the back-end supplements that the GM can fully integrate into his world (sometimes, you can pick and choose).

    As an aside, I often get asked what the big difference between a player and a GM is. A natural GM will generally have a higher threshold for translating small-picture content into a big-picture overview and vice-versa, in my experience; but all GMs ‘build up’ that ‘muscle’ by virtue of GMing over time, even if they started no more capable than the players they referee. The only people who should not GM if they can avoid it are (1) those who are unable to grow in this respect (there are some), and (2) those who find this so much of a struggle that they don’t enjoy the process. Everything else can be learned, or at least improved to the point of being tolerable, so anyone else can be a GM. Whether or not someone else is more qualified or more adept in that role is an entirely separate question.

In its own way, that’s a good thing, because it means that you can get a similar but distinct campaign simply by removing one such supplement and substituting another (staying well below your threshold, whatever it might be).

You can start a campaign with exactly the same characters (in terms of racial profile, stats, and personality) and by virtue of integrating them into a different environment with different challenges and opportunities, end up with two or more completely different campaigns simply by changing the ‘back end’.

Front-end changes may be more overt and obvious, but back-end changes can be the more significant – in the long term.

Putting it all together

Every campaign is just a little different. The only way to get two D&D campaigns that are exactly the same, to the point of complete interchangeability, or direct one-to-one comparison in any form, is to restrict the structure to core rules only. Everything that gets added to that list, no matter how canonical it might be, subtracts from that universality (unless the same material is added to both, and in the same way, of course).

The differences might not be obvious, they might not even be noticeable at all, but they are there, and domino effects will magnify any points of differentiation between two campaigns.

This can add up to generating a more significant differentiation between campaigns than having different GMs does. But, again, two different GMs working from the same ‘mix’ of supplementary plug-ins can result in markedly different campaigns conceptually and in terms of the player experience, simply through being different individuals with different abilities and skills and interests. Change the content, and you change the website, in other words (and getting back to the analogy) (nor are these completely independent variables, it should be added).

But the game system ‘plug-ins’ are every bit as significant a point of difference as having a different GM – that’s how important they are.

Extending the metaphor

I can push the metaphor just a little bit further. This whole train of thought was inspired by a security problem for a website plug-in; well, security isn’t a major issue in RPG content (outside of publishing considerations) but if you define such events as ‘processes that let individuals do things that they are not sanctioned to do’ (which is stretching the nuances of language just a little), then game balance / interface problems would seem to qualify, and those are both very real problems that are potentially just as devastating as having a hackable plug-in can be.

See, for example, The Woes Of Piety And Magic, which I described as part of the Biggest Mistakes RPG Blog Carnival, many years ago.

This is particularly apt in terms of the overall analogy; you never like to have obsolete or out-of-date plug-ins as part of your site structure simply because those are more likely to be unpatched and vulnerable to malicious intent. In fact, every site plug-in should have a definite purpose and be regularly reviewed to ensure that it is fit for purpose. And, should one not be, if the purpose is still important, the hunt then begins for a replacement.

Similarly, no RPG campaign should carry game supplements that do not contribute something specific to the campaign that the GM finds desirable. Doing so simply opens the door to any systemic flaws they contain without commensurate value to the campaign. Nor can any campaign afford to carry, unpatched, any supplement with identified flaws of the type described above; that’s simply asking for trouble.

In fact, as soon as a problem of the game balance / game interface type is detected, the GM has to pose some hard questions: can a rules ‘patch’ be used to overcome the problem (however unofficial)? Is the content / utility of the supplement valuable enough to warrant the effort required? Or would it be better to simply ‘uninstall’ the content from the campaign?

Furthermore, Campaigns always represent an evolving internal landscape; it might be that a particular supplement loses its relevance, in whole or in part, as the campaign advances. This is the equivalent of that material not being maintained – any liabilities contained within still linger, but the value that they once afforded the campaign has a limited shelf life. “Uninstalling’ such can free the campaign up for the incorporation of newer and more relevant material, or simply reducing the GM’s workload.

Working The Analogy

Any analogy or metaphor can be a useful tool, a point that I’ve made before; they offer a new perspective even on situations that are well-known, illuminating otherwise obscure points, and even suggesting courses of action or policies to be implemented.

This metaphor may be limited in that respect, but it still suggests that GMs should vet and restrict the supplementary material that they permit, if necessary making hard choices between two different supplements of equal value to the campaign. Fortunately, unlike website architecture, GMs can pick and choose and make selective incorporation – I don’t have to load my campaign down with the whole of, say, Libris Mortis; I can pick and choose.

A concluding alternative analogy

There is another analogy that is worth taking a moment to contemplate: The core rules of a campaign are not unlike the diet of an individual, while the game supplements that they incorporate are like prescription pharmaceuticals. They each have a defined purpose, and if they fail to achieve that purpose, it’s time to stop taking them; but, more importantly, each has the potential to interact with other medications in unexpected ways. No two patients and their regimens are exactly alike, and what works for someone else might not benefit you. My father, brother, and many of my friends all suffer from type-2 diabetes; but we are all on different medications and dietary restrictions.

Unwanted interactions between game supplements are always a potential concern. The benefits always need to outweigh the liabilities if the campaign is to be maintained in optimal health.

Some ideas are ubiquitous, and appear in many different game supplements in minor variations and under different names; these should always be mutually-exclusive and never permitted to stack. Game systems have a certain level of resilience, a certain capacity for enhancement which, if exceeded, pushes the internal mechanics to or beyond a breaking point.

    My favorite example of this kind of thing is the original form of “Luck” in the Hero System. This states that for every level of “Luck” that a character has, he rolls 1d6 at the start of each day’s play, and the total number of sixes rolled defines how intensely his luck can be used to modify events within the game to the players liking. All good.

    Until someone asks to buy or utilize more “Luck” than the 3d6 maximum imagined by the system. Two players with Luck each trying to create circumstances favorable to the same outcome or end, for example – do the results stack (what happens if you get more than three sixes?), or is it the initial number of dice to be tested that stack? On the face of it, the latter is the simpler choice – but when you dig into the probabilities involved, above 13d6, it becomes more probable that you will have three sixes than that you won’t. And the game mechanics fracture and break down. At the same time, though, it seems unreasonable to prevent any stacking of this particular game mechanism, because such restrictions don’t apply to anything else.

    The only solution: completely ‘uninstall’ this version of luck and replace it with something else. Which is a shame, because the existing power was convenient for simulating all sorts of other phenomena in a quick and painless way.

D&D 3.x is particularly prone to this sort of thing – I have seen a first-level character constructed with +13 to his stealth roll by taking advantage of a confluence of game mechanics from different supplements. And they always put the GM into am impossible, game-breaking, situation: Either he permits the PC to almost always succeed on stealth checks, virtually with impunity, or he makes it virtually impossible for any of the other PCs to use stealth at all by hitting the party with challenges geared to the abilities of the one character.

Neither does a campaign any favors.

The lessons contained in this section are things that I have seen and experienced first-hand, though not to the full extent described. More to the point, they are situations that caught me unawares until it was too late. It just so happens that the metaphors offered in this article would have forewarned me to look for such problems instead of being blindsided by them. And that’s the ultimate value of a metaphor – its utility as a teaching tool. So take the lessons and perspectives from these ones and be that little bit better-prepared to understand and administrate your campaigns.

Blog construction through a popular platform like WordPress is all about the plugins. I turns out that, in a way, the same can be said of RPG campaigns. Who’da thunk it?

Comments Off on All About The Plugins: A campaign creation metaphor

A Long Road – Zenith-3 Notes for all Pt 3


This entry is part 3 of 3 in the series Zenith-3 synopsis & notes

This road is symbolic of the final part of the adventure (which we aren’t up to playing yet, thanks to Covid-19) – More open, but still twisting! Image by ant farts from Pixabay

This is the third, longest (53,566 words!), and final part of my review / demonstration of the “Tangled Web” campaign sub-structure. I’m going to presume that you’ve already read part two, which you can find at this link and dive straight in right where I left off. And, if you haven’t gotten in on the ground floor of everything that’s going on here, you should start with part one.

Don’t worry, we won’t go anywhere while you get all caught up!

So, a quick snapshot of where we’re up to.

Part one of the series dealt with the beginnings of the adventure (and this is all one big adventure), showing where the PCs were at in their lives and the things that were occupying their attention, then enmeshing them in the politics and international intrigue of the home-dimension of their parent organization. It also contained the transitions from Phase 1 of the Adventure (PCs at home) to Phase 2 (Spy Games) and from Phase 2 to Phase 3 (Central American Travels).

I sometimes get asked how to narrow the focus of a campaign that has grown Cosmic in scope to something more local, or, more commonly, how I transit from a cosmic / high-concept adventure to a smaller, more gritty, more local adventure within a campaign – this provides an excellent example of doing both.

Part two dealt with the majority of those Mexican Travels and the use of passage from A to B as a vehicle for delivering a series of isolated mini-adventures. It’s an excellent example of isolated, stand-alone adventures combining to create a campaign, and of pacing within such a campaign; each adventure had very little relation to the one before it, but the fact of the prior adventures provided context for each adventure that followed. I interrupted it just as the last of those was escalating to an epic finish to this mini-series for a number of reasons – not least because of the length that the previous post had attained.

Conceptually, that big finish was going to be more directly related to the next phase of the sub-campaign, so it made a certain amount of sense in that respect to draw the line at this point.

So, to recap the current situation: Using magic as a Technology on an industrial scale; Experimental parts to be used in a grand experiment that held huge promise if successful but huge danger if not executed perfectly, big reality-altering explosion that could (potentially) wipe out all life on earth, which the PCs narrowly survive….

Synopsis, Session 14 (from Session 15) – continued

The PCs had just engaged in various rescue operations in the town that had grown up around the experimental facility and assessed the scope of the situation before regrouping. Their ‘diplomatic escort’ and guide, Maynor Morales, came up with a desperate plan, having decided that the optimum outcome was for the researcher, Dr Esperanza, to survive and learn from the experience. Convincing the PCs of this, he began expounding a plan that was complicated by the need to avoid creating paradoxes.

“We have to travel back in time, using this magic circle to protect us from the chaotic effects outside, until a moment after the out-there versions of us lose sight of the Clippership, having returned to deal with the catastrophe. We can then rejoin it and complete our journey to Neuvo Laredo, having lost just eight or nine minutes.

“Using the circle as a vehicle gives us an opportunity to rescue Dr Esperanza en route. Zeitgeist, I was greatly impressed by your ability to see through solid rock at a great distance.”

This was something that she had been doing to lead rescue crews to trapped people in the town.

“I want you to search the ruins of the Laboratory until you find her body, and then concentrate on the heart.

“If we were simply to travel back in time by most methods, we would perceive only the Astral Plane around us. By traveling within the timeline when I reverse our Temporal Vector, the illusion can display the world around us. At some point, then, Zeitgeist, you will see Dr Esperanza’s apparent death.

“The first instant that she is definitively alive, but still trapped, we will exchange her body within the rock with a facsimile. Specter, Zantar, you have shown an uncanny facility to combine the normally incompatible; I need you to put your heads together and come up with that facsimile and find a way of ensuring that even an experienced mage such as myself cannot distinguish between the duplicate and the original.”

A fresh challenge, made more difficult by the demands placed on it. But that, in a nutshell, is how the PCs rescued Dr Esperanza without erasing her knowledge of the disaster, prevented the global catastrophe, satisfied the Oracle’s Prophecy, and got themselves back on track in terms of their own mission. Ultimately, overcoming the difficulties and problems required all of them to coordinate a precisely-timed operation. They essentially had to amputate her artificial legs and leave them behind to create the impression that she had died, then return her to a point where she would be found, just barely alive.

This was not a solution that could ethically be applied to most people, but could be applied to her because her legs were mechanical in nature, and this had been emphasized during the group’s initial encounter with her.

Problem solved, the PCs returned to their own mission, heading for Nuevo Laredo and their planned entry into the USNA (which comprised the old USA and Canada into a single nation).

Additional Notes

Everything above was originally intended to be presented as the conclusion of Part 2. It was a dynamic action-heavy conclusion to the PCs Central American sojourn, involving confrontations with Architecture-turned-golems and other such. Ultimately, it was the rescue of Dr Esperanza that was the climax of the climax, and involved the most significant developments at a campaign level.

In particular, the refinement of time travel techniques, which I’ve called out above, warrants further discussion.

In this campaign, the “astral plane” is defined as the ‘medium through which time flows,’ a higher plane of existence if you will. This plane can be accessed in various ways, as mystics have been doing for centuries, leaving their mortal bodies behind and projecting their minds into the realm from which all of space and time are accessible (at least in theory). It follows that parallel worlds can be reached across the Astral Plane, and from a temporal perspective, are as branches off the primary time-line – which achieves that significance purely as the home space-time of the dimensional traveler.

Most time travel is a simple out-and-in, as shown:

Time protects itself from paradoxes by spinning off a new alternate world whenever a time traveler does something to impact the timeline – like arrive – one in which they did not. There is a threshold of change required before such changes actually manifest in a new timeline, but in general, a time traveler can monkey around to his heart’s content without changing his personal history or circumstances one iota.

This situation rapidly becomes more complicated when you think about it for a while. For example, Time travelers from timeline A implies another bunch of parallel time travelers from parallel timeline A1, both heading for the same point on their common timelines.

This is explained with the theoretical statement that each timeline actually consists of an infinite or near-infinite number of parallel timelines that have minute differences that did not exceed the threshold – one atom of uranium decayed in timeline A0 and a different one in A, for example. To all intents and purposes, the two are identical. As soon as a time-traveler touches down in A, he finds himself in A0 without realizing it, and his presence immediately raises the energy of change above the threshold, so this timeline is not actually there for time-travelers from A1 to reach when they arrive.

This doesn’t work if all the arrivals are at the same instant in time – but there is error in the transit mechanism that is more than enough to ensure that this doesn’t happen. In fact, the more significant a point in time is (and the more interesting it is to time travelers as a result), the greater the margin of error generated.

This was the only form of time travel that the PCs knew of. What Maynor showed them how to do was something previously considered impossible (because the approach they were using didn’t permit it) – time travel within the traveler’s own native timeline.

There were several steps involved:

  1. Isolate the travelers personal timelines from those of the broader space-time around them in a bubble of temporal force;
  2. Use an illusion on the outside of the bubble to effectively make the bubble and its contents invisible to those on the outside;
  3. Use a second illusion to show those on the inside an image of what was going on outside the bubble (necessary as no photons not already within it would be able to penetrate the bubble);
  4. Do whatever you wanted with the personal timelines of everyone within the bubble.

Unlike the normal method, this permits surgical precision based on the position of the sun and other dynamic phenomena. But the difficulty means that even ‘experts’ in time travel and mages of the caliber of the PCs would find it difficult.

So, with that all foundation and context understood, I can move on.

Excerpt from Game Session 16

Last time, the great Mana Explosion was detailed and how the PCs put (most) of the jam back into the jam-jar afterwards. But there was an important coda to the disaster, one that kicks off the transition to the next phase of this epic adventure.

When you are underway again, Maynor approaches Specter and – choosing his words carefully – says, “I don’t have any logical basis for this assertion, but I got the distinct feeling when I was talking about the Time Travel rescue of Dr Esperanza that this not only wasn’t the first such expedition into other frames of reference that you’ve been on – and that you plan another one, soon.”

Specter gave a noncommittal non-denial.

“I haven’t that much personal experience in the field, myself – just enough to know that everyone’s first impression is that it’s just another inter-dimensional jaunt, and that this impression is completely 100% wrong. But I still remember most of what I was taught at the academy about it, if a little vaguely in patches, so if you think it might be helpful…”

Naturally, Specter was not slow in accepting. What’s more, because the other team members might also have need of the information, he quickly brought them into the discussion.

    It should be noted that this was a multimedia presentation with full-screen diagrams. These won’t fit the landscape available at Campaign Mastery so I have reduced them to the maximum width permitted and hope that they will still be clear enough.

    The Time-travel lecture that followed started with concepts familiar to the PCs and quickly moved beyond those concepts, but the whole lecture is presented below because readers might not be familiar with the material. See also my previous series on Time Travel In RPGs:

    It’s also worth remembering that these illustrations are supposedly snapshots of a dynamically-evolving display being constructed by hand, on the fly, by the NPC giving the lecture. As such, they contain the occasional error that has been emplaced deliberately.

“Time isn’t a straight line. It’s a tangle of vibrations back and forth, twisting at critical moments and events – the more momentous the event, the greater the angle of change. It’s normal to depict timelines as two-dimensional representations even though they actually twist through three temporal dimensions (and contain three spacial dimensions) represented as one – a line.

“But this is an oversimplification. In reality, each critical event has a wide spectrum of possible outcomes. Usually, no matter how significant it might feel locally, and might eventually become, these timelines are almost indistinguishable from each other. It takes time for a domino effect to grow into something significant. And many of these outcomes are functionally the same – it generally doesn’t make much difference if you linger for an extra tenth of a second over your morning coffee, for example. Or for a tenth-and-a-half. But technically, both of those expressions of free will results in a new timeline. Before you know it, your timeline looks like this:

“And, of course, this phenomenon repeats itself at every critical event, defined as an event with more than one outcome. Such events occur every nanosecond in almost every particle in existence throughout the universe at the most minute level. But they also occur at the macro-scale – as I indicated, a fraction of a second longer lingering over a cup of coffee that does not amount to anything more significant, for example When discussing time travel, we normally ignore such events. And we simplify our maps of time by discarding low-probability outcomes. If I discard everything with a less than 60% chance, I get this:

“Now, each timeline represents a cluster of multiple similar timelines, and they are no longer so neatly defined. They have grown ‘fuzzy’. Some simplify further, abstracting their representation of time:

“It’s very important to remember what you are ignoring when you do this; it can catch you out, otherwise. Here’s a truer picture of the probability, with still more coalescing into three central strands. If you look very closely, you will find that they aren’t quite identical.

“Nevertheless, it’s often useful to start with the abstract representation and then work up to a more accurate reflection. Here, I’ve drawn a series of arcs at equal lengths from the critical event that caused the timeline to trifurcate. And, at point t, we have a time traveler.

“He can go into the past of the timeline that he is in, but that inevitably creates a new critical point – one branch containing the traveler’s arrival, and one that doesn’t. Incidentally, that was something that our recent rescue avoided – the potential for a divergent timeline did not exist until the force-field bubble was dropped, but by having a very specific and detailed plan and following it to the letter (as much as we could), we minimized the potential for divergence and maximized the probability that all timelines would carry the changes that we made. Eliminating choice and chance eliminates bifurcation and creates inevitability. Anyway…

“When this time traveler. reaches point t again, there will be a version of himself that returns into the past – and studies have found that the instant of the previous versions’ arrival have created a callus over that moment of arrival in those timelines in which he arrived from the future which resists with the full force of the timeline’s integrity, the arrival of a second version of the same time traveler. into the same timeline.

“Instead, the time traveler. finds himself entering the branch in which the first time traveler. didn’t arrive in the timeline, the ‘ignored’ branch – again bifurcating that timeline into one in which he arrived from the future and one in which he didn’t.

“The more inevitable it is that the time traveler. will return to the past, the greater the percentage of available timelines in which a time-traveler arrives in the past.

“The number of timelines is always one plus the number of time-travelers, at a minimum.

“Of course, reality is more complex; you can arrive at any point within the spacial dimensions contained within the timeline, so it’s theoretically possible for multiple versions of the same traveler. to arrive at different points within the same timeline at the same time. In practice, though, there’s that callus – and so we get a sorting mechanism in which the versions don’t intersect, except possibly in the Astral Plane.

“One way of avoiding the bifurcation of a timeline and the creation of a critical point is by the time-traveler deliberately targeting a variant timeline; if it’s virtually inevitable that the time traveler. will do so (and that doesn’t happen by accident), AND the time-traveler doesn’t make any sweeping changes in the other timeline, his arrival – in theory – doesn’t create a critical event. You can reliably observe but change nothing, or change something and introduce unreliability to your observations.

“Experimentation has shown that the more the target timeline differs from the one experienced by the time traveler., the weaker the resulting callus. I’ll leave the significance of that for you to ponder some other time. Instead, let’s focus on another aspect of time travel of more immediate practical value.

“It doesn’t matter how similar or how different they are, since we know that a time traveler. ALWAYS arrives in a timeline in which he had not previously arrived, it is ALWAYS just a tiny bit divergent from the one he knows. Maybe a die rolled a six instead of a five in a casino somewhere, or one radioactive atom decayed instead of another one – good luck finding a variation that small, somewhere in the entire universe! – but it will be at least a little bit divergent. And that means that the right way to represent it is with a bifurcated or trifurcated timeline.

“The time traveler. has three options: he can arrive in the past of a timeline, as shown by t-to-1; the can arrive concurrently to his present, as shown by t-to-2; or he can arrive at a future point, as shown by t-3 and t-4.

“The difficulty and accuracy of the trip is proportional to the angle between the temporal vector of the traveler. at the instant just prior to departure and a line connecting that point to the concurrent instant of arrival.

“So t-to-1 presents the greatest difficulty in accuracy, followed by t-2, then t-3, and then t-4. And that reveals a second fact: in futureward travel, the less divergent the timeline targeted from your own, the more easily you can be accurate; and the more divergent, the more difficult to be accurate. When traveling into the past, or a point concurrent to the past, this is reversed – the more divergent, the easier it is to be accurate, the less divergent, the harder.

“It’s as though there were a finite amount of uncertainty to go around. If you use some of it up by predicting the future you want to try to go to, there is that much less of it to throw you off course; but if you try for a very precise past, your arrival point will have to soak up a great deal more of that uncertainty, so your arrival time and location within that past will be greatly inaccurate.

“But that’s assuming a straight line between departure point and destination, and any inter-dimensional traveler. knows that just doesn’t happen. There are all sorts of astral-plane phenomena and dangers that throw or force a traveler. off that straight line; in reality, a traveler’s course looks more like this:

“And that introduces a new variable: the angle of entry into the target timeline, something that’s not always entirely under the control of the traveler. Once again, there’s fixed total uncertainty. So if you control both the departure and the target specificity, the only variable left to soak up the uncertainty is relative vector of travel on entry.

“That vector can differ in two respects – which, on vector analysis boil down to the same thing: angle of entry or relative rate of time compared to that of the timeline.
Since it’s only the vector component that aligns with the instantaneous vector of the timeline that matters, the more acute the angle of entry, the faster you will ‘appear’ within the timeline, but the less of your personal time-travel vector will be available to ‘match vectors’ with the timeline.

“The greater the differential between the two, the more stress the differential places on the physical and mental reality of the traveler. Entering at too sharp an angle can kill you.

“A lot of those intricate maneuvers are therefore an intentional attempt to approach the target point from a suitable angle that will minimize stress.

“But there’s one more factor: individuals continue to experience the passage of personal time during transit. The greater the distance covered, the greater the opportunity for encountering… something.

“There are thus competing priorities in any temporal transit, and the artistry of time travel is finding the ideal compromise between the two while avoiding temporal hazards.

There are two kinds of critical event. The first type is one that’s inevitable, given the history of the base timeline – one of those is created when a player is dealt a hand of cards, or draws a lottery number from a barrel. These are ‘tethered’ to the originating event – the one that makes the critical event inevitable. These tethers ensure that at an appropriate duration after the originating event, there will be a consequential critical event across multiple timelines – it’s as though the event creates a shock-wave that intercepts all the branching timelines at the same instant, give-or-take a little uncertainty.

“Since it’s really hard to have no effect on a timeline when you aren’t there one instant, and are the next, a time traveler’s arrival always generates a shock-wave of this type, though the degree of impact can vary so substantially that the shock-wave is often described as extremely fuzzy.

“The other kind of critical event is one that isn’t inevitable, but that arises out of the behavior of people. The power of free will, and all that. Whenever someone sentient makes a decision, that creates a critical event.

“Although it’s usual to assume that decision is synonymous with action, that isn’t the case. Nor is it at all likely that the instant of decision will be exactly the same across multiple timelines – it’s far more likely that it isn’t. So these are like an unexploded bomb connected to a random number generator.

“This is important to a time traveler. because the first type of event generates additional temporal stress – experiencing the same inevitable critical point on multiple timelines is wearing and fatiguing – while the second type of event generates additional uncertainty.

“It’s sometimes convenient to map all these factors onto something that takes a more statistical approach than the depiction of multiple timelines. This is called a Probability Map. A typical one, with a bifurcation caused by a critical event, looks like this:

“Notice that the presence of the alternate timeline impacts the distribution of probabilities over the map – the zones just outside the high probability regions have a greater probability of containing a timeline matching the specific parameters on the side closest to the other timeline, representing the graduated presence of timelines that are neither extreme completely, but are somewhere in between (quite literally, in most cases).

“By assessing where your departure timeline is and where your target timeline is within the map, you can estimate the relative significance of the various factors which cause stress and uncertainty. Or so I’m told; I never fully got my head around this part of the theory.

“Anyway, moving on: the instant of departure is critical, because of the way a real timeline is always twisting this way and that. Let’s say that you are aiming to correct or influence a critical event. Since it doesn’t matter how similar the target timeline is to your own, it will be divergent to some degree, it’s easiest to analyze by using two parallel timelines, like this:

“This shows seven different departure points, some before and some after the critical point in question. You can target a critical point before the event occurs if you can predict its’ existence and it’s of the first type and not the free will type – though there’s a little of the inevitable about a free-will event and vice-versa. What I’ve described are the theoretical absolutes, bear that in mind.

“The remote past is bad for both stress and accuracy. A little later and almost the same initial temporal vector is merely poor, because the separation between the timelines is less – so there’s less room for things to go wrong. As soon as the critical event becomes probable, you are likely to get the best possible combination.

“Waiting just a short span of further time until it becomes inevitable is usually the same as a concurrent equivalence – it’s okay, because of the shortness of the gap, but the temporal vector stops being in your favor. Waiting until you know the outcome of the event deteriorates the situation back to something as bad as the remote past.

“But there can still be minor confluences, where the trend is similar to that of the target timeline – which means that it is usually better to jump from frying pan to fire than to jump from safe ground into either. Waiting until another critical event has produced significant variation is the worst choice of all.

“Always assess your target point and timeline, and try to plan your time travel accordingly. Sometimes you can’t choose the point of departure, but can choose the point of arrival; sometimes it’s the other way around; and sometimes, it just sucks to be you.

“The final diagram I can show you describes a portion of the same but incorporating the consequences of having participated in the critical event that you are trying to change on one timeline already, in a ready-reckoner manner. This isn’t strictly correct, but as a tool for estimating the consequences, it’s excellent.

“But the resulting diagram is so complicated that I’ve taken each of the paths and replicated them separately at the bottom of the diagram. In essence, the more of the timeline’s events that you have experienced, and the more of the consequences that you have observed, the longer your effective travel in terms of stress and uncertainty.

“This is simulated by going ahead to the point beyond the target by the amount of certainty, then to a point behind the target by the amount of certainty, and then to the target point.

“Starting when the critical event is only possible, and not certain, produces a long path – but not a lot of messing about when you get there. This is shown by the blue traveler’s journey, labeled 1.

“Starting when the critical event is inevitable, but not yet resolved, produces a shorter direct path, but longer time trying to vector in on the target point. Overall, this yields more stress or more uncertainty or more of both – and the natural tendency is to minimize uncertainty because the temporal vectors are a closer match, as explained earlier. This is shown by the green line labeled 2.

“Starting when the critical event has taken place but the consequences are still being observed is worse still. Now almost everything is going against you. This is shown by the yellow line labeled 3. Note that there is not a lot of difference between this and a transit beginning AT the critical moment.

“Finally, if you wait until the consequences have second-generation consequences, you get the red path labeled 4. The universe doesn’t really want you messing about with its settled history; events have their own momentum within the temporal vector, and it takes a lot of effort to undo something.

“That’s why we couldn’t just find the Peregrin and take the whole ship back in time, or travel back to a point when we were already on board. The level of uncertainty would be low, so the Temporal Stress would have been off the charts – and it wasn’t certain whether or not we would be able to heal while the light-show was going on outside. Instead, we had to wait until the old ‘us’ were no longer in a position to notice it – then, just after we disembarked, we could board and it could leave. We’re still experiencing some Temporal Stress, because we’re in two places at the same time – so we’re getting pounded by shockwaves from inevitable critical events elsewhere.

In a previous adventure, the PCs had discovered that existing in two different space-times at the same time caused increased rates of exhaustion, reduced capacity for concentration and intellectual activities, slowed decision-making, mental fog, and even low levels of physical trauma, but they had not investigated or understood the mechanism behind that effect; they simply accepted that trying to ‘cheat’ the universe by being in two places at the same time was inherently stressful and tiring.

They had also learned that if they aimed to return to a point concurrent to the duration they would have experienced in their first timeline if they had not gone dimension-hopping, there was little or no such stress. They termed this ‘Temporal Shock’.

This diagram sums up with the first two figures, what they knew then, and with the third and fourth figures, what they now added to that knowledge.

The first figure represents a student trying to steal some extra study time before a big exam. As a general rule, the performance loss will be slightly greater than the benefits of the extra time – the extra coming from being present (even if not involved) during critical event e. Note that the student leaves during critical event f, or the performance deficit would have been even worse.

This applies to all relevant numeric values – so if the student were to study enough to get an extra 20% on his exam results, he would lose about 24% of his intellectual and physical capabilities and experience 24% greater fatigue.

The best approach to dimensional travel is shown by the second figure. Despite experiencing critical event d, the traveler. returns to his native timeline at a point at which his subjective time is equal to or less than the interval between departure and return so far as anyone remaining on the timeline is concerned. There would still be some Temporal Shock induced by the critical events affecting the timeline in his absence but these would be momentary and manifest only on his return to the timeline, just as there would be a singular instance of Temporal Shock upon entry to the parallel world on which critical event d takes place.

The third figure shows the traveler actively attempting to change the outcome of history after they had experienced two critical events. From the moment they arrive, they are subject to Temporal Shock from critical events a, b, AND c, which are ongoing throughout their temporal excursion AND for an equal interval of time when they return to their own time-frame because they returned to a moment just after they left. Note that while their own experienced history has not been changed by their actions, some parallel-world equivalent of them may have instituted a similar change in their native timeline, so effectively they return to a world in which history has been changed more-or-less the way they changed it.

The fourth figure shows the worst possible choices. The time travelers return to a point in time prior to their departure, and even if they don’t interfere in events, they are subjected to temporal shock not only from the critical events marked at a, b, and c, but also all the critical events that they are experiencing for a second time. This can double or triple the base level of Temporal Shock leaving the character significantly impaired for long after their temporal jaunt is complete.

The greater the impact on other people’s decisions, the greater the Temporal Shock experienced. Watching without interfering is much safer.

All this was also directly relevant to the PCs future plans and their primary assignment. If the nukes they were after had already been detonated before they began their time-travel, it would be a lot harder for them to succeed, and more of their capacities would be inaccessible. It also meant that they would have a greater likelihood of success, and experience less temporal trauma if they had clear plans in place.

It also meant that the tiredness everyone was now feeling wasn’t purely the result of the expenditure of effort in first the rescue of the townspeople, the restoration of the planetary Mana field using a self-perpetuating spell crafted with Rheezok assistance, and the rescue of Dr Esperanza – some, perhaps most, of it was the result of existing twice at the same time, made worse by it occurring within the one timeline.

“I realize that there’s a lot to unpack – this isn’t the same kind of practical instruction that I gave you earlier, this is altogether a more complicated subject. But the guidelines and principles should help you plan when and where you need to go.

Some practical advice:

  • “Being multiple places at the same time, even on different timelines – bad. The more similar the timelines, the worse it is – so being on the same timeline twice is as bad as it gets.
  • “Multiple jumps are much worse for temporal shock than one big trip – but much more accurate. You can minimize one source of stress only to maximize another if you’re not careful.
  • “It’s always safer to go back to a time when nothing was happening than to a time when fates were in the lap of the gods – unless departure is from a time that is not equally sublime. If your departure point is a time of high tension, transit to another time of high tension and wait it out – you’ll encounter greater risks from events, but less inevitable harm from Temporal shock.
  • “Try to always give yourself ample time to do everything and more besides. It’s astonishing how quickly it can be eaten up. And everything takes longer than you think when you’re fighting Temporal Shock.
  • “Once you’ve experienced an event, live with it if you possibly can. Attempting to change it will probably be fatal – and probably unsuccessful. The fates will seem to be conspiring against you, every random chance biased against you, almost as though the universe was conspiring against you.

This practical advice clearly derived from the information presented in the lecture, and had a deep impact on the team’s future plans. They had been planning to jump back in time a week or so, at which point they would have barely enough time to get everything done to a superficial standard, and at which point the problem with the nukes might already be an inevitable crisis. This plan was completely incompatible with the advice Maynor had given

While no decisions were made in this respect at this point in time, they were all thinking about it and revising plans. And that was the point of delivering this info-dump at this point in the game; this was information that the PCs had to have to make rational decisions, delivered by someone whose bonafides had been established to their satisfaction. The information would have been utterly irrelevant earlier in the adventure; they already knew the part that was critical to what they were doing then (the basics of Temporal Shock).

The need to deliver this information was a key point in planning the mini-adventure to which this lecture was post-script. In some ways, you could say that the entire purpose of this particular set of events was to justify the delivery of the lecture, which required the prior experience of time travel as the solution to the crisis presented by the mini-adventure. That required an emergency dire enough to justify time travel as a solution; working backwards from that gave me the basics of the adventure. The combination of the events with a society in which they would logically transpire raised the question of what the authorities would know, given that the society would have access to sources of information beyond the normal – and that led to the creation of the Oracle. Each piece of the puzzle was built upon what was to follow.

Game Session 15 (cont)

The party then reached Nuevo Laredo I provided a potted impression of the place which may or may not bear any resemblance to the true-life relationship between the American city of Laredo and the Mexican town named. This was extremely abbreviated because events always seem to compress as a trip is coming to an end – while any lack of events seems to get drawn out.

Before they knew it, they were in possession of a ‘more appropriate’ vehicle provided by the Coahuila Government – a brand-new Chevy Gladiator(1), the same as a thousand others that would cross the border daily, for trade between the two was brisk – in fact, it was the only real reason for the existence of Nuevo Laredo.

    (1) The basic Chevy van in a dozen configurations (some of them even officially recognized by the manufacturer) were marketed under this name in Mexico at this point in time. In the in-game reality, most of these were sold without engines fitted because the technology preferred in Coahuila was so different to the internal combustion employed north of the border. This particular model had both an internal combustion engine for use in the USNA and an ‘exotic’ steam engine (a two fire-sprite model) and was equipped with seating for 9 passengers, a small cargo space (in the mode of the people-movers (European designation) and mini-vans (US designation) that were becoming popular at the time (mid-80s), and diplomatic plates.

Maynor keeps the “Diplomatic Vehicle”. He intends to return to LA, gather some experts, and return with them to Coahuila to assist in recovery efforts after the disaster that befell them a few minutes ago – and instruct a certain engineer on some of the theory and practice of spellcasting while she is recuperating. If he times it right, he will arrive shortly after they departed back in time. He will also send a few students (who he thinks could benefit) down to spend some time with the Rheezok, but he will return to Los Angeles.

His final advice is to remember that if they contact him back whenever, he won’t know who they are, and the results could be catastrophic. Nevertheless, satisfied that they will use the information wisely, he provides contact information. Ideally, you should wait until there’s only one of you in this timeline before time-jumping again – but the urgency of your mission may not permit that, so remember when you get back to this point in time that you are already here twice and will experience Compounded Temporal Shock.

He suggests hiring a vehicle and recuperating in a local hotel if you can afford the time. If not, good luck!

With a jaunty wave, he then piloted the vehicle into the traffic and departed for Los Angeles, leaving the PCs on foot in a strange city in the US with only their forged documentation and some spending cash (intended to last them for three days) for company.

The PCs immediately revised the advice they had been given to incorporate things they knew but hadn’t been able to state. Travel back in time immediately, then rest in a local hotel and hire/purchase a couple of local vehicles is a more sensible plan. The further in time they could get from the imminent possible detonation of a nuclear device (a critical event if ever there was one) and/or a confrontation with whoever has it, the better they would be when those events did take place. And crossing the border with diplomatic plates won’t mean squat to anyone days or weeks before you do it, so this would provide additional protection against possible scrutiny by US Intelligence.

More Key Points & Notes

Maynor had been the one constant throughout Phase Three of the adventure, and his departure was symbolic of the end of that phase. This signaled a major change in the tonal quality of the mini-campaign – until this point, events had been driving the PCs forward, dictating what they encountered and what their imperatives were; as the architect of the locations and individuals through which they traveled, the societies and the manner of transport that they were able to provide, the mini-adventures and content of Phase Three in general had been provided by me as GM. Suddenly, the players were in total command; unless speaking as one of the NPC members, my sole contributions to the discussions were of the nature “that’s up to you”.

As the discussion continued, a consensus began to emerge, a broad plan of action, but (rather than binding them to it at this point), I had the players hold off on any final decisions until the next game session. My ulterior motive in doing so was to ensure that Phase Four had the feeling of the new beginning that it was intended to be. Everything up to this point had been aimed at enabling this new beginning to take place (with a few bits of campaign-building along the way); they had transitioned through multiple settings, each of which would have been suitable for ongoing campaigns. This was intended to create the sense that what was coming would exceed all the others, as it was the one chosen as the focus of this new campaign-within-a-campaign out of all the possibilities.

There is some similarity in this to the approach that I will typically take when starting a new campaign, regardless of the genre. At first, it will take some form of grand tour in which some of the possibilities are presented to the players; slowly, or suddenly, the PCs will be put in the position of making critical decisions for themselves, and I will start integrating those decisions into my own planning.

To be fair, I already had a strong sense of how the campaign was going to develop through phase four – I had been working on it for months – but critical decisions were still in the hands of the players, and may plans would have to be modified to take those decisions into account.

Synopsis, Session 15 (from Session 16)

Zenith-3 are on their own, in the USNA, in disguise, on a mission to prevent some domestic terrorists from detonating one, maybe two Russian Nukes that they have bought on the black market.

They have traveled from one end of Mexico to the other to reach this point, and are collectively not far from being sufficiently exhausted that mistakes could creep in.

Right now, they face the big decision of how far back in time they are going to travel – they need sufficient time to establish these “new” identities, both in the eyes of officialdom and the press, but they have only a small amount of “traveling cash” on them, courtesy of UNTIL. When they get established, they have a phone number to dial after opening a local bank account, and UNTIL will then deposit enough funds to obtain a base of operations – go too far back and you won’t have access to that.

The plan at the moment is to go back in time, get some hotel rooms here in Laredo, and get a good night’s sleep. They will then research the possible locales suggested by UNTIL for a base of operations, trying to narrow it down to something more specific than the four states suggested, finding out what they can from Laredo, then hire or buy a couple of cars and drive to them for a closer inspection.

Ideally, you will finish those inspections just as the money from UNTIL becomes available. That will give you a couple of days to do something to get noticed, and then you can head for the rendezvous and hook up with the UNTIL agent who stumbled on the situation in the first place, and who has been looking into it since.

St Barbara [aka Nightshade], you have one other option up your sleeve. UNTIL didn’t want any chance of a security leak so they’ve instructed you not to even let the Champions know about this side-gig – but Backlash, currently serving as the Chairman, showed up for the mission briefing anyway, and that means that you can take advantage of a top-secret slush fund – emergency funds accessible (and known only to) the Chairmen of Champions Organizations. Not even acting Chairmen and 2iCs and field commanders get told about this money.

Drawing on that money will tell Aleph Prime and Backlash that one of the teams is doing something covert, and the location of the withdrawal will tell them where it’s happening. Which might very well be how Backlash knew to crash that mission briefing!

It would probably avoid questions if you used the Champions Funds only as a bridging loan for a few weeks, but that means that you’ve would have more time up your sleeve, and that could be very useful.

The other consideration is that you shouldn’t go back any earlier than the bad guys reportedly obtained the Nukes – about eight weeks ago – or you risk finding yourself in an alternate timeline. And UNTIL won’t be listening for your call until 4 1/2 weeks ago. If you actually buy a property – and UNTIL thought that would be preferable if possible – you will probably need to pay a premium to avoid a delay while the paperwork gets done. This is usually 2-4 weeks. The problem is that doing so will attract attention, and you don’t want to attract undue attention!

So how long will you need? How far back do you want to go?

The players began by laying out a schedule built around the concept of a grand tour of the four states suggested as suitable by UNTIL. The basic plan was to spend three days exploring each, in two vehicles, with a fourth day as reserve and rendezvous; any unused time could be spent as “time off”. They would then choose their base of operations from the choices they had found during their road trip, and spend a couple of days arranging the purchase; one of the key considerations would be the capacity for immediate possession; the players were all cynical of UNTIL’s forecast that they would find ample choices in such a short period of time, expecting no more than two or three results per vehicle per state (the NPCs, not being ‘local’ in different ways, deferred to this assessment). They would spend up to a week outfitting and refurbishing it (forgetting completely the lesson of how quickly they could do so using their paranormal abilities, as had been demonstrated in Leon), leaving about a week to establish their new ‘superhero’ identities sufficiently to get some assistance from local law-enforcement should that prove useful before making rendezvous with the UNTIL agent. Adding all this up, and throwing in the occasional ‘day off’ gave them a total of about 31 days.

Checking the weather back then further narrowed their choices to Monday, May 26, 1986 – with departure from Friday, July 4, 11:05 AM.

They then departed, only to run headlong into another phenomenon hinted at in earlier adventures: The Astral Plane was not the blank slate that theory described. There were various aspects and attributes of local regions just as the sea along one piece of coastline will be different to that along a completely different coastline on the same continent. Normally, such phenomena can be maneuvered around, doing nothing but adding to the perceived transit time, imparting some sense of transit to the journey, and creating a little random uncertainty about the precise arrival time; but by sticking close to the one time-line, they were effectively hugging the coast instead of going out to sea and then back toward their destination, trading increased risk of encounters in the “shallows” for greater precision.

Sure enough, they encountered Dimensional Shoals caused by the passage of many time-travelers in and out of the local timeline (Warcry, an ex-member of the group, got the blame, but the PCs had themselves been popping in and out of local time regularly since the campaign started). What was more, there was a vampiric squid or maybe sharks (my notes say one thing, my memory something else) who lived in the shoals and consumed the future lifespan of time-travelers who intruded on their domains.

Even more bone-weary than they expected, but wary of the time-traveler’s equivalent of Jet Lag, they arrived shortly after the hour of Noon. They secured accommodations at the first hotel they encountered and then decided to take the afternoon off for social activities. Each went their separate ways using tourism pamphlets from their hotel to choose activities that sounded interesting – some went to the movies, one went golfing, and so on. Each also chose a lunch location that sounded interesting or appealing to them.

And that was how the rest of the game session played out.

Key Points & Notes

Notice how there is virtually no mention of the big finish to the previous phase of the adventure, nor of the transition to this next phase; instead, it’s all relating to discussions held and decisions made way back in the first part of the ‘Spy Games’ phase, and how they intend to modify the basic plan given to them by UNTIL to better suit what the PCs think they need in order to achieve everything UNTIL wants them to do.

The other source of input into this synopsis was the discussion that had taken place at the end of the previous game session. None of the players made much note of the fact that they had been delivered to the US precisely at the moment they were designed to arrive: before noon on July 4, which is when UNTIL expected the nuclear weapons to be activated. The original schedule had aimed to get them there on July 3, but they had lost a day’s travel to the various tasks foisted on them along the way.

The change of pace after the transit back in time was also no accident – the PCs had been traveling at an increasingly breakneck pace to reach this point, suddenly they had a whole month in front of them. Choosing to decompress, and engage in ‘character activities’ provided a mental reset for both players and characters. It also bought me time to make the necessary adaptions of my plans to fit within the decisions made by the players without making it an obvious stalling tactic – the fact that I was prepared with lists of the activities on offer and photos of the different venues of interest gave the impression that I was as thoroughly prepared as ever…

Synopsis, Session 16 (from Session 17)

Zenith-3 are on their own, in the USNA, in disguise, on a mission to prevent some domestic terrorists from detonating one, maybe two Russian Nukes that they have bought on the black market.

They traveled from one end of Mexico to the other in just 3 days – by way of Brazil! – but that left the team exhausted and critically short on time to do everything that UNTIL wanted them to do and then defuse the plot before it was too late.

To buy themselves some time, they have traveled into the past in the city of Laredo, Texas, located so hard up against the Mexican Border that there’s a town on the other side named Nuevo Laredo, which was your portal into the American city.

Timing was critical; while you would have liked more of it, a Hurricane struck the city on the 25th – no fatalities or serious injuries, but it would not have been conducive to carrying out your plans in such weather – so you had to make it the 26th, leaving you a thirty-three day Schedule to follow.

After a little R&R in Laredo yesterday afternoon, the team settled in for a good night’s sleep at the Laredo Six-Star Inn. All except Vala/Zeitgeist, of course, who doesn’t need much in that line of things.

Key Points & Notes

Essentially, the entirety of the previous game session was tossed out in a single paragraph of two sentences. The rest was context, a reminder of the bigger picture.

The longer a synopsis, the more baggage it conveys to the players. Heaven knows there was enough such baggage to mention – but none of it was relevant to the day’s play at hand.

Synopsis, Session 17 (from Session 18)

Zenith-3, in the Guise of Team Shadow, have traveled back in time to May 27, 1986. They actually arrived yesterday, and spent the afternoon on R&R before attempting to get a good nights sleep since they were all exhausted to some degree (except Zeitgeist [Vala], who’s an Energizer Bunny).

One by one, those plans failed for various reasons which can be generally characterized as people becoming aware of the scale of what was being proposed, and needing to change the plans for the day accordingly.

Union Jack had discovered that the funds provided by UNTIL, which would have been perfectly adequate for three days, wouldn’t stretch to thirty. Even the attempt would force the auto-shoppers to buy junk without more money. He offered Nightshade [St Barbara] several solutions to the problem, but wanted her to choose between them.

Before she was set on a decision, Basalt [Knight] showed up, having determined that there wasn’t enough time in the day to examine the number of cars likely to be for sale without some information on what capabilities to prioritize. He had a planning tool taught to him by his old partner when he first joined the Police Force which would solve the problem, but he wanted St B and Union Jack to weigh in.

They were just about finished doing so when Zantar [Defender] and Zeitgeist [Vala] arrived from a before-the-shop-opened expedition to the local Bookstore.

Defender was worried about the logistics of researching targets and planning the activities to follow, but had come up with a plan – do the research as you travel between potential sites using the best guidebooks, selected according to a logical argument that he had devised. Union Jack had also deduced that the mission at hand was likely to center on Oklahoma or Northern Texas, which he called “Zone Red”.

The last to arrive was Specter [Runeweaver], who had been delayed by ‘oversleeping’ (compared to the others) because of a nightmare. He was worried about the dangers of having too big an impact on History, especially if zeitgeist [Vala] were to go “Fundraising”, something she had mentioned the previous day.

With that, the day’s activities were almost completely revised. As before, Union Jack and Basalt would shop for a pair of used cars for the team to use, based on what the team could afford and the criteria that had been identified as most crucial. Runeweaver and St Barbara would make a fast trip to the Bahamas, from where they would withdraw some of their accumulated UNTIL salaries to bolster the team’s finances. As soon as they had done so, Zeitgeist [Vala] would relay their new operating budget to the car-shoppers so that they could take the information into account. She, meanwhile, would have scouted and hired an automotive workshop for the next couple of days. Zantar [Defender], with Zeitgeist’s assistance when she was free, would, in the meantime, be preparing a set of protocols on Base Selection for the team to discuss.

St Barbara decided to withdraw $6000, a thousand more than the minimum Union Jack had estimated would be needed from each of the two senior team members. Runeweaver decided to withdraw a thousand more than that again, to provide an extra buffer.

Weather: Increasing cloud, light winds growing stiffer in the evening, High 86°F, Low 68°F, Sunset 8:27PM.

We rejoin the team as Vala is bringing Union Jack and Blackwing up to date (telepathically) while they finish their lunch. St B and Runeweaver have a choice to make – you can grab a light lunch in Barbados and then head back to Texas to put the cash in the hands of Union Jack, or you can head back immediately, hand off the cash, and then get some lunch.

Key Points & Notes

There was a lot of roleplaying and no small amount of comedy that has been glossed over in the preceding summation.

Vala started her in-game life by stealing from drug smugglers and other criminals, and taking advantage of rigged games at illegal Casinos, and proposed such activities as a way of enhancing the team’s finances, using the euphemism “Fundraising”.

Vehicle Choice

I wanted the players to make important decisions with minimal input from me. The net results of my research into available vehicles (described in How Good Is That Rust-bucket In The Showroom Window? had yielded 163 possible vehicles – some of which were obviously unsuitable for the intended purpose. These were as fully specced-out as I could make them, incorporating data from multiple sources and modifying model histories to integrate with the campaign history as necessary. I didn’t assume that the design imperatives would remain the same, or that the vehicles that were historically popular were going to remain so – everything was adjusted to factor the backstory in. I had histories for each model that a car dealer could relate if engaged on the subject by a PC.

All of which requires some method of cutting through the resulting fog to arrive at the vehicles the characters (one PC and one NPC, who had to agree) would select as the most suitable.

To make this a player-driven choice, I devised an interactive system. Here’s the relevant part of the adventure, extracted:

Just as she is delivering that decision, there is a knock on her door. It’s Basalt [Blackwing] in his new “civilian” identity as Frank Hudson.

(roleplay. He has ordered breakfast for two – more Breakfast Tacos and another pot of coffee are on their way. He intends to eat three of the Tacos himself but the fourth is up for grabs – who wants it?).

* Zantar [Defender] did some simple maths. If there are 60 cars in the lot that we have to go through, and we spend a whole six minutes looking at each, that’s six hours, plus time for lunch. If there are 100 cars, we can only spend about 3½ minutes looking at each. That’s not a lot of time. Having defined the problem, he then dropped it into his lap and left to deal with his own problems.

* What’s needed is some way to sort the wheat from the chaff. If they can give a ‘no’ to most of the cars in a minute or so, that leaves a lot more time to look at the ones that you might actually want to buy.

* Normally, it’s really hard for car buyers to pick a priority, but he has a trick that one of his ex-partners on the force taught him years ago to cut through the fog. But this is a potentially important choice, so he thought St B should provide some input. And anyone else who wants to weigh in – they will all be living intimately with the results for several weeks.

* What he’s done is get a bunch of playing cards, and scratched off the printing that was on them – St Barbara, the price will be on your bill when you leave – and written down a number of key parameters, for example Size or Age or Price. Some of them have sub-options – for example, under Horsepower, you’ve got the choice – as it was new, as it is (estimated), or as it will be after he and Union Jack tune it up. There are also three blank cards that can be used to drop a second of those options into the mix – for example, you might care most about gas mileage at highway speeds, but want to add gas mileage in stop-start city traffic somewhere else on the list.

* You take each of the cards, and you put them in rough order. There are 13 of them. The end goal is to get a top ten, in order, so you can start by picking the three least important things and discarding them. Next, look at the options and pick between them. If you want to add a second option, you have to discard another of the cards that you’ve kept.

* Once all the options are selected, it’s time to start prioritizing. Pick the one that you care about the most, and put it on top, then the one you care about the least, and put it on the bottom. Then look at the ones you have left, and do the same thing again. Do that five times, and the job is done.

> Explain the sortable database, and the ranking system, and that I will simply sort the database according to the sequence of criteria that the players choose. It will take 10-20 uninterrupted real-time minutes to actually rank all the cars, and spit out the top half-dozen or so (2).

> Note that there’s no entries for ‘safety’ or ‘comfort’. The first impacts on all sorts of other values but is hard to actually nail down. An attempt was made to define the second in terms of the extras, but that doesn’t address the fundamentals of one model being more comfortable than another. That’s why you want three or four choices from each dealer.

* The sales lots are also busy places – if we select a vehicle, there is no certainty that it will still be available by the time you go to actually buy it. That’s another reason for having multiple choices.

* He also needs to know what sort of budget they have available. He understands that Union Jack has been looking at that question.

> Let the other characters fill him in on what has been decided in that respect.

> Make this a group activity. You want debate. Use Union Jack to stir the pot and prod as necessary. NOTE THE RESULTS.

(2) it actually took less than five. But I took a 5-minute break at the end of it.

There was lots of discussion and roleplay before the decisions started to be made. Somewhere, on a scrap of paper, I have a list of the criteria as decided and prioritized by the players. One moment, and I’ll go look — — — — here we are:

  1. Economy, Highway, Tuned-up
  2. Current Condition
  3. Best Highway (Cruising) Range, Tuned-up (3)
  4. Worst Urban (Stop-start) Range, Tuned-up (3)
  5. Rust Level
  6. Size
  7. Height (headroom)
  8. Estimated Price, factoring in expected discounts (4)
  9. Top Speed, Tuned-up
  10. Horsepower, Tuned-up

The rejected criteria were:

  • Age
  • Acceleration
  • Gearbox (Automatic or manual)

These were all sorted in the sequence from most desirable to least desirable and the rows then numbered so that the results could be sorted by dealer.

(3) These are usually provided as a range because there are so many factors that can affect the result. “Best” means taking the highest value in this range, “Worst” means taking the lowest.

(4) Every dealer has vehicles that have been on the lot for a long time. They don’t make money that way; after a while, it’s better to discount the price and get rid of a white elephant. Vehicles that are especially collectible or rare are a different story. Both factors can be taken into account in assessing how much below the sticker price the dealer will go (and how reasonable that sticker price is in the first place).

Exploration Methodology

So the players had now decided how they were going to fund their setting-up, and how they were going to decide what they were going to spend their money on. Next was how they were going to actually look for a Base Of Operations. Through the NPC, Zantar, who was the closest thing they had to a logistics expert, the next section of the adventure explained the problem and the solution that he had devised, for player approval:

You are just finishing that up when Defender (and Vala?) arrive(s), with a bundle of books held together by some sort of glowing energy. Defender doesn’t seem to need to carry them, they are following him around. You hope too many people didn’t see him like this!

“Good morning, Sue-Ellen, Frank, Roger,” he says, effortlessly reeling off the cover names that were assigned to you. “I’ve ordered Breakfast to be delivered here, something called “Fish Tacos” – and an order of their regular breakfast offering for anyone who wants it.

“Sue-Ellen, we have two problems, and I think I’ve partially solved one of them – but need your approval and input before I can continue, and need Carmen’s assistance and your authorization to solve the other one.”

He starts by spreading open a map of Arkansas. “I got this from the concierge. The price will appear on your room service Bill when we chuck out.” On one side, there is a map of the US with several states crossed out in black texta.

“To maximize our efficiency, which Roger tells me is important, we need a search pattern that delivers us as closely as possible at the end to our next state of interest, with the exception of the final state, Nebraska, where we want to be as close as possible to our chosen new base. This reduces the time and fuel from one search to the next, and then to the results.

“Texas abuts one corner of Arkansas, so that’s where we start. The far corner connects to the next state we want to search, so the best approach is simply to divide the state in two along that diagonal, and each team zigzags back and forth between places of interest, like this:

“And then we do the next state the same way, and so on. The last one is a bit trickier because we don’t yet know where we want to go from there. The point of greatest accessibility is the center of the state, so that’s what the search pattern givers to us. Put it all together and it looks like this: (show map 15-8-02-01a)

“I should also point out that when UNTIL recommended these four states, they did so for a reason. In particular, the states they left out should be considered significant. They didn’t want us to spend any more time than necessary in Texas, and they didn’t want us going to “Oh-Kloh-Homer” at all until we met our contact in the city of the same name. That has to be because they consider that to be the enemy’s stronghold, and Texas abuts it. Roger pointed that out to me, and he’s right – there is a Zone Red that we need to avoid until we’re ready for action. And that includes when we’re making pretty for the cameras.”
(Pause for reply)

“That’s the easy half of the problem. Then we have to appraise the specific routes that need to be taken.”

He turns the map over, unfolding it still more and more again. “This is what a quarter or so of Arkansas looks like.” (show map 15-8-02-01b)

“At this scale, it’s too hard to read without looking very closely. But when you do that,” he says, passing the map around, (same map, zoom in)

“…you discover that each state has hundreds if not thousands of potential targets for us to investigate. What we need is a way to separate the fishes from the squid.
(Pause for reply. Union Jack comments, ‘this sounds familiar’.)

“To start with, trying to research that many targets – something like 16,000 or so of them – is utterly impossible. If we have 20 hours in the library, that’s 72,000 seconds, with three, maybe four of us searching – doing a state each, let’s say – so that’s a total of 288000 seconds, best case. Or 18 seconds per location.

“Vala’s abilities can speed us up 10-fold and it still wouldn’t be enough to be useful.

“So I thought of an alternative – “He is interrupted by a knock on the door. It is room service, with a platter of Fish Tacos, a tall jug of iced water with slices of lemon and lime floating in it, and another pair of Breakfast Tacos. “Who wants these?” asks Defender, waving at the ‘Breakfast’ Tacos.
(roleplay)

When he finishes stuffing his face with the fish, and licking appreciatively at the sauce on the vegetables, he returns to what he was saying before he was interrupted.

“This morning, I went out and bought us these,,” he says, opening the bundle of books. As he lays them out on the table, you can see that he has bought two copies of a guidebook for each state (including Louisiana, which you aren’t supposed to be going to, but just in case….)

“No bookstore can lose shelf space on inadequate products. Any book that is new might not have been tested sufficiently, and so must be suspect. It follows that if said shelves contain multiple copies of a book that is dated last year, given the perishable nature of the information content, it must be a more than adequate guide to the subject. If the books were no good, they would have been taken off the shelf and sold at a discount. These guidebooks all met that standard, several times over.
(Pause for reply)

St Barbara, you suddenly realize that it’s about 7:30 AM – and no bookstore that you’ve ever heard of is open at this hour.
(Roleplay)

“I propose that we use these resources to do our research while we are traveling from one inspection target to the next,” announces the Kzin – who remembers his cover name? Anyone? (It’s Brust)

“If there is no information in the guide-book, and we deem it worthwhile, we can stop and gain information from the most reliable source, the town itself. Most, I have learned, will have some form of community information center, or a gossipy shopkeeper, or a mayor, or a policeman – someone who can tell us about the location. Most of the time, it won’t be worth the effort.

“That’s my solution to the problem of optimizing the efficiency of our research,” he concludes. “But it’s only a partial solution, because it does rely on us asking the right questions of each location that we investigate. We need to construct a protocol, or perhaps several, that will permit us to separate the fish from those pesky squid.

“I have some ideas on that, but I need your approval, and Vala’s assistance, to craft such a suite of protocols – and you will then need to sign off on it. I submit that this would be a far more efficient use of the time earmarked for research than the current plan.”
(Pause for response – roleplay)

Key Points & Notes

I wasn’t making those logistics up – Any time you have a lot of specific things to research and not a lot of time, you have one mid-sized number divided by a very large number, resulting in a fairly small number.

The alternative was for the players to decide on some criteria to restrict the search, in the same way that they had done with the car choice. I figured that this was at least a 50% chance, but the esteem in which the NPC is held when it comes to analysis like this left them all comfortable with his solution.

Someone knocking on St Barbara’s door and announcing “We’ve got a problem” is an ongoing joke within the campaign. But it’s justified every time. It should be noted that St Barbara is a PC, and the nominal team leader.

The “I’ve ordered breakfast” line was another ongoing joke for this sequence exclusively – it reflected (1) the casual approach the PCs had all been taking toward their budget, and (2) the natural desire to put their team leader (who each thought they were awakening early) in a better frame of mind to deal with the policy decision they were placing in front of her.

By the time these decisions were made, the ‘action plan’ the PCs had drafted was history, irrevocably shattered by the actual ‘boots on the ground’ experience and some brutal realities.

The Used Car Lots and Dealers

These were created out of whole cloth and were the first things emplaced within Laredo that didn’t really exist. I deliberately made the dealers ‘colorful characters’ to facilitate roleplay during what might otherwise have been a fairly boring set of exchanges. I made sure that both had a realistic business plan, given the existence of the other just across the road.

Wormwood Motors holds about 60 cars and is considerably smaller than his rival across the road, which has at least half-again as many. Glancing over the two, you can see distinctive differences in the way the two owners operate. Sal Wormwood is the more traditional in approach; he prices more consistently and is more content to let cars sit until someone makes an offer he can live with.

“Six-shooter Al” adds a much thicker profit margin, but is far more willing to do a deal; if he makes a small loss, he will make it up on the next sale, and either way, he frees up space in his lot for another car, another chance to sell. Overall, he probably makes more money per sale than Sal.

But his approach is even more psychologically-beneficial than this first glance suggests – customers are more likely to buy if they think they are getting a deal that may not be there, tomorrow. By making more room to dicker, he makes it more likely that he gets a sale, and by inflating the asking price, he not only gets to look more generous, he makes it more likely that the price he eventually gets is still enough that he turns a small profit. So he makes more per sale, sells more frequently, and hence is prospering. He might look ridiculous in his white cowboy three-piece suit, but he definitely has more going on under his hat than just his hair. At the same time, Sal’s approach lets him look more generous, with lower prices across the lot – so he probably makes more sales than he otherwise would, too.

This situation actually holds some benefits for the customers, too, you realize. Sal doesn’t have a profit margin that can both afford unhappy customers AND let him be relatively stiff-necked on prices – he has to be as honest as used-car salesmen get. And Al’s whole modus operandi is based on volume, on making sale after sale after sale – and any whiff of unscrupulousness would put that at risk. He, too, has to be as honest as they come in his line of work. Just count all the tyres before you try and drive off the lot.

An interesting thought comes to you as you start working through your chosen used-car lot, starting in one corner and working along the rows of cars systematically – what if the pair of them are secretly in cahoots? It’s so perfect a dynamic that they have set up between them that, while it would not be impossible for it to be a lucky coincidence, it’s also just as possible that both of them are a great deal sharper than they look. Something to bear in mind as you’re bargaining!

There are other differences. Wormwood has more big cars and fewer trucks, and is more haphazard in its layout. If there’s an organizing principle, it isn’t obvious.
This results in people wandering all over the place – but also means that you can come to look at a low-cost Chrysler and fall in love with the big Cadillac parked beside it.

Al has more small cars and more trucks and less in-between, and is far more systematic – small cars here, then medium, then the big iron, while the back of the lot has trucks and vans organized the same way but in the other direction – small stuff near the big cars, big trucks and prime movers near the small family cars. He seems to think about his potential market, his customer base, in a more coherent fashion than Sal.

Al has more variety in models, but more of the same model – row after row of Escorts – while Sal has more makes and fewer of any particular one.

They don’t have to be used-car salesmen – they could be selling horses, or carriages, in a fantasy campaign, or whatever – replace “models” with “breeds” or “makers”. Its the personalities and sales strategies that shine through.

At the used car lot, decisions were made that resulted in choosing a Red Cavalier – a 4-door in better condition than the Navy one they had first looked at, a range of about 600km, pristine condition, $5040 – and a Purple Buick Skylark Station Wagon, not a lot of get-up-and-go, range of about 540km, air con, cassette deck & radio, slight fading, superficial rust but mechanically sound, $7850 on the sticker.

Meanwhile, Vala had located a workshop and hired it for a couple of days. The intent was to spend time on both cars getting them into absolutely tip-top shape. At the workshop, Union Jack pinned a pair of lists to the noticeboard. The first list contains everything that is contained in a GOOD servicing. These should be done annually for continued good operations, according to Union Jack and Blackwing. These 18 items probably don’t need to be done, but doing them will only take 2-3 hours per car and will reassure.

After that comes the five-year/10000-mile service, a 16-item list, the first half of which is basically an engine rebuild taking 6+hours each engine. Parts of the rest of the list are quick, but some are mechanical and may take many hours.

Base Selection Criteria

This was far too important a matter not to let the players dominate. Since the plans were being developed by an NPC, this was particularly tricky. I also needed his proposal to reflect his personality, experience, and intelligence – so it had to be logical but with scope for players to have input. I was also aware that by this point, the players were beginning to have decision fatigue, which also complicated the situation.

Since the process starts by draining the oil, which will take half an hour, once it has begun, there’s time for a team meeting to get Defender’s results.

Vala, you know these already (having helped him frame the questions), and should have formed opinions on each subject; it can therefore be assumed that you will be in a position to give those thoughts before anyone else responds, but to give you time to come up with those opinions, I’ll actually come to you last, okay?

★ First, he thinks that 4 separate protocols are needed according to the size of the community being examined.

At the bottom of the scale are what he calls “drive-through” assessments. These are communities of a few hundred people or less that one of the teams passes through en route to somewhere more promising, and it’s a protocol for assessing an unusual and unexpected possibility in a place you expected to find none.

Above that is the “small scale” protocol, for communities of up to 2000 people or so. 1000 people is enough for somewhere to be called a “City” using the crazy American nomenclature.

Second from the top is the “middle scale” protocol, for communities of 7000 people or less. 5000 is the target required for a community to be called “a township” within the American system, but they can be more dispersed than the demands of a city. A single township can consist of a number of smaller communities including ‘cities’.

Anything bigger than that is a major city. There won’t be too many of these, and most will have 10-20000 people or more.

Defender’s thought is that each of these would present different concerns and different opportunities, and so they need to be assessed differently.

★ Next, he wants to avoid a rigid structure. These assessments will be fairly seat-of-the-pants and there’s too great a risk of leaving some factor out, and the importance of factors might vary from one location to another.

What he wants is to simply list factors that should be considered in rating a potential target – and what sort of targets the teams should be looking for. Each car will have three team members in it, and they should debate the value of each possibility until they reach a consensus. He thinks a score our of 5 should be simple enough as a tool for summing up an impression.
(Pause for discussion)

★ The most important factor is going to be size. There are six team members, who are used to having their own space around them. On top of that, you may need to accommodate the occasional guest or two. On top of that, you may need to accommodate a couple of staff to look after the place when the team aren’t around. That’s 8-10 bedrooms, and anything that size is going to be rare. So the teams will be looking for a very big place, and nothing that’s not big enough should even make the short-list.
(Pause for discussion)

★ The size of the grounds will be significant too – the larger they are, the harder it will be to maintain them, but the more privacy they will provide. Again, no hard- and- fast rules, a judgment call on the balancing of two conflicting value assessments.
(Pause for discussion)

★ Privacy is another item that needs considering, even beyond the size of the grounds. Communities that are likely to be prone to gossip and rumor should score lower unless there’s a way to avoid that gossip – so it becomes more valuable for a possible location to be already furnished in a smaller community, for example.
(Pause for discussion)

★ Next, he pulls out his map of Arkansas, and folds it to show the corner closest to Texas. In the part of Texas that is visible, he’s circled a number of place names. (show map 15-8-03-07)

He thinks that the name should not be one that can cause confusion if someone is talking about it.
(Pause for discussion)

That shouldn’t be enough to rule a really good possibility out of contention – but it should cost it a point or so on the 1-5 scale, and that might be enough, depending on how many contenders they find.
(Pause for discussion)

★ The smaller the community, the more important it will be for a major center to be reasonably close – the team will want furniture, and may need to purchase high-end security systems, generators, communications gear, and computers and who knows what else. A medium-scale target will have some of this, a large city should have it all, a small target might not have any.
(Pause for discussion)

★ To avoid people noticing when the team come and go, there should be at least three and preferably more roads in and out of the community. But any sort of traffic hub that’s not too far away – another judgment call – would count.
(Pause for discussion)

★ The general location is something that should be borne in mind. The current mission may be focused on the Southern states, but this is supposed to be a long-term mission. Do they want somewhere closer to the West Coast, where the team will have allies, or to the East Coast, where the majority of missions are more likely to take place because that’s where the majority of the population live, or somewhere more central, or somewhere South or North? The ability to come and go via Canada might be very convenient at times. And they now have friends in Mexican places, who might occasionally be helpful. There’s something to be said for everywhere, but those somethings are not created equal.
(Pause for discussion)

★ After that, he leads into a discussion of any political or social red flags. He’s not sure what they might be, he doesn’t know America well enough – but he’s sure there will be some. Are they enough to cause an outright rejection, or should they be treated more like the place names?
(Pause for discussion)

★ And, while thinking on the subject of location, there should be a penalty on the score for anywhere that’s too close to Union Jack’s “Zone Red”. While proximity to the current mission shouldn’t be a positive factor in the base location, any risk to the current mission has to be avoided.
(Pause for discussion)

★ Local political considerations. And national political considerations. This country is in the middle of reinventing itself after the greatest possible tumult short of Civil War, and it has no idea of what the ultimate shape will be. Again, there will be red flags but he doesn’t know what they will be, and thinks that should be left to the judgment of the teams doing the assessment. A place that’s big on social contributions by residents might suit some team members personal preferences, but the expectation of involvement should probably constitute a red flag.
(Pause for discussion)

★ Price. How important a factor should Price be – especially since some locations will be overpriced, and some will be relatively cheap, according to the basic laws of statistics. Should price even be a consideration? Should a great price be worth an extra point on the 1-5 scale, and should an awful price cost a location a point? Or is price no object?
(Pause for discussion)

★ Availability. The team want to take… what was the term, again? Oh yes, “immediate possession”. This is something rare on Earth, as he understands it, and will make the purchase stand out if it’s something the team have to ask for when they buy – but will raise no eyebrows if it’s already on offer. So that’s got to be worth a higher rating.
(Pause for discussion)

★ Maintenance. The team can do some of it themselves, but that’s not a priority for them. So let’s assume that someone else will have to do at least some, if not all, of it.

That someone will expect to be paid. Who will pay them? UNTIL? Us? The first is an easy out – but they might not agree to it. The second is far more constraining – but it improves security by limiting dependence on the UN organization, and that might be really important given the American political attitude at the moment. Sure, UNTIL expects that to change sometime after the Presidential Elections this November – but that’s still six months away, and it might take years after that to become official. That’s a long time for such a security exposure.

But how much staff can the team reasonably afford? Should a location with an income stream to pay for its own maintenance get bonus points, or even be mandatory But an income will raise new security issues, even while the income allays other problems.
(Pause for discussion)

★ Speaking of security, Supervillain activity in the region should be an immediate down-check if it’s a regular occurrence. That probably kills off the major cities, but it needs to be said. We aren’t looking for a place that needs superheros, we’re looking for a place where we can pretend not to be superheros, so that we can go wherever we need to.

Superhero activity is another no-no. If the Crusaders have been there in the last 30 days or so, or twice in the last 60 days, or three times ever, there’s too great a chance of exposure. Especially if they decide we’re Super-villains – and they might.

So, super-activity of either camp in the area is problematic. How big is “the area”? It’s not reasonable for activity at one end of the state to impact a contender at the other. A mile away is too close. Where should the line be drawn? Or should that be another factor left to the team doing the assessment?

★ This is already a long list, but he’s not done yet, not quite. The choice of these four states may be most appropriate for this particular mission, but he wants to suggest for discussion that they write off western Nebraska and maybe Western Kansas as well, and spend the time saved looking into a couple of Wild Card contenders that might be better long-term choices. He’s not going to suggest which ones they might be – the team has plenty of time to nominate a couple. Chicago maybe, or Detroit, for example. Or Houston. Or Dallas. Or maybe somewhere more East. Or more West.
(Pause for discussion)

★ And, while he’s on the subject, he wants to point out that while some of the team are from cold climates, and Union Jack puts up with cold weather, Frank and himself are from more tropical climates. Maybe that factor alone should be enough to rule Nebraska, and maybe Kansas, out completely.
(Pause for discussion)

Those are his thoughts on the subject.

This was less about making up the players’ minds for them and more about delineating the criteria that they then had to take into account. There was spirited discussion about some of the points, on others the decisions were quick and pretty unanimous. Decision fatigue was less of a factor than expected because of the roleplaying / bullpen nature of the discussion. As a general rule, they accepted this list of things to consider, but went with the recommendation the NPC had made right at the start – don’t have a rigid structure. They did decide to rule out Nebraska and Kansas (too cold) in favor of elsewhere ‘to be decided’.

About half the content on this list actually came from out-of-game conversations with the players and especially with the player of St Barbara, the team leader.

What emerged from the discussion was a protocol for choosing between each assessment.

  1. Every contender found would be rated by the three people in each car, who would debate the subject until a consensus score out of 5 was decided.
  2. Each day, each car would choose their top three results. These would then be compared with the top three of the previous day (if any) with the three best overall resulting. This deliberately limited the scope of the discussion to be had.
  3. That meant that at the end of each state, when the group reunited, each team would have three recommendations. Each person within the team should choose one of them that they felt particularly strongly about and try to ‘sell’ it as a proposal to the other trio. A consensus would then be reached as to the three best choices in that particular state.
  4. At the end of each state after the first, the three best from that state would go up against the three best so far. Whenever the teams decided to stop looking, they would therefore be left with just three choices.
  5. They would then rank those choices in order of preference. This would give them a first choice and a couple of backups in case that choice was no longer available.

I had been working for months on these explorations and had some idea of how long it would take to play through the full four-state explorations. I also had a much clearer idea of how many contenders the two teams would have to rank – remember that the players all thought that three or four each per state would be going well.

Synopsis, Session 18 (from Session 19)

Zenith-3, in the Guise of Team Shadow, have traveled back in time to late May, 1986. Over the 24 hours or so since you arrived, your plans have largely gelled into a coherent form.

Union Jack is now in charge of the money, after planning a budget to stretch the available money that was intended for three days to the 30-days or so Team Shadow intend to use for setting up operations. Union Jack had also deduced that the mission at hand was likely to center on Oklahoma or Northern Texas, which he called “Zone Red”.

Basalt then used a planning tool to set priorities that would make the search for the best car choices relatively painless instead of logistically impossible. As a result, he and Union Jack have purchased a Red 1983 Chevrolet Cavalier and a Purple Buick Skylark Station Wagon that has been given the hot-rod treatment by a previous owner, and have started an extensive inspection-and-maintenance operation to get the two vehicles into absolutely tip-top condition.

Zeitgeist, meanwhile, had found and hired the premises of Jerry’s Truck And Auto for 48 hours as-is.

Zantar, at the same time, had been considering the logistics of the research task facing the team and found that their plans simply wouldn’t work. He came up with an alternative approach using guidebooks that could be described as ‘research on the run’.

Since he already had his head wrapped around the subject, Zantar, with assistance from Zeitgeist, next started planning the parameters, protocols, and processes of the team’s forthcoming explorations.

Specter’s been thinking ahead, deeply concerned over the fine line that the team will have to walk later in the mission – they will need to establish their credentials as superheros in these identities, but can’t do anything too significant without changing history in unpredictable ways.

Specter and Nightshade then spent the morning on a high-speed side-trip to the Bahamas, where they withdrew the additional funds that Union Jack thought necessary from their accumulated UNTIL salaries. After lunch, they went shopping for camping equipment and supply reserves.

While the Red car was lifted into the air with the hoist and its oil was drained, Zantar went over the results of his planning with the team, much of which boiled down to a multitude of factors that could influence a decision, but one of the major ones for which there could be no half-measures was the size. Anything else would be a decision influence, but the team was six people strong, and could conceivably grow further. Throw in room for some maintenance staff and guests and eight bedrooms – and reasonably large bedrooms at that – was the absolute minimum for a Base Of Operations.

To help disguise the team, it was decided that Basalt would function as the Leader of Team Shadow with Union Jack as his Second.

Tonight, Union Jack and Basalt will be maintaining and upgrading the cars, with the assistance of Zeitgeist and Specter, respectively. Zantar will begin planning specific routes for each car to take to maximize the amount of exploration possible in the limited time and budget allocated to the purpose. Nightshade was in charge of keeping the team fed and bolstered with coffee.

Key Points & Notes

There had been a lot of deciding-how-the-players-were-going-to-decide, but as a result, they all felt a sense of ownership about the decisions. This was important because the two NPCs, because of their known skill-sets, were going to be making crucial decisions, but I still wanted the players to be in the driver’s seat.

This was achieved, first, by having the methodology be discussed and agreed-upon amongst the players even if the initial proposal came from one of the NPCs; and second, by having the NPCs then formulate and make recommendations and proposals and not decisions.

There was, in other words, a clear chain of command with the players on top.

The decision about the leadership came about quite accidentally, it wasn’t on anyone’s radar. The basic logic was as follows:

    Team Zenith-3 were known to have two humanoid females (one human and one with angel wings), two humanoid males (one with a bizarre form and one that used magic), and a male Kzin. Team Shadow would have two humanoid females (both apparently human, but one with angel’s wings if you looked closely enough and were resistant to psionic manipulation), three humanoid males (one with a bizarre form and one that used magic), and a male Kzin. The fact that the individuals appeared to be different, and that they had one more human male in the team, might not be enough to keep their identities as Zenith-3 a secret, especially if the smallest female was in charge.

    This was mentioned in an off-the-cuff comment, but it evidently fell on fertile ground, because the players grabbed the idea and ran with it. It wasn’t something that needed addressing right away, but was aimed more at the next phase of the campaign when they would become ‘active superheros’ in the USNA environment.

    But they felt that it was better to make the change of command now, so that the policies of Team Shadow would be those put in place by the new commander, and he had time to get used to being in charge. That would all help distinguish Team Shadow from Team Zenith-3. Which was fair enough.

    The decision to put Basalt (a PC) in command and Union Jack (NPC) as his deputy was something of a surprise, but — okay, before I can explain that, I need to briefly touch on the history of the character.

    • Basalt started with the identity of Knight and one particular player. That character was transformed into a gargoyle by his suit of armor when he attempted to remove it, the suit becoming his stony skin. This change was intended to be temporary, recurring whenever triggered by attempts to remove the armor.
    • When the player who owned the character (briefly as it turned out) left the campaign, writing the character out was an option but it would have deeply impacted the team’s capabilities and the planned plotlines. So, with that player’s blessing, Knight acquired a new owner/player, the transformation became permanent because the new owner liked the idea, and took the name Blackwing.
    • He slowly became more and more psychotic, manic, and overconfident, which led to a burst of violence in which several enemy NPCs were killed. While exonerated by the various legal systems to which he was answerable (one in a spectacular trial in which Denny Crane (Boston Legal) went up against Special Prosecutor Perry Mason. The results were a two-all draw in which the character was exonerated on a technicality.
    • His own command was not so lenient; he was reduced in rank and pay, and placed on six month’s probation, during which time he was not permitted to hold any office or authority within the team. Since he was nominally second-in-command and primary tactical commander in the field, this effectively stripped him of the offices he had already earned.
    • At which point, the second owner had to step out of the campaign for personal reasons and Knight/Blackwing acquired a new owner. We reinvented the character from the ground up, keeping only the core concepts, and I planned a gradual rehabilitation with the new owner’s approval.
    • This rehabilitation took the form of the character gradually becoming more violent and feral again, but obviously fighting the urges. His self-confidence began to get out of control again as his sense of personal invulnerability grew. And then a figure in black started showing up, stalking the character as it were. Eventually, there was a pre-arranged confrontation which left Blackwing vulnerable, and the figure in black divested him of the armor – which his group had been in the process of ‘unraveling’ when the PC stole it, seduced by its’ dark power – but revealing that the physical changes that it had made in the character were permanent, but would now only manifest when the character wanted them to; the rest of the time, he appeared to be his normal, human, self. Blackwing became Knight once again – but there were aftereffects. Those were directly addressed in Phase One of this adventure, described in Part One of this series.
    • Significantly, at much the same time, the character received notification that his six-month probation was up. There had been a change at the top of the administration responsible, with a by-the-book no-nonsense type being installed, who thought the character was guilty as sin (because he was) but who would follow the rulebook explicitly, giving him a second chance – but keeping a closer watch on the character than usual. If the character was truly reformed, all would be well; if not, sooner or later there would be another slip-up and they would throw the book at him. This, too, was part of the rehabilitation process.

Okay, so now that you know the history of the character, you can see how momentous a decision it was to put him in charge – the fact that he was an ex-cop, a detective, and a citizen of the USNA all weighed into the choice. But mostly, it was about style and competence and a signal of trust in the character.

The choice of an NPC as second-in-command was equally surprising, for different reasons – while an expert in administration, bureaucracy, planning and problem-solving, he was new to the team and still finding his way. But he was the type who took his responsibilities seriously, and this signaled a confidence in his abilities that he himself didn’t feel.

This was a change in campaign direction that was player instigated – phase four of the adventure would be, in part, about my getting used to the new command structure and style at the same time as the players were.

It raises an important point, though, and that is the reason for this extended discussion: either the players are in charge, and your NPCs do nothing but lay options at their feet, or your NPCs are in charge and the PCs have to extract what little freedom they can find within the objectives and guidelines laid down by that authority.

Either can work, so long as the players know what they are in for. In this campaign, the players were in charge, no matter what their NPC superiors came up with – though they at least paid lip service to NPC directives. But it’s important for the GM to understand the PCs relations with authority and construct his adventures accordingly, and to make that relationship clear to the players, too.

“Who’s in charge here” is always an important question. “What makes you so important?” is the natural followup, and a question of equal importance.

If the PCs were in a James Bond campaign, there would be no question that M was in charge – but that 00-whatever would have a free hand so long as he delivered results without causing the government embarrassment. That’s the sort of authority structure that I wanted the players to enjoy in the Team Shadow sub-campaign; call it Limited Autonomy.

Excerpts from Session 19

Nightshade went on a Pizza run – the PCs choices reflecting the characters’ personalities and backgrounds. When she returned, food in hand, the purple Station Wagon is up on the hoist. Standing under it are Zeitgeist, UJ, Basalt, and Defender, with many fingers being pointed at the underside of the car, whose tyres look even more oversized from this angle.

As you hand out the Pizzas, UJ brings you up to speed. “In an effort to make this vehicle look road-legal despite his modifications, the previous owner got creative. They cut almost an inch out of the chassis lengthwise – axles and all – then spot-welded them back together, then used paint to hide the modification.

“At the same time, they increased the rake of the side-panels slightly, so that the tyres look like they jut out far more than they actually do when measured. That meant rearranging the layout in the engine bay – but neither Basalt nor myself have ever seen the engine bay of this particular make and model before, so it wasn’t immediately obvious. More to the point, they’ve also had to cut a slice out of the oil pan to get it to fit.

“It’s completely mechanically sound, and would stay that way for maybe 1000 miles. And then it would hit a hard bump and the oil pan would rupture, and the engine would ‘lunch itself’ to use the colloquialism Zantar offered.

“Worse still, the chassis modifications are quite illegal. That’s why our inspired mechanic tried to hide them. We were just discussing what to do about it.

“What do you think?”

Before the player answered, I had them make a Leadership roll – using Bureaucracy if she hadn’t actually taken the Leadership skill – at +80, a modifier which means that most of the time the character would succeed if she was half-competent in the field.

>> Success >> You’ve had plenty of this sort of decision thrust on you over the last couple of years, while leading the team. So it would be very easy for you to offer an opinion. But, if you do, the ‘new’ team leadership would always be leaning on you, at least in private, and so wouldn’t be prepared to make good decisions when in Public. So the correct answer is “Basalt and you are in charge, now”.

>> Failure >> You’re not in charge anymore, but are just as entitled to an opinion as anyone else. So, what do you think?
** The car yards are open until 8PM. Since the car is illegal, it’s illegal to sell it without disclosing the modifications. The salesman didn’t, but you have no witnesses to that fact – which means that if the owner of the sales lot, Al “Six-shooter’ Dunning, wants to fight it, he would have a fair chance of winning.

** The next best car inside the team’s budget is the White 1983 Lincoln Continental Mark VI Pucci Designer Automatic Coupe. The good news is that it’s more than $4,500 cheaper.

** That means that intimidation is the best weapon you have – if you can convince ‘Six-shooter’ that you will fight, you might not have to.

** Al has already seen UJ (in civvies) when the cars were bought, but Basalt did most of the shopping and negotiating on the lot. UJ should pose as an international gangster and Basalt as his personal Mechanic and Driver, and should do most of the talking. The ‘mobster’ should also have a lawyer, a bodyguard, and a secretary. Nightshade is an easy choice to play the last role, and Zantar is more intimidating than a Specter in civvies, so he should pose as the Bodyguard. That leaves either Zeitgeist or Specter to be the lawyer. The question is, which would be more effective: Zeitgeist pretending to be a lawyer while maintaining her illusion, or Specter pretending to be a lawyer while Vala taps minds and provides legal guidance to Specter and comms for the fakes.

An opportunity for the players to work as a team while hamming it up in some spontaneous role-play – a bit of light relief after the serious tones of the preceding game session. This is part of actively planning the intensity and emotional pacing of the adventure – if the serious, deep-and-meaningful moments are going to stand out, they need to contrast with ‘the rest of the time’.

And I got to have fun as the not-quite-scrupulous salesman, Sal Wormwood, as a bonus – so I got to chew the furniture, too.

They succeeded in intimidating him enough to get a cheque (I think Americans spell it ‘Check’) out of him, made out to the car yard across the road, and a small refund in cash. This enabled a denouement of the brief sequence with Al “Six-shooter” Dunning, who wasn’t sure whether to cash the cheque or frame it.

Various ‘daily life’ snippets followed – weather, shopping. But this led to the critical decision to upgrade both vehicles – installing air conditioning in the Cavalier and upgrading the brakes on the Lincoln to disc brakes all round. This addressed the major shortcomings of each vehicle.

There was a casual demonstration of Zantar’s powers. This enabled him to write far more quickly than would be possible by hand.

Ultimately, he hands over five books of directions for each car and a set of maps – one for each state, including a ‘rehearsal’ book giving directions through Texas to an overnight stop somewhere called “Dalby Springs” near the Arkansas border.

Zantar then reclines for a nap; he doesn’t usually show how much using his powers takes out of him, so this suggests that he’s loosening up around the team a little more, a side-benefit to this team retreat! After a few minutes, however, his tail begins to twitch and then to swish from side-to-side, something that only happens when something is bothering him. Basalt, hand-holding is one of your responsibilities now – Perception check to see if you notice at +40. (At first, he didn’t).

>>Failure>> You don’t notice as he grows more and more agitated until his eyes open and he announces loudly “It makes no sense!”

When prompted, Zantar explains that he’s been reflecting on his “secret identity”, and those of the team, prompted by the conversation a couple of days ago about the team composition being “a big hint” to Team Shadow’s real identities. Basalt, everyone should probably hear this, knowing Zantar.

“Individually, our identities make sense, and if we were a random assemblage of individuals, would be acceptable within the bounds of chance. But, at the conclusion of the phase of the mission that we are about to commence, we are no longer presenting ourselves as a random assemblage of individuals; we are presenting ourselves as a non-random assemblage of investors, supposedly pooling our resources to buy a significant property somewhere, and furnishing it to our separate tastes, and then becoming co-occupants.

“This raises logical questions – how did we all meet? What made us decide to pool our resources and buy a shared dwelling? And because those individual identities are so well-tailored to us as individuals, there are virtually no points of intersection to provide satisfactory answers to such questions.

“Moreover, what are the odds of a group of unlikely investors consisting of an English Human, a Scandinavian Male Human, A Scandinavian Female Human, a Generic Seeming-human, An American Male, and a Kzin, coming together at the same time as a new superhero team consisting of an English Human, a Ghostly Male Human, A Female Human, a Generic Seeming-human, An American Male made of rocks, and a Kzin, finding each other to unite as a team?” (Pause for response)
“From a collective point-of-view, our meticulously-prepared civilian identities make no sense, and pose a security risk to the entire mission.

“Well, we can’t do anything much about our superhero team identities. But perhaps we can do something to remove the unlikelihood of such a group coming together in civilian life, providing a distracting rationale and justification for our mutual assemblage.”
(pause for response)

“It won’t last for long; it will soon be an open secret within the local community that a human has sold an expensive dwelling to the new superhero group. But it should last long enough, if it makes enough sense.”
(pause for response)

“Our civilian supposed identities are, currently,

  • Myself, Brust, tourist and inveterate explorer;
  • (Pointing at Basalt) You are Frank Hudson, Manhunter;
  • (Pointing at Union Jack) Roger Woodchild, Prospector;
  • (Pointing at Specter) Isaiah Lucas, Ski Instructor and Competitive Woodlogger;
  • (Pointing at Nightshade) Sue-Ellen Wilson, Talent Scout, and,
  • (Pointing at Zeitgeist) Carmen DeLamber, French Heiress, recovering from extensive plastic surgery performed in the South of France.

“The only one of those that demands the appearance of wealth is DeLamber. What if she is the sole investor, and the rest of us, her employees? Does it not make more sense for such a person to be traveling with an Entourage And could we not further enhance our believability by retaining the backgrounds provided by UNTIL as our past lives prior to coming to work in the employ of Miss DeLamber?
(pause for response)

“If we adopt this premise, then… let’s see…

  • (Pointing at Zeitgeist) Carmen DeLamber, French Heiress and traveler., seeking to add to a portfolio of investments globally in anticipation of market resurgence when the US rejoins the global community, with a perfection that can only come from plastic surgery;
  • (Pointing at Basalt) Frank Hudson, her Bodyguard, Head of Security and former Manhunter;
  • (Pointing at Specter) Isaiah Lucas, her personal trainer, former Ski Instructor, occasional Competitive Woodlogger and would-be romantic liaison whose affections for DeLamber are unrequited;
  • (Pointing at Nightshade) Sue-Ellen Wilson, her Personal Assistant, former Talent Scout and Assistant Film Director,
  • (Pointing at Union Jack) Roger Woodchild, her Business Advisor, former Investment Banker, Business Owner, and Prospector;
  • and Myself, Brust, her maid, spiritual advisor and fashion consultant, a tourist and inveterate explorer who ran short of funds, needed to find employment, and discovered that he liked it.

“Suddenly, it makes sense that we are a group. Our cover stories have more depth and believability. We can develop personas that are somewhat different from our own based on those backgrounds, that will serve to further distinguish those identities from our superhero personae.”

(discuss. — UJ will observe that UNTIL’s not very good at thinking outside their usual parameters; they are used to providing identities for individuals who can come together coincidentally, but not building identities for sleeper agents, which is effectively what Team Shadow are.)

This took something that the team had taken for granted (and largely ignored during their Mexican jaunt) and put it firmly in their own hands – the civilian identities that they were going to adopt. There were some fixed points due to the documentation that had been provided, but outside of those restrictions, they had free reign, and could adapt their identities to suit whatever situation they encountered when out ‘shopping’ for Bases of Operations.

The proposal was accepted as a workable basic concept (with some amusement) but the identities were not fixed in stone.

This was important to reinforce that while NPCs may have made pivotal decisions on the characters’ behalf, those characters were not stuck with the results; this was very much their campaign.

I should also point out that I work hard in these canned speeches to let the personality of the NPC show through. I don’t know to what extent the players are aware of this, but I like to think that it helps distinguish them from each other, and helps define those personalities in the eyes of the players, in exactly the way that their character would observe and interpret the personalities.

Finally – and it’s worth repeating if I’ve mentioned it already – notice that my primary role is to stimulate and lead the conversation. I regularly pause to let the players discuss or respond to events, with the implication that I will modify the canned speech that follows as necessary.

If you examine the structure of those ensuing paragraphs closely, though, you will find that most of them work either way – either starting a new and related chain of thought for discussion, or extending the old one into new areas if the players had nothing to say.

Once all the work is finished, and clean-up is completed, only one task remains before an early night: Who is going to be in which car? Zantar has already determined that the planned routes are more efficient if the Red Cavalier (car 1) takes the second of his planned routes, and the White Lincoln (car 2) takes the first.

Zeitgeist and Nightshade are to share a tent, which is difficult to do if they aren’t in the same car. Union Jack recommends that – as the command structure of the team, and as the two most experienced drivers, he and Basalt should be in separate cars.

That makes Specter and Zantar co-passengers. Basalt, they are the most likely to disappear into their own heads at any given moment, and Union Jack doesn’t have enough experience with the team to keep them sensible. Besides, you’re in charge now, and you probably want Runeweavers’ Mana recharge problem where you can keep an eye on it (he’s becoming addicted to Mana boosts).

That would put Union Jack in with the ladies, and you in with the Bobsy Twins. That puts three of the team’s four weirdness magnets in the one car, but that can’t be helped.

Route 1 is more likely to encounter the KKK and other white supremacist groups; the apparently-Caucasian trio with two women is less likely to get into trouble with them than the all-testosterone car with a Kzin in tow, provided St Barbara can be trusted to keep her temper in check when she doesn’t have command considerations to distract her. A relatively stable character like Union Jack should help with that.

So the most logical allocation is for you, Specter, and Zantar to take route 2 in the slightly cramped confines of the Red Car (given the size of the occupants), while Union Jack, Zeitgeist, and Nightshade take the ultra-comfortable White Whale onto Route 1.
(Get Decisions)

Synopsis, Session 19 (from Session 20)
Game session 19 had been a transition from one phase of the adventure to another, and that was reflected in the synopsis. I was a little short of time, so some of it is quoted directly from the text of the previous session instead of being rephrased the way that I usually do.

Anyone who wasn’t paying attention last time will be surprised at how much has taken place while they were distracted. The team are camping in Dalby Springs, Texas, a ghost town with a still-functional church, supposedly haunted by the ghost of a Vampire. It also happens to be the place where Zeitgeist has encountered a Psychometric Owl, and where the team were attacked by Giant Leeches, and where the two cars will split up and head their separate ways to ferret out potential bases of operations in Arkansas.

Last time started with the discovery that the previous owner who had given the purple station wagon the hot-rod treatment had made a bold attempt to make the vehicle at least look street-legal by making a series of even-more-illegal modifications involving slicing an inch out of the chassis length-ways – axles and all – then spot-welding the two halves back together before folding the body walls to fit the now-narrower body.

This discovery led the team to impersonate a mafia boss, with driver, bodyguard, lawyer, and accountant in tow in an attempt to intimidate Sal Wormwood into taking it back and refunding the purchase price. They gave it their all, playing up to their allocated roles for all they were worth, but Sal has been intimidated by the best and didn’t yield. Fortunately for all concerned, however, there was a 48-hour cooling-off period, so he was happy to refund the purchase price, less a small handling fee, of course. After everyone danced around the size of this ‘handling fee’ for a while, a deal was struck in which a personal cheque was issued by Sal for the price of their chosen replacement car and the balance paid in cash – which just about cleaned his cash reserves out until the banks opened in the morning.

The team then went across the road to Al “Six-shooter” Dunning’s lot and bought the White Lincoln Continental, getting almost $4500 back in the process. Before the maintenance on the cars was complete, they also added Air Conditioning to the Chevy Cavalier (the Lincoln already had Air Con) and disk brakes all ‘round on the white car in place of the Drum brakes that were standard.

Zantar completed planning the team’s exploration routes, presenting each car with a set of five volumes of detailed navigational directions designed to maximize results given the time and budget limitations, operating on the basis of an average speed of 40 mph. How close reality will track to that pace is still unknown.

The Kzin then turned his attention to the cover identities provided by UNTIL, concluding that they made sense individually but were so inadequate collectively that it was almost laughable. He suggested that rather than an unlikely coalition of investors, the group become ‘employees’ in the service of one wealthy investor, using the backgrounds provided by UNTIL as more remote backgrounds.

Zeitgeist was reinvented as Carmen DeLamber, French Heiress and traveler., seeking to add to a portfolio of investments globally in anticipation of market resurgence when the US rejoins the global community, with a perfection of appearance that could only come from plastic surgery.

Basalt became Frank Hudson, her Bodyguard and Head of Security and a former Manhunter.

Specter’s cover identity of Isaiah Lucas became her personal trainer, former Ski Instructor, occasional Competitive Woodlogger and would-be romantic liaison whose affections for DeLamber are unrequited;

Nightshade’s “Sue-Ellen Wilson” was re-imagined as her Personal Assistant, a former Talent Scout and one-time Assistant Film Director;

Union Jack was re-created as Roger Woodchild, her Business Advisor, a former Investment Banker, Business Owner, and Prospector; and

Zantar re-imagined himself as Brust, her maid, spiritual adviser and fashion consultant, a tourist and inveterate explorer who ran short of funds, needed to find employment, and discovered that he liked it. And who had picked up human customs and vocabulary from someone who was a little bit what Dick Emery would have described as “Fruity”.

For those unfamiliar with Emery, think of the character Serge from the Beverly Hills Cop movies.

The question was also raised, but not settled, on how closely guarded their identities as superheros should be. Ultimately, with Union Jack in one car and Basalt in the other, there was someone with the authority to judge situations as they arose – bearing in mind that the ultimate mission was to prevent the detonation of a couple of black-market nuclear devices.

The final decision to be made was who should travel in which car; the two females were to share a tent, so they would obviously be together in one, which meant Specter and Zantar in the other. Basalt considered them to be the two most likely to disappear into their own heads at any given moment, and Union Jack didn’t have enough experience with the team to keep them sensible; and besides, he wanted to keep Runeweavers’ Mana recharge problem where he could keep an eye on it. That put Zeitgeist and Nightshade in with Union Jack, at least for the Arkansas leg of the expedition, and Specter and Zantar with Basalt. Which put three of the team’s four weirdness magnets in the one vehicle, but that couldn’t be helped.

Route 2 was more likely to encounter the KKK and other white supremacist groups; the apparently-Caucasian trio with two women was less likely to get into trouble with them than the all-testosterone car with a Kzin in tow. Finally, the attributes of each car meant that the red family-sized Cavalier was better suited to Route 1 while the white whale of a Lincoln was more appropriate to Route 2.

The next morning, 5 weeks until Nuke Day, at first light, the team made their departure from Laredo and journeyed the 575 miles (925 km) to Dalby Springs, where they were to camp. This road trip took almost 13 hours by the time rest and meal breaks were factored in, and would contain events none of them would ever forget – from the discovery that Zeitgeist couldn’t tolerate any sort of oil or grease in her food (but dry salads were, for the most part, fine), so Car Two would have to preference Italian and Greek cuisine, to no-one being brave enough to try BBQ’d Armadillo.

Dalby Springs is a remarkable place – a ghost town with a church still in active service, a cemetery supposedly haunted by the ghost of a Vampire (who didn’t trouble the team, thankfully), the discovery of the Owl with the psychometric abilities, which Zeitgeist has decided to make a pet, and then the discovery of the giant leeches (about a foot long) cohabiting your sleeping bags – it was an eventful night. We rejoin the team as everyone else attempts to get back to sleep after the excitement, with Vala to awaken them at first light.

Key Points & Notes

I initially intended to use the Texas leg of the trip as a dress rehearsal for what would become the basic pattern of the rest of this phase, but ended up rewriting it into a more traditional narrative form.

Some of this was important in terms of how the process was going to work.

Excerpts From Session 19

I’m incorporating these to expand further on some of the points raised in the synopsis above.

Departure right on Dawn, 6:44 AM

Zantar wants the other car to take the lead to see whether or not they can follow his written directions without a safety net. The first challenge is to get onto Interstate 35.

Each car has someone driving and dealing with logistics, someone navigating, and someone reading the guidebook and taking notes on potential bases of operations, but in Texas, there are no guidebooks to consult and no potential bases to note, meaning that you can split the navigation. Who’s taking the first stint – Zeitgeist or Nightshade?
(decision)

The directions were explicit and detailed:

  • Head North to intersection
  • Turn Right onto Bristol Rd
  • Turn Right into Mines Rd
  • Turn Left at next intersection onto Las Cruces Dr
  • Road curves right to pass under the Interstate and becomes Shiloh Drive
  • Turn left at first intersection after the interstate onto San Dario Ave, stay in left two lanes
  • When road curves right, go straight ahead onto the Interstate on-ramp

    Total distance 1.72 miles @ ave 30 mph

Once on the Interstate, you begin ticking off the miles and the place-names. Botines, Encinal, Artesia Wells, Cotulla, Gardondale, Millett, Dilley. In Texas, gaps between settlements come in four sizes: Enormous (double digits apart in miles), Large (6-9 miles), Typical (2-5 miles), and neighborly (less than 2 miles). All told, that’s 78 miles covered as the clock ticks over to 8AM.

When you slow slightly for the Dilley Bypass, Team Red Car’s Fuel Gauge reaches ~3/4 full. It’s more than 4 miles later before Team White Car’s gauge does likewise. Conclusion: Car 2 is more efficient at cruising speeds.

Still on the interstate, you continue racking up the miles and landmarks. Derby, Pearsall, Moore, Devine. That carries you another 50 miles, and the time is 8:50AM – time to pull over, grab a drink and stretch legs for 10 minutes (along with anything else that might be necessary).

Back onto the interstate for the second leg of your more than 500-mile journey. Lytle (spelt with a y and one t), plus just shy of another 8 miles gets you to San Antonio. After the break, you start to really feel the heat of the day ramping up. In the Lincoln, Union Jack first tries retracting the sunroof, but the slow progress through the internationally-famous city makes it less than effective. So he closes it and activates the brand-new Air Conditioning system. Immediately, the engine note goes up a notch, and Jack finds that he has to put his foot down that much harder to achieve any given speed. He estimates a ten percent drop in available engine power, which will drop top speed to about 95 mph.

In the Cavalier, the other team are finding the same thing – turning the air con on is like suddenly climbing a very steep invisible hill.

San Antonio is the biggest city that the route takes you through, at more than 40 miles of stop-start traffic. It’s already 10:45 AM by the time you emerge out the other side, an hour-and-a-half after you entered it.

A little more than half-way through, both cars’ fuel gauges dropped to 1/2 full, which means that Car White has clawed back everything that it lost at cruising speed by being more efficient in city traffic than Car Red. This surprises the heck out of several people, St Barbara amongst them; she would have bet that the mid-sized Red Car would have it all over the enormous lump of metal that is the White Car, but Basalt and Union Jack seem to have worked wonders.

Not long afterwards, the I-35 merges with Interstate 410. This is one aspect of the US system that almost all of you struggle with every now and then – the fact that one stretch of road can be three or four different highways at the same time. The usual practice is to use the lowest number to refer to the highway, but that doesn’t mean that the higher number has gone away!

These narrative passages were carefully-devised tests – if the players truly felt in charge, then they would react and respond to each paragraph, talking amongst themselves about the trip as though it were actually happening and this was a highlights reel of their travels (which is what happened). If they felt like mushrooms without real control over events, they would have simply sat and listened.

If the latter condition had prevailed, then I would have to revise my planned approach to the rest of this entire phase of the adventure, inserting more player control no matter how much more difficult it made my job as GM. As it happened, that wasn’t necessary (thank goodness!) – which is exactly what I had been trying to have happen, of course.

Of course, there were further decisions to be made anyway, all contributing to the structure of each day’s travels when they started looking for a Base Of Operations:

Hanger slaked, you get back on the road and rejoin the Interstate for the next stint. If you have two drivers in a car, now is a good time – half-way through the day – to swap over. That would mean Nightshade and Specter taking the wheel of the White and Red cars, respectively.
(decision)

Once again, you get down to ticking off the miles, and for the first time, you can really wind the cars up to their top speeds. As expected, both of them seem to top out at about 95 mph, but the Red Car struggles a bit more to get there. Passing Cedar Creek and Wildwood take you to the point where Route 71 merges with Route 21. You continue and get into Bastrop in short order, where you are supposed to take a left turn onto Jackson St.

6 hrs 22m since departure, the Fuel warning light comes on in the White Car. The Red Car’s needle, despite its smaller fuel tank, is still hovering a little above the “empty” mark. But this is where Zantar thought you would need to refuel, so tick off another ambitious goal achieved. This was a real test of the engine tuning by Union Jack and Blackwing, and it seems that they have come up trumps. Note that you would probably have made it easily if not for the Air Conditioning.

The schedule calls for a 10 minute break, plus 5 mins to refuel. There are no less than 5 service stations in town; but the best prices are at the last of them, Conoco. Fuel there is very cheap, only $3.45 a gallon.

Car Red $50.50 to refuel, Car White $66.81

There needs to be a regular (almost continuous) effort, whenever you aren’t adventuring in the here and now, to get players (and hence characters) into the headspace appropriate to their surroundings. Even in very conventional settings like this one, I had to keep pushing and poking the fundamental of “it’s 1986 and we’re in Texas” into their heads. All sorts of things, from social dynamics to entertainment to communications to economics are going to be different.

In this instance, it was “Fuel is very cheap” followed by a number – which tells the players what ‘cheap’ is in these parts at this particular time – and then hit them with the cost of a full tank of gas in the vehicles they have chosen – with economy one of the main considerations, remember.

One more point is worth noting in the way of explanation. Most of the adventure was written in a full-on text editor with highlighting capabilities, multi-column capacities, and so on. It looks like this:

There are five aspects of the page that bear discussion.

Acts

First, rather than categorize the content as Phase this or that, I have broken the structure of the adventure down into Acts. These are a little more granular, a new act signaling a significant change in the style of the content. Color and font are used to make these stand out. Ideally, you don’t want to move from one Act to another mid-session.

Scenes

Each Act is subdivided into Scenes: A significant change in the participants, a good spot to end play for the game session, a change in location, or a change in the subject matter – these are all good reasons for a new Scene Number.

Again, a fancy font and spacing above and below are used to make these stand out. It helps if most of the scenes are of a similar length in playing time, so that you can tell at a glance whether or not you are likely to get through the next scene before the end of playing time for the day. I will drop notes at the top of a Scene that I think will run longer than usual (one that’s shorter tends to be visually self-evident).

The information contained in the scene title is also worth noting. The main title reads (as you can see), “Scene 7: 6:12 AM, Fri 30 May, 1986 (Texas, USNA)”. This contains the scene number, the time it is expected to start (adjusted on the fly if the PCs delay or dilly-daddle) the date according to the location, and that location. And notice that the word processor doesn’t recognize the abbreviation USNA and so has thrown up a red underline. As a subheading, I’ve also noted the countdown – as time gets shorter, this always ramps up the tension. Right now, it’s a very relaxed 5 weeks.

The Footer

To make this legible, I’ve had to trim out the white space.

This contains three panels of information. On the left, we have the campaign (Zenith-3 / Regency), and the adventure number (015). In the middle, we have the name of that adventure (Part 1: Tangled Web) which also contains the name of the sub-campaign (A Necessary Fiction). Finally, over on the right-hand side is the page number, and a count of the total number of pages in the adventure.

A Different Editor

The Texas Trip, and the Arkansas explorations to follow, were not written using this text editor. Instead, I used a plain text editor which offers a couple of very useful features – like having multiple documents open, side-by-side, at the same time, and working with large documents. What I give up in exchange for these benefits is virtually all formatting control. No font size, no bold, no italics, no highlighting.

So I’ve picked up a couple of conventions – I’ll be replacing these as I spot them, because Campaign Mastery can render them, but I might miss one. A word or phrase in =equals signs= is considered to be in Italics. A word or phrase to be stated literally (usually in a foreign language) is placed in carats <>. And that’s about it. Other conventions – some of which you’ll have noted, such asterisks to denote information to be given to the players when they ask the right question, or Double-Right_Carats >> to indicate branching within the adventure, usually as a result of a skill check, and so on – remain unchanged.

I still use the full word processor to write my synopsis, though, and to add roleplaying sequences, such as the one where Zeitgeist met her owl.

Two Columns

The text is divided into two clearly-separated columns. This is to make it easier to read. Documents need to be functional first and pretty a remote second or third.

The synopsis is highlighted.

In fact, every synopsis has been given a different highlight color to help separate them. All I have to do to find one is scroll to the bottom of the document and then scroll up until I get to a highlighted section.

Again, the focus is on making the document useful.

Further excerpts from session 19

I debated whether or not to excerpt the material below. It’s a summary that I wrote up of the process that the players were to use to evaluate potential bases. Ultimately, even though it was lengthy, I decided that it was useful in terms of describing the content to follow.

While you pack up your tents and other camping gear, and (inevitably) discover that it doesn’t quite fold up and store as compactly as it did when you unpacked it, Defender reminds you of the procedure his plan is based on:

  • Stops are divided into two classes, drive-throughs and full evaluations. The first means that you simply keep your eyes open as you drive through town, the second means that you actually drive around town looking for possible bases.
  • One person drives and monitors logistics like fuel and time; one person navigates, following the detailed notes provided by the Kzin, which can be varied if you see some reason to do so; and the third person is custodian of the guidebooks. Roles can and should be swapped around every now and then.
  • As you approach a stop, Guidebook-person reads aloud anything they think pertinent from the guidebook about the place that the team is about to explore. Once in town, they are responsible for taking any notes that the team consider necessary.
  • Navigation-person is responsible for keeping track of where the car is, and which way they have to go, and giving the driver timely directions. In some cases, Zantar has been quite specific, in most he’s had to leave internal routes to the discretion of the navigator & driver.
  • There are lots of considerations that could contribute to someplace being a potential Base Of Operations – or detract from suitability; far too many, in fact, for there to be any hard-and-fast guidelines. Instead, as you leave town, you spend a few minutes discussing your impressions of any specific possibilities, and give each a rating out of 5, which those in the car should reach a consensus on, compromising as necessary.
  • The one critical factor that can’t be ignored is size. The team need at least six private quarters, plus one or more for additional guests or members, plus one or more for personnel recruited to keep the Base of Operations maintained while the team aren’t in residence, plus any staff needed to keep ongoing commercial operations functional. Eight bedrooms is considered a minimum. Such dwellings are likely to be fairly rare.
  • At the end of the first day, each team should pick a top three contenders. At the end of the second day, the choice of top three is whatever they have found that day, plus the chosen three from the day before; and so on until the teams reunite at the designated rendezvous.
  • At the rendezvous, each team tries to convince the other of their three choices, preferably with each person in a car taking one of the three favorites and championing it. The group then tries to find consensus on a top three for the state. This top three will them become the standard against which other states will be judged.
  • It’s accepted wisdom in the team that UNTIL – who estimated that a search of this type would turn up a suitable location in just a day or two were being wildly optimistic, and had no real idea of what the team would potentially require in a long-term Base Of Operations. It is hoped that each team will find four or five a day.
  • To prevent bias and prejudging of the other team’s discoveries, Zeitgeist will consciously “lighten” her contact with the team in the other car, but there will be regular “check-ins” on progress each night and every now and then, and in particular will avoid any particulars or impressions about any potential bases that are uncovered. If assistance is needed, it will only be available after such a check-in, so priority number one will be to hold on until check-in time. As a general rule, people will be on their own. Check-ins are at Zeitgeist’s discretion.
  • The driver will be responsible for team expenditure, and will hold the money, which will be divided according to typical refueling costs. Union Jack will only make available the portion of the budget that is allocated to that particular state, plus a contingency that has to cover the WHOLE trip – once that money is gone, it’s gone. In an emergency, Nightshade or Specter can make another trip to the Bahamas for more, but this is a security risk and should be avoided.
  • Route 1, which is to be followed by the Red Cavalier and Team 2, is to the south and east of the state of Arkansas. It covers an estimated 928 miles plus explorations, and has 45 major stops. Assuming an average speed of 40 mph, that works out to about 20 minutes for each major evaluation on average – some may take longer, some less. The red car has a cruising range of 350 miles to a fuel tank, but using the engine at any other speed is less efficient. The tank shows empty with about 52 miles range to go, and the fuel warning light with about 35 miles to go.
  • Route 2, to be followed by the White Lincoln and Team 1, is to the west and north of Arkansas. It covers an estimated 1132 miles plus explorations, and has 69 major stops. At the same average speed, that gives only 8½ minutes per stop, which doesn’t sound like enough – but if the team are quick to decide there’s nothing of interest, Zantar thinks it will be. But there’s slack built into the schedule if they need it – up to an entire extra day and a half. Finding and evaluating possible contenders is more important than keeping to a schedule. What’s more, the teams have plenty of money if they aren’t frivolous about using it.
  • Finally, Zantar has highlighted key passages in the general introduction to each guidebook that he considers to be a primer on each state, which guidebook-people should read to the others in their respective cars as soon as they get underway, and in any other odd moments they find the time if that’s not enough.

From a more metagame perspective, each time you locate a specific base, I will give you the image reference numbers that describe it. I can use those to locate specifics about each one as needed. I also want to emphasize that almost every contender that will be found will be a building that is now, or has recently been, for sale, in the relevant community, in real life. And 99.9% of the guidebook information is absolutely genuine and from two sites – Wikipedia and The Arkansas Encyclopedia!

Organizing The Road Trip

This carried the game forward to what turned out to be the most complicated and challenging period of the entire adventure, at least in terms of organization.

This is a location-driven series of encounters with buildings, communities, and occasionally individuals both likely and improbable.

I started by sketching out two routes, each covering half of Arkansas as thoroughly as possible, of approximately identical length, using Google Maps. Extensive screen captures documented the route, and gave me a list of ‘target towns’. These were divided into two classes – drive-through and extensive investigation, based mostly on their size.

Next, again using Google Maps, I retraced those routes and took careful note of the driving directions. Each stop was given a simple number, preceded by the route number. I also made a note of the expected speeds based on some fictitious standards that I came up with. The results look like this:

236 Artist Point to West Fork

    -> Highway 71 North via Winslow, Brentwood
    7.1 Miles @55 to Winslow

236 Winslow -> Highway 71 North

    4.8 miles @55

236 Brentwood -> Highway 71 North

    4.3 miles @55

236 Pitkin Corner

    -> Woolsey Rd and McKnight Ave
    3.3 miles @40

This describes the route from one major stop (Artist Point) to another (West Fork) with a number of drive-through evaluations along the way at Winslow, Brentwood, and Pitkin Corner. It defines a block of time in which attention will be on the team in that particular car (route 2 so that’s the White Lincoln with Nightshade, Zeitgeist, and Union Jack).

This information is plugged into a spreadsheet that allows me to handle the complications:

  • Time spent traveling between targets (calculated from the distances and speeds);
  • Time spent driving around communities (either measured as a distance using google maps, or guesstimated as a time and converted back into a distance using a speed estimate);
  • Regular stops for rest breaks (one every 2hrs or so, unless a meal break is taken);
  • Meal breaks (usually targets of opportunity depending on what foodstuff-providers are available);
  • Allowance for time lost to encounters;
  • Refueling stops;
         (etc)
  • An effective total distance traveled at optimum speed for fuel efficiency;
  • Fuel tank capacity remaining;
  • Fuel gauge reading;
  • Ahead or behind – the schedule for each team makes certain assumptions about average speeds and how long each type of assessment will take. This tracks where the teams really are vs where the schedule expects them to be. In general, the base estimates sounded tight but doable; the reality is that they average much better on both distance and time than expected, and get hours ahead of schedule.

This enables me to implement policy decisions taken by the players – start at dawn each day, so much allowance for meal breaks along the way, work for 12 hours, then find a campsite for the night. Because the spreadsheet automatically updates, if the players decide to spend ten extra minutes somewhere, I can update the whole thing as fast as I can load it. Oh yes, after 6 hours behind the wheel, the drivers swap out if there’s someone else in the car who can operate the vehicle.

These then become the initial division points in the adventure, i.e. the different Scenes. I work hard at keeping these roughly the same length in playing time so that I can shift focus between the two groups (Two PCs and one NPC in each car) at regular intervals.

The next two steps are undertaken simultaneously – writing the scene, and assembling a concordance. The latter simply tracks the breakdown of scenes – one scene might consist of a number of stops or just one, or – on rare occasions, a long stop will get broken into two or more parts.

Each scene has a standard format (which I throw out the window when the narrative warrants):

T## Name

    Relative Concordance

    GUIDEBOOK
    Text

    EVALUATION:
    Text, Pic ref, Time

    CONTENDER #:
    Text, Pic Ref, Time
    [one entry for each contender]

    Total Time: n mins

    VERDICT: (if Contenders)
    CONTENDER #1:
    Text, rating
    [additional Contenders]

    FUEL:
    Tank status

    DIRECTIONS:
    Text

GO TO T## NAME

=========================================

The theory is that each leg of the trip is taken up by (1) discussing any contenders the team found, and (2) reading the guidebook entry for the next target. Since one is about what has just happened, and the other is about what is about to happen, it made sense for this to be the break-point between scenes, making each more self-contained.

Let’s spend a minute or two looking at each of these items in detail, with what prep work I have to do to prepare an entry for game use:

    T## Name

    T is either 1 or 2 – team one refers to the Red Cavalier on the south-eastern route, team two refers to the White Lincoln on the north-western route.

    At a major stop, the ## goes up by one (01, 02, 03, and so on). Minor stops (Drive-through evaluations, where the team simply drives through town, not stopping unless they see something interesting) keep the number of the preceding major stop.

    The major stops are the places that Zantar (an NPC, remember) – knowing nothing more than the name, the economy and geography of the state, and the location on a map – felt most likely to have a base of operations. Size was an obvious factor, and so was uniqueness of name, but a lot of it is the GM’s instinct.

    I will also generally add a time-check to the heading, taken from the spreadsheet.

    Relative Concordance

    This is simply locating the team in time and place. For “day one”, after a lot of work (and re-sequencing the whole thing at least three times, I interwove the journeys into one long narrative (almost 55,400 words). For “day 2”, that wasn’t possible because there were too many optional choices available to the players; it was going to be a lot easier to have two narratives open side-by-side and simply switch between them at flagged points.

    That means that the day one concordance is all about what the other car is doing as this narrative starts; I couldn’t maintain that one “day 2” so those are about how long its been since we last looked in on the car and what may have happened since.

    GUIDEBOOK Text

    This is the section I research. I look at Wikipedia, I look at the Arkansas Encyclopedia, and I try to think like the combination of a Guidebook writer and editor. This is basically the history of the place, some demographics, anything interesting about its economy, and anything else that may be of interest. If that doesn’t get me a reasonable guidebook entry, I’ll search more generally, without expecting much.

    But everything then gets filtered through, and modified by, the campaign history.

    I’m actually quite proud of the Guidebook entries that I’ve compiled. If it weren’t for the distortions introduced by that campaign history, they would probably make quite a good guidebook in real life!

    If all else fails, I’ll extrapolate from the images that I found for the Evaluation section (including some that I already know won’t be of sufficient size or quality to get through the filtering that gets applied).

    EVALUATION Text, Pic ref, Time

    This is where I show (and tell) the PCs in the car what they see, hear, etc, as they drive through the town, and give the NPCs impressions of the place if that’s relevant – mostly, I leave that interpretation up to the players.

    95% of the images that I use are genuine, the results of careful google image search. Another 2% are tweaked or modified in some way – that occasionally includes local maps of the settlement. And the last 3%? Two percent are screen captures from Google Street View (usually edited or modified slightly to keep everything looking consistent – it’s unusual to go from ‘not a cloud in the sky’ to ‘about to pour down any minute’). And that leaves 1% that are completely fictitious because I simply couldn’t get what the narrative required any other way.

    Next, I sequence these into a narrative – the goal is to tell the story of what the settlement is supposed to be like (and in most cases, actually is like, according to the research done). The guidebook entry and the evaluation narrative work together – the first sets up an initial impression, the second fills in the blanks (and sometimes contradicts the first).

    This is intended to be as interactive as possible in play. I’ll use all sorts of tricks to achieve this – mostly of the “if they spend an extra X minutes doing Y, I need something later to delay them X minutes.” It might be roadworks, or a slow driver that they can’t overtake immediately, or whatever – it basically just chews up time. Or, if the possible action is one that will speed things up, it will come with its own delay to keep the schedule on track – possibly in the same town, possibly somewhere completely different.

    CONTENDER #, Text, Pic Ref, Time

    To be a contender, a place has to have, or be capable of having, six or more bedrooms (one for each team member), and be available for immediate occupation. Everything else is negotiable.

    In theory, contenders get found ‘in the middle’ of the tour through the town, but for practical reasons, most of the time they get extracted so that the players have a complete context (the characterization of the location) to place around whatever they’ve found.

    I usually only use one image for each contender, carefully choosing or creating the most representative one. On the rare occasions where I need a second image, I will usually insert that (with a frame) into the main image.

    The time factor is extremely subjective; it could represent going to the local library or historical society to ask about a property, or grabbing a real estate agent, or asking at the bank, or talking to the postman or the neighbors. The key principle is to tell the players everything that they need to know and could reasonably find out (which usually isn’t everything that there is to know, Bwa-ha-ha… sorry, where was I?)

    I need to take the abilities of the PCs and NPCs into account, and the personalities of the NPCs as well. One is British and from a parallel world about 75 years into the future, but is a gifted bureaucrat and problem-solver (he used to be the Crown Prince’s personal ‘fix-it’ man). The things that he notices will stem from that background. The other is an alien, a martial artist, very zen and controlled, and very good at seeing through or past assumptions, enabling him to think outside the box. He knows less about humans and human society than anyone else – but is more observant and intelligent than most. One PC is a telepath, the other is a trained police detective – different approaches yielding different results.

    BREAKS / STOPS

    These get inserted either before or after Evaluation or after Contender listings – most of the time.

    If one is due, or almost due, it’s back to Google Maps to look for takeaways. The information used in constructing these entries is therefore a blending of historical and contemporary information.

    In general, colorful or unusual gets a tick; if nothing stands out, then convenience relative to their route will decide the matter. On day 2, there’s at least one point where they have to pull over onto the shoulder and break out some snacks and sandwiches packed for the purpose.

    I try to use these to break up the narrative. If the NPC has anything to bring up – for example, one early question was whether or not to use scare tactics and intimidation to get someone to leave a desirable target, should it be chosen – this is often the time. Again, interactivity and roleplaying is a priority.

    ENCOUNTERS

    These get positioned wherever is logical – they can even interrupt other things. Anything from seeing a centaur in the distance to… well, that would be telling.

    I’m very careful to estimate how long it will take the PCs to resolve an encounter, which is quite tricky to do when you don’t know how they will choose to resolve it. I prepare narrative for the most likely way(s) and base my estimates on that.

    Deciding on where to place an encounter is more difficult to explain – generally, these are used as punctuation and whenever the preceding narrative seems to be growing a bit dull. I try hard to split them evenly between the two groups of PCs. If an encounter is going to take significant time, it will almost certainly get broken up into multiple scenes so that I can ‘check in’ on the other team.

    Total Time: n mins

    Adding up everything that takes place, tells me how much time the characters spend within the community. This gets put back into the spreadsheet.

    VERDICT (if Contenders) for each CONTENDER, by number – Text, rating

    This is a discussion between the players in the cars (and the occasional voice from on high from a player not there) and the NPC about the relative suitability of the possible base, any drawbacks to be noted, and so on. As the number of potential bases rises, I expect standards to go up – the movie theater may have been an interesting possibility but it comes with too much baggage, for example – its time on any shortlist will be short-lived.

    The rating is the opinion of the NPC in the car. They, and the PCs present, have to reach a consensus. It’s generally a rating out of five but they’ve started accepting half- and quarter- point marks because they’ve found more contenders than they ever expected to.

    It’s up to the players to document these collective opinions. It’s their choice that will decide which one eventually becomes their chosen base of operations.

    I don’t think either team has yet found a five-out-of-five (but there’s been at least one four-and-a-half) – but there are some coming.

    FUEL Tank status

    I take the percentage fuel remaining after the activity in the community and look it up on a pair of tables that I’ve compiled, enabling me to translate that number into a verbal description. This also tells me what the remaining range in the tank is, which I will often mention. Because the spreadsheet takes into account the efficiency of the engines under different traffic conditions to calculate its answer, this bottom-lines the travel.

    DIRECTIONS Text

    I generally summarize these into narrative form as the full-stop on this particular location. But nothing is set in stone, and what actually gets found (Google street view) may yield variations.

    GO TO T## NAME

    If the same scene contains another location, this will be absent, and it’s only there for Day 2 onwards – it tells me to switch my attention to the other document and where in that document to pick up the story.

    =========================================

    And this marks then end of the scene, a separator to visually distinguish where the combined narrative is up to.

Very little of this shows in-game, which is all about the content, not the planning or structure.

What this does is put into practice something I’ve advocated a number of times: break a big problem or process into a series of smaller ones. In this case, I’ve broken the task of searching a state for a suitable base of operations into a series of searches in different locations, made those searches as interesting as possible (dressing them up with roleplaying and encounters) – and, because I don’t want to telegraph which places are the interesting ones, then applied the same principles to everywhere else the PCs are going to go along the way.

As the narrative proceeds, I’m using greater and greater narrative compression. The ‘routine’ has been established and can now be hand-waved.

Virtually none of this will show in the synopses – which is why I thought it important to expound on it all before what is the heart of Phase IV of the adventure gets ‘underway’ in this article.

Synopsis, Session 20 (from Session 21)

Strangely enough, no synopsis appears to have been produced for this session. I suspect that this is a confluence of two factors – going into Covid-lockdown immediately after it was played, and the ability to simply summarize the text. Or maybe I wrote it and filed it somewhere else – there’s one obvious place to check, so just talk amongst yourselves for a moment….

Nope, not there either.

In lieu of that, here’s one of the actual entries from “Arkansas, Day 1”. I’ll leave the image references in place, and add the occasional drop-in clarification in [square brackets].

T2 8+47 AM 203 Mineral Springs until 9+2

    [CONCORDANCE]
    Less than four minutes down the road from Tollette lies the community of Mineral Springs. Team one are still about ten minutes out of their next target, Lewisville, as Team two behold the emerald-green Water Tower (03-203a).

    Within its 2.26 square miles, Mineral Springs is a town bursting to achieve the status of a City (and the federal and state funds that can be accessed with the title). It is tantalizingly close at 974 citizens, but will have to wait a year or two longer to get there. That’s all right; they’re patient. That comes, in this case, from Religion; Mineral Springs makes the top ten religious communities within the US. Almost everyone attends either the Baptist (03-203b)

    …or Presbyterian churches here in town (except one Lutheran couple who drive to Wilton for services every week). As a general rule, the residents don’t care *what* religion you are, so long as you are actively religious and *seen* to be actively religious. That said, you don’t think a Satanist would be welcomed.
    (pause for comments)

    EVALUATION:
    It isn’t too long before you come across the Luna Hotel. (03-203c) (5 min)

    This, according to your guidebook, was a cheap provider of accommodations in the town until a rival, the Original Springs, opened about a block away (03-203d). (6 min)

    There isn’t enough clientele to support two such operations, and the Luna lost badly to the more modern, more stylish, newcomer. (7 min) As a result, the Luna is now on the market (8 min). You need to inquire at the First National Bank (and Real Estate) to get the price (03-203e).
    [notice that it is assumed that the players decided to do so.]

    You are directed to speak to Wilson Hauptmann (03-203f),

    …who looks as trustworthy as a Shark but works harder because of it, and is really something of a sweetheart – evidenced when he gives a couple of customers an extra month to make their overdue mortgage and knows everyone by their first names and knows the health and names of their families. He even gives one of those customers a $20 bill because she doesn’t appear to have been eating right, lately.

This is a favorite NPC construction trick of mine, which I deliberately violate a lot so that it doesn’t make me predictable – a deliberate contrast between two traits.

I should also point out that because I’m using the same laptop to display the images and read the text, I always end a line when an image is referred.

And the final takeaway – notice that this entry, from the very beginning, shows only lip service to the basic structure. There are images in the Concordance section, and the evaluation section consists entirely of a Contender evaluation!

*** He confirms that the Luna is for sale to someone with a new vision and some deep pockets. (15 min) The price is $65K+20% Fees, duties, etc = $78K as it stands.

This is a definite contender as a Base.

VERDICT:
There are some serious drawbacks to take into account. The Luna is right on downtown, which will bring added scrutiny from a curious population. You aren’t sure that any of you could pretend to be religious enough to fit in, and you aren’t sure that your cover identities would be all that credible in this social environment. That makes the Luna a 1, maybe a 2, out of 5. Perhaps the best thing to be said about it is that it takes the need for those unpalatable choices discussed earlier off the table – there IS an alternative to driving people out of their homes.
(discussion)

DIRECTIONS:
Route 27 West 13 Miles to Ben Lomond, then Highway 71 South 9 miles to Wilton, continue South 5 miles to Ashdown

Speeds

    13 miles @ 100mph ETA Ben Lomond 3+0
         ~3 miles in urban areas @ 35 mph
         9 miles @ 50mph ETA Wilton 3+17
         5 miles @ 50mph ETA Ashdown 3+23

T1: 2+50
     61 min ahead of schedule
     AC: off
     Fuel Tank: a bit over 1/2 full
     lunch in apr 1 hr 40 m
     driver change in apr 3 hr 10 m
     Sched stop in apr 5 hr 10m

Okay, so there are a couple more things needing explanation. One way that I write times, and especially time intervals, is H+M. So “ETA Ben Lomond 3+0” means “ETA Ben Lomond 3 Hrs after starting this morning”.

The block of details at the bottom is a status check. Most of it proved to be unnecessary, so it isn’t anywhere near as extensive in later parts.

It says that Team One have been on the road for 2 hrs 50 minutes, and are currently 61 minutes ahead of schedule. The car’s Air Con is off (affects power, top speed, and fuel economy, all badly), and they have more than half a tank left. The rest is ‘the relatively fixed schedule’ for the car – how long until lunch, when they are due for a driver change, and when they are scheduled for the first of a couple of breaks that afternoon. I only ever tracked the ‘next three’ such events, because that usually covered everything a player might ask about.

As for what they found in this particular day’s play, that’s spelled out explicitly in the next synopsis.

Synopsis, Session 21 (from Session 22)

After several months, Australia came out of Lockdown and gaming resumed. Because it had been a while, I made the next synopsis far more comprehensive than would normally be the case.

UNTIL have inserted Zenith-3 into the USNA as a covert branch of the Champions to handle emergencies that HAVE to be dealt with even though they don’t technically have the authority to operate on American Soil.

To create the necessary anonymity, they created new identities for the members of the team – Nightshade, Specter, Zeitgeist, Basalt, Union Jack, and Zantar. They also created civilian identities for each of these superheros to occupy when not doing superheroic things.

UNTIL then teleported the team to the 5th Reich, where everyone played spy games with each other. The Reich was not at all what you were expecting, and changed the way you saw Fuhrer Muerte’s administration – from an enemy (however covert) to a government with some distasteful associations. It was probably fairer to describe it as what Nazi Germany could have been if they didn’t have Hitler in charge and actually cared about their citizens.

The Reich had connections through to House Aries of Demon, who dominated one of the political parties who were currently engaging in the Presidential election campaigns of 1986. Both parties were promising to reshape the policies of the US with respect to the rest of the world – unless UNTIL / Z3 did something to upset the apple-cart.

UNTIL had been using the 5th Reich to insinuate agents into the US for some time, so it was only natural that they use this channel to get the superheros into place to undertake their primary mission – and to prepare for future occasions when Team Shadow might be needed.

Muerte’s people got them out of Brazil by air in a light aircraft that did Mach 1.2, then ferried them to a fishing vessel which secretly had more in common with a world speed record attempt boat than it did to commercial fishing. This vessel – somehow you never quite got the name of it, which was probably no accident – conveyed you to Guatemala, in mere hours with a refueling stop in Jamaica.

Once on land, they met the representative of House Aries, their “Diplomatic Escort” and Guide, Maynor Morales. After Ragnarok, Central America and Mexico had fragmented into guerrilla states; each had developed its own methods of rapid transit, and in each, the group would have to perform some ‘favor’ for the ruler in order to gain permission to continue.

King Hector of Guatemala was the first, and his attempt to have Maynor possessed by the Ghost of a Mayan High Priest (a means of gaining control over the mage) failed; the Jeweled Egg that adorned the statue of the forgotten Mayan Deity worshiped by the High Priest was recovered and delivered as promised.

In Tabasco, King Rohaz sent them (and his two best remaining hunters) to end the menace of a “Monster” that had been taking his best men for weeks or months. The “Monster” turned out to be the Rheezok, alien mages of incredible skill and ability, each capable of casting multiple spells simultaniously, and who had a prior relationship with the human Refugees from the Empire Of Mandarin, which included Maynor Morales. By now, Morales had learned that the group he was escorting had paranormal abilities, and so they were able to join him in negotiating a peace treaty with the Rheezok. As part of that treaty, the Kingdom of Tabasco (which they had been systematically undermining) was ceded to them, and Zenith-3 promised to do what they could to earn diplomatic recognition of the Rheezok. They would also try to find them a more suitable home-world, their own having been destroyed by the Ice Queen.

From Tabasco, they moved on to Veracruz, where the Aztec Empire (or an unreasonable facsimile) had been reborn, and where they were tasked with finding and arresting a bandit and anyone helping him. This proved a lot easier than they expected.

In Leon, Christianity was dominant, but the King was civilized and quite reasonable. He asked for an hour’s honest labor at reconstructing a temple that had been devastated in Ragnarok; because magic would be used to verify if they had truly worked as hard as they could, Zenith-3 were able to completely restore it, both inside and out, in the hour.

That earned them permission to continue on to the Republic of Coahuila, a steampunk society, where they caught the train to the capital. After an encounter with the King’s Oracle which the team are still assimilating, President daSilva tasked them with delivering some experimental parts to a laboratory. This took them hundreds of miles out of their way, but it gave the President the political cover that he needed to place his fastest transportation at their disposal, and that more than made up the difference.

Dr Esperanza had an intriguing take on a practical near-perpetual energy generator that gave Maynor kittens, but which had the potential to solve some of the most difficult global problems. She saw only the potential, he saw only the dangers. Both were probably right.

Morales was, shortly thereafter, proven to be right about the risks, as a Mana explosion at the laboratory threatened to extinguish all life on Earth. The team not only survived their proximity to the explosion, but were able to undo the disaster (with help from the Rheezok), conduct rescue efforts that saved many of the local townspeople until help arrived, then rescue Dr Esperanza, who had been killed in the cataclysm, all while costing themselves only about eight minutes lost time, thanks to some clever twists on standard time travel.

At the border, Maynor got them across in a hired vehicle, setting them down on the streets of Laredo, Texas. Near exhaustion, the team then time-traveled back into late May using some of the new tricks Maynor had taught them, and began planning and equipping themselves to establish a new Base.

The group’s finances were a problem; intended by UNTIL to last them a week at most, the team now had to stretch them over more than a month, and that meant that they were just about broke. To solve that problem, St Barbara took Runeweaver on a high-speed low-altitude flight to the Bahamas, where they accessed funds from their accumulated UNTIL salaries, which they rarely touched.

This enabled the team to buy two excellent second-hand cars – a red Ford Cavalier and a White Lincoln – and completely rejuvenated them with a comprehensive service. Zantar used his military logistics training and an unsuspected instinct for interesting destinations to plan the team’s explorations of Arkansas, while Union Jack took charge of the budget.

To help conceal their identities, it was decided that Basalt would take command of Team Shadow (who have the working public name of The Alliance, a name with which none of the members are satisfied), with Union Jack his second-in-command. Since Jack was to join Zeitgeist in the Lincoln and Basalt was to be the primary driver in the Cavalier with Zantar and Specter, this placed one member of the team’s hierarchy in each vessel, permitting them to split up and cover more ground.

Filled with camping gear and other potentially handy items, they formed a caravan to their overnight halt near the Texas border, where the two groups were to separate the next day. This enabled them to shake down and tweak their procedures, to everyone’s satisfaction. They camped overnight at Dalby Springs, now a ghost town (with a still-functional church), a hunting club, and a cemetery supposedly haunted by a Vampire.

They weren’t troubled by that possibly-mythic figure, but did have problems with giant Leeches cohabiting their sleeping bags, and Zeitgeist found an Owl with psychometric abilities; she decided to increase its intelligence and make it a pet. This refugee from Earth-Mandarin was already on the verge of sentience, and chose the name “Exeter” after careful consideration. By day he sleeps, in the late afternoon or evening he finds his way to the White Lincoln, and by night, he hunts. Zeitgeist has found the culture and etiquette of owls to be almost as complicated as that of humans.

The next morning, the teams split up to explore Arkansas, looking for any potential bases. None of them had any faith in UNTIL’s assertion that two or three days searching in any state they cared to nominate (from a provided short list) would find something that was good enough to do the job.

All of this is old news to anyone who’s been reading this series from the beginning, but it was aimed at reorienting the players in the big picture. It’s at this point that ‘new’ material started to appear:

Team One, in the Cavalier, took back roads to Texarcana, and then headed south. Team Two, in the Lincoln, traveled through Texarcana on the Interstate and a little ways East before turning north and west.

Team One hadn’t even left Texas – they were flying down the dirt roads between Maud and Redwater – when they spotted a Centaur wearing a torn flannel shirt and a cowboy-style jacket, a quiver on his back and a bow in hand. Rather than interrupt whatever he was doing, the Cavalier kept going, but observed that this promised to be a very unusual road trip.

Team two were the first to strike pay-dirt, though – Etheridge House in the city of Hope was on the market and large enough for the team (just barely). But it, and the city around it, were just barely adequate in so many ways that it was almost completely discounted as a contender. You were convinced that you could and would do better. More importantly, it started the teams developing a methodology for assessing potential bases.

Team one then found a couple of barely-passable choices that weren’t on the market, in the town of Fouke, which led to the first policy decision by Basalt – unless there was no other choice, the team would NOT drive people out of their homes either through acts of intimidation or psionic influence.

It was when they reached Mineral Springs that Team two found a more serious option: The Luna Hotel was a cheap provider of accommodations in the town until a rival, the Original Springs, opened about a block away. There wasn’t enough clientele to support two such operations, and the Luna lost badly to the more modern, more stylish, newcomer. But there were some serious drawbacks – this was a very religious community and the Luna was in a prominent location that would attract interest. But it was cheap, and it made it onto the list accordingly.

Team One made their own find a little while later, in the city of Waldo. On the way out of town, they found a very attractive little bed-and-breakfast. On inquiring, though, they found that it was thriving and not for sale.

Team two had the right to feel smug when they went two-nil up over the group in the Cavalier. In Ashdown, they found two homes for sale side-by-side, each large enough for three or four people easily, with a covered walkway connecting the pair. These were a genuine contender, right on lunchtime.

Team One started making up ground when they explored Magnolia. This was a tourist town whose population swelled five-fold during their festival season – 40,000 curious pairs of eyes looking everywhere for the next point of interest. The rest of the time, the population was too small to hide much activity, and too large not to have their own sets of curious eyes. There are a lot of properties with a significant accommodation capacity, and a percentage of those would always be on the market, but there were so many security problems that the team weren’t satisfied. Nevertheless, in aggregate, they were a viable candidate.

In Mount Holly, they struck out again, finding a perfect ten-bedroom mansion that had been sold just last week. In fact, it took them until they reached Camden to uncover anything really suitable. In that city, they discovered that the Comfort Inn Hotel was up for sale. Still in operation, the notion of a consortium of unlikely investors coming together to buy such a property makes enough sense that the eclectic nature of who you are supposed to be would become an asset to the cover story. And, of course, you don’t care whether or not the hotel makes a profit or a loss; you keep the existing staff on, maybe raising salaries a little to buy instant loyalty, and simply reserve a room each as “owners’ suites” from which you can come and go as you see fit. The only problem is that at 75 rooms, this might be a bit big even for UNTIL to swallow. But even with those caveats, it has to be a serious contender.

It then occurred to Team One that this is the worst possible time to be trying to acquire something that can pass as a base. The political situation is such that the economy has largely recovered, and one way or the other, the US will be re-entering the international community. As a result, optimism is incredibly high amongst investors, pushing the price up and persuading many that might otherwise be selling that their investments are about to pay off, no matter which party wins the election. Still, that only made things harder, not impossible!

As the teams continued to uncover reasons for optimism without actual results; both became convinced that it was just a matter of time, a far cry from their initial pessimism. Maybe UNTIL had known what they were talking about, after all.

The community of Horatio, when scrutinized by Team 2, made another important contribution to the project by adding a new criterion to the list: low Klan activity. If they don’t welcome blacks, how might they feel about Rock-men and Giant Cat-people? Not to mention the perpetual pushing of buttons on half the team. At best, it might be tempting fate. Many of the shops downtown were adorned with discrete Klan symbols, and so were a number of the vehicles – many of whom were being driven by Hispanics. There has always been tension between the Latin populations and the Blacks in the USNA – it started looking like the KKK may have found a way to exploit that to bolster their numbers. It also puts a potential new spin on the crisis that this mission is ultimately intended to confront and overcome.

As we rejoin play, Team one is en route to the town of Louanne after departing Camden, while Team two have left DeQueen and are heading to Lockesburg. It’s the latter – Nightshade, Zeitgeist, and Union Jack – who we will join first, as the Great Arkansas Road Trip resumes.

Synopsis, Session 22 (from Session 23)

And this is where the campaign is up to – tomorrow, as I write this, I have to generate the synopsis for session 23 of this adventure, describing what happened the last time we played. Here’s what I came up with:

Zenith-3, operating as Team Shadow, have split into two teams and started searching Arkansas for possible bases of operation.

This sets aside all questions of “why are we doing this” to get right to the current activities – which means that the ‘why’ was not particularly relevant to the day’s play in session 23. It has to be remembered at all times that these synopses aren’t intended to document fully what happened, they are aimed at preparing the players for the session ahead.

Team One consists of Basalt, Zantar, and Specter. So far, they have explored Texarkana, Fouke, Bradley, Lewisville, Stamps, Waldo, Magnolia, Mt Holly, Stephens, Camden, Louann, Smackover, El Dorado, Strong, and Crossett.

Team Two contains Zeitgeist, Nightshade, Union Jack, and occasionally, Exeter the Owl. They’ve explored Honan, Fulton, Hope, Columbus, Saratoga, Tollette, Mineral Springs, Ben Lomond, Waldo, Wilton, Ashdown, Magnolia, Foreman, Horatio, and De Queen.

Despite early expectations, both teams have encountered success.

Team Two have four potential locations to their credit:

  • Etheridge House in Hope (02-202d),
  • the Luna Hotel in Mineral Springs (03-203c),
  • a Barn in Wilton (05-203c),
  • and a double house in Ashdown (05-204L).

But, despite a slow start, Team One have eclypsed that.

  • In Magnolia, they found so many hotels that some were surely on the market at any given time – but only counted that as one ‘find’ (06-103b)
  • – and later, the Camden Comfort Inn Hotel (07-106j).
  • Then, in El Dorado, there was a former Bed & Breakfast (08-108c),
  • and the Rialto Movie Theater (08-108d).
  • And in Crossett, there were two large houses – this one (10-109h)
  • and this one (10-109i),
  • both with 7 bedrooms, and the Old Rose Inn (10-109j),
  • and the Hotel Crossett (10-109k).

I hope you’re keeping track of the potential bases you’ve found and what ratings you’ve assigned to them! If not, let’s pause now and get your notes up to date.

Blair, you were keeping track of Team Two’s finds….
(interact, refresh memories – some notes from the previous synopsis [p113, main]) might help.

Saxon, you were taking notes for Team One….
[as above]

As I expected, Saxon (Basalt’s player) had no problem laying his hands on his notes, though he hadn’t cottoned on to the image codes – which I’ve left intact in the examples above – being used as the index to let me quickly find the specifics of each potential base. (In fact, the only redactions from the synopsis being presented here are directions to me about changing from one folder of images to another).

Also as expected, Blair (Nightshade’s player) was completely unable to locate the list that he had been keeping. This was because while Saxon kept all his notes in one plastic sleeve, Blair’s had been on loose sheets of paper kept with his character – which he had just transposed into a binder, so this problem is not expected to recur.

But it did cost us a little playing time while the notes were re-made and old soup rehashed. This problem would only have been made worse with delays, though, so better it happen now…

Okay, where were we? Oh yes.

Part of the disparity in finds stems from the fact that Team Two’s route has taken them right up to the border with Oklahoma, which is entirely too close to the Zone Red deduced by Union Jack. Klan influence is strong in many of these communities, and seems to have infiltrated the Latino community, a matter that is likely to be of future concern.

But, mostly, it’s because Team 1 have fewer targets but more =big= targets.

But that’s far from all that you’ve found. Both teams have stumbled over several species of non-human that, one way or another, appear to have insinuated themselves into the local ecology and environment. Some have found niches for themselves in the local society, such as the Koblids who have indentured themselves to the farmers around Center Point, the Centaurs who occupy the wilderness in eastern Texas, Exeter of course, on top of the humans who simply joined in and made themselves at home in the wake of Ragnarok.

There are decisions that have been made along the way about the process that you’re using to prune the lists of potential bases down to manageable numbers at the end of each day, but I’ll remind you of those when they become relevant.

You each left your campsite at 6:12 AM this morning. We last visited Team One at 3:02 PM, local time, some four =hours= and one minute ahead of schedule; their fuel tank was reading a little over 1/2 full, so they probably had about 220 miles of range. Zantar is currently trying to learn how to drive the Red Cavalier, with moderate success.

Team Two last held the spotlight some time before that, at 1:26, when they were more than 2 1/2 hours ahead of schedule, with a fuel tank 3/4 full, giving them a range of almost 300 miles before they need to refuel. Nightshade is currently doing the driving.

Which means we’re probably overdue for looking into the White Lincoln, so why don’t we start there….

This employs maximum compression – entire incidents of game play have been reduced to a single place-name in a list. That gives the false impression that those explorations were, outside of the few that contained incidents or potential bases, unimportant. Even the players picked up on this point, so it should be expanded on at this point.

Decades of American TV shows and movies have created the impression of Arkansas and the ‘deep south’ in general being the desolation frequently shown in the westerns. This is because they were mostly filmed in and around Los Angeles and the relative deserts of California. In other words, a lot of people think that the south is like Nevada.

Even Dallas didn’t do a lot to dispel this impression – that it was all too dry, only flourishing when an environment could be artificially maintained.

Nonononono!

To some extent, to be fair, this is also a projection of the environment the players are most familiar with – that of Australia. I don’t think it would be a problem to the same extent with American players, even if they were all from the East Coast and had never visited out west.

But it was an impression that had to be dispelled and replaced with a truer impression of what the state was like, environmentally.

The same is true of the history and society and general impressions of the population and a whole slew of other factors.

When the PCs first arrived in Arkansas, I read to them selected passages from the “Guidebook” to the state that I had compiled as their guide to the state. This represented my opening salvo in countering many of these myths and misconceptions.

(I could just quote the relevant passages here, but I think that it might be more useful to quote the whole thing. I’ll give it a different background so that skimmers don’t think it’s a continuation of the synopsis. I’ll also inset it to further set it off from the main body of text).

Apologies to anyone who feels that any of the material that follows disparages or misrepresents their state or community.

    Arkansas was first inhabited by bluff-dwellers 10,000 years ago, and detractors sometimes claim that it hasn’t progressed since. It held the first permanent settlement in the Mississippi Valley, which made the region a cornerstone of the Louisiana Purchase negotiations. It is often forgotten that the French ceded the territory to the Spanish in 1782, only for them to take it back in 1800, and sell it to the US in 1803.

    Arkansas is not fully part of the deep south, and is cut off geographically from the Midwest, forcing it to chart it’s own course, flirting with both and with its own pigheaded politics, to boot.

    Arkansas can generally be split into two halves – the highlands to the northwest and the lowlands of the southeast, but this is an oversimplification. In reality Arkansas is 5 different states in one – mountains, hilly areas, eastern Arkansas flatlands and the swamps of the Delta, and western dry spots. Each has its own personality.

    The southeastern part of Arkansas along the Mississippi is sometimes called the Arkansas Delta. This region is a flat landscape of rich soils formed by repeated flooding.

    Farther from the river, in the southeastern part of the state, the Grand Prairie has a more undulating landscape. Both this and the Delta are fertile agricultural areas. The Delta region is bisected by a geological formation known as Crowley’s Ridge, a narrow band of rolling hills. Many of the state’s largest settlements are atop the Ridge. The largest city in this region is Jonesboro.

    The biggest city in the state is Little Rock, in the almost-exact center of the state. It has been the capital city since 1821 when it replaced Arkansas Post as the capital of the Territory of Arkansas. The state capitol was moved to Hot Springs and later Washington (not the one in DC) during the Civil War when the Union armies threatened the city in 1862, and state government did not return to Little Rock until after the war ended.

    Northwest Arkansas is part of the Ozark Plateau. This region is split by the Arkansas River; natives of this part of Arkansas refer to the southern and eastern parts as The Lowlands (but they don’t refer to the rest as the Highlands, go figure). The Ozark and Ouchita Mountains are in this area to the west. The state’s highest peak is Mount Magazine which is 2753 feet above sea level. The Northwest is a major population, education, and economic center. Western Arkansas has many caves.

    The Crater of Diamonds State Park near Murfreesboro is the world’s only diamond-bearing site accessible to the public for digging.

    The west of Arkansas is timberlands both in the center and to the south, densely forested with numerous small, isolated communities. The biggest city in the southeast is Pine Bluff.

    Prior to the Civil War, Timber was the major industry, and it has experienced periodic resurgences since. The number two industry (and taking over the number one spot whenever Timber falls short) is cotton, generally operated plantation style.

    After the civil war, reliance on the plantation economy suffered as cotton prices declined rapidly. Because they didn’t diversify until it was too late, the state became an economic backwater.

    The Southeast has wheat in the number three slot, other regions have mining, tourism, or other industries.

    White rural interests dominate Arkansas politics through the disenfranchisement of African Americans. This practice and the most blatant gerrymandering were overturned during the civil rights reformation but more subtle techniques have been adopted in the wake of Ragnarok to once again put white interests first.

    Arkansas finally began to diversify its economy post WW2.

    Arkansas is home to a dozen Wilderness Areas, which have been set aside for outdoor recreation and are open to hunting, fishing, hiking, and primitive camping. No mechanized vehicles nor developed campgrounds are allowed in most of these areas.

    Southern Arkansas, especially in the East, is still close enough to the Gulf Of Mexico that this body of water is major influence over the state’s weather. Generally, Arkansas, has hot, humid summers and slightly drier, mild to cool winters. Snowfall is infrequent but most common in the northern half of the state. The half of the state south of Little Rock is more apt to see ice storms. Arkansas is known for extreme weather and frequent storms. A typical year brings thunderstorms, tornadoes, hail, snow and ice storms. Between both the Great Plains and the Gulf States, Arkansas, receives around 60 days of thunderstorms. Arkansas is located in Tornado Alley, and as a result, a few of the most destructive tornadoes in US history have struck the state. While sufficiently far from the coast to avoid a direct hit from a hurricane, Arkansas can often get the remnants of a tropical system, which dumps tremendous amounts of rain in a short time and often spawns smaller tornadoes.

    The state has eight cities with populations above 50,000. In descending order of size, they are Little Rock, Fort Smith, Fayetteville, Springdale, Jonesboro, North Little Rock, Conway, and Rogers. Of these, only Fort Smith and Jonesboro are outside the two largest metropolitan zones.

    Arkansas first designated a state highway system in 1924, and first numbered its roads in 1926. Arkansas had one of the first paved roads in the country, the Dollarway Road, and was one of the first members of the Interstate Highway System. The political investment in the highway system came at the expense of other modes of transport, and even today, more than 90% of the state’s food and good distribution is by road, with rail, river-based shipping, and air sharing the rest.

    Any area with a central government that has had more than 1000 citizens at some point in its history is considered a city; without a central government, these are called “unincorporated communities”, which are administered by a central authority that is not part of that community (but is usually nearby). Several unincorporated communities and zero or more cities may form a township. Multiple townships and/or cities aggregate to form a county, which provides overall administration for the region. One community is designated the county seat, where offices and administration for that county are located. The lowest level criminal courts are the county courts, and most counties maintain some sort of prison.

    The state has developed a definite culture of its own, embodied in the military and in native entertainers like Johnny Cash, Charlie Rich, Jimmy Driftwood and Glen Campbell – from rusty as nails to eastern sophistication, all atop a country veneer. 70% of the population are Protestant, and religion – like country music – is taken seriously – more-so in some places than others. The culture of Arkansas includes distinct cuisine, dialect, and traditional festivals.

    Sports are VERY important to the culture, ranging from football, baseball, and basketball to hunting and fishing. If there are no professional league teams based locally, the citizens will look for lesser teams (working down to the high school level) to support – VERY vocally.

    Participating in some sort of sport or recreation is considered essential by the majority of citizens and anyone who doesn’t take part in such will find themselves viewed as strange outsiders.

    Arkansas features a variety of native music across the state, ranging from the blues heritage of West Memphis, Pine Bluff, Helena–West Helena to rockabilly, bluegrass, and folk music from the Ozarks.

    Perhaps the best-known piece of Arkansas’s culture is the stereotype of its citizens as shiftless hillbillies. This reputation began when the state was characterized by early explorers as a savage wilderness full of outlaws and thieves. Just as Australians are proud of their convict heritage, so citizens of Arkansas are prone to revel in this reputation and even play up to it for the benefit of strangers. This has led to many tales in which an Arkansas native has taken a ‘city slicker’ to the cleaners while making the stranger think that he was the one doing the swindling. Arkansas natives generally won’t instigate such activities but are more than happy to take up the challenge.

    Despite its hillbilly reputation, Arkansas has elected only three Republicans to the US. Senate since Reconstruction (i.e. Post the civil war). And yet, reflecting the state’s large evangelical population, the state has a strong socially-conservative bent, which often leads to the election of Republican-dominated lesser offices.

    Some say that Arkansas feels like a soviet-block country, because of the abject poverty, willful incompetence, good-ole-boy corrupt politicians and government, illiteracy, deplorable infrastructure, appalling lack of work ethic, incivility, etc.

    News services that do reports on the best and worst states to live in consistently rate Arkansas as one of the worst states in the United States, if not the absolute worst.

Of course, given the build-up, and current levels of awareness of distortions arising from slanted media coverage, the players would be left hesitant to accept the characterizations offered in the last two paragraphs as gospel, too. In fact, the response at the time was ‘We’ll just have to see for ourselves.”

A number of the early towns visited also reinforced this theme as the ‘locals’ were visibly and clearly playing up to the stereotypes for the benefit of tourists. But the negatives were also immediately shown to have some basis in reality:

    As you drive from Texas into Arkansas, you immediately notice a deterioration in the quality of the highway. The interstates here are much more poorly constructed and poorly maintained than in Texas. For example, there is not much shoulder, making it dangerous to pull over on the side of the road – but this doesn’t stop native Arkansans from frequently doing so and abandoning cars on the sides of highways. Since there is no state inspection of vehicles for road-worthiness (unlike Texas), there are many cars on the roads in a shockingly-maintained condition that is hazardous to both their drivers AND those unfortunate enough to be driving next to them.

    There is little or no gradient built into highways, or any other roads, on turns, making it difficult to stay in your lane and dangerous. There is little or no reflective material in the paint making lines difficult to see at night or in the rain.

    Additionally, you share the road with an inordinate number of large trucks. There’s a traffic jam on the I-30 at least once a week. That’s when you discover that every second vehicle is an 18-wheeler. The reason for this inordinate barrage of trucks is that there are very few rail lines in the state and most things coming into and out of Arkansas must be shipped by truck on the few available roads.

    This heavy traffic combines with the general poverty of the state to leave the roads and highways in a constant state of disrepair from overuse. There are still section of road where the effects of Ragnarok are visible (and other forms of infrastructure are also affected in some communities).

    Once you get off the interstate, infrastructure becomes exponentially worse, something that is usually attributed to a lack of standards or even firm guidelines. Almost every parking lot, for example, seems designed to facilitate traffic accidents.

    Many drivers & vehicles are uninsured (if not uninsurable), and the combination makes insurance more expensive in Arkansans than anywhere else in the US. There seems to be a complete inability in the population to use turn signals, but this might be due to the incompetence and laziness of driving inspectors instead of failure of those vehicle components; ANYONE can get a license in Arkansas if they want one, no driving test required. The same is true of any skill or occupation. Want an electrical license? Fill out the right form, send it in with the right license fee, and wait. There are two exceptions: the Arkansas Bar requires an appropriate period of legal study (but not graduation), and MDs, likewise; and surgeons need to meet national licensing standards.

    Consequently, incompetence is the norm – in almost everything. If you go to a fast food restaurant and order a basic combo (fries, drink, sandwich), nothing extra or extravagant, there is a seventy percent chance they’ll get your order wrong – forget your fries, or put the wrong sandwich in your bag, or not give you any ketchup although you asked for it – or they will overcharge you, or give you the wrong amount of change. This problem is pretty much ubiquitous for every type of service in the state, e.g. auto maintenance, healthcare, telephone or cable TV service, plumbing, etc.

    There are innumerable gas stations and convenient stores throughout the southern part of the state which range from very untidy to disgustingly filthy. It’s rare for anyone other than the owner (and often not them, either) to have sufficient work ethic to clean ANY store or business regularly.

    Many people will tell you the cost of living here is low, which is at best only half true. In general, rural areas are less expensive than urban areas. Arkansas is a sparsely populated, very rural state. Dallas-Fort Worth in Texas ALONE has almost TWICE the population of the ENTIRE state. When you look closely, however, you find the only thing that’s really less expensive is housing and rent, because there’s much less demand. Pretty much everything else is MORE expensive. For example, Food will cost about $30 a week more PER PERSON than in Louisiana, Oklahoma, or Texas.

    Locals like to gossip, and will happily relate personal stories. “An older, affable man in his mid-forties told [the guidebook author] of his twenty-five children – at least, those were the ones he knew about. He noticed the look of surprise in my face and quickly put my astonishment to rest, “Course, they ain’t all with the same woman.” Half jokingly, I asked, “Do you know all their names?” “Naw, I can’t be bothered with any’a that,” he replied, not in the least nonplussed. “It must be hard supporting that many kids,” I offered. “Well, I used ta work three jobs tryin’ ta pay all the child support, but that was wearing muhself plumb out. Now I mostly just git muh pay’n cash, so I don’t have ta bother with none’a that. I figure if them there women wuz dumb enough to have kids with me, the government can help pay for them, ‘cuz they like payin’ fer no-hopers.” But he may have been playing up to the stereotype for my [benefit. You can’t tell.’

    The Ozarks are absolutely gorgeous and buffalo river is a place deserving of fairy tales.

    A woman who spoke [to the guidebook author] reported stopping for gas in the west of the state: the attendants told her to “get out, they didn’t serve my kind there”. Surprised and confused, she asked “what was my kind?” And they answered something about her being a harlot because she was wearing red shoes. This happened to be a time where she was wearing running shoes.

    The state is rife with blatant KKK ties – look for signs on every 2-mile marker (the state govt won’t let them have the first mile marker). The state headquarters is in a town named Zinc.

    Family roots run deep, and there is still a bit of mistrust of outsiders. It’s one of those places where someone who moved in 30 years ago is still an outsider, who may be treated politely, but is not quite accepted as a local.

    Locals will tell you that Arkansas has the best BBQ in the world – not Texas, not Tennessee. Jones Barbecue, out in the middle of nowhere in an old shack that has been there for years making BBQ the same way, is a national prize winner. Fayetteville has an annual festival, Bikes, Blues, and Barbecue. Arkansas claims to be the home of cheese dip – a claim that’s contested, but the annual cheese dip contest is a serious competition in these parts.

    The food is great although it is often greasy, and meals can consist of nothing but fried items; even the vegetables are fried.

    Arkansas is a great example of southern hospitality, hugs from everyone and they treat you like family immediately.Be prepared to hear, ‘Y’all come back now!’ repeatedly – whether they want you back or not.

All this operated to begin breaking down the biases, myths, and misconceptions embedded within the players awareness’s, enabling a richer and broader perspective to take their place. Arkansas is, at least in the game reality (and, I suspect, in real life) a far more complex place to live than the cartoonish stereotypes would have you believe; a state with its problems (some of its own making, some not) but with its positives and advantages, too.

The overall impression left by the first couple of sessions was that Arkansas had been gifted several opportunities to escape the stereotyped image – mineral booms, oil booms, timber booms, railroad booms – and had managed, one way or another, to squander all of them, usually through a ‘live for today and let tomorrow take care of itself’ attitude. If that money had been invested in a more prosperous future, anticipating that the gravy train would not last forever, it would not now be so economically distressed, and the brain drain vicious cycle would not be operating to condemn it to more of the same.

You could sum all this up by saying that I had to make game-Arkansas feel like a “real place” to the players. Only once I had done that could potential bases of operation be properly assessed. And, even after that impression had been created, I still needed to ‘lock it in” so that it would not be forgotten. I suspect that I will need to visit this topic in the next synopsis since it will be delivered in the first session of the new year – in late January.

The missing parts of the story

The degree of compression in the synopsis skips over this step-by-step, brick-by-brick construction of a more rounded impression of the state. I didn’t want this to be a superficial intellectual reappraisal,. I wanted to embed it as bedrock in the players’ minds, just as I would any other location that was going to be recurring touchstone within the campaign (once that’s been done, I can spend less time doing that and more time on encounters and other interesting events and discoveries).

[The problem is that I had no idea, working in advance, how long it was going to take. I think the job is now largely done, but I allocated almost all of “day one” in-game to the purpose – and we still have at least one full game session left in that game period.]

To close out this article, then, I thought that I would transcribe into this post the actual pre-play adventure notes for both the session so comprehensively compressed and the one just played. Once again, to help distinguish them, I’ll use different background colors.

This will completely unedited – all image references will be left intact, etc – exactly what I ran the game sessions from. Of course, if I have any observations to make along the way, I’ll interrupt myself as usual.

Prepared Material for Session 22

Starting right away with an observation: I didn’t know how much of this material we would get through in a game session when I wrote it, so it was more or less one continuous stream that could be interrupted at the end of any location’s evaluation. After the first couple of sessions, I did word counts of how much material we had gotten through, and that gave an accurate guide to session 22, but overestimated progress in session 23. Oh well, it was just a guideline, anyway.

For the record (starting as the teams leave Texas behind, and ignoring synopses because their length is subject to other factors):

  • Game Session 20: 8,952 words
  • Game Session 21: 11,198 words
  • Game Session 22: 11,083 words
  • Game Session 23: 9, 649 words
  • Game Session 24 (not yet played): 9,491 words
  • Game Session 25 (not yet played): 5,004 words
  • “Day One” Total: 55,377 words + synopses

[Session 24 has slightly more roleplay with NPCs than previous sessions, so the players will be providing more of the ‘words’. Session 25 has a LOT more roleplay between PCs so they will be providing a LOT more of the ‘words’. Plus it has more encounters, transitioning to Day 2].

You will notice that the final format of the content, described earlier, has not yet evolved.

Final note before I get started: I’ll be doing my best to make the presentation below look like it does in my actual working document, including using extra blank lines as separators – but if that doesn’t work, I’ll edit for clarity first and fidelity second.

Synopsis p113, main document

No that’s not a typo.

208 Lockesburg 11+48 AM to 12+2 PM [Major Eval]

    Six minutes after Team One exit Camden, Team two reach their next target, the town of Lockesburg. It’s a little more removed from the border and “Zone Red”, and almost half-way *back* to Mineral Springs by virtue of the zigzag route mapped out by Defender.

    Lockesburg is a 3.5 square mile city containing about 610 residents in about 300 households. The median age is 31, and 19% of the population are below the poverty line.

    The city was once a center for local business and trade and served as the county seat for 36 years. It lost much of its importance when it was bypassed by the railroad in the late nineteenth century and suffered a second blow when that led to the loss of status as the county seat in the early 20th century. Surrounded by productive farm land, this is a typical rural township, Arkansas style.

    Lockesburg wasn’t intended to be the county seat, anyhow; the original seat was Paraclifta, which was centrally located – until part of the county was separated off to become Little River County. Paraclifta was no longer central, and opportunists saw possibilities. The Locke brothers, founders of Lockesburg, and owners of much of the land around the then-tiny community, were amongst them, and offered 120 acres of land to expand the township and house county facilities. Their rival opportunists in the town of Royal Appleton only offered half as much – so the Lockes won. They contracted for the construction of a courthouse and the jail for $12,400, a sum they expected to recoup more than 10-fold. The construction ran over time and over budget and eventually came in at double the contracted amount, and even then, the builders had cut corners.

    The county jail they built had an especially chequered history. It was built on the cheap in 1869-70, heard its first case in 1871, fell down in 1883, was replaced with a new building in 1884, burned down in 1887, and was replaced a second time in 1888 – only to lose relevance in 1905 when the town lost its standing.

    But in the short term, the town prospered, and many people abandoned Paraclifta to move here, dismantling and relocating entire buildings on the back of horse-drawn wagons. In 1870, Lockesburg got it’s post office; by this time, William Locke was mayor and his brother Matthew was postmaster – this in addition to income from their local farm holdings and the commercial operations they had set up and owned. The whole set-up was positively feudal in mode, and feudal societies always attract religions.

    The Masons were the first, opening a hall in the same year as the first hotel in the town; they were soon followed by the Methodists, Cumberland Presbyterians, and Baptists. By 1890 there were three general stores, a millinery, three blacksmiths, a shoe shop, a drugstore, three doctors, and a popular hotel – which was operated by another member of the Locke family, John, and his wife.

    it was around 1897 that the Locke family made the fatal blunder that ultimately undid their entire burgeoning dynastic empire. The Kansas City, Pittsburgh and Gulf Railroad (which eventually became the Kansas City Southern Railway) was seeking a route through the area en route to Texas and the Gulf, and as the largest, most prosperous town in the region, they were heading for Lockesburg as their first choice, but too many locals were unwilling to sell a right-of-way to the railway company.

    It is rumored that the clan Patriarch, William, thought that the railroad would return with a better offer. They didn’t; instead they routed the line about 15 miles to the northwest, through what would become De Queen, and prosperity – and families – began to migrate there. In less than a decade, De Queen was the county seat and prospering, while Lockesburg was not, and decaying. To their credit, the Lockes were able to keep the population relatively stable, but the value and the businesses went elsewhere – even those owned by members of the Locke family.

    In 1972, the fossilized bones of the hind foot of an unclassified dinosaur were discovered in a shallow pit on the land of local resident Joe B. Friday. A professor at the University of Arkansas (UA) in Fayetteville (Washington County) gave the bones the informal name Arkansaurus Fridayi. To date, they are the only dinosaur bones uncovered in Arkansas – but that doesn’t stop out-of-state dinosaur hunters from searching the area for fame and fortune on a regular basis.

    Today Lockesburg is the home of more than 30 businesses, including two banks. Visitors are attracted to the area by whitewater rafting at the nearby Cossatot River State Park-Natural Area. Approximately 14 miles south of the city is the 30,000-acre Pond Creek National Wildlife Refuge, which is home to many species of migratory birds. The Refuge is also available for many outdoor activities, including fishing, hunting, and wildlife observation.

    Some have described Lockesburg as the town which wouldn’t die, and De Queen residents sometimes refer to it as “Methusela-burg”. Locals claim that their neighboring community was named “De Queen” as the outcome of a revenge-motivated plot by William, but not only is there no evidence of this, and there is no readily-perceived opportunity for him to have done so, and his character was not reputed to be a spiteful one; on the contrary, he was fair and even-handed but ambitious; principled, and a touch greedy.

    The citizens of modern Lockesburg have taken this character to heart and made it their own; almost every business in town has a sign, “we dicker” (or equivalent), and citizens =hustle= to pull in passing travelers.

    EVALUATION:
    Lockesburg looks big enough on the map (07-208a)

    …to be interesting, and the history suggests that there might be a lot of vacant properties for sale, so it’s easy to see why it has been targeted in your search for a base. But when you cross into the city limits, there’s no sign of a settlement in sight.

    In fact, before you see any urbanization at all, you pass farms, farmhouses, fields, barns, sheds, and haystacks. These then give way to a leafy park on the right, and a truck stop to the left – one without the diner you thought obligatory. After the truck-stop, there’s a looping road to the left that rejoins the highway a little further on with no other signs of habitation (07-208b).

    You knew that you were approaching the town the back way, but this seems ridiculous! It’s only when you approach the crossroads in the center of town that urban development becomes visible (07-208c).

    That’s when you realize that the (greedy) Locke brothers’ descendants must still own most of the land alongside the highway, so townspeople would have to have taken up residence further back – and the main street of Lockesburg isn’t in fact the road named “Main Street”, it’s the one that runs at right angles to it. Everything you had seen as empty may once have contained houses – but the houses went away with their owners, long ago. In some cases the land was reclaimed for farming, in some cases it went back to nature, and in some cases, it’s kept ready for new citizens who might never come. (5 min)

    Sure enough, turning to the North permits the real Lockesburg to begin to unfold, starting with the Gas Station (and the vintage car that has just been refilled while a hot-rod pickup waits patiently) (07-208d). (6 min)

    In the distance looms the obligatory water tower (07-208e)… (7 min)

    but it’s taller than most for some reason. Between you and the waterworks is a park, and the town visitor’s center (07-208f)… (8 min)

    which is currently closed. Turning left at the Methodist Church (07-208g)…. (9 min)

    …you enter a residential neighborhood and start looking for mansions and for-sale signs. There are a lot of empty lots, and most of the homes are inadequate to your needs (07-208h)… (12 min)

    …but after you drive past the post office (07-208i)… (13 min)

    …the houses begin to trend larger and better appointed (07-208j)…. (13 min)

    …until you find yourself looking at something on the scale that you’re looking for. (07-208k) (15 Min)

    VERDICT:
    The sign on the letterbox – William Locke III – tells you that this particular example is unlikely to be up for sale anytime soon, and that the odds of finding anywhere else comparable within the town are slim to non-existent. Lockesburg is another dry well. Evaluating Lockesburg has taken 15 minutes.

    Directions Take Highway 371 East 7 miles, turn left (watch for the exit) onto Route 26 and head NE 8 miles to Center Point.
         2.2 miles in urban settings @ 35 mph
         7 miles @ 55 mph
         8 miles @ 80 mph
         ETA Center Point 12+20 PM

    T2: 5+54
         142 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: between 3/4 and full
         driver change in apr 5 m
         Sched stop in apr 2 hr 5 m

=================================================================

106 Louann 11+51 [Drive-through]

    Team Two are approaching the turn onto the real main street of Lockesburg when Team 1 finally reach their next whistle-stop, the town of Louann, their trip slightly delayed by traffic. Currently, it is home to 285 individuals in 0.24 square miles – about 800m x 500m.

    There’s a Fire Department, a church, and a post office packed into its ten streets – four running one way and six the other.

    The racial makeup is 63% White, 36% Black, and 1% Hispanic. The median age is 38 and there are 90 men for every 100 women. 45% are in poverty including 66% of the region’s children.

    There’s no real prospect of finding a new base here, but you never know your luck in the big city, and since you have to drive through the town anyway, this is another ‘drive-by’ evaluation.

    Your first view of Louann is not promising (08-106a) –

    In fact, you pass the city limits and travel almost half a mile before seeing any sign of community, and that’s a speed limit sign. About 100 yards later, you get your first view of the real Louann (08-106b).

    There are basically a number of houses beside the road (08-106c)…

    …and small side-roads leading to more houses (08-106d).

    Before you know it, Louann is behind you. You saw nothing to suggest a surprise prospect.

    In it’s own way, that’s encouraging. When Defender planned the research project that determined these routes and targets, and outlined the limited scope of what he thought was doable, there were obvious doubts that it would be enough – but Defender’s statement that the net being cast would be wide enough is borne out every time you pass through a location he =didn’t= target and don’t find anything, as predicted. And that gives growing confidence that when the schedule says there =might= be something, =and= it’s worth spending time looking for it, there really might be something, if you look hard enough and creatively enough.

    Your fuel tank meter touches empty, but the “look for gas” light indicating that you are on your last 10% of range has not yet lit up. You don’t need to stop for fuel yet, but it’s time to start watching for the opportunity.

    The distance between communities that you are used to has a profound impact on how people react to such things. In Australia and even New Zealand, communities are spaced far enough apart that it’s extremely dangerous to let a tank reach empty; you might still have 45-50 miles of fuel range, but the next fuel supply might be 60 miles away, or more. In the US, the same is true in the western desert regions, but anywhere else (including the California coast, the average gap between fuel points is 15 miles – and as many are substantially closer together than that. Europe is somewhere in between, with an average 25 miles between settlements.

    Another consideration is that your car performs more efficiently at low fuel levels because you no longer need to accelerate and brake the weight of the fuel. The white Lincoln is too heavy for this effect to be very noticeable, but the cavalier is much lighter and smaller. This effect is far more pronounced in stop-start traffic, and at high speed, and you have both immediately in front of you. So it’s not just a more casual attitude toward low fuel, it’s also being fiscally responsible.

    T1: 5+41
         199 min ahead of schedule
         AC: ON
         Fuel Tank: showing empty
         driver change in apr 20 m
         Sched stop in apr 2 hr 20 m

=================================================================

107 Smackover 11+55 AM to 12+1 PM [Major Eval]

    Eight minutes after Team 2 reach Lockesburg, their eight target, Team 1 get to their 7th target, the town with the decidedly suggestive name of Smackover, about 160 miles away as the St Barbara flies. In fact, the ladies and Union Jack are looking at the (closed) visitor’s center as Basalt guides the Cavalier through the city limits.

    Smackover is a small city in a region of southern Arkansas that resembles a sunken swamp interspersed with rolling hills and steep knolls. The name ‘Smackover Creek’ first appeared in a 1789 letter written by the commandant of Fort Miro to the French territorial governor – it sounds better in French, La Bayour de Chemin Couvert. The name of the settlement is possibly derived from the french ‘Chemin Couvert’ (meaning ‘covered way’) but later histories =written by the locals= attribute the name to an 18th century French description of the south-central areas of the area, “Sumac Couvert” meaning “covered with Sumac”, a reference to the dense growths of Sumac trees in the region.

    By 1830, settlers with land grants had migrated to the area and an agrarian economy based on two large cotton plantations owned by the Saxon and Reeves families, and a host of minuscule other farms, had been established. A consequence was that slavery in the community was minimal.

    Harsh economic conditions after the civil war took a huge toll; farms that had been in families for fifty tears were sold on the courthouse steps to the highest bidder. Many families who had been solvent ten years earlier were now destitute. By 1908, a large sawmill had opened and the owner had become convinced that oil could be found in the region. Few paid him any attention, but Sidney Albert Umstead went around buying land and leasing what wasn’t for sale, anyway. He invested everything that he owned in the search for oil.

    On July 1, 1922, his wildcat well reached a depth of 2066 feet and a deep rumbling growl emerged from beneath the earth’s surface. The crew stepped away in fear, and so had a grand view when a thick column of black gold burst forth. Within 6 months, more than 1000 wells had been drilled, with a success rate of 92%, in an oil field occupying 68 square miles. The population of 90 had become 25,000.

    Lawlessness was so rampant that, among the twenty-five petitioners on the incorporation document that officially created the city, none were willing to hold public office. Later that month, the town saw a multi-day riot.

    Unfortunately, conservation laws to protect the environment were absent in Arkansas, and as a result, wells were allowed to “run wild” until the natural gas had been vented into the atmosphere. This practice eventually ruined the giant oil field, which could be compared to a punctured aerosol can that has half of its contents remaining but no remaining interior pressure to propel them out. The town’s population steadily declined as oil companies and their employees moved away to more lucrative finds in Texas and Oklahoma, and 12 major oil companies were replaced by about 100 independent operators, and by WW2, only four of those were left.

    The war created a huge demand for petroleum and the oil field was the focus of renewed exploration and drilling. This discovered four new, untapped deposits which continue to deliver oil to this day, but the industry has none of the ‘robust vigor’ that was so prevalent 50-60 years ago. The landscape is scarred by oil and saltwater running freely over the earth and into its streams as a result of the unbridled quest for the black stuff.

    Although the boom days are over, Smackover is still a viable community with a stable population. The petroleum industry still plays an important role in its economy with fifty percent of its population depending upon the oil industry. Smackover still hosts a four-day Oil Town Festival every June.

    The main street still appears much as it did in the boom days, and a secondary tourism market is slowly developing. The Arkansas Museum of Natural Resources is located there. It is also home to 2600 people and has been experiencing a population boom over the past decade (+19% from 1970 to 1980). 73% of the residents are White, 26% are Black.

    The oil boom brought about significant development of the community. There are long-established churches, five city parks, a nature trail, a country club, and unlimited boating, fishing, and hunting opportunities. The population, and all these fixtures, are concentrated into just 4.2 square miles.

    The city is steeped in pure Americana; a street-mounted antique stop light is located in the center of town and Western-style store fronts line Main Street.

    Median age is 39 years. 81 males to every 100 females. 15% live below the poverty line including 19 % of children; these are substantially better numbers than most of the neighboring communities.

    The citizens of Smackover consider their school system to be the town’s most important asset, having noted the economic, social, and demographic collapses of other communities following amalgamation of their schools.

    The city has hot, humid summers and mild to cool winters.

    EVALUATION:
    The place is an ecological disaster that could use a protracted visit by St Barbara once the political walls come down. But even that might be impractical, given the scale of the area that has been contaminated, and salt water doesn’t mix very well with her powers, anyway (08-107a). (1 min).

    It’s fair to say that Smackover’s infrastructure was the best that money could buy – in the early 20th century. It’s getting on for 60 years old now, and while some of it has been well-maintained, most of it is showing signs of age and cost-cutting (08-107b).
    (2 min)

    While some buildings have obviously had care lavished on them, like this church (08-107c),
    (3 min)

    …and some of the homes are well-maintained (if not big enough for your needs) (08-107d),
    (5 min)

    …more are decaying shacks, now uninhabited (08-107e)…
    (5 min)

    …or (worse) run-down hovels of varying size that are still occupied (08-107f).
    (6 min)

    VERDICT: There is nothing of value for you here.

    While determining this, your fuel warning light lit up, warning that you only had about 35 miles range left in the tank. One look at the prices being charged by the only surviving gas station in town convinced you that this was not something you should act on immediately! El Dorado is only about 10 miles away, and it is to be hoped that prices there are more reasonable. El Dorado will also be within 5 minutes or so of being half-way through your planned day, when you should think about changing drivers – if Basalt trusts either the unlicensed Specter or the inexperienced and overconfident Zantar to take the wheel! Even if he doesn’t, a few minutes rest break would be a good idea!

    Directions: travel SE 7 miles on Route 7 and watch for the turnoff to the right, then 2.2 miles South into El Dorado. If you miss it, there’s another chance heading East 3 miles or so later.
         0.5 miles in urban settings @ 35 mph
         8 miles @ 85 mph
         ETA El Dorado 5+55

    T1: 5+50
         220 min ahead of schedule
         AC: ON
         Fuel Tank: warning light illuminated.
         driver change in apr 10 m
         Sched stop in apr 2 hr 10 m

=================================================================

108 El Dorado 12+7 to 12+21 [Major Eval]

    Team 2 are one minute past the Lockesburg City Limits on their way out of town when Team One reach the city named for a vision of paradise.

    Located in the West Gulf Coastal Plain, which covers the southeastern and south central portions of the state along the border of Louisiana, this is a lowland area of Arkansas characterized by pine forests and farmlands. The city is 16.2 sq miles in land area and home to a population of more than 25,000 people. Natural resources include natural gas, petroleum deposits and beds of bromine flats.

    El Dorado was at the heart of the 1920s oil boom in the state. During World War II, it became a center of the chemical industry, which still plays a part in the economy, as do oil and timber. To a lesser extent, it also suffers from the same problems as Smackover.

    It experiences hot summers when high temperatures tend to be in the 90s °F, and cool during winter when high temperatures tend to be in the 50s. The warmest month of the year is July with an average maximum temperature of 92.7°F, while the coldest month of the year is January with an average minimum temperature of 32.9°F – 0.9° above Freezing. The drop in temperatures at night is 22-23 degrees F (12°C) all year round. Rainfall is fairly evenly distributed throughout the year.

    El Dorado has two airports, one commercial and a small general aviation airport, both of which are owned by the city.

    The population is 50% Black, 45% White, 1% Latino. Median age is 38, For every 100 females, there are 79 males. 25% of the population live below the poverty line, including 36% of children – so except for the racial profile, it is very ordinary demographically. Which stands to reason, given the size of the population.

    The city offers many outdoor activities and parks for recreation including tennis courts, baseball and softball fields, golf courses, and walking trails. The city also contains a botanical state park. Memorial Stadium is a fully-equipped 6,000-seat football stadium and track, and home of the El Dorado Wildcats, the local college football team.

    El Dorado has been a regional center for the performing arts for many years. The South Arkansas Arts Center, known locally as SAAC, is an independent community-supported nonprofit organization which operates a 22,500 square foot facility containing three visual art galleries, a ballet studio, a 207-seat theater, educational classroom space, and an open studio for local artists. They present eight to twelve contemporary performance events each year on stage and host rotating art exhibitions each year of national, regional and local significance in the Merkle, Price, and Lobby art galleries. El Dorado also has a number of annual events, with themes geared toward a wide range of target groups.

    There are nine radio stations (7 using the FM band and 2 AM stations), and three television stations (one NBC affiliate, one local station, and a PBS station operated by the Arkansas Educational Television Network). The transmitters are all located East of El Dorado in Huttig. Other networks broadcast from nearby Shreveport.

    EVALUATION:
    Downtown looks clean and prosperous (08-108a). (3 min)

    Entering the back streets of the city, you drive past numerous typical homes that are too small (08-108b)… (7 min).

    …but you’ve grown used to these and ignore them, looking for the singular gem. And this time, you find one – a former bed and breakfast that looks newly-restored (08-108c). (9 min)

    VERDICT:
    Six bedrooms for guests and 2 for staff would afford plenty of capacity for the team and a couple of staff to care for the place when you aren’t in residence. This would leave zero capacity in reserve, however, and be likely to attract attention, so it isn’t the perfect solution. But it’s a definite contender, maybe a 3½ out of 5.

    EVALUATION 2:
    And, on the way out of town, a bonus, when you come across the rather dilapidated Rialto Movie Theater (08-108d). (12 min)

    There are no for-sale signs, but equally, there’s no indication of repairs or even basic maintenance being carried out. A structure of this size would take months to renovate, and you could easily simply fake an attempt to do so. A fictitious architectural firm, some spurious blueprints to be submitted and rejected by the city authorities – the process could easily be held up for years. Meanwhile, you secretly subdivide the interior – two movie theaters and assorted other chambers – into accommodations and facilities. Your biggest problem would be utilities, since they have probably been disconnected and getting them put back on would be an improbable act – you would have to find ways of stealing the water, power, and drainage capacity that you would need. So, again, not perfect, but definite potential – probably also a 3½ out of 5. (14 min)

    VERDICT cont:
    Two distinctly different properties to put on the list, neither perfect – but perfection may be too much to ask. Besides, the plan isn’t to pick one right now, it’s to generate a short list that you prune as you go.

    This gets you past the half-way mark of your planned first day by almost 10 minutes. Time for a rest break, refueling, and, if you have an alternate, to change drivers. Exxon have two outlets (one in a Rainbow Mart), Shell have two more, and Gulf and Marathon have one each. Right in the center of town is an independent station, but they are much more expensive than the other outlets you’ve seen. There are two actual fuel refineries within the city limits, and you reason that every additional mile that the fuel has to be trucked adds to the price, so your best price will probably be at the Marathon station. Sure enough, their price for Premium is just $3.06 a gallon, a good 40 cents cheaper than you’ve seen elsewhere in town, and half the price in Smackover. Refiling your tank costs $58.67. As you drive away, it’s 6 hrs and 14 min since you broke camp this morning.

    Directions: travel South-East along Highway 82 to Strong and then East to Crossett.
         3 miles urban @35 mph
         17 miles @ 55 mph
         Strong ETA 6+50

         1 mile urban @35 mph
         24 miles @ 55 mpg
         6 miles urban to main CBD @ 35mph
         Crossett ETA 7+18

    T1: 6+14
         242 min ahead of schedule
         AC: ON
         Fuel Tank: full
         Sched stop in apr 2 hrs
         Sched stop in apr 4 hrs
         Sched end of day in apr 5 h 45 m

=================================================================

Interrupting to explain that directions are given at Major Evaluations and include any drivethroughs that are to follow. So the above shows that from here, Team 1 are to head to their next major evaluation in Crossett with a drive-through in Strong.

209 Center Point 12+19 PM to 12+51 [Major Eval]

Team One are pulling up at the Marathon Gas station in El Dorado as Team 2 are slowing to enter the community of Center Point – which is something of an intriguing name, given that (so far as you can tell), it’s nowhere near the center of anything.

This place already has two strikes against it because it’s dangerously close to Zone Red, and because the guidebook index shows three different places =in Arkansas alone= with the same name! But if there’s a brilliant choice to put on the table, it deserves to be rejected AFTER proper consideration, and not before.

Center Point, =Howard County,= is an unincorporated community. According to the guidebook, which is very short on details, Center Point is also the closest community to, or the location of, four sites of historical significance – one camp-site (the only such listed, about which you care not a whit), and three houses, two of them to the East on Route 26, and one to the south on Route 4. Since your route into ‘town’ is on Route 26, making this a quick whistle-stop was a no-brainier.

Center Point was once important, serving as the county seat from 1873 to 1905. Near the geographic center of the county as it was then, it actually got it’s name because the post office established in 1849 was located at the crossroads that served as a hub for trade throughout southwestern Arkansas.

This is a tiny hamlet that didn’t know how to stop fighting the Civil War. There was a spirit of Lawlessness in the region during the war (when most of the young men were off fighting for the Confederacy) which continued into the Reconstruction, when regular conflicts would materialize between Confederate sympathizers and Union supporters. Martial law had to be imposed =repeatedly= to restore peace. =Resistance= to martial law resulted in three dead, 12 injured, and more than 60 arrested – from both sides. Many of the White citizens fled the city, leaving possession to the army and the Black citizens, some of whom claimed movable property like clothing for themselves. Eventually the violence was suppressed, the army left, and the whites who had fled (most of them) crept back, one by one, until the cycle repeated itself. To the locals, this was just ‘robust political debate’, a practice that they still occasionally follow. One Colonel suggested that it was the spending power of the soldiers that was the real motivation for the friction.

Although Center Point had been a legal and business center for most of the 19th century, railroad construction connected with the nearby Nashville instead, whose citizens began to lobby for a relocation of the county seat. A fire in 1901 devastated the downtown area, completely razing nine businesses and eight homes. This distraction enabled proponents of Nashville to win a county-wide election in 1904, and the county records were moved the next year. This was the beginning of a slow death for the township, and something that the residents still mutter darkly about from time to time.

Development in the early decades of the 20th century seemed to show growth, such as the establishment of a school, but these institutions and the county legacies all slowly withered and died. The school burned down in 1943, and after seven years of failing to rebuild it, the district was consolidated with that of a school in Nashville. The courthouse was torn down in 1945 so that a store and cafe could be built on the site. A tornado destroyed both, =and= the Methodist church, in 1968, but the congregation rebuilt the church. Two fires in 1972 destroyed the last two historic businesses. The Post Office closed later that year.

Because of its past importance, Preservationists lobbied intensively, and managed to place the three houses mentioned on the National Register of Historic Places as well as the Ebenezer Campground, which had been the site from which the Army based themselves during the periods of martial law.
.
13 years ago, there were still two grocery stores, a laundromat (called a ‘washateria’), a restaurant and bakery, two gas stations, and five churches (one in semi-decay). Now only a handful of houses, one of the gas stations (which also serves as a general store), and a hair salon, continue to function – and the salon operates out of a trailer. Everything else burned to the ground during Ragnarok.

  • Clardy-Lee House AR 26
    50 feet past the ‘city limits’ of Center Point lies the Clardy-Lee House, a once-great mansion that has been left to the elements for three decades and one cataclysm. Restoring this place would be a civic virtue, but it would cost millions and take years. Just enough remains to show you what could have been, and it’s a heartbreaking sight. (08-209a)
     
  • Adam Boyd House AR 26
    Route 26 ceases to exist at the exact center of Center Point, where it intersects with Highway 278. About 500 feet later, and about 100 feet outside of town, it reappears starting with a left-hand turn. 1000 feet after that, a turn-off to the right, opposite the Cemetery, takes you to what is theoretically a 285-foot lane, at the end of which lies what is left of the Adam Boyd House, whose chimney is marked with an arrow in this picture. And yes, someone has cut through the gate with an angle-grinder (yellow, arrow) (08-209b).

    A single-story dwelling which was constructed in 1848 in the architectural style known as a ‘dog-trot’ according to the rusting plaque in front of the burned-out hulk, The house is now a crumbling ruin. The rear portion has collapsed into a pile of brick; the wooden floor and interior walls are splintered and uneven. It is so far gone that even the local historian, though a staunch preservationist, has said, “Frankly, it is not worth restoring. Too much of the historical value would have to be lost just to make the building livable.” No joy here, then.
     

  • Russey-Murray House AR 4
    Also known locally as ‘the old brick house’, this place is to be found 1.7 miles farther along highway 278 beyond the turn-off of the reconstituted Route 26, about 3 minutes drive. Unfortunately, when you get there, all that’s left is the turn-off onto the land and some concrete foundations. There isn’t even a plaque to tell you why the place might have been significant. Thankfully, the guidebook is more forthcoming, though you have to chase the information down through three separate references to find it. (08-209c)

    According to legend, the Russey-Murray House was a sturdy house, made of bricks forged by American Indians, wrought from the unsettled wilds of Arkansas under the watchful eye of their master, John Russey, in 1851. Once thought to be the oldest brick building west of the Mississippi (but it wasn’t), it was still likely to be the oldest dogtrot (a type of house with a breezeway separating its two portions) in Arkansas – though the breezeway was later covered. It had already collapsed by the time the National Register approved its’ preservation, just as the Adam Boyd house had burnt down.

All told, it’s taken about 7 minutes to explore Center Point, and despite having three potential targets, not one of them has been worth the time expended on it. What’s more, you have another 4 wasted minutes heading back into and through what is laughingly considered a town before you can turn onto Highway 278 and head toward your next opportunity, the town of Dierks.

In fact, the most notable contribution towards the success of your mission is that you have now implemented a Driver Change, and St Barbara is now behind the wheel!

DIRECTIONS:
8.5 miles NNW on Highway 278 to Dierks

     2.33 miles @ 35mph ave
     8.5 miles @ 55 mph
     ETA Dierks 6+47

T2: 6+39
     159 min ahead of schedule
     AC: on in urban environments
     Fuel Tank: between 3/4 and full
     Sched stop in apr 2 hrs
     Sched stop in apr 4 hrs
     Sched end of day in apr 5 h 45 m

=================================================================

108 Strong 12+54 PM to 1+9 [Drive-through]

    Three minutes after Team 2 depart from Center Point, Team one see the first sign that they are reaching the minuscule community of Strong, whose name makes it sound like the perfect place for a superhero team to call home.

    Officially, this is just supposed to be a drive-through evaluation, but you’ve been reading the guidebook and think that the town offers more promise than that.

    So far, you’ve covered 186 miles, explored 8 official targets, and had lunch, all of which should have taken you 10h 51m by the official estimates – but you’re now just over 4 hours ahead of schedule. You’re supposed to cover 12h of ground per day, at an average of 40 miles an hour – at the rate you’re going, it will only take about 8 hours to complete your targets for the day.

    You’ll keep going until you get the full 12 hours done, of course, because you don’t know what tomorrow may bring, and you might need every minute of the advantage that you’ve built up to make your long-term schedule – but you can certainly afford to spend a few extra minutes looking into a hot prospect or two along the way! The unilateral decision has therefore been made, without actually discussing it, to do an unofficial but full-scale evaluation of the multiple prospects Strong seems to offer.

    GUIDEBOOK:
    Strong is a small city of 700 people with a rapidly declining population. At it’s peak, in the mid-70s, the population barely scraped 1000, the number of residents required for an urban center to be officially designated a city, but it didn’t sustain that population for very long.

    The “city” occupies 1.11 square miles. The racial makeup is 42% White, 54% Black, and 6% Hispanic/Latino (there is some overlap). Median age of the residents is 36, and there are 75 males for every 100 females. 32% live in poverty, including 48% of children, which is worse than usual for Arkansas.

    October, May and April are (respectively) the three most pleasant months in this part of the world, while July and August are least comfortable. Located in Union County, just seven miles north of the Louisiana border, this area is more like the swamp-and-bayou state than many parts of that actual state.

    The community was founded in the early 20th century as a settlement along the railroad tracks, and originally named Victoria. It grew quickly at first, becoming an important shipping station for local farm products, especially cotton. The current name derives from the surveyor sent to inspect the land offered to the railroad by owner Solomon Coleman – who did not offer to sell the land to the railroad, just grant a right-of-way. William Strong accepted the offer after inspecting the land, and Coleman had 120 acres surveyed and subdivided and began to sell lots. The first settler was Henry Clay and his family; Clay would become the first law-enforcement officer within the community. It was recognized as a Second-class City on Sept 7, 1903.

    Confusion over the name arose sometime after its incorporation as Victoria, when Coleman named the train stop Strong. When the post office was relocated from nearby Concord to the growing community in 1903, it was found that a post office named Victoria already existed, so a year later, the city was re-chartered under the name Strong. Even into the 1940s, locals continued to refer to it as Victoria, and there are still a few old-timers who do so to this day.

    Growth continued to be healthy in the rechristened city, with timber becoming an increasingly important part of the economy. By 1920, the population exceeded 500, and growth would remain steady until the 1960s, despite the city being struck by a tornado in 1927, completely destroying an area three blocks wide and a mile and a half long. Thirty were killed and 100 or more injured. Some of the dead were buried in combined funerals, with as many as 15 being laid to rest at the same time. When the central business district was rebuilt, they were substantial brick structures.

    In the 30s, Strong had a reputation as a rough place, home to several houses of prostitution. Local moonshiners took advantage of prohibition, and when it was repealed, the city had no less than eight alcohol-serving establishments, able to accommodate more than 1/4 of the local population simultaniously. This included one infamously named the “Bloody Bucket”. Alcohol-fueled fights were common, and deaths an occasional consequence.

    The Great Depression hit Strong hard, and recovery was slow. Following WW2, there was a concerted effort to restore prosperity to the area. Several targets were nominated for civic improvement. The first project was a citywide clean-up program. For several weeks, the business district closed each Wednesday, and citizens went around town cleaning and repairing whatever needed work. After the cleanup, streets were graveled, the city park was renovated, a municipal water system was added, a medical clinic built and opened, and a volunteer fire department established.

    Slow growth continued through the 1960s but it was declining in pace. After one last growth spurt in the 1970s, Strong began a general but slow decline, which it has yet to arrest.

    A Bank, two taverns, two sawmills, a large warehouse, an apartment block, a hotel, a movie theater, a general store, and a livery stable were all abandoned and empty at the time of the guidebook’s writing. Some of these were being remodeled into homes or apartment blocks, and some have been deliberately distressed in an effort to lure tourists to the “ghost town that will not die”, but some have simply been abandoned. There are some engineers who are closely monitoring the decay of the latter in comparison to the deliberate deconstruction of other structures.

    EVALUATION:
    The first thing you notice is the local speed limit, which has been set at a somewhere-in-between value of 45mph; most communities in Arkansas using 35., while the highways restrict speeds to 55. You soon discover that Strong is a relatively dispersed community these days, with many empty lots. Since it’s common for there to be no fences between properties (it’s just one more thing that needs to be maintained), this gives the township a very open feel, a casualness that you would expect to find reflected in the attitudes of the locals. Every time you think you’ve reached the end of the built-up area, after a short stand of trees, there is a new clearing. You suspect that many non-local drivers get caught out by this, accelerating beyond the speed limit because they think the town is about to come to an end when it’s just getting started! It’s the same situation on the back streets – the view down second avenue is quite typical (09-108a). (2 mins)

    This is in marked contrast to the brick building – and it is effectively one big brick building – that was constructed on main street after the tornado. These days, businesses and tradesmen who would not normally conduct business on a main street are on public display – you pass a carpenter sawing lumber on two wooden horses in what would, in most places, be considered a sidewalk, while the customer waits next to his parked pick-up. But about one in three of the shopfronts now stands empty; you realize that the city must be sponsoring rents to keep as many doors open as possible, enabling businesses that don’t usually feature in such locations to use a shopfront as a workshop (09-108b). (4 mins)

    One of the benefits of a slow decay and a determined local administration is that a huge amount of greenery has had time to become established. Nothing now remains of the decaying structures of yesterday; they have all been torn down and the land cleared and planted with grass, bushes, and trees, to now resemble a park. Some lots are offered as ‘ready to build”, like this one (09-108c). (6 mins)

    Notice that you can’t see another building anywhere in the shot – there must be some, but privacy (despite the general lack of fences) is remarkably high. Others are small cottages on tracts of land described as ‘plantation-ready” (09-108d)…. (8 mins)

    …while still others are “plantations, ready to harvest” (09-108e)… (10 mins)

    …or ‘recreation areas’, including one described as 105 acres and an ongoing business (09-108f). (12 mins)

    So non-urban are the urban areas that the occasional specimen of wildlife roams freely within the town limits. Even normally very shy creatures seem at home (09-108g). (13 mins)

    In several of the towns you’ve visited, it’s been the immaculate condition of the church compared to the houses that has been the defining imagery. Here, it’s the sign on the wall of the high school (09-108h)…

    …with letters out of alignment, coming adrift, bent out of shape, and even the wrong size. You have the impression that should one of these come astray, it wouldn’t be replaced; instead, careful plaster-work and color matching would be used to make the wall look like the missing letter had never even been part of the sign. (15 mins)

    VERDICT:
    If you like small towns, this would be a great one to move to, you think, but it’s a near-certainty that you would need to build for yourself. If you had unlimited time and a substantial budget, it would be a great place to set up a public base from scratch, and the community would appreciate any influx of vitality and confidence far more than most; they would bend over backwards to accommodate you. In this case, though, you are looking to establish a covert base in something of a hurry – and only traffic is in a hurry in Strong. But even though the verdict was a wet firecracker, that was still 15 minutes well-spent, you think.

    Directions: East on Highway 82 to Crossett, 28 minutes away. Revised ETA 7+33

    T1: 6+57
         233 min ahead of schedule
         AC: ON
         Fuel Tank: a whisker below full
         Sched stop in apr 1 hr 20 m
         Sched stop in apr 3 hr 20 m
         Sched end of day in apr 5 h 5 m

=================================================================

209 TEAM 2 ENCOUNTER, 5 miles @ 55 mph = 12+56 PM

    210 Burg (Township)
    You’re about five miles out of Center Point as Team one study the shopfronts of Strong, when you come across a farmer striving to plow a field, presumably to sow a winter crop. Although, he doesn’t seem to be working very hard; the ones who are really striving are the ten small lizard-like men with red skin who are harnessed into a yoke and pulling the plow while the owner sits in a folding chair in the shade of a large tree, a whip at his side. You can drive on by, or stop and talk to the motley crew – though you had better get their owner’s permission first or he might use that whip when you’ve gone…. (09-209d)

    Owner: “Sure’n they’s due fer a break, anyways. (with ‘come here’ hand gestures). Sooey! Ten minutes! Gather round, get yoursselfs a drink from the trough, then these folks wanna talk to you some.”

    The Koblids have very little English. Vala can speak with them directly, as can anyone who speaks Imperial Mandarin. They get paid for their work in food and lodgings and are satisfied with their lot.

    The farmer recognizes some of the words in their answer, or interprets (correctly) their gestures, and says, “Figured it’d be somethin’ like that. Now lissen up, ah ain’t gonna repeat myself. The Koblids jes ‘peared outta nowhere, all plumb tuckered out and dusty, oh ’bout five years ago, trying to steal chickens from mah coop. They got caught, but mah wife figured someone wouldn’t try ‘at lessen they wuz starvin’ hungry, so she fed ’em up some. Next day, they wuz tryin’ tah help out and makin’ one unholy mess ’cause-a they had no bloody idea what they wuz doin’. But they learned quick-like, and became the farmhands that I hadn’t had since the sky burned. The way I figure it, if’n they don’t work for me, we all starve. And when I pass, this place is all theirs – I ain’t got no kin left. So they’s workin’ for themselves, too. Besides, the tractor will be fixed next week.”

    If asked about the whip, he simply says that sometimes when things get loud you need a loud noise to get their attention. And if a snake shows up, he might need it as a weapon, because the Koblids keep tryin’ to befriend them.

    “Mine isn’t the only farm in these parts with Koblid workers, either – probably six in ten do, and more than half would-a gone under without it. But his is likely one of the only ones they will actually inherit when the time comes. So sure, you can arrest him for not payin’ ’em wages – even though they ain’t citizens, and ain’t even human, so the labor laws don’t apply to ’em. And the ones that will be hurt the worst if you do will be the Koblids.”

    (This all reveals another facet of the complicated post-Ragnarok world that the players probably haven’t considered). 10 mins.

    Revised ETA, Dierks 1+10 PM

=================================================================

210 Dierks 1+10 PM to 1+26 [Major Eval]

    As Team One look at casual Deer in Strong, Team Two reach Dierks.

    This city of around 1250 people, first settled in 1848, was (at the time) a dense forest of Pine, Oak, and Hickory trees. Only one wagon trail connected the settlement to anywhere – in this case, to Center Point.

    During the Civil War, the citizens were vehement Confederates and tension was high between locals and the Union Militia. The KKK was active in the area at the time.

    It was once known as Hardscrabble, but the name was changed in the early 1900s to commemorate Hans Dierks, eldest of four brothers who owned the Dierks Lumber and Coal Company. The DeQueen and Eastern railroad was established to move workers and supplies into the area and carry lumber to market, prompting rapid growth and an influx of more tolerant attitudes.

    Dierks is located in the central north of Howard County, along the southern edge of the Ouchita Mountains. It sits in the valley of Holly Creek, a southwest-flowing tributary of the Saline River, which has been known to occasionally burst its banks producing local flooding. The city has a total area of 1.9 square miles, all land, but 7 miles northwest of the city limits, Dierks Lake (a reservoir on the Saline River) provides a popular fishing spot and three different camping areas: Jefferson Ridge, Blue Ridge, and Horseshoe Bend.

    The climate in the area is not greatly dissimilar to that of similar areas within the southwest of Arkansas. What variation exists is due to the mountains, which give the community an elevation of 443 ft. The area is subject to occasional tornadoes, the last of which struck the town in 1952, killing eight and destroying many buildings. This is now considered a 70-year disaster.

    1952 was a bad year for the community; in August, the Dierks Bank failed, owing $160,000 in investor funds. By 1954, the Horatio State Bank had taken possession of the building previously occupied by the former bank and opened a branch. These days, three other banks also have branches in town.

    Population density is medium, and the racial profile is 96% White, 1% Black, 1% Native American, And 2% Latino. Median age is 38, and there are 85 men for every woman. 13% of the population are in poverty.

    The local school district includes an elementary school and a high school, whose teams (football, baseball, basketball, and hockey) are the Outlaws and whose mascot is a horse named Blue. The Outlaws were the Class B State Champs in Football in 1975.

    Dierks reflects its logging heritage in an annual Pine Tree Festival the first weekend of August every year, which is held at the local park (if it’s not under water). There are vendor’s booths and various games and activities, including Loader contest, BBQ cook-off, tractor show, car show, talent show, and a concert with a country singer or band.

    Dierks’ residents describe themselves as good god-fearin’ folk, and there are seven churches within the community. They also pride themselves on being the Gateway to the Ouchita (“Waa-sheet-a”) Mountains.

    EVALUATION:
    Dierks is a community trying hard to look like they have cleaned up their act from a somewhat rebellious past – perhaps trying a little too hard, as they also seem to be proud of their history and heritage and want to embrace it (09-210a). (1 min)

    There may be four banks funneling capital into the town, but there are seven churches soaking it up, leaving relatively less for the community to access – so there is one supermarket, and it’s in a shed located on a side-road. With one ice machine and one soft-drink vending machine. And a confederacy flag on the wall (09-210b). (2 mins)

    This is such prime recruiting ground for the Klan that you would be astonished if they weren’t around, just keeping a lower profile than usual. Sure enough, it’s not long before you spot a pick-up truck with Klan symbols (09-210c). (3 mins)

    Even if you were willing to overlook these minor quibbles, the fact of the matter is that none of the unoccupied buildings around town are big enough for your needs. The houses are too small (09-210d)… (4 mins)

    …and/or too rustic (09-210e). (5 mins)

    And it’s only when you locate the largest home in town (09-210f)… (7 mins)

    ….that you realize that you haven’t seen a single building =of any kind= with a ‘for sale’ sign showing. Not a one. That implies some sort of private sale, old-boys’ network – and the ‘old boys’ in these parts aren’t friendly beneath the surface.

    VERDICT:
    You’d probably love to make life uncomfortable for them, but that’s exactly the sort of thing you can’t afford to do at this point, not without risking the primary mission. But in terms of an operational BOps, this is far too close to one or more enemies to serve even if there was a reasonable building to consider.

    Directions:
    NNE Highway 278 (labeled Highway 70!) 3.3 miles to left turn (stays Highway 278), 7.4 miles approx NNW to Burg then NE followed by slightly W of North 3.8 miles on Highway 278 to Umpire. Into the mountains (10-210g), where the =real= rednecks live (supposedly)!

         1.4 miles urban @ 35 mph
         3.3 miles highway ’70’ @ 55 mph
         7.4 miles highway 278 to Burg @ 55 mph
              Burg ETA 7+28

         3.8 miles highway 278 to Umpire @ 55 mph
              Umpire ETA 7+32

    T2: 7+14
         152 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: 3/4 full
         Sched stop in apr 1 hr
         Sched stop in apr 3 hrs
         Sched end of day in apr 4 h 45 m

=================================================================

109 Crossett 1+37 PM to 3+2 [Major Eval}

    Team One might have fewer targets, but they have more =big= targets. Crosset has a population of 6,500 occupying 5.79 square miles of land, making it one of the largest communities that you’ve visited in Arkansas; it’s actually large enough to have suburbs. It’s taken almost half an hour to drive here from Strong. What’s more, the city is about 7 miles wide (E-W) and 3½ miles deep (N-S) – exploring it fully will consume quite a lot of the advantage that you had built up since just crossing it once from NW to SE will take about 15 minutes. Realistically, 45 minutes to an hour can be consumed poking around just the key points of a city this size – which forewarns you of what it will be like when you have to evaluate Little Rock on Day 3. And that’s before you spend any time considering possible contenders, and you are sure that there will BE some in a city of this size. Still, that’s what the saved time is there for!

    GUIDEBOOK:
    There are four properties on Main Street in Crossett listed on the National Register of Historic Places, as well as the Crossett Experimental Forest, located 7 mi (11 km) south.

    60% of the population are White, 39% Black, and 1% Hispanic/Latino. The median age is 38 years and there are 83 adult men for every 100 adult women. 17% of the population are below the poverty line and 30% of the children, both notable lower than many other places within the state. Politically, the city only leans conservative, making it one of the most progressive locations in Arkansas outside of Little Rock. This attitude is the legacy of the founders of the city who forged an official relationship with the School of Forestry at Yale University in 1912, and the lumber companies in the region became the leading employer of Yale-trained forestry graduates, which resulted in improved manufacturing and farming practices. It was the Yale influence that led to the creation in 1934 of the Experimental Forest.

    As calamities unfolded in the first half of the 20th century, Crossett seemed to dance between them, untouched; the Roaring Twenties, Great Depression, two World Wars and even the Civil Rights upheavals of the 50s came and went without major disturbance to the community. Following the Brown v. Board of Education (Topeka, Kansas) decision in 1954, leaders in both the black and white communities engaged in talks which finally resulted in the integration of the Crossett schools in 1968 without incident.

    The climate is characterized by hot, humid summers and generally mild to cool winters. October, May and April are the most pleasant months in Crossett, while July and August are the least comfortable months. It is located just nine miles north of the Louisiana border.

    The major employer in the town is the Georgia-Pacific paper mill and allied industries make up a substantial portion of what’s left.

    Property is very expensive here, with some homes priced at more than $500,000. Most homes in the city are priced below $79,000.
    However, the cost of living is almost 30% lower than the USNA average.

    The city is large enough to have a zoo and a first class airport, capable of handling small corporate jets on its 5,000 foot runway. This is not an accident.

    EVALUATION:
    The welcome sign is, appropriately, beside a pine nursery and a stand of old-growth forest preserved from exploitation (10-109a). (0 mins)

    The main shopping center is neat and modern, and there are very few empty storefronts (ignore the cars, which are too modern) (10-109b). (5 mins)

    The public library is reassuringly large and well-maintained – in fact, you’ve seen smaller county administrations (10-109c). (10 mins)

    While the edges of the roads have an ‘unfinished’ and untidy look to them, and most are unmarked with center-lines (and sometimes narrow), the verges are very green and shady, and homes are well-separated. Large blocks of land appear to be the norm. As with other towns you’ve looked through in this part of Arkansas, there don’t appear to be very many fences between properties, creating a stronger sense of a local community – that might be problematic for the keeping of secrets (10-109d). (15 mins)

    The Post Office still manages to retain a ‘municipal building’ feeling to it – the locals’ progressiveness appears to have its limits. Bonus points for incorporating the town logo into the sign, however (10-109e). (20 mins)

    Rather more modern and not far away is the Biedenharn Museum & Gardens. This is a city which thinks there’s more to culture than country AND western (10-109f). (25 mins)

    Some houses are small and designed to use the size of the blocks of land to create greater privacy (10-109g). (35 mins)

    But many take advantage of the space available to accommodate 5, 6, 7, or even 8 bedrooms. Some are clearly built on double-blocks.

    CONTENDER #1: This plain and unassuming brick dwelling is a 7-bedroom and on the market for $612K (10-109h) (40 mins)

    CONTENDER #2: This looks like a 4-bedroom until you notice the extra rooms on the second floor. A very unpretentious 7-bedroom house, then – again on a double-block, to have such a vast lawn. It would set you back $605K (10-109i). (45 mins)

    There are two properties that are even larger, and in danger of becoming excessively run-down; both need renovating to at least some degree. The first (CONTENDER #3) is the Old Rose Inn, which was damaged during Ragnarok and never reopened after the subsequent death of the owner. It’s $725K, and would probably need $125K in repairs before it could function as anything more than a private residence. But it seems a shame for it to go to waste, it still has hints of past greatness about it. With 28 rooms per level, and some extras on the third level, even if you removed every second wall to open the rooms out into private suites, there is still more than enough capacity for the team (10-109j). (52 mins)

    A little smaller and quite a lot creepier, but with even greater hints of former glory is the Hotel Crossett (CONTENDER #4) (10-109k).

    Now quite dilapidated, it would cost $600K to acquire it’s 23 rooms and probably another $4-500K to refurbish. It does occur to you that you could hire an army of workmen to restore these places and have a perfectly-obvious justification for not being around while the repairs are carried out. This place is probably old enough to be on the national register of historic landmarks but its condition seems to have precluded that. Restoring it would erase some of the historic value but preserve what’s left. Although the building looks to be in rough condition, closer inspection shows much of the damage to be cosmetic, but not all. Probably 1/2 of the building is still structurally sound, quite enough for you to use as temporary accommodations. Alternatively, you could buy it and leave it like this for a while until ‘the blueprints are finalized’. (70 mins)

    VERDICT:
    There are four contenders here with varying shades of appeal. #1 is only just big enough but it is modern and new. Perhaps a 3½ out of 5.

    #2 is slightly bigger in capacity but the rooms are smaller; it is modern and new, and traditional at the same time. Same score, but for different reasons.

    #3 is a lot of work but more than big enough to house the team in luxury and deserves to be saved. Probably a 4 out of 5, maybe even nudging toward 4½.

    All of which goes double for #4. It’s so good that it even generates its own cover stories! If it had already been refurbished, it might be a 5 – but as it stands, it’s only a 4-to-4½.

    It’s taken so long to thoroughly examine Crossett that you’re overdue for a 5-minute rest stop.
    (roleplay)

    T1: 8+50
         241 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: a little over 1/2 full
         Sched stop in apr 1 h 10 m
         Sched end of day in apr 3 h 10 m

    Directions:
    North on Route 133 to North Crossett then Route 133 to a right turn onto route 8 to Fountain Hill, highway 425 into Fountain Hill, then NW then West on Route 160 then Route 8 to Johnsville, North on Route 8 to Highway 63 to Warren.

         4.3 miles in Crossett to North Crossett @ 35 mph
              ETA North Crossett 9+1

         12.6 miles through North Crossett on Route 133 @ 95
         Turn right onto Route 8
         3.8 miles @ 75 mph
         Turn left onto highway 425
              ETA Fountain Hill 9+12

         0.3 miles through Fountain Hill on Route 8 @ 60 mph
         0.2 miles through Fountain Hill on Highway 425 @ 55 mph
         Left turn one block after the Fountain Hill United Methodist Church on Mulberry St onto Route 160
         0.4 miles through Fountain Hill to the University Pointe Apartments @ 35 mph
              ETA Through Fountain Hill 9+13

         10.7 miles @ 75 on Route 160 to Johnsville
              ETA Johnsville 9+22

         You then have to stay on route 160 to drive through Johnsville and then turn back to the NE through back streets to join Route 8.

         0.3 miles @ 25 mph
         13.2 miles on Route 8 @ 80 mph
         Right turn onto Highway 63
         2.5 miles on Highway 63 to Warren @ 55 mph
              ETA Warren 9+35

=================================================================

210 Burg (Township) 1+40 PM

    You knew from looking at the map that Umpire, your next planned target, was going to be a lot smaller than Dierks, and from the fact that you couldn’t even find Burg on the map, that it was going to be even smaller than Umpire! But 15 minutes after leaving Dierks, and about 4 minutes after the other team reach Crossett, you bear witness to what there is of this tiny place.

    According to your guidebook, Burg is a populated place where a minor road branches off the highway. It has a cemetery. When you get to it, it’s four homes, a caravan, and a shed. Looking through the trees, you spot another farmhouse or two in the distance. It has a total population of about 60 people. It’s so small that there isn’t even a posted speed limit. (10-210a)

    T2: 7+28
    160 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: a whisker below 3/4 full
         Sched stop in apr 45 m
         Sched stop in apr 2 h 45 m
         Sched end of day in apr 4 h 30 m

=================================================================

As you can see, there’s quite a lot that never got mentioned in the synopsis!

Prepared Material for Session 23

And so to the material actually played through this weekend.

211 Umpire 1+44 PM to 2+23

    Four minutes after whistling through Burg, and seven minutes after the first team reach the City of Crossett, Team Two reach the township of Umpire, which is an unincorporated community in Howard County – essentially a small collection of houses and perhaps a store or two in a single spot without a municipal government; what local government it has is provided by some nearby community or by the county overall. It has frequently been noted on lists of unusual place names.

    In the early 1890s a new gristmill opened in the area. There was a celebratory baseball game after which a schoolteacher addressed the crowd and suggested the name Umpire for the new post office, reportedly because the Umpire did an outstanding job overseeing the game – though it’s also possible that this story is apocryphal. Despite it’s tiny size, Umpire has both an Elementary and High School. There is also a small Seventh-day Adventist School. It is located almost 850 feet above sea level, and has a population of about 420.

    Umpire includes 6.697 nearby mining claims, only 18 of which are active. All are located in the mountains north of the community There have been 79 actual =mines= opened, and only 43 of those actually produced Uranium, which is the primary mineral of interest in the area.

    The area is one of small, fast-flowing creeks and rivers. Mineral run-off frequently gives the water a silvery sheen, as though it were made of cobwebs.

    Thick forests pocket the region and are home to deer and other wildlife. Drivers need to beware as these can emerge without warning onto the roads. Hunting and fishing are popular tourist activities.

    EVALUATION:
    Umpire is too close to zone red for comfort – the Oklahoma border is only 39 km away! Which means that any prospects here have to be evaluated with a grain of salt. Which is something of a shame, because – much to your surprise – this turns out to be a target-rich environment. You weren’t even in town proper when you came across a stand of forest with a buck calmly watching traffic drive past (10-211b). (1 min)

    Just around the corner, there is a dirt driveway off to the right, which leads to a six-bedroom home atop the hill and past a stream (10-211c).

    This might, perhaps, be too small because it takes four men working full-time to look after the 500 attached acres of farmlands. But it’s for sale and definitely has to go on the list. (2 min)

    A little closer to town, atop another ridge, this time with a gravel driveway, there’s an even larger farm and larger farmhouse (10-211d).

    This would accommodate 10 or more people and even has it’s own in-ground swimming pool! Again, staff numbers might reduce the viable accommodation space too low, however.(4 min)

    Just past the second farmhouse there’s a scenic photography rest-stop containing an extremely picturesque creek, fulfilling one of the tourism promises of the guidebook. This creek (10-211e)…

    …actually runs through the property of the second farm! (5 min)

    The town itself is unremarkable; most of the homes are too small to be of interest, though the setting is extremely pretty (10-211f). (7 min)

    But the real potential of this location lies in those abandoned mines. Even excluding the ones that actually contained Uranium as too dangerous still leaves 36 shafts that were dug thirty years or more ago on sheer bravura, that subsequently proved worthless, and that should be reasonably safe – especially if surreptitiously reinforced and shielded by the team. There’s even a large settlement not too far away where any needed supplies / furnishings could be obtained. Throw in a hire truck to transport them, and the proposal at least sounds viable (10-211g).

    But assessing the potential requires information that no-one on the team could provide – how deeply were the shafts dug? How stable were they? How toxic are the environments? How much would it cost to buy the abandoned claim and disused worthless mine-shaft Does the potential security gain from simply moving into one offset the legal risks – and the zone red risks? How tightly regulated are abandoned uranium mines, and how many hoops would the team have to jump through?

    Zantar doesn’t want you to actually inspect any of these mines – that might give the game away – but he =does= want you to get as much information from the US Geological Survey office as they will give you. It turns out that the USGS share office space with a number of other government agencies in the one building in Umpire, which looks like a large, repurposed, house. Only the size of the lawn makes it clear that this is a civic structure, because only a government office could afford to maintain it! (10-211h) (12 min)

    Erik Burns, the USGS Geologist stationed there (10-211i)

    ….proves to be one of those instantly likable people that seem to get on with everyone. He’s more than happy to ramble on about any subject, and very difficult to deflect until he’s said his piece.

    To actually reach the mine-shafts, he tells you, you would need to travel Northeast from Umpire to the Burg-sized hamlet of Athens and then either turn off onto route 246 and the hamlet of Vandervoort, or continue to the town of Langley and turn left onto route 369, which eventually connects with route 375, which connects to route 246, and leads to the town of Hatfield. Trails leading to the mines, he says, all connect to =one= of these roads. Which one depends on which mine you’re looking for. (10-211j)

    You’ve at least heard the names of some of these towns before – Hatfield, Cove, and Vandervoort are all your list of destinations. The rest are a complete mystery. He then starts talking about safety, and uranium density, and purity, and shipping costs, and potential customers, and thorium cross-sections, and the quality of dust masks, and water seepage, and a dozen other things that he thinks you should know, each time adding a pamphlet or booklet to a box for you to take with you and study. You notice that many of them have a price printed on the back – by your rough estimate, he’s given you almost $100 worth of publications. Do any of you feel guilty about taking such advantage of his generosity? If so, what are you going to do about it?

    It isn’t long before you are weighed down with a box full of materials on mining licenses, mineralogical reports, a list of the claims and how extensively they were worked, when a mine site was last active, monitoring regulations, and a whole bunch of government forms – and the information that all disused Uranium Mines are carefully inspected every 3-6 months to ensure that no-one starts unauthorized mining operations that could lead to fissionable material being smuggled to one of the US’ many enemies. This alone takes the ‘mine’ idea off the table, at least in this part of the world – but it would have looked =highly= suspicious if you hadn’t taken the other materials after hearing about the inspections. (+8 min)

    VERDICT:
    The mines were a nice idea, but not one that will work.

    The farmhouses would work, but are too small to properly maintain the land they sit on AND house the team. But they do provide renewed hope.

    It’s now been two hours since your last rest break, so it’s probably a good idea to pause for a snack somewhere in Umpire. (+10 min). With that factored in, the time-hack is 8+9 when you finally leave town.

    Directions: Continue West 18 miles on Highway 278 to Wickes.
         1 urban mile @ 35 mph
         18 miles @ 55 mph
              ETA Wickes 8+32

    T2: 8+12
         149 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: a whisker over 1/2 full
         Sched stop in apr 1 h 50m
         Sched end of day in apr 3 h 50 m

=================================================================

212 Wickes 2+54 PM to 2+58 [Major Eval]

    Team 2 always had the more ambitious schedule. They have covered 339 miles as they approach Wickes, seven miles from the Oklahoma border, investigated 11 designated targets (and had lunch) in 8h 32m. They are also ahead of schedule by more than 2 hours. Their plans are much like those of Team 1 – do the full day’s work and get ahead if they can, purely so that they have some flexibility up their sleeves.

    Nevertheless, and bearing that tightness of schedule in mind, Wickes is probably too close to Zone Red for anything worthwhile to come from it, and the same is true for the drive-by evaluations that follow; you can’t take them seriously. The major target after this one, Mena, might be a different story, since it’s one of the larger population centers in these parts.

    The immediate task is to evaluate Wickes.

    GUIDEBOOK:
    Home to about 500 people (and growing at double-digit percentage rates each decade), Wickes is located in the foothills of the Ouchita (“Waa-sheet-a”) mountains. Five rivers originate in the county around Wickes, including the Cossatot, which is considered the hardest river to navigate in Arkansas because of its rapids – the name is an Indian word meaning “Skull-crusher”.

    Wickes has historic places such as the 100-year-old City Hall and the Lighthouse Drive-in. Nearby is the Boggs Springs Youth Encampment of the American Baptist Association, a retreat of Missionary Baptist churches, and the Cassatot River State National Park, which is the largest wilderness preserve in the entire state. A number of rare species of plant and two unique varieties of fish can be found there. A mountain lodge atop Ward Mountain is also famous.

    The community occupies 2.34 square miles, giving it quite a low population density. About 10% of the population have Latino or Hispanic roots, 80% are White, more than 3% Native American, and there is also a considerable Asian presence. Median age is just 26, which is as much as 13 years lower than other places you’ve visited, and there is something very close to gender equality. 37% of the population live in poverty, but the median household income is $9,430 – a lot higher than some of the other places you’ve been – which implies that there are some big earners at the top end of town.

    Wickes incorporated as a second-class city in 1944, just in time to be decimated by sending a generation of men to War; 5 of 6 did not return.

    Wickes’ story seems to steal all it’s other important elements from the histories of nearby towns, it all sounds awfully familiar. Railroad town, boomed off the back of the timber industry, and a bit of coal or other minerals, but these days it survives on the poultry industry.

    EVALUATION:
    Altogether, there are more red flags here than you can count. Economic Disparity? Check. Strongly Religious? Check. Historically respectful in the rural South? Check. High poverty rate? Check. High youth demographic? Check. Right next to Zone Red? Check.

    All of which might be doing the town a disservice – but if even half of them are accurate, it would be enough to knock a five-star prospect down to an also-ran. Some of the locations are very pretty, there is no denying that, and there’s one house for sale that is almost (but not quite) big enough, with 6 bedrooms (10-212a). (4 mins)

    But it says something that the majority of pictures about the town show pictures of the surrounding wilderness (10-212b).

    And the majority of the rest are pictures of the roads =out= of town (10-212c).

    VERDICT:
    Which road led out of town again?

    T2: 8+46
         146 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: 1/2 full
         Sched stop in apr 1 hr 15
         Sched end of day in apr 3 h 15 m

    Directions NNW then NE on Highway 88 via Hatton, Vandervoort, Cove, Hatfield, and Potter Junction to Mena.

         1.6 miles @ 50 mph in Wickes on Highway 59
         2.8 miles on Highway 59 @ 55 mph
              ETA Hatton 8+38

         0.2 miles @ 35 mph on Country Road 18 in Hatton
         1.8 miles @ 50 mph on Country Road 18 to Vandervoort
              ETA Vandervoort 8+44

         0.5 miles @ 35 mph on 3rd Street in Vandervoort
         Turn Left onto Route 246
         0.2 miles on Route 246 in Vandervoort @ 35 mph
         1 mile on Route 246 toward Cove @ 75 mph
         Turn Right onto Highway 71
         4.1 miles on Highway 71 to Cove @ 90 mph
              ETA Cove 8+48

         1 mile on Highway 71 in Cove @ 35 mph
         3.2 miles on Highway 71 to Hatfield @ 90 mph
              ETA Hatfield 8+52

         1 mile on Highway 71 in Hatfield @ 35 mph
         5 miles on Highway 71 to Potter Junction @ 80 mph
              ETA Potter Junction 8+58

         1 mile on Highway 71 in Potter Junction @ 35 mph
         5 miles on Highway 59 (the same road) to Mena @ 55 mph
              ETA Mena 3+31

=================================================================

212 Hatton 3 PM to 3+3 [Drive-through]

    Just 2 minutes after leaving Wickes, Team Two enter Hatton. It is so close to the preceding town that if the latter were larger, Hatton would be nothing more than an outer suburb. It’s also even closer to Zone Red by almost 2½ miles – and when you only have 7 to play with, that’s quite a lot. This unincorporated community is so small that it has never taken part in a USNA census, instead being considered part of the township of Ozark, which is an “everywhere else” catch-all within the county. Hatton’s major reasons for existing are manganese mining and wheat harvesting. There’s absolutely nothing here to attract your interest even without Zone Red considerations – unless you care about the early wheat harvest, I guess (10-212d).

    T2: 8+51
         155 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: a whisker below 1/2 full
         Sched stop in apr 1 h 10 m
         Sched end of day in apr 2 h 10 m

=================================================================

212 Vandervoort 3+6 PM [Drive-through]

    Less than three minutes after Hatton comes the community of Vandervoort. To get here, you actually have to drive off the main route, which is why the directions are so complicated.

    This tiny community occupies almost 0.3 sqr miles and is home to a population of 87 people in 40-odd households. Population density is even lower than most low-density community.

    It gets its name from the maiden name of the mother of an early 20th century railroad financier. Originally, it was named Janssen (with a double S) for his wife’s maiden name, but there was another town in Arkansas named Jansen (with only one S), and mail for the two towns was constantly being mixed up, leading to the change of name.

    Since the community was bypassed by Highway 71, it has steadily declined. It is now principally a retirement community in Arkansas, and is the home of Watkins Trucking, a post office, a restaurant, and a city hall/rural volunteer fire department. In the surrounding area, many families still operate chicken, hog, and cattle farms.

    There are almost 4800 mines near Vandervoort, but it is officially one of the 15 poorest cities in the entire state, so they aren’t very productive. There’s nothing of value in terms of a potential BOps here.

    Notice the utter lack of speed limits… (10-212e)

    T2: 8+54
         156 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: a whisker below 1/2 full
         Sched stop in apr 1 h 5 m
         Sched end of day in apr 2 h 5 m

=================================================================

109 North Crossett 3+9 PM [Drive-through]

    After more than an hour spent in Crossett, it is actually a relief for Team 1 to be back on the open road. It’s surprising how quickly you’ve settled into the routine of this gypsy exploring!

    North Crosset is an offshoot of Crossett that lies, unsurprisingly, just to the north of the city. Officially, this is a “Census-Designated Place” which is a concentration of dwellings that only exists as a separate entity in the minds of the US Census. So far as the residents are concerned, they are a part of Crossett.

    This adds another 10.35 square miles to that city’s area and another 800-odd people. 10% of the population are Black, about 1/3 the percentage present in the city proper – so this is a White Suburb of the city. Median income is about 50% higher than the primary city, so this is also an affluent almost-suburb. Perhaps because the locals don’t want plebeian hordes in their vicinity, Route 133’s speed limit comes to an end about 2 miles past the Crossett city limits – a full mile before the end of the built-up area.

    Given these facts, you’re fairly certain you know exactly what you’ll find if you look: modern, expensive homes, lots of trees and parks and gardens, significant snobbery levels, and absolutely nothing of interest to the team.

    And yet, one glance at the guidebook contradicts this impression conclusively. The eastern part of North Crossett is given over to a College of Technology that in turn is part of the “University of Arkansas at Monticello”. That means that the ‘wealthy’ are researchers and educators and other professional services that support the institution. But you’re probably right about it being leafy, and about there being nothing of interest to you there. (No Pics)

    T1: 8+57
         239 min ahead of schedule
         AC: ON
         Fuel Tank: 1/2 full
         Sched stop in apr 1h 5 m
         Sched end of day in apr 3 h 5 m

=================================================================

212 Cove 3+15 PM [Drive-through]

    Five minutes after Vandervoort, and six minutes after Team 1 whistle through North Crossett, Team Two drive into the community of Cove.
    .
    360 people in 1.6 square miles – which is actually an extremely low density for a town. 95% of the population are White, 4% Native American, and 1% Hispanic or Latino. Which leaves the Black population lost in rounding errors, it is that low. Median age is 32, and there is something close to equality in gender. Per Capita income is $4000 less than the typical level even in these small towns, and 29% of the population are below the poverty line.

    Cove is located at 1000ft above sea level in the hills of the Ouchita (“Waa-sheet-a”) Mountains. May, September and October are the most pleasant months, while July and January are the least comfortable months.

    A post office was established in 1897. For about a year, it was known as Venuice, but the name Cove Station was chosen in 1898 (‘Leroy’ was also considered). The name was eventually shortened, and applied to the business communities that had sprung up around the railroad station, which was a mile from the previously-existing settlement; that is now known unofficially as “Old Cove”. As a result, Cove juts a finger almost all the way to the Oklahoma border. It now contains two grocery chain stores, a convenience store, a Mexican restaurant, a bank, a hardware store, and two automotive care businesses, one of which sells petrol. The post office, a popular series of hiking trails, and a Baptist church also continue to operate.

    If it weren’t for it’s proximity to Zone Red, this community would deserve a far closer look than it is going to get under current circumstances – an insular community like “Old Cove” sounds like the perfect place to find what you’re looking for. But, under the circumstances, it doesn’t merit much of a first glance, never mind a second – you already have much better choices on your short list. Downtown Cove isn’t all that attractive (11-212f)

    and it certainly doesn’t hold a candle to the Lake Cove Recreation Area and it’s many hiking trails and breathtaking views (11-212g)

    T2: 9+3
         165 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: a little below 1/2 full
         Sched stop in apr 55 m
         Sched end of day in apr 2 h 55 m

=================================================================

212 Hatfield 3+19 PM [Drive-through]

    Hatfield is just 4 minutes past Cove. The name immediately conjures up images of the notorious feud with the McCoys, (10-212h)

    but you have no idea if the two are in any way connected. The population of =this= Hatfield is 410 and seems fairly stagnant and unlikely to change, from what you are reading. It’s another 96% White town, and that, in combination with the size and the proximity to Zone Red, makes worthwhile targets unlikely.

    The town is contained within 1.3 sq miles at typical small-town population densities. The headquarters of the Christian Motorcyclists Association is located here, which is an interesting blend of conservative and radical – but suggests that less desirable blends of those traits might also find a home in these parts. Unwilling to waste time on so unlikely a prospect, you blow straight through town without stopping. Some of the views are pretty (10-212i),

    …but that’s not enough to hang a base on.

    T2: 9+8
         167 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: closer to 1/2 than 1/4 full
         Sched stop in apr 50 m
         Sched end of day in apr 2 h 50 m

=================================================================

109 Fountain Hill 3+21 [Drive-through]

    The next event of note after we last looked in on Team One was arrival at Fountain Hill, one minute after Team 2 drove out of Hatfield.

    Fountain Hill is a town of 159 people occupying 0.57 square miles (1.47 km²) that is reached by team one 11 minutes after leaving North Crossett. Team 2 are, at that moment, noticing that Mena is a great place to go antiquing.

    60% of the residents of Fountain Hill are White, 35% Black and 2.5% are Latino/Hispanic. Median age is 39, and there are 85 males for every 100 women. 11% of the population live below the poverty line, and only 4% of the children, which is notably better than the Arkansas average. Joseph Jackson, father and manager of the Jacksons, was born here in 1928.

    The town is so small (11-109a)

    …that it doesn’t even have a speed limit until you reach the turn onto Highway 425, having driven along one complete side of it, but – being prudent – you nevertheless slow to a compromise speed of 60 mph. You reach the Highway, having completely traversed one side of this basically square-shaped town in just 18 seconds. Turning left, you see a speed limit sign restricting you to normal highway speeds (55 mph).

    But you only have to travel on the highway for about 300 meters before you reach your turnoff to the left, a block after the Fountain Hill United Methodist Church on Mulberry St, which proves instantly recognizable, 13 seconds later (11-109b).

    You actually get held up waiting for traffic coming the other way for longer than that!

    That puts you onto Route 160, and crossing the town at an angle. 650m and 40-odd seconds or so later, you reach the University Pointe Apartments – a surprisingly unprepossessing collection of temporary buildings (11-109c)

    – and can accelerate back up to 75 mph.

    T1: 9+9
         253 min ahead of schedule
         AC: ON
         Fuel Tank: a whisker below 1/2 full
         Sched stop in apr 50 m
         Sched end of day in apr 2 h 50 m

=================================================================

212 Potter Junction 3+24 PM [Drive-through]

    It takes a whole 6 minutes to reach Potter Junction, which is where the road from the nearby town of Potter joins the highway you’re on.

    It is also known as Old Potter, and that name gives the history of the place – the railroad must have passed near here but not through here, and so the nearest railway station became the center of a new town, with everything that was here migrating to there. So that becomes Potter, and this, Old Potter – technically part of the same settlement, but in practice, it’s own unincorporated community. Located at 1030 feet above sea level, part of the hills of the Ouchita Mountains.

    You slow for the speed limit through town even as Team one are driving around Crossett looking for landmarks, contenders, and just getting a feel for the place (11-212a).

    Potter, according to your guidebook, has almost 900 citizens; so far as you can tell, Old Potter would struggle to hold a tenth of that.

    But that doesn’t really matter, because from this point onwards, as you approach the more substantial community of Mena, the highway contains one roadside business after another. Eventually, Old Potter will become the Mena City Limits. But this is a conservative part of the world, so that might take a few decades. They are technically considered to be separate communities some five miles apart, but human nature and opportunism is no respecter of lines on a map.

    First there’s the Fish Net Lodge, before you even get to Old Potter. Then the Creative Touch Florist, which is followed by the Loaves & Fishes Christian Book Shop, the Outback Barn (a barn construction company that is housed, appropriately enough, in a large barn), the Humane Society of the Ouchitas, Copelin Motors, Mena Feed & Supplies, The Pleasant Hills Animal Clinic, and then the official Mena city limits sign!

    That is followed by the South 71 Church Of Christ, A&J Off road Rentals, the Polk City Fairgrounds, the Southside General Store, Architectural Salvage by Ri-Jo, and the Ozark Inn, all before you see any substantive difference between Old Potter and the city of Mena, all 200-400m apart.

    Certainly, there was no change in the speed limit – and no prospective contenders, either.

    T2: 9+12
         172 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: closer to 1/2 than to 1/4 full
         Sched stop in apr 50 m
         Sched end of day in apr 2 h 50 m

=================================================================

109 Johnsville 3+29 [Drive-through]

    As Team Two approach the city of Mena, a little less than ten minutes after they departed Fountain Hill, Team One arrive in Johnsville.

    To get into town, you actually have to drive past a sharpish right-hand turn in the road you’ve been following and then make an extremely tight right-hand turn back almost the way you came 250m or so later.

    This unincorporated community in south-western Arkansas. It has not been included in any Census. It’s a very small town and has a very small population. They used to have 2 stores but now they only have one which is closed on Sunday. Throw in a single church, which is NOT closed on Sunday, a used car dealership, and a small takeaway, and you’ve reached the limits of interest this area holds.

    When you get to the turnoff, you can already see that there’s nothing for you here, so you don’t bother, saving yourselves another minute against your timetable. (No Pics)

    T1: 9+17
         262 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: between 1/2 and 1/4 full
         Sched stop in apr 45 m
         Sched end of day in apr 2 h 45 m

=================================================================

213 Mena 3+31 PM to 4+19 [Major Eval]

    Two minutes after Team 1 leave Johnsville, Team 2 pull into Mena. This city’s shape is roughly circular, approx 1.5 miles in radius, with four protrusions sticking out – one along route 88 to the east, one along route 8, one alongside Polk Road 76 which runs parallel to route 88 north, and one, of course, along Highway 75. That means it takes about 7 minutes to traverse it – and it has a lot of streets to traverse in its official area of just under 7 square miles (18 square km)! So this might take a while.

    Looking at a map of Mena and Surrounds, it’s obvious that there have been two phases of construction – the heart of the town is on a NW/SE orientation, while the outskirts and surrounding roads are on a north-south orientation (11-213a).

    Of course, you’ve been in Mena unofficially for about 5 miles before you even reach this point – that’s so far to the SW that it won’t even fit on that map!

    Mena is the county seat of Polk County, and is surrounded by the Ouchita (“Waa-sheet-a”) National Forest; it serves as the gateway to some of the most visited tourist attractions in Arkansas. It was founded by Arthur Edward Stilwell during the building of the Kansas-City,-Pittsburgh-and-Gulf Railroad (now the Kansas City Southern), which stretched from Kansas City in Missouri (NOT the state capital of Kansas) to Port Arthur, Texas. Train service to Mena began in 1896.

    Like Vandervoort to the south, this was named for the wife of Jan De Goeijen, a friend of Stillwell, or more exactly, for Stillwell’s nickname for Folmina Margaretha Janssen-De Goeijen. Janssen Park, in the center of town is also named for her.

    It took less than a year for Mena to become incorporated as a second-class city, and a year later, the Bank of Mena was founded. A year after that, the county seat was moved from nearby Dallas (not the one in Texas) to Mena. Two years later, the population was 3,423. In contrast, Dallas has never grown larger than an unincorporated community.

    A black community called Little Africa developed on Board Camp Creek east of Mena. The community was small, with a population of 152 in 1900. In 1901, a black man, Peter Berryman, was lynched after an alleged altercation with a white girl. No one was arrested. Several other instances of racially motivated hate and violence toward the Black community have been noted; this, combined with declining job prospects, drove most Blacks to leave; by 1910, only 16 remained. Ten years after that, the Mena Star was advertising the town as “100% white”. A local chapter of the KKK was organized in 1922. Five years later, the Commercial Club Of Mena created advertising which used “No Negroes” as a selling point. Even today, the city has less than 0.5% Black residents.

    In the 1950s, a government program to stockpile manganese led to the reopening of local mines closed since the 1890s. The program ended in 1959, and the mines again closed. Shortly afterwards, the USGS moved its regional headquarters to Union, where there was still actual mining in the vicinity that it might care about.

    In the early 1980s, drug smuggler Barry Seal moved his operations to the Mena Intermountain Municipal Airport, where he owned and operated many planes and helicopters, as well as advanced radar equipment. He was taken down last year by the Crusaders, in their third visit to the city. In 1985, they had ripped apart a White Pride gathering, demolishing the town convention center in the process, and in 1984, they attacked the 4th Of July Parade after a neo-nazi affiliated group, the Freedom Brigade, were granted permission to march. 87 were hospitalized, about 1/3 of whom were =not= part of the Freedom Brigade. While the first two actions won them few friends in the region, greater forgiveness was shown after the third. Not that there’s any evidence that they care.

    In 1911, a damaging tornado struck the town. It typically snows 5 months of the year, though in three of those months the average amount is 0.2 inches. In the summer months, the average temperature is in the low 90s(F) (33C).

    There are currently about 5250 citizens. With such a large population base, broader statistical determinants wash out much demographic individuality; median age is a little high (41 years) but otherwise the population is right on the state statistical medium.

    An estimated 1.2 million visitors a year come to Mena to enjoy its nearby natural features which include a scenic drive and state park. Camp Pioneer is a 163-acre Boy Scout camp east of Mena, and Camp High Point is a Girl Scout camp also located in the area.

    Population density is relatively low, about midway between a small town and a densely-packed city like Texarcana.

    The only indication that you’re entering Mena is that the speed limit drops from 55 to 45 mph. (11-213b)

    EVALUATION:
    The problem with vital, active communities is that available properties get snapped up fairly quickly. In effect, they are all desirable real estate, only the degree of desirability varying. And there are locals with the money to snap up anything desirable. Combine that with the proximity of Zone Red, and it would be easy to vacillate between abject pessimism and wild-eyed optimism. Still, it wouldn’t be fair to either yourselves or the city of Mena not to give it a thorough evaluation. As usual, you start downtown, getting a feel for the prosperity of the location – and eyeballing the windows of every real estate agency you pass. Mena looks fairly unremarkable at first (11-213c). (3 mins)

    It’s only when you discover two antique shops side-by-side that you begin to appreciate that Mena has qualities unlike everywhere else you’ve looked (11-213d). (4 mins)

    Mena appears to have an upper class who are seriously interested in the finer things in life. The Arts shop just down the road would be remarkable in any city for its size, but when you put still another antiques dealer right next door, it establishes a pattern (11-213e). (5 mins)

    The first church that you come across is tidy and unspectacular, suggesting that the community are more secular than most (11-213f). (7 mins)

    But the next one is far more lavish in scale and decoration (11-213g)… (10 mins)

    …and the third one is positively opulent, even architecturally grand, more deserving of the title “Temple” than mere “Church” (11-213h). (12 mins)

    Still, this fits the pattern that you have begun to detect – there are people with money here, and they aren’t afraid to show it – but at the same time, utility is not something they willingly sacrifice for appearances. The County Court House is neat, tidy, utilitarian, but with a couple of almost understated artistic flourishes, like the decorative band around the second story ceiling (11-213i). (14 mins)

    It’s a similar story when you come across the National Guard Armory – initially rather plain, but the more time you spend looking at it, the more expensive it begins to seem as small stylish design flourishes begin to accumulate (11-213j). (16 mins)

    .It is into this context that you start your search for potential Bases. Some of the houses on the outskirts, where you hoped land would be cheap enough that someone would build big, are rustic cabins (but the vehicles on display still hint at wealth) (11-213k). (19 mins)

    But most are neat and tidy, if small – and way too small for your purposes (11-213L). (22 mins)

    Even when you find a bigger house, closer inspection inevitably shows that this simply means that the bedrooms are bigger, not that there are more of them (11-213m). (26 mins)

    Some carry even this trend to extremes like this one-bedroom offering (11-213n). (30 mins)

    There are a few larger buildings, but they are not available – for example, the Elks Lodge, which was lent to the community to serve as the local hospital between 1935 and 1951, but was then handed back to the local chapter of the Elks (11-213o). (33 mins)

    For any who don’t know, the Elks started as a social club in 1868 for minstrel show performers, and borrowed rites and practices from Freemasonry, including racial and gender restrictions on membership. The former lasted until 1973, the latter continues to this day. Over time, they became the socially-acceptable face of right-wing ultra-patriotism. They have participated in a number of national programs of civic benefit over the years, in a similar fashion to the Rotary Club. Presidents Harding, FDR, Truman, Eisenhower, Kennedy, and Ford were all Elks members, as were General Douglas MacArthur, General Frederick Funston, General Patton, and General Pershing. Other famous Elks include Lawrence Welk, Will Rogers, Jack Benny, Clint Eastwood, Gene Autry, William F Cody (aka Buffalo Bill), Buster Keaton, Vince Lombardi, Mickey Mantle, Babe Ruth, and Irving Berlin.

    Also not available are this magnificent Victorian home, recently restored (11-213p)… (36 mins)

    …and this more modern offering (11-213q)… (40 mins)

    …or this privately-owned mansion (11-213r). (42 mins)

    VERDICT:
    Ultimately, Mena was another dry well, but it helped crystallize in your minds the observation that there was a demographic ‘sweet spot’ that optimized the prospects of both a location of sufficient size having been built, and being on the market, and of sufficiently-recent maintenance and circumstances that it would be a viable choice. Every one of those failures just underlined that the right place IS out there, waiting to be found. If it hasn’t been, already! Besides, there is always the proximity of Zone Red and the activities of the Crusaders to consider – that alone is enough to put even a perfect choice onto shaky ground.

    EVALUATION REDUX:
    But Mena has one more surprise to spring. Just after crossing the city limits (11-213s)… (43 mins)

    …you find this former sawmill, which has been fully converted into a large home, ten upstairs bedrooms and several big rooms – a kitchen, a dining room, a sunken open-plan living room, a spa, four bathrooms. Fully furnished, and on offer for just $880,000, it’s a few miles out of Mena, and extremely isolated – maybe even isolated enough that you could ignore all the Zone Red down-checks (11-213t). (48 mins)

    VERDICT REDUX:
    It’s not quite perfect, for that reason, but it’s at least the equal of anything else you’ve seen, even with the prominent negatives that come with the location. And one final thought: In their real superhero identities, the team are well known to have inclinations toward small-l liberalism; while this set of identities have yet to establish a reputation, this is quite possibly the LAST place on earth that one would expect to find a pro-liberal superhero team. It’s just one more layer of protection for your assumed identities. And that might just be worth the risk of the Crusaders coming back to town. A 5 out of 5 – if the Crusaders Question is disregarded. And where there’s one, there are almost certain to be others to find – perhaps without that drawback! You still have several more states, and more than half of this one, to explore!

    T2: 9+20
         173 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: between 1/2 and 1/4 full
         Sched stop in apr 40 m
         Sched end of day in apr 2 h 40 m

    Directions: Route 88 East then Highway 71 North to Acorn (total 5.4 miles), then Highway 270 East, North, WNW, NE (15.3 miles) to Y City. The road skirts through a valley between two mountain ranges of the Ouchitas.

         0.4 miles exit Mena @ 35 mph
         5.4 miles to Acorn @ 55 mph
              Acorn ETA 9+59

         0.5 miles through Acorn @ 45 mph = 1 min
         15.2 miles to Y City @ 55mph = 17 min
         Turn right onto Highway 270
              Y City ETA 10+20

=================================================================

110 Warren 3+41 PM (T2 10 into Mena) to 5+8 [Major Eval]

    NARRATIVE / CONCORDANCE:
    Team 2 are looking at the second church in Mena when Team 1 approach a more serious stop of their own, the city of Warren. As your car gently brakes to urban speeds, you can start looking around. Warren’s size is such that it takes about 7½ minutes to drive from one side of it to the other – plus 3-to-6 minutes at traffic signals. Your immediate priority in terms of an efficient search is to face each traffic signal no more than once, but even so, this is likely to be another extended evaluation.

    GUIDEBOOK:
    The Guidebook entry for Warren has told you that the city is located in northeast Bradley County on high ground 2 miles (3 km) west of the Saline River, a tributary of the Ouchita (“Waa-sheet-a”) River. It is a city of 7000 occupying 7.07 sqr miles of land.

    Although the area had been settled by European-Americans for approximately thirty years, the city itself was not incorporated until 1851. Tradition says the city is named after a former slave, freed by Captain Hugh Bradley, the namesake of the county and leader of the main early settlement party which established the city.

    Around the turn of the twentieth century, Warren found itself in the middle of a boom in the timber industry, a resource which continues to be important to the city’s economy, although the lumber yards that were central to Warren’s prosperity are no longer in operation.

    The city’s Victorian-era courthouse was originally built in 1903 and still maintains the exterior character with which it was constructed, even though the interior has been completely modernized and the building was half-razed during Ragnarok.

    The climate in this area is characterized by hot, humid summers and generally mild to cool winters. Tornado strikes have occurred on at least two occasions. The first was on January 3, 1949, killing 55 people and injuring 435. On March 28, 1975, another tornado killed seven people and injured 51. Both were rated F4; the decrease in toll of the second is attributed to better meteorological and communications equipment, which yielded a whole seven minutes of warning.

    The Bradley County Pink Tomato Festival is held yearly, normally the second week of June, and is one of Arkansas’ longest-running annual community festivals. The festival celebrates the South Arkansas Vine-Ripe Pink Tomato, a special variety of tomato grown nowhere else which holds the distinction of being both Arkansas’ state fruit =and= its state vegetable.

    Warren High School’s athletic emblem and mascot is The Fightin’ Lumberjacks. Warren claimed the state championship in Basketball in 1931 but has not achieved significantly since, a sore spot on the local ego. This is predominantly thought to be a problem of funding that came to a head in the 1982 mayoral elections and became a hot-button issue.

    As a result, it is felt that this issue will =finally= be addressed, and it is popularly expected that within a decade, the current investment in training and facilities will lead to the city establishing a rich sporting heritage. Certainly, maintaining the current levels of investment has been a key platform in campaigning this year, and should there not be clear signs of progress in the next five or six years, public dissatisfaction with the current conservative government is likely to become palpable; nowhere else in the country are the fortunes of the political mood so closely tied to sporting achievement.

    The median age is 39 and there are 81 adult males for every 100 women.

    EVALUATION:
    You weren’t too surprised that the mountainous areas of the north-western part of the state were green and leafy – trees =like= those conditions. But the south of the state has so far proven a revelation – neither as redneck as you feared, and far more comfortable as a place to live than you expected. Warren is just another example (12-110a). (1 min)

    You also note that – as has been a pattern elsewhere in Southern Arkansas – fences are something of a rarity. Right away, Warren seems an interesting and deliberate blending of the traditional and the modern. Or perhaps it would be more accurate to say that the locals think of the traditional as having an intrinsic value that can be harnessed to compliment modern functionality. The court-house is typical of this attitude – historic landmark on the outside (and perfectly restored, where necessary) and ultra-modern where it counts (12-110b). (5 mins)

    The Bradley County Prison, which also houses the Warren Police Department, is all business, and gives the impression of being cutting-edge and no-expense-spared – but the wooden doors appear constructed of antique timbers (12-110c)… (8 mins)

    …and there is an undeniable sense of style to the Branch Library that is both intriguing and enticing (12-110d). (12 mins)

    You find the same principle embedded in building after building. The Bank of Warren, complete with a lone angel keeping watch from above, is still another example of the blending of traditional style with modern functionality (12-110e). (22 mins)

    Quite often, churches starve the community of funds. You can tell a lot about a town by examining the places of worship, you have discovered. Not quite sure what to expect, you are surprised by the first church you examine – St Luke’s Catholic Church. Small, utilitarian, and even plain compared even tot he house next door, it bears the scars of its post-Ragnarok repairs openly – look above and to the right of the stained-glass window (12-110f). (26 mins)

    The New Zion Church takes this philosophy to an extreme. Plain to the point of being spartan, first glance suggests that the place is decaying and still exhibits the wounds sustained in the fireball bombardment of Ragnarok (look at the round window), and the obvious repairs to the front wall at ceiling height and the join to the tower to the left (12-110g)… (32 mins)

    …but closer inspection shows that the damage has been carefully preserved while the structure itself has been repaired and reinforced. The population of Warren seem to embrace the fact that Ragnarok actually happened, and isn’t to be wallpapered over, in a way that you’ve rarely seen anywhere in the world. That’s not to say that they can’t do Majesty when that’s the brief, just that they put it in it’s place – as evidenced by the First Baptist Church of Warren, which is grand architecture on one side, and a public playground and soup kitchen on the other, with a sign that reads “All Welcome – no church attendance necessary” (12-110h) (37 mins)

    CONTENDER #1
    All this raises expectations and obvious concerns as you start poking around the property market. Surviving old houses tend to be either tiny or huge, and the respect for the traditional suggests that this might be a target-rich environment. The principle of repairing and refurbishing with ‘state of the art technology where it won’t detract from the historic value’ suggests that many buildings that would be rotting hulks in other towns will be not just habitable but exquisite, and ready to occupy – so what contenders you find should be quite highly-rated. But that also increases their desirability to others, suggesting that there might be rather fewer of them on the market than you would hope. The first contender to come to your attention is this very traditional four-story mansion named “The Bailley House”, which has just been freshly repaired and boasts satellite-TV, air conditioning, ducted-floor heating, a BBQ pit and a heated swimming pool – and a real estate agent posting a “SOLD” notice over the “For Sale” sign (12-110i). (40 mins)

    CONTENDER #2
    is another historic building, The Ederington House (known locally as ‘The E House’). It is located on the main street of central Warren, and its fence bears a sign (not visible in this photograph) stating that it has been granted it’s own listing on the register of historic landmarks. The building was designed by a local architect who went on to statewide fame, and employs deliberate asymmetry to create the impression that it is much larger than it actually is, both externally and internally. The trees are a deliberate architectural feature, designed to ensure that the corners of the structure cannot be seen, further reinforcing the effect. Unfortunately, while signs suggest that the E House was on the sales register recently, contracts were exchanged a couple of weeks ago according to the notices pasted over those signs (12-110j). (44 mins)

    CONTENDER #3
    is another recently-refurbished house in Green and White, also located on Main Street. It’s been a long time since you saw bars on windows purely for decorative effect, and yet, they work. While the main building is only six-bedroom, just barely big enough, the sign out front states that this comes complete with a 6,000 square-foot 14-bed nuclear bomb shelter, fully supplied for a five year emergency. For comparison, a typical modern 3-bedroom house, with 2.5 bathrooms, is 2,000 square feet. So the shelter would have 7 residential rooms in a space large enough for nine, but would be designed to accommodate two people to a room. That means that if you have guests, you can hide them underground, literally! If the builder knows what he’s doing, you would not expect this place to come cheap, and at 950K, it doesn’t – but you would be getting a lot of property for your money (12-110k). (48 mins)

    CONTENDER #4
    at first looks big enough, and very tastefully incorporates the stone front wall of the original house on the lot with a completely modern house built in a traditional style – but it’s “only” a five-bedroom, according to the fine print on the for-sale sign (12-110L), and the building seems to be a lot more shallow than you would expect. (55 mins)

    CONTENDER #5
    is the exact opposite – an old building on Myrtle Street that’s been refurbished and extended, it’s described as a twelve-bedroom two-story dwelling that would suit sub-letting or could function as a bed-and-breakfast. While the building looks adequate for an eight-bedroom dwelling, squeezing those extra 4 bedrooms in has to mean that the rooms are comparatively small, perhaps the right size for university student dorm-rooms (12-110m). (58 mins)

    CONTENDER #6
    is of ample size, with no less than 19 bedrooms listed – but this is a building that has yet to be restored, one of the few. Its downstairs windows are boarded up, and so is the patio beneath the master bedroom, which gives the distinct impression of being tacked on as an afterthought. According to the sign that’s just barely visible, there is to be a public auction in a week’s time. Based on the current condition and the likely valuation once ‘enhanced’ in the Warren style, you would expect no shortage of bidders, so this is probably too expensive for you – and is definitely far too public. But it would be interesting to come back in five years and see what’s become of the place (12-110n). (62 mins)

    CONTENDER #7
    is a very interesting option – the former home of Orval Faubus, the 36th Governor of the state of Arkansas (12-110o).

    Faubus is notorious now for refusing to comply with the unanimous decision of the Federal Court in the 1954 case Brown v. Board Of Education which ended segregation in schools, ordering the National Guard to prevent black students from attending Little Rock Central High School, an event now known as the Little Rock Crisis. It led to a number of confrontations with the Federal Government of Eisenhower, in which Faubus become one of the most controversial political figures in the US, loved or hated in equal measure. Eisenhower stripped the Governor of control of the National Guard and sent in the 101st Airborne to enforce desegregation; in response, Forbus closed all Little Rock schools for the the 1958-1959 school year, which is now known as “The Lost Year” in Little Rock. Nevertheless, he was elected to no less than six two-year terms in the position, five of them after the Little Rock Crisis. He was nominated to contest the Presidential Primaries against his will in 1960, he refused to campaign and lost the nomination with only 0.7% of the vote, and two of his six terms as governor followed. In 1966, he decided not to contest what would have been a difficult race for a seventh term. In 1968, he was one of five democrats considered to be the running mate of presidential candidate George Wallace, but was not chosen. This seemed to reawaken the political fire in the man, who subsequently tried and failed to secure the Democratic Party’s nomination for Governor in the 1970 and 1974 elections. Forbus’ political decline occurred when the Democrats reformed their own party in response to public acceptance of the progressive policies followed by Rockefeller. There were even rumors that Faubus had been approached by the Republicans to run as Governor on their ticket in 1976, and although this was denied by all concerned, it shows how far the Democratic party had drifted from Faubus. Faubus is also well-known for moving house every two years except when in gubernatorial office, and for remaking his properties into as close a resemblance to the Governor’s Mansion as possible..

    …Which brings us back to this house in Warren (12-110o).

    It LOOKS like a governor’s mansion, with it’s four white marble pillars and both the national and state flags above the door. Despite appearances, you would expect that this place has a lot of security features that won’t be immediately obvious – for example, the shutters are probably steel, bulletproof, and motorized to all snap shut at the flick of a switch. The glass is likely to be tempered and thicker on one side than the other so that objects (and people) in a room aren’t quite where they appear to be from the outside, and so on. The asking price is high, at $1.65 million, but might still represent value for money. But is the extra security worth the extra scrutiny that would result from buying such a high-profile property? (65 mins)

    VERDICTS:
    #1 is no longer available – if the purchase doesn’t fall through. But you can’t count on that.

    #2 is no longer available. If there was going to be a problem with the purchase, it would have happened by now – or it will happen quite some time from now, when the bank forecloses.

    #3 is a viable candidate, in particular because there’s probably all sorts of hidden touches that can be exploited – a tunnel from the main house to the bomb shelter, for example. On the other hand, until you uncover them, they could also be considered security vulnerabilities. No more than a 4-to-4½ out of five, as a result.

    #4 isn’t big enough internally – or rather, the rooms are too big, internally.

    #5 ticks all the boxes – but the number of bedrooms crammed in is less than desirable. Which means that it doesn’t rate especially highly – and that means that you’ve seen better choices. A two out of 5.

    #6 has bucket-loads of space and it’s raining potential in the vicinity. It’s far too publicity-exposed and under-ready for your needs, though – a 1 out of 5.

    #7 is tempting. Central location, fully furnished, huge, added security features – but there would be a short-term publicity exposure. But it’s an interesting option, and worth at least a 4 out of 5.

    By the time you have finished exploring Warren, the time for a rest break has come and gone. Belatedly, you get out and stretch your legs.

    *** If Basalt turned the driving duties over to Zantar, tell him that Zantar’s driving style has given you several heart-stopping moments over the last few hours; he seems incapable of recognizing that the other lane of a two-lane highway is reserved for traffic going the other way, and is adept at not changing lanes until the last possible second. While there is no denying his reflexes, cultural issues – like the accelerator having more positions than off and hard down, and the significance of red lights, and giving way to emergency vehicles with their sirens sounding – remain a challenge for the Kzin. Basically, he has no knowledge of, nor respect for, the rules of the road that you would need to know in order to pass a driving test. You have recovered from your six-hour stint and feel more than adequate to take the wheel for the final leg of the day.

    *** If he did not: Zantar renews his offer to take the wheel for the last stint.

    T1: 10+49
         274 min ahead of schedule
         AC: on in urban environments
         Fuel Tank: between 1/4 full and empty
         Sched end of day in apr 1 h 10 m

    Directions: NW via New Edinburg to Fordyce

         2.2 miles @ 23.5 mph = 5.6 mins
         13 miles @ 95 mph = 8.2 mins
              New Edinburg ETA 10+54

         0.6 miles @ 60 mph = 0.6 min
         10.5 miles @ 90 mph = 7 min
              Fordyce ETA 11+2

So, here we are at the end of our epic journey, at least for now. I thought that I would close with one final tip for handling synopses:

You may have noticed that even when material recurs from one to the next, I don’t just copy and paste, I take the time and trouble to rewrite, highlighting different aspects of what was experienced. This isn’t just a convenience for readers; when you hear (or read) the same thing time and again, there’s a tendency to tune it out. Rephrasing, rewriting in this way, keeps the important information fresh in players minds, and in my mind as I prepare to GM the next game session.

The great advantage of summation and compression is that it leaves things out (by design and definition) – which has the side-benefit of permitting such different ‘slants’ on the material instead of letting it – and those experiencing it – get rusty.

Comments Off on A Long Road – Zenith-3 Notes for all Pt 3

The Ubiquity of Dystopia


Why are dystopian settings so popular? Is that a good thing? What are the consequences and what are the alternatives?

Image by underworth from Pixabay, slightly brightened and contrast-enhanced by Mike

Another relatively short post this week (in theory, if all goes according to plan), because this approach worked so well for me last week – I had time to get more than 16000 words of part 3 of the “Long Road” trilogy done after finishing the piece on Layering Encounter Depth. Not sure that I’ll have as much time left after this one, but I’ll find out! EDIT – actually, it came out as fairly average for a Campaign Mastery article. Oh well. I still had time to add another 9500 words to the ongoing “Long Road” article.

The other week, in passing, I spotted a question on Quora asking why Dystopias were so popular as settings.

While the question probably referred principally to computer games, movies, or TV shows, there are aspects of TTRPGs to which it would also be a fair question.

So, why are Dystopias so popular, is that a good thing, and what are the alternatives?

Popularity

I dislike attempting to read the collective minds of a marketplace. My perspective is not the same as that of someone living in New York City – or in Macon, Georgia, or Edinburgh for that matter, and presuming to speak for the entirety of popular culture is a surefire recipe for sparking disagreements. On top of that, the question will have been distorted all out of shape by the event of a once-a-century Pandemic.

Nevertheless, I have identified eight reasons which, singly or in combination, explain (in my mind, and outside of Pandemic considerations) why Dystopian settings are relatively ubiquitous in popular culture. These are of varying worth as a source of creative inspiration and may be of variable strength in assessing any individual work, setting, or individual reaction to same. There may be others beyond those that I have identified; I’m not trying to answer conclusively, but just hoping that I’ve picked up on the major contributing factors.

    1. Reflected Reality

    It’s a fact that infrastructure built in the early- and mid-twentieth century – both social and physical – is suffering from neglect to the point of crumbling down around us. For the first time in a century or more, the current generation of young adults were facing the prospect of a lower standard of living across the totality of their lifetimes than that enjoyed by their parents and grandparents.

    Realism (or hyper-realism) and the need to connect with the lived experiences of ordinary people in order to make an entertainment enjoyable and relatable mandate that this reality be reflected in the content of that entertainment, and this is true regardless of the medium, be that RPG, Computer Game, Movie, TV show, or literary work. Such reflections of experienced reality are essential to the suspension of disbelief, or so the theory goes.

    Even the current and ongoing existential philosophic war over Climate Change can be viewed through this prism. I’m personally still not convinced by the science, but regard the potential price of inaction to be so great that we can’t neglect the dangers and need to take immediate action. Some of that hesitancy is the result of the many many times ‘the end of life as we know it’ has been forecast and failed to materialize – everything from the Hole in the ozone layer through to the planetary alignment in the 1970s and the Aztec Calendar. The boys have cried ‘wolf’ several times too often. Ultimately, it doesn’t matter if climatic change is man-made or a natural evolution with a man-made contribution on the top – the reality of change needs to be accommodated by society and whatever mitigating influence we can exert is necessary to combat the effect. If it is the result of human activity – something I don’t rule out – so much the better, because it indicates that the solution also lies within our hands, as a species and a global society. But all that’s strictly a personal opinion.

    2. Pessimism

    Confronted with such challenges, it’s easy to be pessimistic, especially in comparison to the naive optimism of the 1950s and 1960s. The social and environmental hurdles we face as a species sometimes seem insoluble, especially when there are those who are happy to make the problems worse in the cause of corporate greed.

    It’s a short step from being pessimistic about the future to manifesting such a future in the setting of entertainments.

    3. Potential

    It’s also important to be honest – there is, in general terms, a lot more story potential in everything falling apart than in everything being sweetness and light. This is why the first season of Star Trek: The Next Generation fell flat in a number of key respects – the absence of conflict, in good cause, between the protagonists presented an oversimplified society which felt like a fairy-tale reality, as fragile as spun glass. Where were the conflicting priorities? The slippery slope full of good intentions? The outright mistakes and missteps The flawed assumptions? The absence of these things seemed to reflect a radical reinvention or even denial of fundamental human nature. Not even the original series went so far, and it was only when human nature was reasserted that the series popularity grew beyond basic in-principle enthusiasm. Dramatic conflict, even melodramatic conflict, is at the heart of most RPGs and modern entertainments.

    4. Weight & Depth

    It’s a lot easier to demonstrate that you are taking something seriously with darkness than with light. Or, to put it another way, it’s easier to appear to be tackling a serious subject with grim seriousness than with glib lightness that seems vacuous in comparison.

    5. Permissiveness

    I’m sure, too, that some of the appeal lies in the unfettering of choices of action. The restrictions that bind society together in less dystopian settings function by taking certain choices off the table on moral grounds. In a nutshell, you can get away with more in a dystopian setting, and that can be cathartic

    This is the fountainhead that produces Murder Hobo campaigns, amongst others. It is also why the darker visions of The Dark Knight were so popular, and why there was an appeal to infusing that darkness into Star Trek (with the franchise reboots) and Star Wars (with the modern sequels) and Superman (with the Cavill reboots) – and, paradoxically, why the latter were not accepted by audiences; Superman was supposed to be an ideal, an expression of hope, and it was felt that those ideals were tarnished by the dystopian grim-and-gritty take on the man of steel.

    6. The Cautionary Tale

    Exposing the fragility of the world that a lot of us take for granted has yielded dystopias from War Of The Worlds to the Matrix to Terminator to Aliens. Cautionary Tales have been fertile ground for Science Fiction practically from Word One. There has not been as great a presence of the Cautionary Tale in fantasy, though even there, examples can be found; this rarity surprises me somewhat as Fantasy offers the opportunity to examine social issues divorced from questions of, and the role of, technology.

    Some of the most popular entertainments of the 20th century have been, or can be interpreted as, Cautionary Tales – from Robocop to The 6th Day, to Outbreak, to Total Recall. Even Age Of Ultron and X-men can be viewed in this light.

    Initially a motivation for the creator to make his setting a Dystopia, the existence of the Cautionary Tale then justifies the Dystopian trappings to the audience – no Dystopia, no Cautionary Tale.

    7. Dark Is A Color, Too

    Grim and Gritty have always had their place. Arguably, even many of the American Pulp adventures with their hard-boiled detectives and sinister underworlds can be viewed as Dystopian Expressions, a manifestation of the harsh realities of the Prohibition era. Even more strongly representative of this theme are the Gangster movies of the period.

    There are some stories which will inevitably work better in a Dystopian setting, just as there are stories that inherently carry Dystopian overtones. Artistic exploration of the darker side of the moral palette is a perfectly viable and reasonable justification for a Dystopian setting.

    The Matrix is inherently Dystopian. The Truman show can be seen as its Utopian counterpart – both portray their protagonists as becoming aware of a Darker reality outside of their everyday experiences in a constructed fantasy environment.

    8. Laziness

    Such stories are generally exceptions, however. More often, the darkness of the Dystopian setting feels tacked on, an attempt to impart existential credibility at the expense of entertainment – lazy writing, in other words.

    This is, by far, the least acceptable justification for a Dystopian setting.

    And sometimes, the reason for audience acceptance of a Dystopian form of entertainment or setting is simply because that’s what has been offered. That’s laziness of a different sort, but no more acceptable as a justification.

The Lessons Learned

Those eight reasons, of differing levels of validity, are the justifications that can underlie the choice of a dystopian setting, and its acceptance or even popularity. Personally, I always feel like its not the setting that is popular or unpopular, it’s the story that takes place within that setting; a great setting with a poorly-conceived or poorly-executed story will never be as successful as a great story in a poorly-conceived or poorly-executed setting – and, to hit a home run, everything needs to be in sync.

The clear implication is that sometimes, a Dystopian setting is an enhancement, and sometimes it’s a detraction. A great setting needs both dark corners and deep shadows in well-lit areas.

But that’s all very generic and general; are there any specific factors that can be pointed at in an attempt to answer my second question – is the ubiquity of Dystopian Settings a good thing?

    Darkening Days

    One point that was teased in the preceding discussion is, to what extent are Dystopian Settings a reflection of living in an increasingly Dystopian world in real life?

    It’s a known and observed fact Heavy Metal rises in popularity in times of despair, struggle, and economic strife. These are loud, angry, and aggressive – cathartic venting of frustration and despair.

    Dystopian settings offer an opportunity to do just that in a different medium.

    It has to be accepted that in dark times, dark tones can provide a safety valve for some, and to that extent, the popularity of Dystopian settings can be a good thing.

    More often, though, the darkness without can feed and exacerbate the darkness within. Depression opens the door to acts both self-destructive and harmful to others, and being already predisposed to depressive states can make you more vulnerable to the negatives at the heart of Dystopian settings. This is, unquestionably, a negative outcome, and – for all that it may be more rare than the venting – it can be argued that the consequential manifestations are more harmful overall than the positive gains.

    This highlights that there is an environmental factor at work: Dystopian Tales are arguably at their worst in terms of community and social good in times that are already dark and gloomy, but that in times of optimism, they can highlight and accentuate the positives. It is also arguable that these are the times when such entertainments are at their least popular, though.

    Pessimism to the contrary

    Others find equal or greater value in counterbalancing dark times with hope and optimism. This is the complete converse of the impact described in the previous section, and the same environmental considerations are at play here, too – during dystopian times, people need expressions of hope and victory over problems more than at any other time.

    As an antidote to the pessimism ingrained within Dystopian Times, Utopian themes of hope are potentially powerful, and this argues that Dystopian settings are not so much enthusiastically supported as tolerated, especially when times are bad. Creators may have valid artistic motivations in creating Dystopian settings for their entertainments, but those motives are rendered almost irrelevant in this context, which paints Dystopias as an unquestionably bad thing, overall, that can sometimes be tolerated – no matter how popular they may be in the context of the times.

    Hang Us All, Separately

    There is an argument that Dystopias are essentially about the individual verses the world around them, while Utopias are more about mutual support and collaboration. I’m not convinced that this is the whole story – it’s very rare for a protagonist to have to go it completely alone; even if they are the spearhead, there is normally a supporting mechanism or group in back of them, so much so that the absence of such only makes their efforts to resist the impact of the Dystopian setting all the more heroic.

    The same pattern can be observed in real life – during hard times, there is a natural tendency on the part of society as a whole to either come together or become insular and self-absorbed, and the former is celebrated even when the latter may be respected.

    One of the great strengths about Australian culture is the way we come together in times of trouble – natural disasters and the like. Even the ‘greed is good’ eighties couldn’t erase that propensity (though it surely tried); even today, in large part, those seen as obstructing such collective efforts (or worse, trying to take advantage of them) are characterized as “rat-bags” at the very least.

    Dystopian settings undermine such unity with the inherent pessimism that they contain. The subtext is that such efforts are doomed to failure, so why bother? Look out for #1, instead. The inevitable outcome of this attitude is one in which personal responsibility is completely undermined by personal liberty, as has been amply demonstrated in some parts of the US in response to the pandemic. To be fair, there are other factors at play in that situation, so it’s unfair to lay the blame entirely at the door of the Dystopian trend in entertainment – but even if only some small part of the responsibility for that problem can be attributed to this cause, it’s an entirely unacceptable price to pay.

    This line of argument leaves no doubt that the popularity of Dystopian settings is a ‘bad thing’ even if they are only a reflection of such attitudes and not a driver of them.

Overall, the collective picture that emerges is one in which Dystopian settings can be valuable, in moderation, ubiquitous Dystopian settings and stories are at best only tolerable in inverse measure to their reflected social situation around them. Whatever minor non-artistic merits they may have are solidly counter-balanced by non-artistic downsides. The issue, then, is one (as always) of balancing the artistic merits with the non-artistic downsides; it is no better to look at life through rose-colored glasses.

It is this assessment that leads me to that strong condemnation of Dystopia through laziness or simply because it’s popular with which I concluded the first section.

And that leads me to the part of this analysis that will hopefully be of greatest benefit to readers – a broad exploration of some of the alternatives.

Alternatives through Dystopian Dynamics

In particular, as a starting point, it leads me back to the basics of drama, and to The Truman Show as evidence that a Dystopian setting (with all its implied pessimism and hopelessness) isn’t necessary to the exploration of dystopian concepts and themes. In fact, there are six alternative structures to consider – and if it is accepted that some stories are better served with a Dystopian setting and structure, then it also has to be accepted that one of these might be better suited to both the times we live in and the stories that we, as GMs, want our players to participate in.

    A. Descent Into Darkness

    Instead of a Dystopia-in-place, tell the story of the slide into darkness, with the PCs fighting to preserve honor and personal integrity and other virtues. The problems may ultimately prove too vast for them, but they can be a beacon of hope that things will get better. And if the campaign runs for long enough, they may attract enough people of like mind to begin a cultural counter-movement, and actually climb back out the other side.

    Endings matter a lot in this sort of campaign – simple retirement with sanity restored to the world lacks the sharp punctuation. Most creators opt for pathos – the PCs achieve their goals but most never get to enjoy the fruits of their labors, paying the ultimate price to get over the finish line – or for hints that the darkness is still out there, physically or metaphysically, and looking for a way back in.

    But there are other choices as well; not all of them will work with every campaign. Another popular choice is the protagonist who is forced to accept a job that he doesn’t want to do because he’s the only one the rest of the ‘world’ trusts enough to do the job. One variation that I have used is to find a way to let the bad guys win while transforming them enough that they are no longer bad guys. They might not be perfect, they might still have feet of clay, but they are sufficiently redeemed that the ‘defeat’ becomes a victory.

    So think very carefully about the ending you want and begin laying the groundwork for that outcome and a satisfactory resolution of the campaign long before you get there.

    B. Climbing The Mountain

    This starts with the Dystopia in place and tells the tale of how the world emerged from the dark times. It’s like the second half of the proposed Descent Into Darkness campaign described above. It’s often a greater challenge because if society has yet to fall into Dystopia, you have the capacity to make preparations for the future; if society has already fallen, you are starting from nothing.

    This imparts quite a different flavor to the campaign. Early on, it’s all about survival, and desperation, and potentially not a lot of fun – and the GM will have to remedy that, and find or instill the entertainment value in the setting.

    The Matrix and The Running Man are both examples of this kind of story. In the beginning, the Dystopia is entrenched, and potentially even hidden from view. Once it is revealed, and challenged, it will attempt to crush the upstarts – so this phase of the campaign would be all about survival. But little-by-little, resources would be gathered that makes survival easier and presents opportunities to strike back, and ultimately, to overthrow or overcome the forces creating the Dystopia.

    Unlike the previous version, this naturally lends itself to a climatic battle at the end, with the characters becoming symbolic but physical manifestations of the greater social forces at play.

    C. Flirting With Danger

    The road to hell is paved with good intentions. it is sometimes said. This can be a campaign without villains, in which everyone is trying to do the right thing – but methods and objectives clash, and there is no consensus as to what the right thing is. There may be no villains, but there are enemies.

    This is neither Utopia nor Dystopia – but attempts to achieve the former leave open the danger of the latter. There is usually some concrete manifestation of the danger in question – but that is ultimately just a representative symbol.

    If you then one or two actual villains into the mix, the odds of Dystopia go way up – but as a counterbalance, you have also introduced the PCs. And suddenly, the choice is theirs – they can choose to shoot for the stars (Utopia) but only if they are willing to risk complete failure (Dystopia) – or they can simply aim to preserve the status quo and leave it up to others, who may be less qualified, to make the bigger decisions.

    D. Muddling Through

    Most of the time, the real world is neither Utopia nor Dystopia (though it may occasionally take steps in one direction or the other), and the ultimate questions never get asked and are never in a position to be answered. Progress comes from the tension between the two – between business aimed at profiting at the expense of others and the individual, the maverick, and the good aimed at helping others. The big issues are too big to be resolved; all you can do is make sense of the chaos immediately around you and do the best that you can.

    The West Wing is that sort of show. The goal is never to reform the world and make everything sweetness and light; it’s to leave the scene, when your time is up, a better place than you found it.

    Taking the existential issues out of the equation also takes the extremes off the table, and that can be a good thing, because they tend to dominate whenever they are part of the picture.

    E. Utopia: The Challenge

    If Dystopias lend themselves to lazy writing, Utopias must represent the hardest challenge for a GM or writer – how to make life / the game interesting in such a setting?

    The answer is that there must be 1000 different ways that the setting can fall from grace, and it’s the PCs job to stop any of them from happening.

    Utopia is often a double-edged sword; maintaining it strips a lot of power and choice from the hands of those who could use them, or abuse them. Protecting the rights of the individual, for example, would require strict rules and adherence to procedures for obtaining limited scope for infringing on those rights. This is often the world of the police procedural.

    F. “And I wanna know, who’s responsible?”

    There is a seeming utopia in this concept, but it is flawed in ways that are not immediately evident. The PCs start uncovering those flaws, and this puts them at the heart of the moral dilemma – reveal the truth, ruining life for endless others who can’t do anything about it, or find the agency – be it person or corporation or government, who through malice or mistake, have brought the snake into paradise. In other words, there is an apparent utopia but there are dystopian cracks in the facade, and the PCs can either widen those cracks or wallpaper over them.

An uncertain Premise

It may be a little late to admit this, but I’m still not 100% convinced of the premise. Certainly, you can look at any action film, select the part where the hero(es) are at their lowest ebb, and it will look very dystopian – but a broader view of the entire work gives a more balanced perspective.

True Dystopias are relatively rare. Mad Max was set in one, but even there, there was hope, so it was not absolute. Most dystopias are relative (distinguished with a lower-case ‘d’); while things could look grim, there is the potential for circumstances and situations to improve.

A lot depends, I think, on the status of the PCs when it comes to applying this thinking to TTRPGs. If they are a lone band of rebels, the setting is a lot more Dystopian than the exact same setting if they are but one band of many seeking to put things right (or at least, to make them better).

That’s because, while some will fail, others will succeed and improve things just a bit, giving new hope and encouragement to future bands. It may take years or even generations, but so long as cumulative gains outweigh cumulative setbacks, the narrative is an optimistic one.

The Constraints Upon PCs

Perhaps a different perspective: The less constrained by rules, regulations, and laws the PCs are – the more willing officialdom is to bend to the whims or needs of a select few, whatever the justification may be,, the more the trend of the narrative is to Dystopia, no matter what the background. Should that background already be fairly dark, you have what could legitimately be considered a Dystopian game in a Dystopian setting, and the PCs – no matter what their intentions – are part of the problem. Things can only get worse, no matter how much they seem to improve superficially – the heart of the tree is rotten and will not weather the storm at some point.

This puts the social dynamic of a campaign, beyond any initial starting point, in the hands of the PCs, regardless of what genre of campaign you are running. The first Zenith-3 campaign started in an extremely dystopian 1960s – McCarthy was President, there was something akin to a police state, the police were corrupt, the courts were bought, and Organized Crime ran the streets. It took two game years to change all of that – not to perfection, but to something better, in which there was hope that the future would be even brighter – and another year to oust the alien infiltrator who had enabled it all (lest he corrupt things all over again). Yet the villain always did what he did with the best of intentions. Though the setting was Dystopian, the story was of climbing the mountain. The current campaign is in a superficially more Utopian setting – but there are cracks through which a number of Dystopian currents flow, and they are slowly gathering in strength.

Ultimately, there will be a confrontation – but before you can have one, you need to identify the responsible agency, and right now, there are just a bunch of people with good intentions who disagree with each other – and by putting their vested interests ahead of the long-term good of society, they are engaged in dragging the utopia down. A broad social movement like this is hard to arrest (and it’s not the only such movement), but this is a superhero campaign – the players know that sooner or later someone will (metaphorically) put their hand up to be target #1. The key point: Neither were designed to be pure dystopias nor utopias – they were designed to be places where interesting adventures could happen. What about my other campaigns?

The Zener Gate campaign was always about Dystopia becoming Utopia (while sowing the seeds of its own potential downfall). It won’t be long before the PCs are in a position to undo the dystopia – or, more correctly, confine it to a single Presidential term.

The Adventurer’s Club campaign is altogether more optimistic in setting, but with parts of the world succumbing to a Dystopian Horror in the rise of the Fascist powers, and various villains seeking this or that at the expense of the relative Utopia. The setting is not perfect, but it’s getting better in some places – in part, thanks to the PCs and their allies – but there are enemies both foreign and domestic with whom they have to grapple. Perpetually set in a mid-1930s in which the Great Depression was less severe than in our world, and so did not spell the doom of the 1920s-style entrepreneur-inventor, everyone can see a future World War on the horizon, and most view it with the optimism that was rife at the start of the historical war – “There and back, six weeks tops, be good to teach Mr Hitler a lesson!” While there are realists who know it will be longer and more difficult than that, they are generally ignored by everyone as doomsayers. So this is a Utopian campaign that is slowly descending into Dystopia – while holding that darkness at arm’s length. The PCs, of course, make regular excursions into it to beat it back and preserve the virtues they represent – ‘truth, justice, equality and opportunity for all’ if I were to put it into words, which they would not – for one more day / week / month / year.

Most of my Fantasy games have some sort of Lurking Darkness that attempts to corrupt a simple medieval near-utopia, taking advantage of the corruptible nature of humans. But a “simple medieval near-utopia” is not necessarily that pleasant an existence for many; what they have is hope that things will get better.

What about your campaigns? Where do they sit on the scale between Absolute Dystopia and Absolute Utopia, what is the trend from forces outside the PCs, and what is the observed trend of their actions – which way is your game society headed? And do you want to take advantage of that, or fight against the rising tide?

Perhaps, regardless of the backdrop, any reality in which the common folk and ordinary people have such hope is not actually Dystopian at all. Food for thought, isn’t it? And with that rather cheery thought to end on, I think I’ll call this a wrap!

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