TLDR: Following the recent DOGE and XRP situations, and our influx of new users - I have decided to put together a quick guide on what a pump and dump is, how to spot it, how to avoid it, and what to do should you fall for one. This is just my thoughts on the issue and by no means exhaustive. I welcome comments and my biggest recommendation if you fell for one of these schemes is to accept it, address your emotions, seek support - either by those around you or here if you feel more comfortable, then commit to educating yourself.

Summary:

A pump and dump scheme is where a group of people pitch a coin (or stock) to other people to spike short term volume, and therefore the price, in order to profit from selling their own supply at the higher price to the newer investors.

How to spot a PnD:

Promises of huge gains
Forced short time frames to make a decision
No discussion of risk - or questioning permitted
The opportunity finds you, you don't find the opportunity
Comparison to recent success stories - e.g. GME (dubious whether this will even be a success long term for individuals)

Tips to avoid - see below but the main two for me are:

Recognise emotional decision making, in yourself, and when it comes from others (people you may normally trust). You need to recognise this behaviour, and cut it out at source. To step back and breathe.
Ask yourself, what are they selling me on, and why? If they find you, you are being sold. That is all there is to it.

What is a Pump and Dump scheme?

A Pump and Dump scheme (PnD from here on in), is where an investor, or group of investors promote a coin they already hold (or are purchasing) in order to cause positive sentiment and the price to rise. At this point these investors will then sell their coins to the newer investors, causing the price to crash and leave the people who fell for the PnD with a large potential loss, or coins which are now worth a lot less than the price they paid for them.
These are not new and were traditionally done via phone call. If you have watched the Wolf of Wall Street, or similar films about penny stocks, you have seen this stuff in action. If you are buying, you are the retail investor who gets taken for a ride.
With the recent influx of new users to this site, and following the PnD schemes surrounding Doge and XRP, lets take a look at how to spot a PnD scheme

How to spot a PnD scheme?

Promises of huge gains, in a short amount of time. If it sounds too good to be true, it is. In crypto (and stocks) if someone is talking to you about something, they are selling you their position. If it is positive - they likely own it, if it negative - they either want prices to fall or they hold a competitor. Ask yourself, why someone would be going out their way to tell you something is a once in a lifetime opportunity? If it was, they would be keeping it secret and accumulating themselves. These people are salesman, and you are the one buying the bullshit
Linked to the above there is often a time element - 'get in quick, or you will miss it', they are relying on your impulsive decision making to jump in - they are manipulating you to over ride the logical part of your brain which makes decisions based on information and context
There is no discussion of any potential risks or downsides, and you are removed from groups or harassed for asking basic questions - this is a hive mind at work, and you are being censored from raising any concern or legitimate question.
There may be reference to 'how this time is different', or it plays on recent successes which are in no way comparable - e.g Game Stop - anyone who paused for a second would realise why not only was financially the short squeeze on GME completely different, but also the moral stand point was too. XRP, for example, is a centralised system which enriches the founders beyond belief. Yet these groups tried to ride the sentiment of GME to convince others to join - as a show of rebellion and alliance.
Social media storms are cooked up, it seems like out of nowhere this is all anyone can talk about - when has this ever proven a successful decision? Once everyone is talking about it, you are already too late. You may not lose money, if you are lucky, but you are still the one being duped. Again this is feeding on emotion and Fear of Missing Out. There will be groups created and ran by mods who run them like cults - no talk of anything but price going up is accepted.
There is a time or plan attached - e.g. Pump and Hold at 8:30. For the love of god, if this is the case, sell before then. All the leaders of these groups will have done. All of these public announcements are done again to create legitimacy and make you feel at ease - as a collective.
Generally any concept of 'we are in this together', coming from a group trying to actively push up the price of something short term = PnD. You are not in this together, markets are competitive - they are survival of the fittest whether you like it or not. They want your money, when you listen to them - you are basically offering to hand it over. People invest to make money, especially when the entire premise is pushing a price up to get rich. They do not want what is good for you, they are using you and they will take your money if you allow them to. They are telling you, because you are the opportunity - not the coin.
Be aware, people telling you to hold and buy more, are using you. They want you to push the price back up so they can sell. If you are in these groups - on social media, be aware you may be talking to bots, or at the least people who are trying to dump on you. When it drops, get out.

How to avoid PnDs in future

'Why are they telling me this?' - this is the first and main question to ask yourself. What does the person sharing the information have to gain from telling me? In this case - you invest and push the price up, allowing them to make greater profit. Understand why they would be sharing details with you - if it such a great thing, why are they sharing it?
if it is a friend telling you, ask for more information - why it is doing well, what the plan is etc - if they can't explain it properly, this is a big red flag and they likely have fallen for it too.
Look out for how someone talks to you about it - is it emotionally driven, does it make you excited? scared to miss out? - This is exactly when you need to step back, breathe and ask yourself if you are thinking correctly. Emotional decision making is not a good thing here, and then ask if they are intentionally trying to get an emotional reaction out of you? (see the above - FOMO, get rich quick etc)
Is there any room for nuance? Are you able to discuss the potential cons or risk? If you are laughed at, or harassed, others are told to ignore you (he won't be getting rich, weak hands, pathetic seller) - this is a huge sign that you are investing in something where no other thoughts are allowed. The reason for this, once you are out the bubble - logic returns and you see the smoke and mirrors for what they are. PnD groups work like a cult, only one form of thinking is allowed, everything else is censored.
Did this come out of nowhere, do I even know anything about this? If you don't know anything about it, except it makes money, don't invest in it. This is a terrible decision for two reasons. Firstly, and most obviously, you have asymmetric information - you have no idea why and what you are buying, therefore can't make an informed decision - only an emotional one. Equally, this kind of thing pushes panicked, emotional selling. When you don't know fundamental reasons why you invest in something, when the price dips you will sell. Why? because when your brain asks you the question 'shit it is dropping, what do we do?!' - your logical brain won't have an answer, because you never gave it the information to form one. This second part is more relevant to regular investments, not PnDs of course, but is worth bearing in mind before you invest in anything.
Was the coin relatively stagnant, or has it dipped recently? PnDs typically target coins which haven't moved much recently, or have lower trading volume, this allows for a much easier spiking of the price due to a small change in demand equalling a big change in price. If you look at the charts and it was doing nothing until this big flurry of activity - you are being taken for a ride.
Look for the news, if it is pumping, don't listen to people inside the group - search for reasons why something is pumping. If you can't find anything of value, there probably isn't anything, and you are gambling on emotional decisions.
The opportunity finds you, you don't find the opportunity. Getting rich off 'undervalued' coins, or finding a hidden gem is not easy. They are hidden for a reason. If someone is coming to you with this, remember they are selling. You are buying.
If someone does approach you, talk to someone else outside of the bubble - find another group e.g. CC, or other investors - talk to them, get outside perspective before investing.
look for examples of populist sentiment. Do you hear things about an other? - e.g. haters, those missing out who are jealous. Are you made to feel like you are part of a special group? The ones with insider information? This is a lie, it is very very common manipulation within populist movements, cults etc - to create a narrative of an other to entrench tribalism within the group. This is done to make you switch your brain off, to rule on emotion.
is there a recent comparable story that was successful? e.g. GME (yes this isn't the same at all in reality, but the story being sold is - or at least plays on the hype of GME). If there is, you are being played. The real opportunity, just like the hidden gem, is the first one. When people tell you this is happening again, they are simply using the positive news from one case and applying it to their own - often because it lacks any actual, real, tangible reason for succeeding or being a good investment.

I fell for a PnD, what next?

Have you sold yet - No? Are you in profit? Sell. Whilst you still can. Greed will tell you not to, and perhaps you can eek out a little more money. But you are gambling, and gambling extremely high risk against people trying to take all your money.

Yes, you have sold. Did you make a profit? Yes - great. You are still a an idiot, just a lucky one. Tell yourself that. There is a difference between opportunist traders taking advantage of PnDs and someone getting lucky and getting out before it collapses. Do not confuse the two. The first group know what they are doing (and they may still lose, but they are aware of the real risk). You are fucking lucky. Don't do it again. So count your blessings, go through the same process of learning about PnDs and begin to understand why you fell for it, how to avoid it in future and realise you are up - you won. Don't go back in, you are asking to lose.

Yes you have sold? Did you make profit? No? Ok, this is normal - 90% + of people doing this will end up in the same situation.

Recognise and accept your mistake. Do not feel ashamed of it, it is ok. You were played, it happens to all of us in our lives at some point.
Step away from whatever device you used to invest. DO NOT ATTEMPT TO WIN IT BACK RIGHT AWAY. You will most likely make things worse, investing again on emotions - even worse emotions now, shame, anger, disbelief.
Talk to the important people in your life if you feel comfortable, if not, come here or to other anonymous groups for support. It is important to share what happened, to vent emotionally whatever it is you feel.
Realise it is only money, even if gambled way more than you should have done, long term you will get out of this. Focus on other areas of your life for the time being - emotional investment, fulfilment and development - seek out things which may centre to your emotions again, whatever that may be - getting out in nature, cooking, reading, adrenaline sports - whatever the shit you need, do it.
Consider who, if anyone needs to know. Did you borrow from you and your wife's joint account? Accept a loan from a mate? These people need to know the truth. Do not hide it and hope to win it back. Tell the truth. They deserve it.
Do not repeat the same actions, if you want to win long term from this - you need a different approach. Step away from the high stakes casino and figure out long term strategies to make money.
Learn to diversify and manage risk. You are taking a huge gamble going all in on something - even if it isn't a scam, you need to protect yourself through diversifying your investments. Get rich quick schemes are the fastest way to lose money.
Educate yourself on these behaviours - I would recommend 'Thinking Fast and Slow' by Daniel Kahnemann as a personal favourite. This book helps to look at and address the biases that make up our emotional decision making, and learn how to recognise these and instead 'think slow'. You won't regret reading it.

[pi] The Devil Is In The Details

What things turn a game into a world?

TL;DR
I created a laundry list of high-level tenets that drive the game design of specific genre I coined the World game based on Brad's famous quote. These aim to be applicable to any game that would scratch my old school MMO itch.
What tenets would you choose?
Preamble
The MMO community is, to some degree, divided by the different expectations and desires of its player base. Even an MMORPG can mean so many things to so many different people. I wanted to get to the root of what a good MMO is to me, and in the process, I found that the ambiguous label of MMO is likely getting in the way.
Passionate players across the board seem to complain about the same issues. Ease of difficulty. Cash shops. Single-player focus. Theme park design. Players of these games either leave the genre, ultimately disenchanted with the thin veil over Skinner box design, or they continue to search for something better, because they know it is possible. Maybe this is intentional. Developers piggy back on the MMO genre to hook the player-base before extracting as much as they can from the whales in their glorified casino.
So, here, I present the tenets of a specific game genre: the World genre. The focus on world over game is not a new idea. Brad McQuad famously said, “I want to make worlds, not games.” That focus can be seen right there in the name of Visionary Realms. And without the right language to describe what we are after, the community is continually bit by games that fit the abstract label but disappoint in the details.
The goal with these tenets isn’t to create a template so much as it is to create rough guidelines. In fact, these guidelines probably wouldn’t do a game designer much good in creating a solid design. But they should help in evaluating different options and validating an existing design. Certainly, none of the tenets get as specific as the theme or even the existence of combat. They should apply equally well to a game set in feudal Japan, The Sims Online, or the next zombie apocalypse.
Some tenets are broad, while others more specific. Some tenets are rigid, others more malleable. Some tenets are critical pillars of the genre, while others are less important. Tenets frequently conflict, creating tension.
A note on intuition
The tenets below are driven by the principle that they should be intuitive. The World genre is trying to capture something deeply human, buried in our brains because of the way we have interacted with ourselves, each other, society, and our planet over millennia of evolution. There is no right or wrong answer. When in doubt, we err on the side of realism.
A note on ownership
Establishing reasonably prescriptive tenets on the World and gameplay highlights the necessity of strong ownership and vision for this style of game. This is particularly true given that many of these tenets go explicitly against what makes a great game in general. For example, how many games would actually benefit from less player matchmaking? This also does not lend itself well to player-generated content, where those tenets can be easily violated.
The tenets of immersion
TENET 1 The player should be directly represented in the World
The World genre requires the player to form a direct relationship with the World, not with the character. This is a key difference between Eastern of Western RPGs (both of which I love) and so this may be controversial. The player should be able to insert themselves into their avatar. On the flip-side, it precludes certain mechanics, such as squad-based designs.
TENET 2 The World should be realistic in both form and function
That is, the World should minimize the need for suspension of disbelief. It should pull the player in naturally. I have always felt conflicted by WoW’s appearance. I absolutely loved the cell-shaded look of Wind Waker, but instinctually disliked the cartoon-like nature of WoW. This goes back to immersion. That doesn't mean the visuals have to be photorealistic. They just have to pull you in. It may be possible to get around this through the setting. For example, if the setting is a digital afterlife, you may be able to get away with a more abstract appearance.
TENET 3 The player and World should interface only through the player character
The player should only be able to influence the World through their character. And the World should only be able to influence the player through the character. This means, respectively, no cash shops and a first-person camera. It also means no GPS — unless, of course, the setting supports it. Taken to an extreme, this precludes voice chat, at least without something like racial voice filters.
TENET 4 The player should directly engage with the World around them
The key here is “direct”. No minimaps, no waypoints, no fast travel. Of course, these are not absolute deal-breakers. The key is that the player is able to establish a connection with the World around them. The player should, over the course of the game, develop a strong mental model of the World and its relation to their character.
The tenets of freedom
TENET 5 The player should not be assigned a story
The World itself can (and should!) have a story to tell. But the player character’s story should be their own. The player must have the freedom to make their own place within the World, eschewing the rails that a story provides. Side quests are lesser evils, but still evils. The more choice the better.
TENET 6 The player should be able to pursue multiple forms of progression
The choice should not just be in how to progress. It should be in which ways to progress. The most obvious example is crafting, but this can also include loot, skills, the economy, faction, or even — maybe most importantly — growing in strategy and skill.
TENET 7 The World should be demanding, but not prescriptive
This is an extension of the idea of a lack of story. If the game is too prescriptive, it becomes a job. A chore. To combat this phenomenon, the player needs significant choice at all times. This may, in fact, be the primary draw of the World genre: to provide an environment where players are purely driven by their own will. It is equally important to avoid visibly and overtly influencing the player’s decisions. The player’s incentives and motivating factors should be an organic part of the World. No daily XP boosts, for example. Alternate forms of progression can help here, because even once a player is motivated to progress, they have the choice of which dimension of progress to pursue.
TENET 8 The World should encourage downtime
The player should not feel compelled to move forward at all times. There should be joy simply in existing in the World, experience it moment to moment. Even better, progression itself can require downtime; this is related to the notion that players should be encouraged to play any game in the most fun way possible. This can be accomplished with world design, such as guard-protected cities or social taverns, or mechanics, such as fishing, firework shows, and waiting in queue for a boat. This is effectively the white space of gameplay. And it is all but lost in modern MMOs.
TENET 9 The World should be dangerous
Choice is meaningless without consequence. With real, negative consequence, comes danger. This not only gives weight to the player’s decisions, but also helps to establish the intricate give-and-take relationship between the World and the player. Looking at you, death penalty. If a World game is about finding your place within that world, then danger and risk makes this a meaningful pursuit. If that tension between risk and reward does not exist, even at the start of the journey, it undermines those goals. Note that this is different than challenge — and challenge itself is not enough.
TENET 10 Players should be encouraged to explore the World
This doesn't mean that players are constantly seeking some never-before-seen point of interest, but it does mean that players get out and move. In other words, the world provides resources across its footprint, and you must seek those out. Most forms of progression should require you to get out and explore. This also does not necessitate baubles scattered around the landscape to find.
The tenets of impact
TENET 11 The player’s actions should be worn like a badge
You should be a product of your choices. Your reputation, gear, and skills should tell a story about where you have been and what you have accomplished. Your spoken languages can tell a story of what cities you have spent the most time in. As you spend time in different climates, you may develop a natural acclimation to those environments. Imagine you walk into town and one of the NPC gnomes recognizes the scent of the nearby crystal caverns you have been exploring. This is interesting because it relates to life; the player’s accomplishments should come with artifacts. This also means that auction houses should be limited, as they create an artificial divide between adventure and outcome.
TENET 12 Players should have something unique to offer
The ways that a player can help others in their progression should be relatively unique to that player. As much as possible, they should tell a story about adventures undertaken; e.g., a proc from an item dropped by a famous mob. Of course, classes and class-specific skills are one way to accomplish this, but the more ways the better. For example, if one form of progression is fishing, then fish should be useful to others in many ways. A cooking skill is obvious. More creatively, certain kinds of fish could be used as powerful but low-level weapons. A butcher could extract gills or eyes to, in turn, be used as reagents for spells.
TENET 13 There should be no end game
Even the name “end game” is problematic for several reasons. It suggests a hard limit to progression. It suggests a hard divide in the way the World is experienced once the player reaches this limit. It also suggests that the focus is no longer on the World, but on the game — which is to say, the core promise of the genre is lost. This doesn’t mean to eliminate raids or AA points. It just means that those things should be included in the game proper. This tenet also implies that progression should be relatively limitless. Skyrim is an interesting example of this. One way to accomplish this is to create exponential progress; for example, having each level take 10% more experience than the last. Granted, this is a much harder problem than the simple discussion here suggests.
TENET 14 The player should leave a mark on the World itself
Can a World be meaningful if there is no way to make an impact on it? Of course, their character is one such mark. It is easy to imagine statues erected in town, or NPCs chatting about the first character to hit max level. But there should be a means for all characters to leave some lasting impact. Given that players can already say whatever they want in chat, breaking immersion, a simple example is the ability to leave a journal. These could even be curated. Other possibilities include geocaching, naming items, plaques that can be erected in various places throughout the world. Player-owned housing is perhaps the most obvious.
TENET 15 Power, fame, and fortune must be possible
A world game should be able to provide all three of these drivers. As with reality, these should not be the only reason to play. Fame is largely supported by communication; fortune by economy and loot. Power can be found even outside the game, in the player’s mind, as they grow in skill and strategy.
TENET 16 The player should have a home
Can you have a world without a home? Some place in the world should feel like your own. Where even the NPCs tend to be supportive of you: merchants give discounts and trainers more assistance. This could simply be your birthplace, your hometown.
The tenets of socialization
TENET 17 There must be no explicit matchmaking
Players must find each other. In fact, a World game should ideally employ the opposite of matchmaking: some players should have barriers preventing that connection. This makes it all the more meaningful when these seemingly unlikely relationships form. There are many ways to accomplish this, including separating players by distance or climate or language. Allowing certain players to engage in PvP is another.
TENET 18 There should be risk in trusting others
Trust can only exist when that trust can be violated. Otherwise there is no trust — just a cold, lack of consequence. By allowing negative consequences through socialization, we enable trust, and so enable more meaningful relationships. For example, a player might grief the group, log out at the wrong time, or simply lack the skill to effectively play their character. They might steal your loot.
TENET 19 Players must be able to communicate with language
The purpose of having a World is to allow the player to tell their own story within it. And what story is worth telling that doesn’t involve real connection with others? Connection with others requires communication. And not just any form of communication, but with language. This communication should extend throughout the game, as much as possible. That is, it should be limited to the tavern, but should naturally extend out to the dungeon as well.
TENET 20 Players should be able to help each other organically
Those that have the means to help should find themselves naturally in proximity to those that might need it. For example, have high-level dungeon entrances in low-level areas. Have new characters start out near big cities.
TENET 21 Cooperation should generally benefit progression
For example, a blacksmith could gather all of her own materials or rely on other players. In some cases, a blacksmith might actually require an enchanter to lend a hand in creating the best equipment. This is not a difficult tenet to design towards; it is more a warning against designing forms of progression that specifically do not lend themselves to cooperation. In many MMOs, solo combat is so fast-paced and rewarding that there is little incentive to try to find a group.
The tenets of the World itself
TENET 22 The World should be persistent
Things can change, but not so frequently that it harms the connection the player has with the World. This is one reason why Minecraft may not work as a World game, and perhaps one reason why the focus on player-generated content in EverQuest Next did not lend itself well to a fun experience.
TENET 23 The World should be shared
There should be no instancing. If you need to come up with elaborate lore and mechanics to facilitate this, then so be it. For example, say all of the top tier raid bosses are spirits that can only be summoned by rare relics. And the spirits can only be hurt by those that share a clan sash with the one who summoned them. Obviously this is terribly contrived. But it demonstrates that it is possible to work backwards from the need of a shared world.
TENET 24 The World should be big
You should move slowly compared to the size of the world. It should always feel as though there is somewhere new to explore.
TENET 25 The World should be open
Big by itself is not enough. Theoretically, you could create a massive, linear world — imagine Ant Hill: The MMO. But that is not sufficient for a World game. Exploration is critical, and so the specific layout of the space is important. For another example, imagine Destiny but with hundreds of expansions. The game would be large by any standard, but it would not be a World.
TENET 26 The World should be alive
To some degree, the World should be the main character. Day and night cycles are a simple start. Other possibilities include transient events or even changes to the landscape over time. The World should be full of surprises, unpredictable. You should come across enemies not normally found in the local climate. You should discover loot normally reserved for much tougher mobs. Emergent gameplay can help here as well. The more mechanics and attributes that can be projected naturally to some underlying physics, the greater the chance for interesting and unique interactions. In the same breath, the World should have history. The best example of this is Hollow Knight, a game that tells the history of the World through visual storytelling, environments, enemy design, dialog, secrets, and journals.
TENET 27 The World should be consistent
The World should carry an underlying consistency through it. The World should feel congruent. Variety, also important, must be tempered.
TENET 28 The World should be varied
Different places within the World should have an identity of their own, through climate or culture or environment. Different environments should encourage different play styles and behavior, even downtime.
TENET 29 The World should have landmarks
The World should be defined by the interesting places within it. More than that, the World should have locations that pull players together. Breath of the Wild does an amazing job with this, whereas it is one of the weaknesses of The Witcher III. In EverQuest, the camps themselves often serve this role — think Treants — showing how landmarks can emerge from gameplay rather than, say, visual interest.

Review of Martin Scorsese’s 1995 Casino [A mob movie that has many actors that will go on to be in the Sopranos].

mods please lmk if this violates the rules. i’m posting here because I write about the mob/casino and many relevant themes that are important elements of the Sopranos, in my opinion. I think they’re of the same medium and genre so wanted to post here. Hope that’s alright. Cheers! (11 min read) ————————————————————————
EDIT 2: TL;DR -
Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.
———————-
Every good filmmaker makes the same movie over and over again—Martin Scorsese is no different
Scorsese's Casino is a phenomenal story of the condoned chaos and "legalized robbery" that happens on a daily basis to gamblers who bett away thousands of dollars and return each day for more “FinDom,” but without any of the sexual sadism. The whole scam only persists because the house always wins: the odds are stacked 3 million to one on the slot machines, but the same shmucks return wide-eyed each day hoping for a different outcome, devoid of any rational re-evaluation required to maintain their grasp on reality, and the liquidity of their bank accounts.
Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.
Robert De Niro plays Sam "Ace" Rothstein, recruited by his childhood friend Nick "Nicky" Santorno to help run the Tangiers casino, which is funded by an investment made with the Teamsters’ pension fund. Ace’s job is to keep the bottom line flowing so that the Mafia's skimming operation can continue seamlessly. De Niro's character felt like half-way between Travis from Taxi Driver (of course, nowhere as mentally disturbed) and half of the addictive excess, greed, and eccentric business-mind of Jordan Belfort in The Wolf of Wall Street.
Ace’s attention to detail gives him a rain-man-esque sensibility; his ability to see every scam, trick, hand signal, and maneuver happening on the casino floor make him the perfect manager of the casino, and take his managerial style to authoritarian heights in his pursuit of order and control over what is an inherently unstable and dynamic scheme; betting, hedging outcomes, and walking the line to keep the money flowing and the gamblers coming back. I’m not claiming Ace is autistic, I'm no clinician, but his managerial sensibilities over the daily operations of the casino, from the dealers to the pit bosses, to the shift managers, are to the point of disturbing precision, he has eyes everywhere, and knows how to remove belligerent customers with class and professionalism, but ultimately is short sighted in “reading” the human beings he is in relationship with. Ace is frustratingly naive and gullible in his partnership with Nicky and the threat he poses to him, and in his marriage with Ginger.
Ace has no personal aspirations to extract millions of dollars for himself out of the casino corruption venture. Ace simply wants the casino to operate as efficiently as possible, and he has no qualms about being a pawn of the bosses. While Sam, “the Golden Jew”—as he is called—is the real CEO of the whole enterprise, directing things at Tangiers for the benefit of the bosses “back home.” Ace’s compliance is juxtaposed with Nicky’s outrage upon feeling used: he gripes about how he is in “the trenches” while the bosses sit back and do nothing. Note that none of the activity Nicky engages in outside of the casino—doing the work of “taking Las Vegas over”—is authorized by the bosses. Ultimately Nicky’s inability to exert control over his crew and the street lead to his demise.
In the end, capitalism, and all that happens in the confines of the casino, is nothing but “organized violence.” Sound familiar? The mob has a capitalist structure in its organization and hierarchy: muscle men collect and send money back to the bosses who do not labor tirelessly “in the trenches.” The labor of the collectors is exploited to create the profits of their bosses. The entire business-model of the Mafia is predicated on usury and debtors defaulting on loans for which the repayment is only guaranteed by the threat of violence. But this dynamic is not without its internal contradictions and tensions, as seen in Casino.
In a comedic turn, the skimmers get skimmed! The bosses begin to notice the thinning of the envelopes and lighter and lighter suitcases being brought from the casino to Kansas City, “back home”. The situation continues to spin out of control, but a mid-tier mafioso articulates the careful balance required for the skimming operation to carry on: to keep the skimming operation functioning, the skimmers need to be kept loyal and happy. It’s a price the bosses have to pay to maintain the operation, “leakage” in their terms. Ace’s efficient management and precision in maintaining order within Tangiers is crucial for the money to keep flowing. But Ace’s control over the casino slips more and more as the movie progresses. We see this as the direct result of Nicky’s ascendance as mob kingpin in Vegas, the chaos he creates cannot be contained and disrupts the profits and delicate dynamics that keep the scam running.
Of course I can’t help myself here! We should view Scorsese’s discography, and the many portrayals of capitalist excess not as celebratory fetishization, but a critique of the greed and violence he so masterfully captures on film. See the Wolf of Wall Street for its tale of money as the most dangerous drug of them all, and the alienation—social and political—showcased in Taxi Driver. Scorsese uses the mob as a foil to the casino to attack the supposed monopoly the casino holds on legitimate, legal economic activity that rests on institutionalized theft. When juxtaposed with the logic of organized crime, we begin to see that the two—Ace and Nick—are not so different after all.
The only dividing line between the casino and organized crime is the law. Vegas is a lawless town yes, “the Wild West” as Nicky puts it, but there are laws in Vegas. The corruption of the political establishment and ruling elites is demonstrated when they pressure Ace to re-hire an incompetent employee who he fired for his complicity in a cheating scam or his stupidity in letting the slot machines get rigged; nepotism breeds mediocrity. In the end, Ace’s fall is the result of the rent-seeking behavior that the Vegas ruling class wields to influence the gaming board to not even permit Ace a fair hearing for his gaming license, which would’ve given him the lawful authority to officially run Tangiers. The elites use the political apparatus of the State to resist the new gang in town, the warring faction of mob-affiliated casino capitalists. While the mob’s only weapon to employ is that of violence. The mafia is still subservient to the powers that be within the political and economic establishment of Vegas, and they’re told “this is not your town.”
I’d like to make the most salient claim of this entire review now. Casino is a western film. The frontier of the Wild West is Vegas in this case, where the disorder of the mob wreaks havoc on, an until then, an “untapped market.” The investment scheme that the Teamsters pension fund is exploited for as seed capital, is an attempt to remain in the confines of the law while extracting as much value as possible through illegal and corrupt means for the capitalist class of the mob (and the ultimately dispensable union president). Tangiers exists in the liminal space of condoned economic activity as a legal and otherwise standard casino. While the violence required to maintain the operation, corrupts the legal legitimacy it never fully enjoyed from the beginning. This mirrors the bounty economy of the West and the out-sourcing of the law and the execution of the law, to bounty hunters. There is no real authority out in the frontier, the killer outlaw on the run is not so different from the bounty hunter who enjoys his livelihood by hunting down the killers. Yet, he himself is not the State. The wide-lens frame of Ace and Nicky meeting in the desert felt like a direct homage to the iconic image of the Western standoff. The conflict between Ace and Nick, the enforcer and the mastermind, is an approximation of the conflicts we might see in John Wayne’s films. The casino venture itself could be seen as an analogy of the frontier-venturism of railroad pioneers going to lay track to develop the West into a more industrial region.
I would have believed that this was a documentary about how the mob took over control of the Vegas casinos in the 1970-80s … if it were not for the viewer being expected to believe that Robert De Niro could play a Jew; it's hard to believe a man with that accent and the roles he’s played his entire career could be a “CRAZY JEW FUCK!!” I kid! But alas, De Niro is a class act and the last of the many greats of a bygone era. At times, it felt like Joe Pesci lacked talent as an actor, but his portrayal of the scummy, backstabbing bastard in Nicky was genuinely remarkable, but I might consider his performance the weak point of the movie. It’s weird to see a man that short, be that much of physical menace. There are a number of Sopranos actors in Casino. I’m sure Vincent Chase watched the movie and said to himself, “bet, i’ll cast half of these guys.”The set design and costumes were gorgeous. The styles and fashion of the time were spectacular. Scorsese’s signature gratuitous violence featured prominently, but tastefully. The camera work, tracking shots through the casino and spatial movement was incredible and I thought the cinematography was outstanding, the Western-esque wide lens in the desert was worthy of being a framed still.
The Nicky//Ace dynamic is excellent and the two play off of each other well. The conflict between the two of them escalates gradually, and then Nicky’s betrayal of Ace by cheating with Ginger marks the final break between the two of them. Nicky’s mob faculties represent a brutal, violent theft that is illegal and requires the enforcement of violence by organized crime. Despite the illegal embezzlement and corruption at play with the “skimming” operation at work at the casino, the general business model of the casino stands in contrast to the obscene violence of the loan sharks. Ace operates an intelligent operation of theft through the casino, and his hands-on management approach is instrumental to the success of the casino. Nicky’s chaos pervades the casino, and the life and activities of “the street” begin to bleed into Ace’s ability to maintain order in the casino. “Connected” types begin frequenting the casino, and Ace unknowingly forces one particularly rude gambler to leave the casino, who happens to have mob ties with Nicky. The “organized violence” of the casino cannot stay intact perfectly, because the very thing holding it together is the presence of the mob. Nicky is in Vegas as the enforcer and tasked with protecting Ace but his independent, entrepreneurial (shall we call them?) aspirations lead him to attempt to overtake what he realizes is a frontier for organized crime to brutalize and exploit the characters of “the street” (pimps, players, addicts, dealers, and prostitutes) and the owners of small private businesses.
Nicky is reckless, “when i plant my flag out here you won’t need your [casino/gaming] license” Nicky thinks he, and Ace, can bypass the regulations and bureaucratic legal measures by sheer force of violence alone. But ultimately Nicky is shortsighted and doesn’t have a real attachment to the success of the casino. After all, he isn’t getting profits from it (or much anyway) and isn’t permitted to play a real, active role in its daily functions because of his belligerent, untamed personality. Nicky has no buy-in that would motivate him to follow the rules or to work within the legal parts of the economy, it’s not the game he knows how to play, and win. All that he is loyal to, or deferent too, is the bosses back home; for whom he maintains absolute, uncompromising loyalty to, but still holds intense spite for.
And now to the more compelling element of the narrative. Sam “Ace” Rothstein is positioned as remarkably intelligent, he makes informed decisions that aid in his skill as a gambler, he can read people to determine whether he’s being conned, he has an attention to detail—aided by the casino’s surveillance apparatus which monitors cheating—that is almost unbelievable. Ace knows when he’s being cheated, he knows how to rig the game so that the house always wins, enacting psychological warfare to break down the confidence of would be proficient gamblers, who could threaten Tangiers’ bottom line. But in the end, the greatest gamble Ace makes is his marriage to Ginger. Ginger is the seductive, charismatic, and flirtatious madame who makes her money with tricks and her sexual power. Ginger works as a prostitute, seducing men, and extracting everything she can, almost as a sort of sexual-financial vampirism.
Ginger is the bad bet Ace can’t stop making even when she destroys his life, her own, and puts their daughter Amy in harm’s way. Ginger is the gamble Ace made wrong, but he keeps going back to her every time, trying to rationalize how she might change and be different the next time. Ace is not a victim to Ginger’s antics. Ginger makes it clear who she is: an addict, alcoholic, manic shopaholic who will use all of her powers to extract everything she can from everyone around her. She uses everyone to her advantage and manipulates men with her sexual power in exchange for their money and protection. Ginger had a price for her hand in marriage: $1 million in cash and $1 million worth of jewelry that are left to her and her alone as a sort of emergency fund.
Ace’s numerous attempts to buy Ginger’s love—and the clear fact that no matter how expensive the fur coat and how grand the mansion, none of it would ever be enough to satisfy her—mirrored Jordan Belfort’s relationship with Naomi in The Wolf of Wall Street. Both relationships carried the same manic volatility and conflict over child custody was found in both films, with the roles reversed in the respective films. Ginger may be irredeemable and a pathological liar, but Ace can’t claim that she wasn’t clear with him; when he asked her to marry him, Ginger said she didn’t love Ace. Ace replied that love could be “developed” but required a foundation of trust to develop. That trust was never there to begin with. The love was doomed from the start to destroy the two of them; two addicts, two gamblers, lying on a daily basis to one another and themselves about reality to justify their respective existences, the marriage, and Ace’s livelihood. And as Ginger pointed out, “I should have never married him. He’s a gemini, a triple gemini … a snake” Maybe astrology has some truth to it after all.
Now I’m not licensed (but hey neither was Ace, and he ran a casino empire!), but Ginger has the inklings of a borderline personality: her manic depression, narcissism, drug and alcohol abuse, and constant begging for forgiveness all seem indications of a larger psychological disorder at play. In the end, Ginger runs away with all the money Ace left her and finds her people in Los Angeles, the pimps, whores, and addicts she fits in with, in turn exploit and kill her for 3 grand in mint coins by giving her a ‘hot’ dose.
Overall, Casino is an incredible cinematic experience. I highly recommend watching this and seeing it as part of Scorsese's anthology of commentary on our economic system and its human victims. I’d argue that Casino, Wolf of Wall Street, and The Irishman all fit together nicely into a trilogy of the Scorsesean history of finance and corruption from the 70s to the 90s.
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EDIT 2: TL;DR —
Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.

[Guide] Early E5 Breakdown (1/25/21)

I've thought alot on gaining poweprogress on an account, and the best way to accomplish it. Then extrapolated a little from my other experiences to come up with this. Please realize that almost the entire guide excludes Light/Dark in any regard.
TL:DR Version: I have tested and managed an e5 two times now in under 5 months. It should be even easier than when i did as since game has gotten alot friendlier. My luck was not good nor bad. Just takes doing the goal oriented things below. Saving what you should save. Spend when you should spend. Feathers really are important for this. Its also very important to prioritize the feathers in events. Get 240 Casino coins, 80 POs, or 500 HSs THEN spend them to complete said event. Don't use them before that since you lose out on the feathers. Once you start building a supply of feathers, don't spend them until you can fully build the hero. Next is focusing on 4★ shards for most of your growth. Last is DON'T BUILD HEROES YOU WON'T FODDER. Do these and even you can do it. I know its a bit of a read, but this whole thing does work, but you can't cherry pick the parts you want to do, and expect it to not take you longer, in some cases alot longer.
Keep these heroes until you know better what you are doing:

Horus	Gustin	Tix	Ithaqua
Cthuga	Morax	Ignis	Kroos	Delicium	Nakia
Heart Watcher	Rogan	Elyvia	Garuda
Xia	Sigmund	Inosuke	Sherlock	Penny	Unimax - 3000

Starting

The idea behind this whole post is to focus efforts towards the earliest most efficient E5 you can make. The power of an early E5 vs a team of 6x 10★ isn't really even comparable. The E5 will wipe the floor with them in every way. More specifically an E5 of one the best heroes in the game will carry your progress well beyond any other strategy after its made. No hero does everything the best. Therefore, we want to pick as good a hero as we can, without waiting forever. We still need to get this made in a reasonable time frame so you can build on your progress.
So once again the idea is to go all out for ONE hero. Don't level anything you can't sacrifice. ALL Prophet Orbs, Prophet Branches, Feathers, Guild Coins, EVERYTHING that is a resource and can be used to progress your E5 will be used for your E5.

The Basics

Lets start with the basics by breaking down Hero ★ ranks. The basic unit is a 5★ building block. Heading over to the Creation Circle, we can turn some 5★s into 6★s. Once at 6★, level the hero to 100 and promote it. Then the promotion tab becomes active on that hero. The rest of the promotions will be done here. Requirements below:

7★	4x 5★ Same Faction	-	-
8★	3x 5★ Same Faction	6★ Same Faction	-
9★	2x 5★ Same Faction	6★ Same Faction	1x Copy of Hero
10★	9★ Any Faction	6★ Same Faction	2x Copy of Hero
E1	9★ Any Faction	-	1x Copy of Hero
E2	9★ Any Faction	-	1x Copy of Hero
E3	10★ Any Faction	-	-
E4	10★ Any Faction	-	1x Copy of Hero
E5	10★ Any Faction	-	1x Copy of Hero

Looking at this we can see that we will need to get our E5 hero to 9★, three 9★ fodders, and three 10★ fodders. That's 304x 5★s if i did the math right. That is alot of 5★s.
So here is the basic plan.

Step 1: Pick and build good 10★ Fodder Heroes
Step 2: Pick an E5 Hero, exclude all other potential heroes.
Step 3: Complete events specifically with Feathers in mind.
Step 4: Steal Underpants
Step 5: ???
Step 6: Profit

The most common ways to majorly slow your progress seems to come in 2 forms.
1.) You feel you need a full team of heroes with lots of stars. 2.) You struggle with the long view and build non fodder heroes.
So let me just say once again. You don't need a full team. You need 1 good hero. If you decide on a hero, stick with that hero.

Picking the E5 Hero

This is your first E5, once made it will be your only hero for a time. Because of this, it needs to be a solid hero for carrying your progress from that point on while you start on your next. I used to rate heroes on a per Category basis and weight the results for a best hero ranking. That takes too much work. So instead of that non-sense i'll just tell you who i would build.
1.) Tix 2.) Inosuke 3.) Garuda
Try to build 1 of those 3. Tix and Inosuke are a bit better than Garuda, but she is still very solid if you happen to have alot of copies of her. You can always build the other 2 next.
Picking your E5 hero is probably the trickiest part of this whole thing. The several month building process gives you time in which your fortunes can change. So here is my advice. Build Norma to 9★ and use her for early game. Start working on 10★s of other decent fodder heroes. In that time, if you pick up 2-3 of any of the three heroes i listed, just lock in and go for that hero. I also don't count the Imp Adventure Chest as picking up a hero. I'm talking through PO, HS, Super Casino, Random Holiday Events, Heroic Miracle, or Altar Event. Keep the Imp Chest a Chest until you pull the trigger on deciding which hero you are going to make. Once you decide on a hero, you can open the chests. Feathers should never be used until you can promote a hero to E5 the exact moment you spend them. If you are still building Fodder or the copies don't add up to 9, you don't spend feathers. The reason is because we really only want to spend feathers on this first hero for speed. After this first hero, feathers should be solely for Light/Dark hero copies or 400 Feather P2W Artifacts. So the less you can spend the better. It is still worth using them at the right time for your first E5 though.
If you aren't sure where to orb, i would suggest one of 2 things. 1.) If you have any copies of the heroes above, try the faction you have the most of. 2.) If you don't have any, pick Fortress. It has Inosuke and Sherlock. Both are great. Shadow basically only has Tix. Forest has Garuda and Rogan which are good but aren't quite as good as Sherlock and Inosuke.
At the moment Inosuka and Tix are probably the most useful heroes. Therefore if you have no copies of any of the other listed heroes, you should just start your aim there.
Once you get an E5 hero, you don't start filling in your team with a bunch of crap low star heroes. You start the process over again on a new hero. Though maybe this time include Light/Dark as options. You really shouldn't ever be building anything that isn't going towards an E5 Hero, other than maybe HeartWatcher and Sigmund which are generally fine at 10★ or E3.

Picking 10★ Fodder Heroes

Faction	Hero	Hero	Hero
Shadow	Dominator	Walter	Corpse Demon
Abyss	Karim	Barea	King Barton
Forest	Starlight	Groot	Vesa
Fortress	Ormus

To make an E5 hero, we need three 10★ sacrifices for the last steps. So it helps to make those useful heroes until its time to sacrifice them. Which of these heroes you build will depend on luck, and the faction you choose to use Prophet Orbs on. Each faction has a few worthy 10★ heroes listed above.

Streamline the Fodders

The fodder process needs to be focused on building only 1 Non-Fodder Hero to E5. That means leaving all other God Tier Heroes unmade and in Token form if you can help it. This will stop them from taking up a hero slot. Good to get in the habit of keeping heroes in Token form until they are needed. That being said, any hero i didn't list at the very top of this thread should be put to use making 10★ fodders. No need to save them if they aren't on that list.
The biggest mistake newer players make is underestimating the power of 4★ Shards and not picking them up at every available opportunity. The importance of 4★ Heroes IS HUGE. It is the basis for 75% of my growth. You build the shard numbers daily, in small amounts. By the end of the month, they add up to thousands. On top of that, with the monthly Fusion quest, the first 20 5★s you make reward you gold, which you will need. They should be picked up at every chance. Here is where to find them.

Marketplace: 30x Shard for 1.5m Gold (pick up 3★s too)
Seal Land: Smash daily for the most you can (after 10 or so buy 3x extras smashes)
Event Raid Hero Challenge: Spend gems for extra completes here. All that you can EVERYDAY.
Tavern Quests
Aspen: The Lady Dude sells 30x Shards for 1.5m Gold

My Monthly Progress:

All month long, do everything to build 4★ shards
Once Heroic Miracle comes around
- Use all my Heart Summons, destroy all 1★ and 2★
- Use all my Random 4★ shards along with 3★ shards to form 5★s
Keep forming 5★s until i can turn them into a 6★
Once i have three 6★s of the same faction a. Collect 9 more 5★ fodders of that faction b. Collect 1 more copy of one of the 6★ heroes c. Craft a 9★
Use 5★ Random Summon Shards a. You want to collect 5 of any of these heroes. b. If you have 2 copies of any of them, make a 6★ c. Make a 10★ with said hero

Change Log:

Changed all kinds of crap. Cut out tons of non-sense filler. Mostly updated so people reading don't build the outdated heroes. Its been awhile since i updated this.

[WTS] World silver coins: Canada, Germany, South and Central America, 5 Grain Bars, etc. (some below spot)

Exploring the future - Syndicate

Previous thread(s)
Neutral
Monsters
Scoia'tael
Characters that are bold are some that I think could fit leader characters/reward trees (if they are painfully obvious like Northern monarchs then I won't highlight them just because there's so many). Of course you are free to disagree with my choices! (If they appear in multiple sections I will only highlight them once.)
Syndicate:

Missing leaders: Sigismund Dijkstra, Cyrus Hemmelfart, King of Beggars, Gudrun Bjornsdottir, Whoreson Junior, Cleaver

Unused card arts: Tuur

Vizima: Ramsmeat/Jeremiah Trick, Coleman, Mr Glover and his two pet wyverns, Angus, Jethro, Carmen, Raymond Maarloeve, Ralf Duben, Haren Brogg. Possibly Ori Reuven too.

Flotsam: Bernard Loredo, Marietta Loredo, Vencel Pugg, Dmitri, Louis Merse, Clovisse Merse, Margot, Arnolt Malliger, Alphonse and Myron, King Ziggy, Fioravanti, Vilmos Bartok.

Dijkstra's "gang": Sigi, Bart, Happen, Madame Serenity, Fonce, Vespula (she was working for Dijkstra at the bathhouse and also seemed to be getting in some trouble with Junior's goons). Sigi's henchmen also have various designs in W3, so the devs have things they could work with for bronzes.

Blindeyes: Hattori - it's criminal that Hattori and Sukrus can't be played in the same faction. For others maybe Paliga (a Novigradian pickpocket in one of the comics), Eustace, Elihal? There's also lots of Novigradian working girls that could fall under Blindeyes (such as Madame Serenity, Salma, Crippled Kate), but I gave them their own section later in this list.

Crownsplitters: Ernst van Hoorn, Ginter de Lavirac, Grun, Pup. Cleaver's business ventures like horse racing, or maybe even racing pigeons.

Cutups: Olgard, Vick, Junior's casino dealer (he didn't have a name in W3 afaik but that's an easy fix), possibly Gustav Roene. Novigrad has a zoo apparently, so wouldn't be surprised if some more exotic animals show up in the arena - Zanguebarian hyenas with their laughing would feel pretty fitting as Cutups, don't you think?

Tidecloaks: The Hairy Brothers from Junior's arena possibly. Sukrus's brother-in-law could maybe fit too.

Salamandra: Adda, Berengar, Azar's Koshchey, Angus, Vencel Pugg, Gavrilo, even Loredo affiliated with Salamandra remnants in Witcher 2 for his fisstech operation. The wiki mentions Louis Merse and Dmitri as being Salamandra, but from playing W2 I don't remember any explicit ties to Salamandra for those two myself but maybe I missed it.

Eternal Fire: Hieronymus Brunckhorst, Chappelle (both human and doppler), Reverend from W1, Odo, Hubert Rejk, Iron Mortimer, Fritz Kreft, Gilbert Witschke, Prochaska, Saint Gregory, Saint Anselm, Council of Electors. There is also the Temple Fleet, but maybe CDPR want to keep ships to the Tidecloak part.

Flaming Rose: Arthur Tailles, White Rayla, Polycarp of Rinde, Adalbert, Eric Vogel, Evariste of Metinna, Patrick de Wayze, Tybalt, Siegfried de Lowe, Supreme Council. More Fallen Knights: Tuur (we've seen leaked art for him), Fette de'Amin, Robbe, Ernst Goltz, Lewie, Thunder, Anselm, Antoine Pfeil, Peter Nayhaer.

Witch Hunts: Radovid, Triss, The Warden, Hubrecht, Dirk, Egbert, Yamurlak, Falka's Bed (witch hunter torture device mentioned in W3). Also mages/mage allies like Triss, Corinne Tilly, Arthur de Vleester, Kluhg, Moritz Diefenthal, Felicia Cori, Berthold, Anisse, Remi Villeroy, Albert Vegelbud, Olivier possibly. Worth mentioning that Triss was working for Dijkstra and King of Beggars at times, as they were helping the mages.

Jad Karadin's gang: Hammond is already in the game, so the remaining ones we know of are Jad, Lund, Vienne, Selyse (she also owns a brothel named Black Lily if it's relevant). Lund is also posing as a Novigradian councillor so he can continue criminal ventures without being caught as easily, which might also be a theme to expand on.

Borsodi auction house: Maximilian Borsodi, Max's (currently unnamed) brother, Abner de Navarette

Hearts of Stone heist: Eveline Gallo, Hugo Hoff, Quinto, Casimir Bassi, Otto Bamber, Maarten

Dwarven Bankers/Banks: Vivaldis: Vimme, Golan, Igor. Cianfanellis: Cosma, Nino, Giacomo, Amadeus. Molnar Giancardi, Gabron Zammorto.

Detective/Information agencies: Codringher and Jacob Fenn - for the right price the two would employ all sorts of shady tactics for their clients, and their clientele were often not the most honest of folk either. Also Raymond Maarloeve learned his trade from them, and is connected to Salamandra storyline. Victor Veritas/Truthseekers, since we have Walter maybe his father could appear too.

Working Girls: I suppose the Novigrad ones of these would probably fall under Blindeyes. Madame Serenity (she also worked with Dijkstra when he was planning his assassination of Radovid, so can fit Dijkstra's gang too), Salma, Whistling Wendy, Sweet Nettie, Crippled Kate, Narcissa, Amrynn, Viola, Mercia, Bertha, Suzy, One-Eyed Emmy, Carmen, Margot.

Mercenaries: Adrianna, Vincent Molnar, Hans of Cidaris, Nino Murk, Narsi Sattelbach, Ulster Hood. The Koviri mercenaries, like the Free Company with Adam Pangratt, Julia Abatemarco, Juan Gutierrez, Lorenzo Molla, could maybe fit too.

The Arts/Performances: Butcher's Yard, Irina Renarde, Madame Irina's Troupe (The Foxen), The Puffins, Callonetta (Priscilla), Crimson Avenger (Dandelion), Dudu, Abelard Rizza, Maxim Boliere, Sofus the Bull, Hal, Polly. Whoreson Senior apparently enjoyed the arts.

Monsters: Adda, Azar's Koshchey, Hubert, Chappelle, Janne the Imp, Salma, Bart, Glover's two pet wyverns, Pyral's Vigilosaur, possibly Little Red.

Novigradian families: Vegelbuds (Erasmus, Ingrid, Patricia, Albert, Luc), de Jonkheers (one of the de Jonkheers helped build Novigrad, later one of the descendents Rudolf de Jonkheer runs one of the biggest banks in Novigrad), var Attre (Henry, Rosa, Edna--more likely to be NG but they did live in Novigrad and Henry was mysteriously removed at end of beta), de Sepulvedas (Briana, Jacob, Xymena).

Kovir: Even though they don't entirely fit the crime side of the faction, they do fit the money side without question, especially Esterad Thyssen. The man was obsessed with coin. Plus, Kovir is defined by its profit and trade - money is their whole shtick, the same as Syndicate's. Both Kovir and Novigrad consider themselves neutral parties - Kovir is neutral kingdom, while Novigrad is the Free City not ruled by any king. When Esterad Thyssen aided NR he did so not through soldiers, but money through Hemmelfart that went onto Redania (and it wasn't even his own money that he used!). He released convicts from prison and sent them as mercenaries to aid in the war, not because he felt any sort of loyalty to the north, but because he wanted them to return after the war with lots of money for himself ("Cats always come home. Well, and when my cats return, when they bring their pay, their spoils, their riches... I shall tax them!"). The mercs (Sly Cats/Free Company) were in later years for hire for whomever would pay, such as Adam Pangratt working for Henselt and Dethmold in W2.
Aristide Vermuellen, Esterad's spymaster and son-in-law, worked with banks like Vivaldi and Cianfanelli. Dijkstra and Esterad were pretty fond of each other - and as above, it's very likely Hemmelfart and Esterad can be linked too. And speaking of Dijkstra he also broke Happen out of a Koviri prison, and his treasure was moved to a Koviri vault by Menge. Tancred accepted the mages fleeing Menge, and Esterad was distrustful of mages like Sile. Going back into the earlier days of Kovir, you have likes of Troyden or Scarab Thyssen, both of whom were considered slippery and shady individuals, Scarab being no better than bandit and robber. Ivo Mirce (aka Cicada) from Shard of Ice was also a wanted criminal in various Koviri cities. A more indepth list of Koviri characters will be in the NR list in a few days, but I think SY is a stronger possibility for Koviri content since it keeps them neutral between NR and NG as they like to be seen, while also fitting the money theme perfectly.

Merchant's Guild: Despite them not liking Salamandra (then again neither does Ramsmeat), they would fit the money theme, and Declan Leuvaarden employs all sorts of shady and illegal bribes, business ventures, and contacts. The organisation also has presence in Novigrad (unless it's a different one).

Other criminals: For these next few sections, it's totally possible that some of them could be put under gangs, I just am not gonna be the one to decide which and why. Ireneus var Steingard, Prince Adrien of the Sea Cat, Kiyan, Ralf Blunden (I know he was original basis for Professor but he could still get a card), Heimo Kantor, Little Yaxa, Michelet Brothers (Toublanc, Rizzi, Flavius, Lodovico), Bernard Tulle, Duke, Earl, Titus Gielas, Jerosa Fuerte/Needle, Blind Leon, Kranmer and Kwintensen, Lussi the Fox, Pyral Pratt, Antea Derris, Mikita, Pyral's Vigilosaur.

Others: Dainty Biberveldt, Ther Lukokian (Truffle), Joachim von Gratz, Walthemor Mitty, Henckel, Joachim Schwann, Marcus TK Hodgson, Henri Rautlec, Fabian Meyer, Gus Meyer, Muskrat, Beau Berrant, Bertrand Wirtz, Eberhartt of Rivia, Drofuss, Horvath. Issa, Tekla. Javil Fysh, Petru Cobbin, Kevenard van Vliet, Pudlorak, Boxcray, Parlaghy. Bea, Wolverstone, Liglad. Herbercks (Bruno, Lotta, Petunia), Detchka, Gunter Craggs, Marabella.

Fistfighting: Zdenek, Claytop, Durden the Tailor, Iron Mortimer, Archibald O'Neil, Georgius 'Piledriver' Georg, King Ziggy, Twigs, Matho, Smugface, Fat Fred, Butter Bean, Andrew Gablodda, The Rock (lol)

Possibly something from Zerrikania too: It's possible Dijkstra established some sort of ties and connections in Zerrikania while he was a fugitive. He also won Bart from a camel merchant there.

Locations: Temple Isle (Firesworn), Silverton, Gildorf, Farcorners (Crownsplitters), The Bits (Cutups), Harborside (Tidecloaks), Lacehalls (Blindeyes), Hierarch Square (Witch Hunters), Butcher's Yard, Dijkstra's Bathhouse, Junior's Arena, Putrid Grove, Deireadh Prison, Flotsam

It was interesting to me how much I found for Syndicate. I was expecting it to be a little light on future possibilites, but I think it has a healthy amount still to work with.
Thanks for reading! Tomorrow will be the Empire's day!

[WTS] Auction Leftovers #6

Hello again, and good morning!
This listing is for items that did not sell during the January 17 Auction, so you can buy anything you want right here and right now - no buyer's premiums, no additional fees.
*FREE shipping for any order over $100.
*All items priced at $1 are now .75 each
Each lot was individually imaged (front and back) for the auction - so the easiest way for you to see exactly what you're buying is to visit the auction link (the auction is over, so I'm not advertising anything different or advertising an upcoming auction) - so here that is:
https://www.invaluable.com/catalog/2qx7j50tq0?size=50&page=1&categories=&sort=
Here is the required "prove you still have the stuff" photo with the username card and today's date:
PHOTO
Payment: PayPal only. I do not have Venmo/Zello/Bitcoin or any other form of digital payment at this time. No notes if using PPFF, please. (Thank you.) If you choose to use PPFF, please make sure to send me your shipping address here as it won't automatically load with your payment.
Shipping: I will charge you what it costs me for the USPS label rounded up to the nearest dollar. For First Class that is usually $4, for USPS Priority Mail Flat Rate Small Box it will be $9. I will get you a tracking number right after payment is received and will get your package scanned into the USPS system within 24 hours of receipt of payment. I will offer "Risky Shipping" (via stamped greeting card) at my discretion for $1 - for single, small coins ONLY. NOTE: These prices are for Continental US shipping only - if you live outside the continental US, shipping will be more expensive. I am still happy to do it under the same rules as above, but just keep in mind it's going to cost more.
What do YOU need to do to buy coins from this group: send me a list of which lots you want (for example, I want to buy lots # 51, 52, 53, 54, 55) and I will send you a total. There are too many coins here (plus there are duplicates) so I cannot look up the coins you want by description - just give me lot numbers and it will be much simpler.
I'd like to make a simple and polite request - if I have sent you my PayPal information (meaning we've agreed to a deal) please finish it up as soon as you can so I can check you off the list and move on to the next person. This helps make sure you get all the coins we discussed and no one else is in limbo.
I will do my absolute best to update the ad as soon as lots sell.
LEFTOVERS:
52 China (Republic) 10 Cash $5.00
57 China (Hu-Peh Province) 10 Cash $1.00
59 Hong Kong - 1866 1 Cent NICE $8.00
61 China (Republic) 10 Cash $3.00
62 China (Kiang-Nan Province) 10 Cash NICE $20.00
63 China (Republic) 20 Cash $5.00
64 ~~1977 D Eisenhower Dollar UNC MINT CELLO $4.00~~
67 British West Africa - 1940 1/10 Penny NICE $5.00
70 France (Perpignan) 1917 A 10 Centimes $5.00
71 1976 Shelbyville Dam (Illinois) Elongated/Smashed Nickel Souvenir $3.00
76 ~~France (Orleans/Lyon/Toulouse) 10 Centimes Transportation Token (good to 31 Dec 1918) $3.00~~
77 Papua New Guinea - 2008 2 Kina UNC $2.00
78 Missouri Insurance Company (St. Louis) Good Luck Token $3.00
79 1900 India (Rama-Laksmana) Type C #1 (Brotman) Temple Token NICE $40.00
80 ~~1956 Roosevelt Dime UNC TONED $6.00~~
83 1955 General Motors "Motorama" Medal BU $15.00
86 Central States 70th Anniversary Convention Token Jerry Lebo Advertising $6.00
87 Consolidated Numismatic Advertising Token Good For $1 Edmundston, Canada $2.00
88 France (Perpignan) 1917 A 5 Centimes $5.00
91 France (Perpignan) 1921 A 25 Centimes Scalloped Edge $8.00
93 ~~Ukraine - 2003 100 Hryvnia UNC $2.00~~
94 German East Africa (Tanzania) - 1916 T 20 Heller $10.00
95 Illinois Governer Otto Kerner Inauguration Medal $2.00
96 5 Cent Trade Token NICE $3.00
98 Germany (Schleswig-Holstein) - 1923 10 Mark Notgeld UNC $10.00
99 A. Phillips Co Cambridge, Maryland 20 Cent Trade Token NICE $8.00
100 EZ Park Courtesy Token $1.00
159 Great Britain - 1949 Penny NICE $2.00
~~163~~ ~~1959 Type B Reverse Washington Quarter UNC TONED $12.00~~
165 Great Britain - 1932 1 Penny NICE $3.00
~~166~~ ~~1960 Type B Reverse Washington Quarter UNC $10.00~~
167 1960 Type B Reverse Washington Quarter UNC $10.00
169 Portugal - 1921 10 Centavos NICE $10.00
~~170~~ ~~Germany (Prussia) 1700's-1800's Jeton (Token) Wilhelm 3 "Neue Ehre Neues Gluck" $3.00~~
172 1963 Type B Reverse Washington Quarter UNC TONED $12.00
175 1964 D Washington Quarter UNC TONED $8.00
176 Canada - 1921 1 Cent NICE $4.00
~~179~~ ~~Stag Beer Wooden Nickel "Fair on the Square" $1.00~~
180 The TV Shop Slidell, LA One Wooden Buck $1.00
181 Canada - 1929 1 Cent NICE $3.00
~~185~~ ~~1962 Type B Reverse Washington Silver Quarter NICE $8.00~~
186 Canada - 1920 1 Cent NICE $4.00
~~188~~ ~~1957 Type B Reverse Washington Quarter NICE $6.00~~
192 Canada - 1945 5 Cents NICE $2.00
193 State of Missouri Sesquicentennial Medal $2.00
194 State of Missouri Sesquicentennial Medal $2.00
195 Canada - 1945 5 Cents NICER $4.00
~~196~~ ~~France - 1916 2 Centimes LOW MINTAGE $2.00~~
~~197~~ ~~Germany (Empire) 1914 J 2 Pfennig NICE $8.00~~
198 Mexico - 1946 1 Centavo NICE $1.00
~~200~~ ~~Mexico - 1924 2 Centavos BETTER DATE $6.00~~
~~259~~ ~~1954 S Washington Quarter UNC $10.00~~
260 1957 Washington Quarter UNC TONED $10.00
261 1963 Type B Reverse Washington Quarter UNC TONED $20.00
~~262~~ ~~1999 D Kennedy Half Dollar UNC from Mint Set GEM BU PROOFLIKE $3.00~~
263 1941 S "Large S" Lincoln Wheat Cent $1.00
~~264~~ ~~1941 S "Large S" Lincoln Wheat Cent $1.00~~
~~266~~ ~~1941 S "Large S" Lincoln Wheat Cent $1.00~~
267 1941 S "Large S" Lincoln Wheat Cent $1.00
269 Maybrook NY Golden Jubilee Good For 10 Cent Wooden Nickel $1.00
270 Maybrook NY 1975 Golden Jubilee 25 Cent Wooden Nickel $1.00
274 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00
~~275~~ ~~World Silver - Barbados 1973 Proof 5 Dollars LOW MINTAGE $20.00~~
276 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00
~~277~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00~~
279 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00
280 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00
~~281~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00~~
~~282~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse Book Low UNC $2.00~~
~~286~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 002 UNC $2.00~~
~~287~~ ~~1983 Lincoln Cent DDO FS-101 $25.00~~
~~288~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00~~
~~289~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00~~
~~291~~ ~~1964 D Washington Silver Quarter UNC TONED $8.00~~
293 1960's Terre Haute, IN Sesquicentennial Wooden Nickel $2.00
295 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 002 UNC $2.00
296 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 002 UNC $2.00
298 1982 Buffalo NY Sesquicentennial Wooden Nickel $1.00
352 Denmark - 1950 5 Ore KEY DATE $10.00
354 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00
355 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00
~~356~~ ~~2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00~~
357 1990 Rappahannock Area Coin Club Wooden Nickel $1.00
~~359~~ ~~Germany (Empire) - 1874 C 1 Pfennig $2.00~~
360 Old Time Wooden Nickel Co Support Our Troops Wooden Nickel $1.00
361 1941 S "Large S" Lincoln Wheat Cent $1.00
362 1941 S "Large S" Lincoln Wheat Cent $1.00
364 1980 D Jefferson Nickel Mint Error - Minor Curved Clip (@3:30) $3.00
365 1979 S "Type 2 - Clear S" Proof Jefferson Nickel $2.00
~~367~~ ~~Germany (Empire) - 1895 F 1 Pfennig $3.00~~
~~368~~ ~~Germany (Empire) - 1874 A 1 Pfennig $2.00~~
~~369~~ ~~Germany (Empire) - 1900 F 1 Pfennig $2.00~~
~~370~~ ~~Germany (Empire) - 1874 B 1 Pfennig $2.00~~
371 Australia - 1951 3 Pence $2.00
~~372~~ ~~Great Britain - 1861 3 Pence $3.00~~
~~373~~ ~~Germany (Empire) - 1875 J 5 Pfennig $2.00~~
375 50 Cents in Trade Token $1.00
~~376~~ ~~Germany (Empire) - 1874 E 2 Pfennig $2.00~~
377 Clear Lake, IA Perkins Wooden Nickel $1.00
378 50 Cents in Trade Token $1.00
379 Medallic Art Co Grand Canyon National Park 50th Anniversary Medal Bronze $3.00
380 Great Britain - 1981 25 New Pence UNC $3.00
382 Pomona National Bridge / Jackson County 200 Year Anniversary Medal $3.00
~~383~~ ~~Guyana - 1970 1 Dollar UNC $2.00~~
~~384~~ ~~Germany (Empire) - 1875 J 2 Pfennig $4.00~~
385 Illawarrra Numismatic Association Membership Discount Wooden Nickel Token $1.00
386 San Juan Quality Royale Casino Token $1 Face Value $1.00
~~387~~ ~~Canada - 1963 Prooflike 1 Cent Emerald Rainbow Toning $3.00~~
388 Artisan Silverworks Temecula, CA Wooden Nickel $1.00
389 Canada - 1966 1 Cent Emerald Toning $2.00
~~390~~ ~~Germany (Empire) - 1875 E 2 Pfennig $2.00~~
~~391~~ ~~Germany (Empire) - 1874 H 2 Pfennig $4.00~~
392 5 Cent Token $1.00
~~394~~ ~~Germany (Empire) - 1894 F 1 Pfennig $3.00~~
395 Denmark - 1904/804 1 Ore NICE $8.00
396 Netherlands Antilles - 1965 2.5 Cents UNC TONED $6.00
397 Germany (Empire) - 1874 G 1 Pfennig $10.00
398 Netherlands - 1921 1/2 Cent BETTER DATE $2.00
399 Netherlands - 1922 1/2 Cent BETTER DATE $4.00
400 Germany (Empire) - 1874 D 10 Pfennig $3.00
~~451~~ ~~Sweden - 1901 1 Ore $1.00~~
452 Norway - 1948 50 Ore Overdate 4/4 $5.00
453 Netherlands Antilles - 1959 1 Cent UNC $2.00
~~454~~ ~~Germany (Empire) - 1899 A 1 Pfennig $1.00~~
~~455~~ ~~Germany (Empire) - 1899 A 1 Pfennig $1.00~~
~~456~~ ~~Germany (Empire) - 1898 A 5 Pfennig $1.00~~
~~457~~ ~~Germany (Empire) - 1875 F 5 Pfennig $1.00~~
458 Canada - 1948 5 Cents $1.00
460 Denmark - 1951 10 Ore NICE $5.00
~~461~~ ~~Barbados - 1973 Proof 5 Cents in OGP $1.00~~
~~462~~ ~~Germany (Empire) - 1875 A 5 Pfennig $1.00~~
463 Barbados - 1973 Proof 25 Cents in OGP $1.00
~~464~~ ~~Germany (Empire) - 1876 D 5 Pfennig $1.00~~
~~465~~ ~~Hungary - 1965 2 Filler Key Date $5.00~~
~~466~~ ~~Germany (Empire) - 1889 A 5 Pfennig $1.00~~
467 Germany (Empire) - 1889 A 5 Pfennig $1.00
~~468~~ ~~Switzerland - 1968 5 Rappen UNC TONED $1.00~~
~~469~~ ~~Germany (Empire) - 1875 A 5 Pfennig $1.00~~
~~470~~ ~~Germany (Empire) - 1875 C 5 Pfennig $1.00~~
~~471~~ ~~Trinidad & Tobago - 1973 Proof 1 Cent in OGP $1.00~~
~~473~~ ~~Germany (Empire) - 1892 D 5 Pfennig $1.00~~
474 Germany (Empire) - 1897 A 5 Pfennig $1.00
~~475~~ ~~Germany (Empire) - 1890 E 5 Pfennig $1.00~~
~~477~~ ~~Germany (Empire) - 1890 D 5 Pfennig $1.00~~
~~478~~ ~~Germany (Empire) - 1894 D 5 Pfennig $1.00~~
480 Barbados - 1980 Proof 25 Cents in OGP cello $1.00
~~481~~ ~~World Silver - Switzerland 1975 1 Franc $6.00~~
~~482~~ ~~Germany (Empire) - 1897 D 5 Pfennig $1.00~~
~~484~~ ~~Canada (New Brunswick) - 1861 1 Cent $3.00~~
~~485~~ ~~Canada (Nova Scotia) - 1861 1/2 Cent $2.00~~
486 Austria - 1893 10 Heller $1.00
488 Netherlands East Indies - 1921 1/2 Cent NICE KEY DATE $8.00
489 Austria - 1895 10 Heller $1.00
490 Austria - 1894 20 Heller $1.00
~~492~~ ~~World Silver - Mexico - 1887 Do C 10 Centavos LOW MINTAGE $5.00~~
~~551~~ ~~South Africa - 1965 Proof 1 Cent LOW MINTAGE 25,000 $2.00~~
~~553~~ ~~Switzerland - 1902 2 Rappen KEY DATE FIRST YEAR $8.00~~
554 Panama - 1975 Proof 1 Centesimo in OGP $5.00
557 South Africa - 1965 Proof 5 Cents LOW MINTAGE 25,000 $2.00
~~560~~ ~~South Africa - 1965 Proof 20 Cents LOW MINTAGE 25,000 $2.00~~
561 Panama - 1975 Proof 5 Centesimos in OGP $1.00
562 Panama - 1976 Proof 5 Centesimos in OGP $2.00
563 South Africa - 1965 Proof 50 Cents LOW MINTAGE 25,000 $5.00
564 South Africa - 1966 Proof 1 Cent LOW MINTAGE 25,000 $2.00
565 South Africa - 1966 Proof 2 Cents LOW MINTAGE 25,000 $2.00
566 South Africa - 1966 Proof 5 Cents LOW MINTAGE 25,000 $2.00
567 South Africa - 1966 Proof 10 Cents LOW MINTAGE 25,000 $2.00
568 Panama - 1974 Proof 5 Centesimos in OGP cello $1.00
569 South Africa - 1966 Proof 20 Cents LOW MINTAGE 25,000 $2.00
572 Panama - 1973 Proof 1/10 Balboa in OGP $1.00
573 South Africa - 1967 Proof 1 Cent LOW MINTAGE 25,000 $2.00
574 Barbados - 1973 Proof 1 Cent $1.00
575 Panama - 1973 Proof 1/4 Balboa in OGP $1.00
576 South Africa - 1967 Proof 2 Cents LOW MINTAGE 25,000 $2.00
577 South Africa - 1967 Proof 5 Cents LOW MINTAGE 25,000 $2.00
~~578~~ ~~South Africa - 1967 Proof 10 Cents LOW MINTAGE 25,000 $2.00~~
579 South Africa - 1967 Proof 20 Cents LOW MINTAGE 25,000 $2.00
580 South Africa - 1967 Proof 50 Cents LOW MINTAGE 25,000 $4.00
584 Liberia - 1974 Proof 10 Cents in OGP $1.00
590 Mexico - 1923 1 Centavo NICE UNC TONED $8.00
593 Mexico - 1923 5 Centavos NICE $5.00
594 Bahamas - 1970 Proof 1 Cent in OGP $1.00
595 Mexico - 1935 20 Centavos NICE $30.00
596 Token "10" Unknown origin $1.00
652 Indiana Sesquicentennial Medal 1966 $3.00
654 Alleppey Dist Treasury 286 Token $3.00
655 Creotina Remedies Belleville, IL Token $3.00
657 Mexico - 2001 1 Peso UNC in original cello $1.00
~~658~~ ~~Germany (Empire) - 1903 A 1 Pfennig $4.00~~
~~662~~ ~~Germany (Weimar) - 1924 A 1 Pfennig NICE $6.00~~
664 Malaysia - 1977 50 Sen TONED UNC $3.00
665 Franklin D Roosevelt $2 Trade Token Union Maystern $3.00
666 Great Britain - 1953 5 Shillings UNC (Crown sized) $5.00
667 Russia - 1994 50 Roubles Blind Mole Rat LOW MINTAGE UNC $3.00
672 Mint of Romania Aluminum Token UNC $3.00
673 Bahamas - 1973 and 1974 Proof 1 Cents in OGP (two coins) $1.00
675 Canada - 1939 5 Cents UNC $20.00
676 Penny Press Mint 1 Dollar Token (Morgan Dollar Inspired Design) $2.00
677 Penny Press Mint 1 Dollar Token (Morgan Dollar Inspired Design) $2.00
678 France (Paris) Montmartre Auditing Firm "Good for one audition" Token $2.00
679 Thailand - Bangkok Institute of Accounting Token $1.00
680 Swedish Shooting Medal Double Pistols Design $3.00
681 1941 Mercury Dime Pin $4.00
682 Korea (Republic) - 1968 5 Won UNC $25.00
683 Korea (Republic) - 1973 50 Won NICE $5.00
684 Russia - 1994 50 Roubles Bison NICE LOW MINTAGE $2.00
685 Coca-Cola 1974 "It's the real thing" Silver Dollar City Token $5.00
686 State Mint of Romania Octagonal Token UNC $2.00
687 Canada - 1937 Dot 5 Cents UNC $10.00
688 France - 1977 10 Francs TONED $2.00
690 Saarland - 1954 10 Franken UNC $8.00
692 Mount Vernon, VA High School Token $1.00
693 Korea (Republic) - 1967 10 Won NICE $5.00
694 Korea (Republic) - 1967 10 Won UNC $40.00
695 Princes of Jerusalem - Cahokia Council A.A.S.RITE Valley of East St Louis Token $3.00
697 Magic Mountain Valencia California Souvenir Token $2.00
698 Pearl Harbor, Hawaii Driver's Association "good for one full fare" token $1.00
700 Downtown Granite City (Illinois) Shopping Center Token $3.00
751 Canada - 1957 House of Commons Medal $3.00
753 Mr. Pizza (World's Worst Pizza) Wooden Quarter Token $1.00
754 National Pony Express Centennial Medal So Called Dollar UNC TONED $5.00
755 Pulaski Bowling Center Free Game Wooden Nickel Token $1.00
756 Four Canada 1991 UNC Cents (4 coins) in OGP CELLO $1.00
757 Four Canada 1991 UNC 5 Cents (4 coins) in OGP CELLO $1.00
758 Pair of Two Thomas Jefferson 1 Cent Postal Stamps $1.00
761 Mexico - 2000 10 Pesos UNC in original cello $6.00
764 Ye Olde Curiosity Shop Seattle 25 Cent Wooden Nickel Token $1.00
765 Mexico - 2000 20 Pesos UNC in original cello $10.00
768 Morocco - AH1320 10 Mazunas $8.00
773 Diamond Dolls Pompano Beach, FL Free Hamburger Wooden Nickel Token $1.00
774 Nadine's Backwoods Bistro One Free Tap Beer Wooden Nickel Token $1.00
775 Ocean Springs Mini Golf One Free Game Wooden Nickel Token $1.00
~~777~~ ~~Poland - 2014 2 Zlotych UNC $2.00~~
778 Lansing, Michigan University Quality Inn One Free Well Drink Wooden Nickel Token $1.00
780 San Jose, California Donut Delight One Small Drink 40 Cents Wooden Nickel Token $1.00
781 H.E.B. Hustle Chip Wooden Nickel Token $1.00
782 Two Mixed Tokens $1.00
784 South Gate, California Robby's Tepee 1 Glass Draft Beer Wooden Nickel Token $1.00
785 Macadoo's One Free Sara Lee Bagle (with butter!) Wooden Nickel Token $1.00
786 Canada - 1970 1 Cent TONED $1.00
788 State Penal Institution 5 Cent Good For Token $3.00
790 Fishing Equipment & Tackle 10% Discount Wooden Nickel Token $1.00
791 District Treasury Alleppey 1860 Token Government of Kerala $2.00
792 Russia (Empire) - 1881 1 Kopek $1.00
793 Black Duck Buck Good For One Premium Drink Wooden Nickel Token $1.00
794 Goodles, Michigan Cook's Cobblestone One Free Beer Wooden Nickel Token $1.00
796 San Diego, California My Yogurt Place One Free Frozen Yogurt Sundae Wooden Nickel Token $1.00
797 Canada - 1939 Coronation Medal $2.00
798 Ellsworth, Maine Bicentennial Headquarters Wooden Nickel Token $1.00
800 Suwanee River Attractions 25 Cent Admission Wooden Nickel Token $1.00
851 Sunnyvale, California Odyssey Room 1 Free Drink Wooden Nickel Token $1.00
852 Great Britain - Queen Victoria 60 Years of Rule Medal $3.00
854 Belgium - 1944 2 Franc NICE $1.00
855 Fredericksburg, Virginia Rappahannock Area Coin Club Wooden Nickel Token One free month $1.00
859 Monarch Automatic Co Northhampton Good For One Coupon in Trading Token $2.00
860 Netherlands - 1881 1 Cent $1.00
862 Mexico - 2000 20 Pesos UNC in original cello $10.00
863 Fredericksburg, Virginia Rappahannock Area Coin Club Wooden Nickel Token One free month $1.00
864 Tullahoma, Tennessee The Finish Line Free Drink Wooden Nickel Token $1.00
865 Here's Johnny's 25 Cents off Purchase Wooden Nickel Token $1.00
866 $1 Good For Token Large $3.00
867 Canada - 1939 Coronation Medal $3.00
868 Boise, Idaho Miller's Sewing Center 25 Cent Needle Package Wooden Nickel Token $1.00
869 San Antonio, Texas Dan's 10861 FM "Round TUIT" Wooden Token $1.00
870 Belgium - 1836 2 Centimes $1.00
871 Vandalia, Ohio Skipper's $3 off purchase Wooden Nickel Token $1.00
872 Roseville, California Onyx Club One Free Beer Wooden Nickel Token $1.00
873 Long Beach, California Fayette Cleaners Wooden Nickel Token $1.00
874 Beckett, Massachussetts 1965 Bicentennial Lee National Bank 5 Cent Wooden Nickel Token $1.00
875 Munhall, Pennsylvania 5 Cent Wooden Nickel Token $1.00
~~877~~ ~~Washington, Indiana Sesquicentennial 1966 Wooden Nickel Token $1.00~~
878 1953 Queen Elizabeth Coronation Medal $3.00
881 Fredonia, New York Coyle's Pub One Free Drink Wooden Nickel Token $1.00
882 Monterey, California Wharfside Restaurant Complimentary Calimari Appetizer Wooden Nickel Token $1.00
883 Lyman, Wyoming Cecil Sanderson Military Token & Wooden Nickel Collector "Round TUIT" Token $1.00
884 Eastlake, Colorado Karl's Farm Dairy Inc 25 Cent Wooden Nickel Token $1.00
885 Elko, Nevada Ed's Coins & Currency "Cents of Humor" Wooden Nickel Token $1.00
887 Richmond Hot Stuff Deluxe Tattoo One Free Drink Wooden Nickel Token $1.00
888 Australia - 2014 1 Dollar 100 Years of ANZAC $1.00
889 Sacramento, California The Tides 1 Free Beer Wooden Nickel Token $1.00
890 Lancaster, Pennsylvania The Comic Store Free Comic Wooden Nickel Token RARE $1.00
891 Bennington, Vermont Bicentennial 1961 5 Cent Wooden Nickel Token $1.00
892 Torrance, California Old Towne Mall One Free Play Wooden Nickel Token $1.00
893 Duenweg, Missouri State Bank One Quart Token NICE $3.00
894 Rotary International Token $1.00
896 Canada - 1930 House of Commons Medal $3.00
897 Greenfield, Iowa Al's Shoe Service 5 Cents Wooden Nickel Token $1.00
900 France - 1944 C 2 Francs $1.00
951 France - 1944 C 2 Francs $1.00
952 Poland - 2006 2 Zlotych $3.00
953 Poland - 2003 2 Zlotych $3.00
954 Aurora, Illinois Dairy Queen Free Small Sundae Wooden Nickel Token $1.00
955 Mullan, Idaho Silver Dollar Bar 1 Free Drink Wooden Nickel Token $1.00
956 Poland - 2004 2 Zlotych $3.00
957 New Horizons Computer Learning Center Turkey Token 10 Auction Dollars Wooden $1.00
962 Lake of the Woods 40th Anniversary Token $2.00
963 The Travancore Bank Trivandrum #103 Token $1.00
964 Perryville, Wisconsin Good For 1 Glass Tap Beer Wooden (plastic) Nickel Token $1.00
966 1925 Larkin Dollar Medal BU $8.00
968 Palmolive Soap Chicago, Illinois Good For One Cake Token NICE $5.00
969 Duenweg State Bank Duenweg, Missouri Strawberry Token Good For 1 Crate $6.00
970 Dallas, Texas City Hall Token $1.00
971 California State Numismatic Association 1973 53rd Anniversary Token $2.00
972 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (Mexico 20 Centavos) $3.00
973 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (Mexico 20 Centavos) $3.00
977 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00
979 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00
981 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00
983 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00
984 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00
987 Harry S Truman US Mint Bronze Medal in OGP $3.00
988 John Wayne US Mint Bronze Medal in OGP $5.00
989 Vietnam Veterans National Bronze Medal in OGP $3.00
992 2010 Korea Money Fair Token with original Flip $3.00
993 Matchless Metal Polish Co Liverpool 1906 Token $5.00
995 Marissa, Illinois 1967 Centennial Wooden Nickel Token $1.00
996 Central States Numismatic Society 2005 Token Original AirTite $2.00
997 Central States Numismatic Society 2005 Token Original AirTite $2.00
998 Central States Numismatic Society 2005 Token Original AirTite $2.00
~~999~~ ~~Rustler Silver Gas Token $1.00~~
1000 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (Euro 5 Cent) $3.00

Simple Lore comparison of both the NCR's and Legion's currency

NCR 5 dollar bill is only worth 2 caps
Legion silver Denarius is worth 4 caps
That's 2 more of the base value of what the NCR 5 dollar bill can afford. Now lets check the highest.
NCR 100 dollar bill is only worth 40 caps.
Legion gold Aureus is worth 100 caps.
That's 60 more of the base value of what the NCR 100 dollar bill can afford.
Unlike Legion currency however, the NCR has a third denomination of a 20 dollar bill which is worth 8 caps. Still, the ceilings of both of their highest currencies available to the markets edges in favor of the Legion over the NCR dollar with the Aureus having a higher purchasing power in regards to commercial activity.
sources;
[By 2281, the NCR dollar is valued at about 40% of a water-backed cap[6] and only 10% of a silver Legion Denarius.](https://fallout.fandom.com/wiki/NCR_dollars)
[Legion currency](https://fallout.fandom.com/wiki/Legion_Denarius)
[NCR currency](https://fallout.fandom.com/wiki/NCR_dollars)
Dialogue points from merchant or merchant adjunct entities to substantiate probable currency values decided by the Wasteland market;
>Dale Barton: "Hell, I don't even need to travel with guards most of the time in Legion territory. All the bandits are dead or run off."

>Dale Barton: "Between having to hire protection and getting slapped with taxes, it's more profitable to stick to Arizona and New Mexico."

>Rose Sharon of Cassidy: "Some caravans deal with the Legion now because the security. If towns could get the same protection? A lot more tempting than you'd think. Bunch of people would be willing to side with the Legion to not have to worry about Fiends and Boomers and Powder Ganger attacks."

>The Courier: "You don't get paid in Caps?"
>Chomp Lewis: "Nope. The NCR's been trying to switch over to using paper money, like in the Pre-War days. Trouble is that the exchange rates ain't exactly fair. For example, a hundred bucks in NCR money is valued at roughly half that in caps around here. Seems like a rotten deal for us, but work is work."

>The Courier: "What can you tell me about New Vegas?"
>Chomp Lewis: "I've been there once, and I don't recommend it. It's just a way to burn through a month's pay in five minutes*. I've seen a lot of folks come through here thinking they'll have the easy life once they get there. It never happens."*
From one of the developers:
>J.E Sawyer: "And this is discussed in-game: BoS raided NCR's gold reserves until NCR could no longer generate gold coinage nor back their paper money. They abandoned the gold standard and established fiat currency, which is why its value is inflated over both caps and (especially) Legion coinage. (...) People in eastern NCR and the Mojave Wasteland lost faith in the NCR government's a) ability to back the listed value of paper money and b) stability overall. If you're living in Bakersfield, staring at a piece of paper that says "redeemable for value in gold" and you have no faith in the government's ability or willingness to do that -- or if you see that the government has changed the currency to say that it is not able to be exchanged for a backed good -- you may very well listen to the strong consortium of local merchants offering to exchange that paper note for currency backed by water."

The ~~Tops~~ Vegas Casino exchange rates for in-house playing Chips;
Note: With a double check, all the Casino cashiers in Vegas have the same exchange dialogue, barring the type of greeting they give depending on the chosen locale. That means the exchange rates for all Vegas Casinos are standardized and consistent.
NCR
2 chips for 5$ NCR
8 chips for 20$ NCR
40 chips for 40$ NCR
Legion
4 chips for 1 Legion Denarius
20 chips for 5 Legion Denarii
40 chips for 10 Legion Denarii
80 chips for 20 Legion Denarii
100 chips for 1 Legion Aureus or 25 Legion Denarii

Source: Geck dialogue files, vDialogueCasinoCashier; Topics
EDIT: To even nip this in the butt further, some comments here say that Precious Commodities don't have intrinsic value. If that is the case in regards to the NCR being discussed here, why by the time of FO2 was the lowest denominator of their currency, 1$ dollar, was in Gold Coins?

$1 NCR - The Fallout Wiki (fandom.com)

The NCR never or had any contingencies to shore-up their currency to a fiat one at all if the most basic unit of their internal monetary exchange was Gold Coins. If that were the case they would've had pure paper money to begin with without these Coins being in circulation in Fallout 2; with all Gold being in their reserve purely being for backing only, but this isn't the case as we observe.
With the absence of their most basic unit of exchange being gone and the 5$ paper note being demoted to the new basic unit of their currency, that's a huge amount of unaccounted inflation off the bat; inflation they could've never prepared for since they valued Gold enough as a natural unit of exchange at such a base level to be circulated. They didn't expect the BoS to hit them that hard or anyone to do so with their perceived control of their core territory; nevermind the facts that its very unstable and unlucrative to deal in with raiders they can't hunt down with lack of dedicated manpower and poll taxes.

Precious vs Fiat currencies have staunch differences that can't be reconciled in the context of the Fallout universe and a general post-apocalypse. Precious Commodities are backed by simple human consensus of its natural properties being of worth and desirable for a monetary unit of exchange.
These can be traded and exchanged easily with a readily agreed upon value along with Caps because they are accepted by almost every post-war Tribal group, Wasteland settlement, independent Traders, and most other polities across America. Its supply is also naturally in nature, not manufactured artificially with Fiat money note printing.
(In the Fallout series, we see some form of international travel is still somewhat possible with characters such as Alistar Tenpenny and in Fallout 4 with multiple characters from other continents. Take Gold from the US and bring it to the British Isles, it will still have ready value no matter what. Take simple Fiat bank notes of a faction in the US to say, the Fallout version of West Africa. It would absolutely have no value because the issuer of that tender back in North America literally has no economic influence to back its money in this region miles away; there is no Demand or recognition for it. Conversely with Gold taken from North America and traveling to Fallout West Africa, it has tradeable value no matter what because Gold is a natural unit of exchange from its recognized natural value by humans.)
Fiat currency is only as strong as a nation-state can legitimize and maintain it. The only Fiat currency at the time of New Vegas taking place is NCR currency, which is doing badly from the aforementioned factors of the top of this post. The NCR IS a nation of some sort, but it isn't in the league of pre-war society statehoodship.
It doesn't have the financial instruments or development of robust monetary institutions to handle Fiat when they've have been on a Gold economy all this time and the value of the NCR dollar has plummeted due to lack of Demand with its sudden absence. The only reason why the NCR dollar had high worthiness was due to the inherent value of Gold they had on reserve in a post-apocalyptic society that has an extremely high assessment of value it.
With the Gold-backed era of the NCR (supported in FO2 with Gold Coins directly in circulation and being exchanged), Caps were practically worthless in the NCR territory as comments here note. Now with Gold out of the equation as we can observe with direct evidence, the highest focal point of NCR currency isn't even worth 40% of Cap currency by the end of the NCR-BoS war.
Double Edit: The whole reason why the resource wars in the Fallout universe happened because the main natural mineral resource, Oil, was almost all depleted entirely- in an international society where almost all the pre-war Nations were Oil based economies. Without Oil we see in numerous cases in Fallout in the post-war landscape with products with exorbitant prices due to rampart inflation with money that had no value.
[This](https://www.reddit.com/Fallout/comments/3x9cqj/how_inflated_was_the_prewar_economy_some_of_the/cy348gl?utm_source=share&utm_medium=web2x&context=3) comment here from 4 years ago from the main Fallout subreddit goes into the context of the universe.
In the very intro of the first Fallout game, we see on the TV in the ruined building that is still running- a common non-luxury car is worth 200,000 dollars.
Regular Gas in pre-war Fallout America was 1450.99$
Premium Gas was 8500.99$
To note, America was only one of the nations still with a minutiae of Oil left, but here are the prices.
Source: [Gas Prices](latest (293×291) (nocookie.net))
The Mechanical Pony toy seen in Fallout 3 costs 16,000$.

How do you want to do this? A Discussion on Selective Rule Enforcement and the application of the "Rule of Cool"

Hello folks,
For my research analysis and writing class my professor let me pick any topic I want. (her mistake) So for my final term paper I chose to come up with a method of determining a guide to the use of the "rule of cool." I got a A on the paper so I figured I'd share it with you fine folks as well. It is rather lengthy so I've included the abstract first. The 8 tips for dungeon masters is near the end (third session), the first and second parts deal more with the philosophical and ethics of games. So, if situational ethics and a discussion on the Mechanics, Dynamics, and Aesthetics of Play are of use for you, be my guess.
I am a relatively new DM so I spent a long time researching and trying to absorb what would make me a "good DM". With that cavate please keep in mind I know next to nothing compared to a vast majority of the DMs here. I can think of no place better to have this paper peer-reviewed, picked apart and "rebutalled" to death than here. If you feel offended, challenged, or angry reading this... Please understand I am a moron borrowing the works and words of far smarter people. If you feel that "this is the WAY" again... I am a moron... so ... with out further ado.

Abstract:

The choice to be a stringent rule-follower without leniency using fanatical legalism in a game can be a source of contention between someone acting as a referee and/or “Game Master” and players of a game. Likewise, to approach games with a sense of fanatical antinomianism, or to completely ignore the rules and simply let players do whatever they want, tends to offer no challenge, and or reason to play that specific game. Using ethical theory frameworks such as situational ethics, natural law, and utilitarianism this paper seeks find the philosophical principles of what moments are acceptable and actually beneficial to bend the rules of a game. As such, it is important to define games, briefly discuss why games are played, and roles rules have on games. The game Dungeons and Dragons 5th edition will be used as the principal example. With “rule for rules” established, seven tips on how to implement it this rule using advice and guidance from some of the most well known “Dungeon Masters” in the modern era will be provided.
Much of this paper relies on the works of Joseph Fletcher, Sheila Murphy; Benard Suits, Robin Hunicke, Marc LeBlanc, and Robert Zubek for the ethical and philosophical discussions around games. For the practical advice, it relies primarily on the works of Matthew Mercer, Brennan Lee Mulligan, Benjamin Scott, Patrick Tracy, Kelly Mclaughlin and Monty Martin.
Players are your friends, or at the very least your fellow human beings. As such, seek out what is best for them. Games are about many things but principally about enjoyment. It’s okay if the player does not get exactly what they want, so long as they still had enjoyment. How it happens is up to the players, the one running the game, and whether the rules were used to enhance the experience or not. It’s possible to find that balance by asking these questions in order: “How will this decision affect: the final enjoyment of all at the table? the narrative? the rules in the future?”

**“Once upon a time, around a table…”

A man behind a cardboard screen sits across from a woman wearing a funny hat. He is frantically reading through the pages of the various books at his disposal. He finds the reference he is looking for, but it is not clear. “It is technically against the rules, it is barely within the realm of possibility, but the idea is so creative…” the man murmurs to himself. Exasperated, the man smiles a crooked grin and explains, “Well you can certainly try… give me an acrobatics check.” The woman throws a piece of plastic resin on to the table. The dice reads, “18.” The man sighs and then laments, “fine… how do you want to do this?” The table erupts in cheers, as high-fives are given from the others around the table. The woman adjusts her hat, as she gleefully explains how her character will use the momentum of several falling barrels to move across the map in a single turn without having to use all her character’s movement.
As a “Dungeon Master” (DM) for the tabletop role playing game, Dungeons and Dragons (D&D), I can say without a doubt that many DMs have encountered extremely similar events as the one described above. The choice to be a stringent rule-follower without leniency can be a source of much resentment between the DM and the players around the table. Likewise, to completely ignore the rules and simply let players do whatever they want offers no challenge, no reason to play. In terms of D&D rule enforcement, as is with many events in life, the choice of always being either a “Harsh Disciplinarian” or the lenient, “Laissez Faire Guide” is a false dichotomy. Instead, seeking balance between the two choices based first on the overall needs of the players, second on the needs of the story, and third on requirements and rules of the game should be the norm.

Session 1: What is the Relationship between, Players, Games and Rules?

The 19th century philosopher and founder of modern cultural history, John Hughes once wrote, “Play is older than culture, for culture, however inadvertently defined, always presupposes human society and animals have not waited for man to teach them their playing.” ¹ Why do humans play? Is it instinctual? Bernard Suits was a Distinguished Emeritus Professor of Philosophy for the University of Waterloo and his essays are in part responsible for the field of philosophy of games in the late 20th century. In his book, “The Grasshopper: Games, Life and Utopia,” Suits’ book uses Aesop’s fable about the grasshopper to argue that play is what we would do in a perfect civilization. He believed that in a world devoid of work, humans would still seek out challenges through play, suggesting that it is human nature to challenge ourselves.² But is that the only reason someone plays a game?
One YouTuber opined that “In a practical sense, games facilitate systemic thinking by getting us to view abstractions, but also engender creativity by getting us to play.”³ If true, these are essential tools for humanity to function as an intelligent race. This makes sense from an evolutionary level as to why humanity would develop play, but is there more to it than “games encourage outside the box thinking?”
The landmark paper titled, “MDA: A formal approach to game design and game research” is one of the earliest attempts to formalize the field of video game design theory and it is fundamental to how modern game designers look at these systems. It serves to define the importance of mechanic, dynamics, and aesthetics of play and is instrumental to helping understand what players will expect out of a game. We will discuss more about dynamics and mechanics later, but first let us focus on aesthetics.
Aesthetics of Play Defined

Term	Definition	Examples
Sense Pleasure	Enjoyment derived from how it stimulates the senses	The visuals of a game, sound, and music, feel of the dice, etc.
Fantasy	Enjoyment derived from the ability to step into a role that cannot be experienced in real life	Playing a game as a magic wielding sorcerer or rocks in the far flung reaches of outer space
Narrative	Enjoyment derived from game as drama, it is about the stories and experience gained	Heavily story driven games such as Last of Us, Dungeons and Dragons, Final Fantasy
Challenge	Enjoyment derived from overcoming an arbitrary obstacle	Platformers like Mario, or even drinking games like beer pong, or corn hole; social games like charades, etc.
Fellowship	Enjoyment from working cooperatively as a group to accomplish a goal	Team based or social games such as Among Us, the card game Spades; save the world mode on Fortnite
Competition	Enjoyment from showing dominance	Chess or Go, Battle royal games such as Fortnite or PubG or Call of Duty; Fallguys; darts Poker; Uno, Killer bunnies or Magic the Gathering;
Discovery	Enjoyment from uncovering the new or discovering news ways to play a game.	These can range from searching to find things to choose your own adventure Minecraft; Zelda Breath of the Wild; simple matching games; the board game Betrayal at the House on the Hill; or games like Fable; Dragon Age Inquisition; or Mass effect
Expression	Enjoyment from showing an aspect of one’s self; or games that allow full customization of characters	Creation games like Minecraft; role play games like fallout 4; world of warcraft or Fortnite
Submission (aka Abnegation)	Enjoyment from being able to “turn of the brain; and tune out the world” or what is also known as zone out factor.	Bejeweled; candy crush; the lever-pull games at casinos, solitaire, etc.
	(Source: Portnow & Floyd, October 2012)⁵

Aesthetics are things like sense pleasure, fantasy, the narrative of the story, challenge, fellowship, discovery, expression, and something called submission.⁴ There is an additional aesthetic that most game designers also consider when designing games termed as “competition”.⁵ These are all reasons people play games and it is important to keep all these in mind when acting as a DM.
The table above works to define these terms more appropriately and makes it easier to reference later. The reasons a player may want to play a game vary and change over time. If a DM can understand their players’ goals (i.e., what the player hopes to get out of the game) the DM will be able to understand why someone might want to perform a certain action, play a game, or want to ignore a certain rule in the first place.
On that note, what are rules in games? Think about it… Games are weird… well I should say the act of playing a game… is weird. Suits once wrote in his article, for the “Philosophy of Science Association Journal,” "To play a game is to engage in activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient [means] in favor of less efficient means, and where such rules are accepted just because they make possible such activity."⁶ In other words, to play a game we create rules that prevent us from achieving a goal through the easiest means available. Instead, we make something more difficult and we play a game. For instance, in basketball, it would be far easier to simply carry the ball all the way to the basket instead of dribbling it.
In D&D, there is a similar activity to dribbling. It is called a “dice roll.” It is something that players must make to see if they succeed or fail at a task. The player rolls a 20-sided die and tries to get above a certain score to succeed. Players can roll normal, with advantage, or with disadvantage. Rolling with advantage allows the player to roll the D-20 (the 20-sided die) twice and use the higher number. Rolling with disadvantage also has the player roll the D-20 twice, but they must take the lower number rolled instead. It introduces a chance of randomness, and players will find any excuse they can to avoid having to make a roll with "disadvantage." In his book, The Grasshopper, Suits argues that we do this because it is the act of overcoming that limitation that we find enjoyment. By taking on these restrictions and accepting these limitations, we take on what he coins as a "lusory attitude" which allows us to play the game as it is meant to be played.
Suits would argue that by not playing the game according to the rules as written, the player would have only achieved a “quasi-victory” not really worthy of achievement. He also goes on to say that even the act of “failing to win the game by virtue of losing it implies an achievement, in the sense that the activity in question -- playing the game -- has been successfully, even though not victoriously, complete.”⁷ So, according to Suits, it’s better to follow the rules of the game and loose than to not follow the rules and win. It’s important to point out that the aesthetics of play had not yet been defined and Suits’ work mainly focused on the “challenge” aspect of play. This is where many sports and game philosophers begin to find fault with Suits. In the “Journal of Philosophy of Sport,” a rebuttal of Suits’ work by David Myers asks, “What if the goal of the player isn't to follow the rules or even play the game?”⁸ For instance, what happens if the player is motivated by competition and doesn’t care about rules so long as “they win?” While an extreme example, this paradox isn’t out of the realm of possibility. Therefore, focusing on just the challenge aesthetic of game play and simply playing the game “rules as written” can lead to a disconnect between what the player desires and the game itself.
Jesper Juul, an Associate Professor in the School of Design at the Royal Danish Academy of Fine Arts, wrote in his textbook on video game design, “Rules specify limitations and affordances. They prohibit players from performing actions such as making jewelry out of dice, but they also add meaning to the allowed actions, and this affords players meaningful actions that were not otherwise available; rules give games structure”⁹ Basically, without rules we cannot even have play. However, if the player ignores the rules that player won’t be able to enjoy the full experience of the game, because the rules both afford the opportunity to enjoy the game and provide the obstacles in the first place.
How the rules affect actual game play is where Mechanics and Dynamics come into play. (See, I told you we would get back to it eventually.) Mechanics are the rules and systems that govern chance to create the game we experience. Dynamics are how those rules come together to govern the strategies of that game. In D&D, an example of mechanics is how a player would have to roll a 20-sided dice to see if an action would succeed. Dynamics are the actions the player takes to manipulate the situation and give themselves advantage in the roll. Some examples of this are using a spell caster’s familiar, flanking an enemy in combat, using the bend luck trait, or lucky feat. This is akin to how the rules of poker dictate that bluffing is allowed (mechanics); but how the bluffing player conceals their tells and bets is entirely up to that player (dynamics).
What happens when the player’s desired aesthetics and the mechanics don’t allow for the dynamics the player wants to use? This is where it falls on the DM to determine if the game can handle a little rule bending. In the Dungeon Master Guide’s introduction, it states “The D&D rules help you and the other players have a good time, but the rules aren’t in charge. You’re the DM, and you are in charge of the game…” However! It goes on to say, “The success of a D&D game hinges on your ability to entertain the other players at the game table.” What is a good way to approach this? Is it THE DM IS ALWAYS RIGHT, able to enforce their will on the players whenever it suits their need? Should the DM strictly enforce the rules and narrative of their planned story without the need to appease the players’ wants and desires?... well… The DM COULD do it, but it won’t be long before their players stop showing to game sessions. Just like the rules, without players, there is no game. Or as one notable professional DM and YouTuber once put it:

“The game you weave belongs to the players as much as yourself… so make sure to humor them every once in awhile by giving them a chance to be extraordinary" - Patrick "the Goddam DM" Tracy ¹⁰

Session 2: The Ethics of a Dungeon Master

So how does someone seek a balance between the rules and the players? Enter situational ethics. Situational ethics, first proposed by philosopher and first professor of ethics at Harvard Medical School, Joseph Fletcher,** is an attempt to seek a middle ground between two ethical schools of thought: Legalism and Antinomianism. In legalism, morality must come from a strict set of rules that must be obeyed at all times and cannot be deviated from or broken for any reason. Antinomianism, on the other hand, is the idea that there should be no rules, you should be able to do what you want, whenever you want (lawless society). ¹¹
In D&D terms, "Fanatical Legalism" would be similar to what many DMs would characterize as "Lawful Stupid," where a certain player's character enforces harsh judgement without ever showing mercy to those who would break the law regardless of the circumstances… even to the detriment of the party… or that small band of orphans who were stealing food out of desperation…
Likewise, in D&D terms, "Fanatical Antinomianism" would be similar to what DMs would characterize as "Chaotic Stupid," where a player's character completely ignores consequences an action would bring and simply act according to their whims… even when it's an obvious trap… that has a 100 percent chance to damage not only your character, but the other players as well.
Fletcher's work states that the morally right thing to do depends on the situation and can change throughout the situation, but at the same time, there is a universal “moral law” on which to base our actions that he called "Agape" love. Derived from the Greek word of similar pronunciation, Fletcher sought to define Agape as a means to show love for your fellow human. In his book titled “Situational Ethics,” Fletcher states, "All laws, rules, principles, ideals and norms, are only contingent, only valid if they happen to serve love."¹² Or to put it a different way, a desire to see your fellow human be happy is and should be the goal. It is not really a feeling, but an attitude to do what is best for others.
In terms of the D&D alignment chart, this would be easiest to define as whether someone is "Good" or "Evil." Whereas a “good character” is someone who acts for the betterment of others regardless of personal motivations, conversely an “evil character” acts out of their own self-interests regardless of how this action would affect others. Those that follow the concept of Agape would be “good characters.” Those that do not, would be evil.
This is where the so-called “Rule of Cool” comes into play. Mathew Mercer, an extremely acclaimed DM, comedian, and writer of D&D’s “Explorer’s Guide to Wild Mount,” and host of the show “Critical Roll,” defines the Rule of Cool as a trope in the D&D community that is “the willing suspension of disbelief for the sake of a cool moment.”¹³ It’s used in moments where the use of an certain object or action would be nearly impossible according to the mechanics of the game, but because it is a “cool dynamic,” the DM allows it. But what is “cool?” Is it a player that is normally too nervous to speak up being able to do something unique on time despite it being against the rules? Is it a player that has spent considerable time perfecting a skill and being able to perform a truly “epic task” (such as the jumping across barrels to effectively triple their movement distance)? Is it succeeding in persuading the main villain to befriend the party through a series of increasingly complex but successful rolls?
In all these situations listed above, there is a common theme that ties all the principles of what this paper is trying to address together in a simple phrase. As a DM, before making a ruling ask, "How will this decision affect the final enjoyment of all at the table?" Now a DM cannot give the players everything they want. Doing so cheapens the truly extraordinary moments. Finding the right balance can be difficult. That is why the flow chart above is suggested when trying to figure out whether it is a good time to “Remember the Rule of Cool.”
https://i.redd.it/f362ghdjlqf61.png

Session 3: “Well… You can Certainly Try”- Some Famous DM

Finally, we can discuss how the desire to make the most enjoyable experience for everyone at the table plays out using real-world examples and advice from some of the most well-known DMs in the business. Using the concept of Situational Ethics’ Agape, we can see how to work in the rule of cool using eight tips for Dungeon Masters.
Tip 1: It is advised to know your audience.
Not everything is as it seems, so be sure to pay attention to your players and look at them when you are describing the situation. Make note of how they react when tones or themes change. Remember those reasons people play games mentioned earlier? This is where those come into play. Additionally, while not something outright suggested, it is nevertheless important to take team dynamics into account.
The book “Four lenses unfolded” describes how various personality types can interact and work to solve problems. In it, the book describes four primary temperaments: Green (analytical), Blue (empathetic), Orange (adventurous), and Gold (goal oriented). Unlike most other personality tests, four lenses theory suggests that while we have a dominant personality at any given moment, other aspects of these personalities can manifest as well. Being able to draw on these aspects at will is the mark of a “mature” individual.¹⁴ As a DM/referee, coach, or manager, being able to do this and adapt to the needs of the players will take player engagement to the next level.
Tip 2: Establishing and Managing Expectations Early and Often, Works to Prevent Disappointment and Confusions
Mercer once put it this way, “Establish early on in your campaign how much of a level of crazy you're willing to allow. This allows for players to better understand what to try for and what not to try for.”¹⁵ Whether you are a teacher, referee, coach, parent, supervisor, or mentor, establishing expectations with those involved mitigates problems before they arise.
One of the main tools DM’s have for this is that is recommended by Mercer, as well as nearly every DM in existence on the internet, is the “Session Zero.” Session Zero is a term used to describe a session where no play occurs but instead rules that will be used and rules that will be ignored or bent is established. It also serves to establish a theme the players can expect from any campaign. Using the first chapter of the DMs guide will help considerably in establishing this. Additionally, one of the best guides for this is laid out by the DM YouTubers known as “the Dungeon Dudes” in their video titled, “How to Run a Session Zero for Dungeons and Dragons 5e.”¹⁶ But always keep Agape in mind throughout this process. In this step, it means actively listening to the players. The DM may want a gritty, tough, realistic, and challenging campaign. But if the players want a high fantasy power trip, some adjustments are going to need to be made to the campaign. Listening to players and changing the plans accordingly is not easy. It requires A LOT of humility and ego suppression. Especially when the DM has already designed how the game is going to go… which leads us to the next tip.
Tip 3: It is important to develop a healthy relationship with failure.
Celebrated author Orson Wells once wrote; “If you want a happy ending, that of course, is dependent of where you stop your story.”¹⁷ This applies to both the players and DM. There will be times when the DM is tempted to ignore the rules because the consequences seem dire. The player fails an athletics check trying to use a dynamic that had a high-risk, high-reward moment. Now the player’s character is doomed to fall several hundred feet down a ravine to what is likely certain doom in lava. But this isn’t the end. That player’s character is most likely dead, but their death could result in a moment of drama and tension for the players. It’s the very real chance of failure that encourages players to think critically about a situation and experience excitement and tension. Brennon Lee Mulligan, the DM of the D&D streaming show, “Dimension 20,” put it this way… “if you are not allowing for failure, you are essentially just telling a story,” and thus never actually playing a game (make-believe as Suits would put it). ¹⁸
Another thing to consider is that through failure, we can often find comedy as well as ways to encourage players to think critically and find new escapes, ¹⁹ at least according to the mind behind the “Replaying the Curse of Strahd” videos, Benjamin (Puffin Forest) Scott. Lastly, Mercer strongly advises that if a DM allows too many “rule of cool moments” to happen in succession, the weight of the moments and consistency of the game will be lost. ²⁰
Players that are afraid to fail will not try. Mercer explains that “Most role play games are designed to forge a heroic story (showing feats of legend) so let the players try! Let them fail, and occasionally succeed!” This is where his catch phrase “you can certainly try” comes from. ²¹
Tip 4: Whenever Possible, Avoid Taking Things Personally
In his lecture on not talking things personally, soccer referee and public speaker, Frederik Imbo, explained there are two sides of a coin to keep in mind when trying not to take things personally: “It is not about you,” and “it is about you.” ²² Look at the other person’s intentions not just yours. With that in mind, it is okay to give yourself empathy and speak up. When someone seems upset with you, ask what are they hoping to get out of this releasing of emotions? Additionally, ensure that your pride isn’t preventing you from making the correct call. Yes I am talking about Ego again; it is that important! It is the DM’s world, but it is the players’ game. Without both, the world and the game, you do not have D&D.
D&D has a weird paradox of being both a story and a game. It has both a narrative as its core premise, but it is, in fact, also a multi-player game. Without at least two people you cannot really have much fun. DMs should make sure that everyone at the table enjoys themselves.
Tip 5: Mechanics are important precisely because they are a means of delivering impactful story moments.
Remember that rule of cool concept? Extraordinary moments don’t happen often, and this is by design of the mechanics of the game. Humans remember the novel and unique way more often than the mundane. Mundane things tend to blend into the background. It’s the unexpected moments that highlight the more impactful story moments, especially if that moment is tied to strong emotions.²³
With that in mind, Mulligan suggests looking at where the players are putting their resources before deciding how to rule on a situation. Have they invested experience points/levels into a specific skill that is relevant to this situation instead of just something they can use in combat? If so, reward them for wanting to do something that is a part of the world you are creating together. ²⁴
Tip 6: Discourage metagaming but allow it whenever possible.
Look for any and every excuse you can to give advantage on an arcana check by setting the DC low (10 or higher). If the player succeeds, they can use what they know… they are going to anyway, but at least then they can talk about it with the other players.
According to the DM guide Chapter 8, metagame thinking means “thinking about the game as a game,” Examples would be thinking “the DM wouldn’t throw such a powerful monster at us so early in the game, so we will surely be saved and not have to take this fight seriously,” or “the DM spent A LOT of time describing that door… maybe we should search it again!” ²⁵
The problem with metagaming isn’t really about what advantage the players are getting in the game. The problem is that manipulation of the dynamics, when used to extremes, can spoil the plot line of the cumulative story being told. This can lessen the drama and tension elements resulting in decreased enjoyment of those involved. Additionally, it can create a dynamic where the DM is constantly having to escalate encounters to challenge the player, encouraging a potentially toxic “DM vs player” mentality.
For instance, how would a street orphan barbarian with no formal education and a wisdom of …let’s say very low…be able to know that liches phylactery is the source of their power. The solution here depends on why the players are playing this specific game. Is it the narrative of the story? Is it discovery? If these aren’t anywhere close to the reasons these players came to the game table in the first place, the narrative is not going to take as much of a factor into decisions. Metagaming in this instance isn’t going to be much of a problem.
Tip 7: Keep in mind, the ending is “A” destination, but the story is about how you get there.
A DM may hold off the extra cool moments for the final parts of the game, keeping their players in complete darkness and grit the entire way. However, without at least some levity along the way, some “water for the weary travelers,” as Mercer put it, they may not make it to the end.²⁶ So, do not be afraid to relax the rules from time to time to give them those cool moments, but do so sparingly lest the destination lose its luster as well. Always keep in mind it’s about the enjoyment of crafting and playing in the world together that makes this, or really any game, fun.
Tip 8: When all else fails… take a break and have the Tarrasque attack the party.
When all else fails, roll two D-20s out of players’ views… fake a worried expression… role a D-100 (also out of player’s view) look over the score concerned as you pour through your notes… then explain sorrowfully… “I’m sorry… The Tarrasque has risen and has attacked the party. Everyone roll initiative.” This is actual advice from the DM manual. It is right under “faking illness and running away.”²⁷ The point is this: never be afraid to pause or call a game when it’s over or needed.
Maybe something incredibly uncomfortable for a player has happened. Maybe the DM has reached the end of what they were able to prepare for that session. Perhaps everyone is hungry or needs a bathroom break. Maybe the entire table has gotten to a point where no one can agree on anything and team dynamics are breaking down. That game world will always be there… but your friends won’t. Cherish that moment and make as many good moments as possible. Additionally, taking breaks both in-game and in the real world allow for quiet moments. These allow for the greater moments to shine through and the players will enjoy their experience more.
https://i.redd.it/1ncu361zlqf61.png
The graphic above serves to summarize the eight tips above and show their relationship with the narrative, enjoyment, and the rules when put in the context of situational ethics. From this graph, the relationship between the eight tips and how they play into the narrative, enjoyment, and rules of the game can be seen. Each of the tips can influence many parts of the game but they are intended to primarily influence the aspect of the game they are adjacent to. “Knowing the players” should influence the narrative and what kind of enjoyment the players receive. What mechanics are used to enable the game is causally related to how the rules are used and so on. Please note that Agape is at the center as, with every decision a DM makes, considering what is best for the players should be central to the experience of any game.
The Epic Conclusion
Through crafting a game-world together with your players, a DM has the potential to tap into one of the greatest traditions humanity has: camaraderie with friends. At the end of the day, these players are your friends, or at the very least your fellow human beings. As such, you should want what is best for them. Through trials, hardships, and drama, we get to put the punctuation on the moments of excitement, joy, happiness, and bliss. It is okay if the player does not get exactly what they want, so long as they still had enjoyment. This is because getting everything we expect is sometimes boring. However, always keep in mind that at the end of the day, games are about having fun. How that happens is up to the players, the DM, and whether the rules were used to enhance the experience or not. It’s possible to find that balance by asking these questions in order: “How will this decision affect: the final enjoyment of all at the table? the narrative? the rules in the future?”
1 Huizinga, Johan . "Homo Ludens". Routledge & Kegan Paul Ltd. (1980), pp. 1., accessed January 19, 2021. http://art.yale.edu/file_columns/0000/1474/ homoludens_johan_huizinga_routledge_1949.pdf
2 Suits, Bernard, “The Grasshopper: Games, Life and Utopia,” Broadview Press. Ed. 3. (November 29, 2005): 54–55. Accessed December 31, 2020. https://www.goodreads.com/book/show/803547.The_Grasshopper
3 The Game Overanalyzer, The Aesthetics of Play | Why We Play Games, and the Search for Truth and Beauty in Game Design. The Game Overanalyzer. (January 11, 2020), accessed 6 January 2021. Video 18:44. https://youtu.be/lONsZwjVDzg
4 Hunicke, Robin, Marc LeBlanc, and Robert Zubek. "MDA: A formal approach to game design and game research." Proceedings of the AAAI Workshop on Challenges in Game AI, vol. 4, no. 1, p. 1722. (2004). Accessed January 11, 2020 https://www.aaai.org/Papers/Workshops/2004/WS-04-04/WS04-04-001.pdf
5 Portnow, James; Floyd, Daniel; Aesthetics of Play- Redefining Genres in Gaming. Extra Credits; (October 17, 2012), Video 9:13. Accessed December 30, 2020. https://www.youtube.com/watch?v=uepAJ-rqJKA&list=PL3N9QD4_yI-BlnwWUL8hhjpKgqRul3xAa&index=11
6 Suits, Bernard. “Discussion: Games and Paradox.” Chicago University Press. Philosophy of Science Association Journal, Vol 36, no. 3 (September 1, 1969). pg 316–.321. Accessed December 30, 2020. https://www.jstor.org/stable/186226
7 Suits, Bernard. “Discussion: Games and Paradox (1969)
8 Myers, David. “Game as Paradox: A Rebuttal of Suits.” Journal of the philosophy of Sport 39, no. 1 (May 1, 2012). Accessed December 30, 2020. https://search-ebscohost-com.ezproxy2.apus.edu/login.aspx?direct=true&AuthType=ip&db=s3h&AN=87342252&site=ehost-live&scope=site.
9 Juul, Jesper. "Half-Real: Video Games between Real Rules and Fictional Worlds", MIT Press, (Aug 19, 2011) pp.57-59
10 Tracy, Patrick. DM Tips: The Rule of Cool. Fantasy Bango. (October 20, 2017). Accessed December 30, 2020. Video 2:23 https://www.youtube.com/watch?v=x8aAIFalx6s
11 Fletcher, Joseph F. Situation Ethics: The New Morality. Westminster John Knox Press, (1997). Page 17-26 (accessed January 20, 2021) http://bit.ly/Googlescholar_SItuational_Ethics
**Please note that just because Fletcher’s Situational Ethics is used prominently, this is not an endorsement of all his views. Fletcher’s work has been used to justify terrible atrocities, such as eugenics, this should serve to point out that any philosophy taken to extremes can lead to terrible outcomes
12 Fletcher, Joseph F. Situation Ethics: The New Morality. (1997)
13 Mercer, Matthew. The Rule of Cool! (Game Master Tips). Geek & Sundry. (February 16, 2016). Accessed December 30, 2020. Video. 5:52 https://youtu.be/fWZDuFIYkf0
14 Bryce, Nathan K., “Four Lenses Unfolded: A Deeper Understanding of Temperament Values,” Insight; (January 29, 2002,).
15 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016).
16 McLaughlin, Kelly; Martin, Monty. "How to Run a Session Zero for Dungeons and Dragons 5e". Dungeon Dudes. (September 3, 2020), Accessed 12 30, 2020. Video. https://youtu.be/2MA-z5Ai-bQ
17 Wells, Orson, "The Big Brass Ring." Santa Teresa Press (1987, January 1) 1-148
18 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) | Adventuring Academy Season 2 | Ep. 16 |” Adventuring Academy. Dimension (2020, December 28). Accessed December 30, 2020. Video 1:24:18 https://www.youtube.com/watch?v=4IbVxEKpipo
19 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) (2020)
20 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016)..
21 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016)
22 Imbo, Frederik, "How not to take things personally? | Frederik Imbo | TEDxMechelen" TEDx Talks; (March 4, 2020) accessed 10 Jan 2021, video 17:36 https://www.youtube.com/watch?v=LnJwH_PZXnM&t=381s
23 Kensinger, Elizabeth. Remembering the Details: Effects of Emotion. US National Library of Medicine National Institutes of Health. (May 4, 2009) Accessed 2021, January 30 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2676782/
24 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) (2020)
25 Mearls, Mike, and Jeremy Crawford. "Dungeons Master's guide". Renton, WA: Wizards of the Coast. (2014) accessed 29 January 2021 https://www.dndbeyond.com/sources/dmg/running-the-game#MetagameThinking
26 Mulligan, Brennan; Mercer, Matthew. Building Your Own Campaign Setting (with Matthew Mercer) | Adventuring Academy. Dimension 20. (2019, April 3) Accessed December 30, 2020. Video 57:01 https://www.youtube.com/watch?v=sig8X_kojco&t=2867s
27 Mearls, Mike, and Jeremy Crawford. "Dungeons Master's guide". Renton, WA: Wizards of the Coast. (2014)-accessed 20 January 2021. https://www.dndbeyond.com/sources/dmg

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