There's a disconnection between understanding of what "value" is, or how to decide what is "investment" and what is "speculation". It's not binary, it's a spectrum. It's not universal, it's relative. It's relative to YOU, specifically YOU. It's not constant, it's relative to price and other opportunity. Lastly, it's not guaranteed. Ever. The future is unknown. You or I might not even be here for it.
Every person reading this knows some things I don't know, and every person doesn't know some things I do. Unless you are a literate dog, we probably share some qualities. In fact, even if you are a dog, literate or otherwise, we share some qualities and no small amount of identical language in our DNA. Dogs love steaks, and fresh air. Both things I like quite a bit too. But I enjoy looking for undervalued stocks, and dogs seem more interested in fetching tennis balls. We're both animals, but we're not the same animal.
To go back to GME and the toad's wild ride one more time this week, I can promise you I looked at some of the same numbers that DeepFuckingValue looked at 2 years ago. Lots of people did. I looked at gamestop in 2019, a few times in fact. I passed. DeepFuckingValue didn't. We were both right.
DeepFuckingValue looked at the company a year or two years back, and evaluated the numbers and the situation, and understood that a lot of short sellers were counting on this company to fold in the very near future. He probably also noticed that more and more short sellers seemed to be jumping on this bandwagon. He knew the situation wasn't nearly that dire. In fact it was likely to be "game on" for Gamestop, for quite a while to come. I got puns all night, so buckle up. Then he looked at the share price, understood the proposition and probability that this was a potentially very asymmetric opportunity (low probability, enormous return, mispriced very cheaply in relation to the potential return). I looked at the same things, but he got from the situation contextual understanding I didn't get. Namely the magnitude to which shorts can backfire and how to estimate it.
I also recognized, back in 2019, Gamestop was probably not in as dire straights as predicted. I wasn't alone, or special in this. Lots of people, including some famous people, recognized it. Michael Burry. Ryan Cohen. That one guy from the internet. I knew about the gaming console cycle too. I looked over the balance sheet. I got that piece of the puzzle, lots of us did. What I didn't understand very well at all was how short selling squeezes worked in practice, or just as importantly how to value the proposition. I still don't understand that with any genuine confidence, but I do get it more now than I did. Doesn't matter. I didn't get it, it was too confusing for me. So I passed. I said No.
People who "get it" get this concept. Two people can do opposite things for different reasons, and both be right. It's relative to you, your understanding, your tolerance for what talking heads often confuse with risk. Your tolerance for volatility. He understood the proposition, evaluated what he was PAYING for what he was GETTING (in this case not just the companies liquidation value backstop, but the potential possibilities of the price appreciation he could be getting - this eventual squeeze), knew himself well enough to decide if he could stomach the roller coaster, and chose to get on the ride.
I'm genuinely happy for this guy, and everybody else on these message boards in that rocket or just popcorning along in the theatre. I'm also happy for myself, because even though I didn't have any money stake in GME I understand more about how short selling and squeezes work than I did just a week ago. I got a free option on education.
The ups and downs are not risk. Volatility is not risk. Here's where we get vague, because this GME story isn't over. It's only gotten started. This has implications for the broader market. Follow me into the fog of tomorrow, will you?
Even the smartest, brightest people taking this bet 1 or 2 years ago had to contend with a lot of fog. It's not gone. Certainly the picture is MORE clear now than it was last year, but things are still REALLY FOGGY. More foggy for some of us than others. What we're witnessing now is why you cannot apply mathematics to complex systems (especially systems involving people) and expect everything to go as modeled. We don't have all the rules. This isn't chess, it's life. People cheat, bend the rules, propagandize, lobby, sue, counter-sue, weaponize fear and do everything in their capacity to get an advantage, up to and including breaking the law. Life isn't chess, it's poker. But it's way more complicated than a game of hold em. It's poker with 10,000 players at your table and a deck of 2.6 million cards, and a roof that might cave in once in a while and kill some of the people at the table, and one of the waiters serving drinks, and maybe the general mood in the room. Also someone who loses might pull out a gun and shoot the dealer. We cannot know all the things that might happen. But if you're in the casino we call earth, some of these events could affect you. I'm long on humans going to Mars, or Europa, or The Restaurant at the End of the Universe. God rest your soul, Douglas Adams.
This is why the proposition that the early birds took, people like DeepFuckingValue, is nothing whatsoever the same as the proposition that exists right now. Even if you and I have the same understanding of the proposition he took 2 years ago, and understand why it makes sense, it's not the same proposition that exists now. He bought in at I don't know what, $2 or $5/share. Some long dated options that cost a few pennies. People buying in now are paying $100, $200, $400/share. Refusing to pay too much is your biggest defense against being stupid. Don't be stupid.
If you're a fan of that Stranger Things show, you probably recognize that theme. "Don't be stupid." "We're not stupid." In that case, we have something else in common. I love that show. There's a beautiful scene in that show where the adopted dad Hopper is trying to explain to this orphaned, frustrated teenager Eleven why she can't go outside. It's not safe. The risk is too high. Dangerous people are after you, and they aren't playing by the rules. Hopper and Eleven are arguing and bickering about this, and neither can see the other person's side. They are both right, for different reasons.
This is a fictional show, and she is an extraordinarily powerful telekinetic. She can move stuff with her mind. Violently. The government scientists who raised her and trained this ability are after her. Hopper doesn't understand this yet. She can rip people in half with a willful thought. She's not in danger.
Except she is. There are things she doesn't get. Weaknesses she hasn't accounted for. She's got this great little group of friends, and they aren't superheroes. They've got families. Real people she cares about, who are regular people and definitely can be hurt. This is what Hopper is trying to get across. He's got experience, he's lost people. He knows. She thinks he's just an old grumpy boomer and he thinks she's just an emotional child. But they're talking past each other, and as teenagers are wont to do, rash decisions are made and things get out of hand. People die.
This has so many parallels with what's going on in Gamestop (and the markets broadly) recently. People, "the bad guys", are not playing by the rules. Other people, "the good guys", did not account for this ratfuckery. Now there's a tug of war. In the media, the courts, the SEC, congress, even in the public square of reddit and twitter. The proposition that was when DeepFuckingValue and company investigated it 2 years ago is not the proposition that is today. Even if it was the same situation, he and I came to different conclusions for different reasons because he understood it and I did not.
If you want to be an investor, you've got to learn to say NO, and not because "the other guy is wrong". You say NO because you don't understand how to value what is being offered confidently, or you do understand it and you see risks in the proposition that make the price unattractive or this particular proposition untenable for your temperament. Just like anything else in life, be it dating, job offers, or nigerian prince's who just need a little help with an inheritance scheme, successful people learn to say No to almost everything. The most successful people learn to say No so gracefully the rejected party leaves feeling good about getting rejected.
Investing is saying No to offers you don't understand and requiring a bargain price. Speculation is everything else. At /ValueInvesting, We're not stupid.
Corrected: The girls name is Eleven, not Seven. Fixed, Thanks jelledm

As a live dealer, I just want to ask, why do you play Blackjack?

I hate Nyau

I live in a small mining town in the mountains of Colorado. Someone is building a massive casino nearby, Pictures Included

I grew up in a small mountain town named Eureka. It was founded in the late 1800s during the gold rush, but after the mines dried up the town began its slow descent into decay. Half the houses are empty or abandoned now.
You can see a picture of the kind of houses here in Eureka:
First house
Second house
When a massive construction project began nearby, it was the talk of the town for weeks. Why would they build something in a sleepy dying town like Eureka? It wasn’t until my sister Selene talked to a few construction workers that we discovered they were building a casino.
A casino up in the mountains, over two hours away from Denver. None of us could understand why they’d chosen here of all places. After a few months of work, the casino was done.
I took a picture of the town with the completed casino in the background to the right. The ten-story-structure sticks out like a sore thumb off in the distance.
Town+Casino
After the casino opened, they hired a few dozen members of the town, offering high paying jobs to work as dealers or cleaning staff. I was already employed as a firefighter, but my sister Selene got a job as a blackjack dealer. She’s a widow with two young kids, so the paycheck was a real lifesaver.
Still, something about the situation seemed too good to be true. The jobs over there paid far too well, and the management was far too accommodating. The fire station where I work is located high on a hill overlooking the town, so I began watching the casino from a distance each day.
I had initially thought that the casino was located in a terrible location, but I was apparently wrong. True, Eureka was hours from any major city, but despite that, a bus full of people arrived every morning and left every evening.
One night I was over at my parent’s house and had dinner with Selene and her kids. I asked her about her experience as a dealer.
“It’s Ok,” she said. “Just a little boring I guess.”
“Boring?” I asked. “I’m surprised you don’t have your hands full.”
“Why’s that?” she asked. “It’s like you said, Eureka’s too small. I never have people playing cards. The casino is almost always completely empty.”
I wasn’t sure what to make of that. If the place was always empty, what happened to the people who I’d seen arriving on buses? “I’ve been keeping an eye on the building,” I said. “A bus full of people typically arrives around 9 AM every day.”
“Really?” she asked, looking confused. “If that’s true, I’ve never seen them.
“I can see it from the fire station,” I said. “If you head out for a smoke break at 9 AM, you’ll probably see them arriving.”
“Interesting,” she said. “I’ll do that. If they’re being processed for their organs or something, I’ll let you know.” She laughed.
“Har har,” I said sarcastically.
The next night she sent me a text calling me over. When I arrived, she was nearly breathless with excitement.
“Orin, You were right,” she said. “A big group of people did arrive, but they didn’t walk into my part of the casino. Instead, they all walked into an elevator at the back of the building. I’m not sure where that goes.” She looked thoughtful. “It was weird. They looked… How can I say it? Desperate? Something about the whole situation was very off. I’m gonna check out the elevator tomorrow.”
I told her to be careful, though, to be honest, I was excited to hear about what she discovered. When I visited my parent’s house the next night, I found her two kids there alone. They told me that Selene had never returned from work.
I called all her friends, then all our neighbors, but no one had seen her since she left for work that morning. Our conversations regarding the casino flooded my mind, then a plan began to form.
Early the next morning I walked across town in my nicest pair of jeans and a button-up shirt. I pushed through the door to the casino and saw that Selene wasn’t lying. The place was all but deserted. Three dozen slot machines crowded the walls surrounding a few tables interspersed throughout the floor of the casino. The only players in the whole building were Bob and Donald, two locals.
I walked up to a nearby table where Bridget, a girl I’d gone to high school with, was shuffling cards. She broke into a grin when she saw me. “Hey Orin, you here for a few rounds of blackjack?”
“I wish,” I said. “No, I’m here to ask about Selene. She never made it home last night.”
Bridget’s expression darkened. “Really? Have you asked around?”
“I already called around. Have you seen her?”
She shook her head. “No, our schedules rarely line up. I’ll be sure to let you know if I--” Her eyes focused on something behind me, and she cut herself off.
I turned around to see the casino’s pit boss watching us both. He was a tall thin man in an impeccably clean black suit. When I turned back towards Bridget, she was looking down at the table and shuffling cards absent-mindedly.
“Well, if you hear anything, let me know,” I said.
She nodded, so I turned around and headed for the pit boss. I stuck out my hand. The temperature of his hand was so hot that I had to pull my hand away after a few seconds.
“Have… have you seen my sister Selene?” I asked. “She hasn’t been seen since her shift here yesterday.”
He smiled. “Sir, this floor is for players. You’re more than welcome to head to the tellers for chips, but barring that I’m afraid I’ll have to ask you to leave.”
I stared at him for a long second before stalking towards the door. When I looked back, he was talking with Bridget.
I checked my watch. 8:55 AM, just as I’d planned. I walked around the back of the building and waited as the morning bus pulled around the building. I waited for the telltale hiss of the opening doors and the sound of people descending before I rounded the corner and joined the crowd. None of them paid any particular attention to me as I walked with them into the casino.
The crowd walked through a side door down a hallway to an elevator. Small groups of people entered the elevator as the rest of us waited for our turn. I shot a glance at the casino patrons, surprised at their diversity. There seemed to be people from all different countries and ethnicities. I heard one speaking Japanese and another speaking what sounded like an African language.
My turn came along with a few other patrons in the elevator. A sickly woman hobbled into the elevator beside me carrying an IV that was still connected to one of her veins. We piled in and rode up to the top.
The elevator rose for a few long seconds. I wasn’t sure what I would find, but I steeled myself for something horrible. The elevator’s speaker let out a TING, then the doors opened.
We all walked out onto what looked like a standard casino. Another few dozen slot machines ringed the walls, but on this floor, they were almost all occupied by customers. I took in the scene, confused at why they’d have a ground floor that was almost completely empty when this place was almost--
Selene was dealing cards at a nearby table.
I jogged over and sat down at an open seat. None of the players around me paid me much attention.
“Selene!” I said. “Are you OK? Did you spend the night here last night?”
Her eyes were glassy and confused. She looked up at me with a dumb expression and didn’t respond to my question.
“Selene?” I asked.
“What’s your bet?” she asked me. “This table is for blackjack players only.”
“I…” I trailed off, looking at the players around me. None of them were betting with chips of any kind. “What’s the minimum bet?” I asked.
“Three years,” she responded.
“Three years then,” I said, not knowing what that referred to.
Selene nodded, then began dealing cards. I shot a look down at my hand. King and a 9. Selene dealt out cards for herself, showing a 9. I stood, then leaned forward again. “Should I call the police? Are you--”
“Congratulations,” she said tonelessly.
An almost impossibly warm hand grabbed my shoulder. I spun to see the pit boss I’d spoken to earlier. He gave an impressed smile. “Orin, was it? I’m impressed, truly. Would you mind if I had a word with you?”
I shot a look back at Selene who was dealing the next round of cards. Then I got to my feet, balling my hands into fists. “What did you do to her?”
The pit boss clasped his hands behind his back. “Nothing more, and nothing less than what I’m going to do to you. That is, offer you the chance to play.”
“What the hell is that supposed to mean?”
The pit boss nodded his head towards a nearby slot machine. A woman in a wheelchair pulled a lever and watched the flashing numbers spin. They exploded in a cacophony of sirens and flashing lights. “WINNER WINNER WINNER!” The machine screeched.
The woman in the wheelchair put her feet on the ground and stood up on a pair of wobbly legs that had clearly never been used before.
“As in any other casino,” the pit boss said, “you must wager for the chance to win.”
“She... won the use of her legs?” I asked, feeling light-headed. “Wait,” I said. “I played blackjack just now. ‘Three years,’ Selene told me. What does ‘three years’ mean?” I asked.
“Three years of life, of course. Did you win?”
My mouth felt dry. “I-- Yes, I won.”
He smiled warmly. “Congratulations. I hope you enjoy them. I can tell you from personal experience that watching the decades pass is a bore. Give it some time and you’ll be back to spend them.”
I watched the pit boss’s face. He couldn’t have been more than a few years older than me, and I was in my early thirties. I looked around at the casino. No one was playing with chips of any kind. “So what?” I asked. “I won years of life. That woman won the use of her legs. What else can a person win here?”
“Oh, almost anything. They can win almost anything you can imagine.”
A cold feeling settled in my stomach. “And what do they wager?”
His eyes flashed with greed. “Almost anything. They can wager almost anything you can possibly imagine. Anything equal in value to the item they want in return.” He nodded towards a nearby roulette table.
A man stood by the table, cradling his hands. “Another finger,” he called out. He only had three fingers remaining on his left hand. As I watched, the ball came to a stop, and another finger disappeared from his left hand.
The pit boss extended his hands. “Feel free to try any of our games. Bet and win whatever you’d like.” He reached out and snatched my hand. A feeling of intense warmth passed up my arm to my chest. “There,” he said. “I’ve even given you some house money to get you started. An extra decade of life, on me.”
I ripped my hand away, staring at him in horror. Then I looked back at Selene. Something clicked in my mind. “You offered her the chance to play. What did she want?” I asked.
“Her husband,” the pit boss said. “Quite the sad story. He died two years ago. She wanted him brought back to her.”
“What did she wager?” I asked.
“She wanted the chance to win a soul, the most valuable object in existence. I’m sure you can imagine what she needed to wager for the chance to win it. What she wagered is unimportant. The important question is: What do you want, Orin?”
I stared at Selene with a flat expression. “I’m sure you can imagine.”
His eyes flashed with greed again. “How wonderful. The casino could always make use of another dealer. Feel free to make your wager at any one of our games; I’ll be eagerly awaiting the results of your night. Oh, and do take advantage of our waitresses. We always supply food and drink for ‘high rollers’.” He walked away.
I spent the next few hours trying to decide which game to play. I was going to be wagering my soul, so I wanted the highest chance possible. Slots and roulette were out. I’d done some reading online about counting cards, so I figured that blackjack gave me the best odds.
I walked up to Selene’s table and sat down. “Bet?” she asked with that same toneless voice. “Three years,” I said.
I spent the next hour or so doing my best to remember how to count cards. I knew that low cards added one to my count and high cards decreased it by one, but the casino used three decks. I had read something about how that was supposed to change my calculation, but I couldn’t quite remember how.
Every time I won a hand, I cursed myself for not putting everything on the line. Every time I lost, I breathed a prayer of thanks that I’d waited. And all the while, I kept track of the count.
I had lost fifteen years of life when the count finally reached +5.
“Bet?” Selene asked.
“I wager my soul so you can be free,” I said.
The table around me fell silent. Selene’s eyes flickered, but she showed no other emotion as she dealt the cards. I watched my first card, punching the air in excitement when I saw a Jack. My excitement turned to ash when my second card was a four. Fourteen.
I looked at her hand. One card was facedown, but the faceup card was a King. I swore loudly, staring down at my hands.
“Hit?” she asked. The entire table was silently watching me.
“Hit,” I said, not looking down. The table erupted in cheers. I looked down to see a 7 atop my two other cards. 21. Blackjack.
I looked at Selene who flipped over her facedown card to reveal a 9. 19. I won.
The glassy look left her eyes immediately. She looked around in surprise, then her eyes locked on mine. “Orin?” she asked, then almost immediately began to cry. The entire casino broke out in cheers.
I grabbed her hand and headed for the elevator. The doors had begun to close when the pit boss reached out with a hand to stop them.
“Congratulations,” he said, beaming. He seemed to be honestly excited.
“Shouldn’t you be upset?” I asked.
“Not at all. Casinos love it when we have big winners. It inspires the other players to make larger bets. I imagine I’ll gain two or three dealers before the night is through from your performance.”
“Great,” I said flatly. “Now let us go.”
“Not yet,” he said. “You didn’t just win, Orin. You got a blackjack. And blackjack pays out 1.5 times your bet. You won your sister’s soul and more.”
I stared, not sure what to say. “What are you saying? I won half a soul extra?”
The pit boss grinned wildly. “Just remember what I said. You’ll find living for decades and decades to be a boring experience. After a few centuries, you’ll be back to gamble that half a soul away. Congratulations!”
He removed his hand, and the elevator doors slammed shut.
I helped Selene back to her house. Her children were relieved. I watched them cry, then moved into the kitchen to start making dinner.
It’s been a few days since that experience. The casino is still out there, and buses full of people still arrive. I… I cut my hand pretty bad a few days later. When I checked it an hour later, it had already healed, no scar or anything. I’m not sure exactly what I won at that casino, but there’s no way I’m ever going back.
X

ELI5: How does blackjack work for casinos? All the games have the odds in the houses favor, but isn’t the dealer essentially just a player in blackjack?

Round Concept: Rushin' Roulette (Race)

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

Popular Builder Solitaire Card Games

Solitaire is the much beloved choice for killing time in the office or at the home computer. The three most popular solitaire card games are Klondike, Spider, and FreeCell, and these enjoy dizzying heights of popularity as a result of being included as part of Microsoft Windows in the 1990s (for more on this, see this article). What these three games have in common is that they all fit the "builder" genre. That means that they follow the basic formula of many solitaire games, where the overall objective is to arrange cards in ascending order from Ace through to King, for each of the four separate suits. Typically this is done by placing and moving cards within a tableau of rows and columns of cards, where the cards are often arranged in descending order, sometimes with an additional requirement of alternating colours.
Klondike, Spider, and FreeCell are by no means unique in this regard, and the genre of "building" games is the most popular archetype within the larger world of solitaire card games. Not all solitaire card games are builder games, but builder games are the most common and arguably the most loved. So which other solitaire games of this type should you know about and should you try first? I've explored the world of solitaire card games extensively myself, and also examined numerous lists about the most popular ones, to help you begin your experience with the best of the best, rather than waste your time with mediocre or obscure games. The six builder games covered in this article are time-tested classics that are most well-known and loved, and represent the best "next step" for anyone wanting to branch out after enjoying Klondike, Spider, or FreeCell.
Each of the builder games discussed here represents a small category of its own, because there are many popular variations and related games for each, which I will cover as well. As with my previous articles on solitaire games games, the accompanying links go to Solitaired.com, which is a website where you can play these games for free. But because these games are so common and well known, you'll find that they are included in most software and websites that offer collections of solitaire card games.

== Games With One Deck ==

BAKER'S DOZEN
Overview: Baker's Dozen also represents a family of games that plays much like Forty Thieves (see below), but with a single deck. While some variations have a stock, in Baker's Dozen and its most closely related games all the cards are face up, so you have complete information to work with.
Game-play: The tableau consists of thirteen columns of four overlapping and face-up cards each, while the four foundations begin empty. To ensure that the tableau doesn't lock up too quickly, Kings are automatically placed to the bottom of each column when they are turned up. Just like in Forty Thieves, only the single top card of each column may be moved, and columns are built downwards, in any colour and suit. Empty spaces in the tableau may not be filled. As you'd expect, the aim is to get the entire deck onto the four foundations, building up each from Ace to King, with each being built upwards by value.
Variations: Portuguese Solitaire makes Baker's Dozen slightly easier by allowing empty spaces in the tableau to be filled with Kings, while Spanish Patience allows building on the foundations regardless of suit. Baker's Two Deck is effectively the same as Baker's Dozen but using two decks, with eight foundations and a tableau consisting of ten columns with 10 or 11 cards each.
My thoughts: Because this only involves a single deck, Baker's Dozen is much quicker to play than Forty Thieves, and the chances of success are also significantly higher, with as many as 2 of 3 games being easily winnable. The fact that Kings begin at the bottom of the tableau ensures that you don't get stuck too quickly, and being able to build down in the tableau independent of suit ensures a great amount of flexibility. At the same time managing the tableau carefully is still important, especially in cases where empty spaces don't get filled. This makes Baker's Dozen a quicker, simpler, and more accessible game than Forty Thieves and its many variants, while still remaining rewarding and satisfying to play.

https://preview.redd.it/uzpzp0dtend61.jpg?width=600&format=pjpg&auto=webp&s=28ee57dfe129f73475b95e4b1c12d2910b9a0284
Related games: Castles in Spain requires building down in the tableau to be with alternate colours, and in most versions of this game all but the top card of each column in the tableau begins face-down. Quite similar is Martha and its harder sibling Stewart, where every second card in the tableau begins face-down. Good Measure is a more difficult variation of Baker's Dozen, since it uses ten columns of five cards each, and has more strict rules for building on the foundations; Canister has only eight columns with even more cards on each.
Bisley: Special mention can be made of Bisley, which is a classic but more difficult game in this family. In Bisley you use a tableau of thirteen columns of four cards each to build upwards on the four Aces, and simultaneously build downwards on the Kings whenever they become available.
CANFIELD
Overview: Canfield is one of the all time greats among solitaire games, and is a genuine classic. Also known under names like Demon, Fascination, or Thirteen, you'll find that it appears in almost every book with solitaire card games. According to legend, the game owes its origin and name to Richard A. Canfield, a 19th century gambler. For an initial outlay of $52, Canfield offered gamblers a reward of $5 for every card successfully played to the foundations, with a $500 pot for successfully playing all 52 cards to the foundations. Anything more than 10 cards played to the foundations would get you out of the red, but in most cases the game favoured the casino, indicating how hard the game can be to play.
Game-play: Game-play is much like Klondike, with the aim of building up all four suits in order. The key difference is the starting set-up, because there is a single face-down reserve of 13 cards (sometimes called the "demon"), with a 14th card turned up as the first foundation card. The foundations begin with the cards corresponding to the rank of this initially turned up card (rather than the usual Ace), and the idea is to build upwards from there, if necessary "turning the corner" from King through to Ace. Also different from Klondike is the starting tableau, which consists of just four face up cards alongside the reserve. The stock is turned up three cards at a time as in standard Klondike, with as many re-deals as necessary. Any space that appears in the tableau is immediately filled by the top card of the reserve pile, which is always kept face-up.
Variations: Given how challenging it can take to win a standard game of Canfield, a number of variants exist that simplify the game slightly, increasing your chances of playing cards to the foundations. Canfield's gambling house is said to have given players the option of going through the stock three times when dealing three cards at a time, or just a single time when dealing one card at a time, and it has been estimated that most games would only see 5 or 6 cards played. The game becomes slightly easier with Canfield Rush, where the cards are first dealt three at a time, then two at a time, and then individually in a final deal of the stock.
My thoughts: Canfield does have a strong connection to Klondike, but has a smaller tableau to work with, while also providing a much smaller number of cards (only 13) that are face-down in the tableau at the start of the game. The real key is finding a way to make these cards available and get these into the game. Given how hard the original game is, I prefer playing with the rule that allows dealing of cards individually, and cycling through the stock as often as necessary. Some of the related games discussed below, such as Rainbow and Storehouse, significantly improve your winning chances, and can be very satisfying to play. Certainly if you enjoy Klondike, this game is a great next step to try.

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Related games: In Rainbow (also called Rainbow Canfield), cards may be built downwards in the tableau regardless of suit (some versions still require alternating colour), making it much easier to manipulate cards and work your way through the stock and the reserve. Additionally, cards from the reserve aren't automatically added to the tableau, giving you more control and adding strategic options. In most versions of Storehouse (also called Thirteen-Up), you get an additional head-start by placing your initial four cards on the foundations at the outset, while cards from the stock are turned up one at a time. The big difference in this game is that you must build down by suit in the tableau, which really changes how the game feels, because playing from the tableau to the foundation usually involves a whole string of cards at once. Eagle Wing (also called Thirteen-Down) is somewhat similar to Storehouse, and has a uniquely shaped tableau. Dutchess (sometimes spelled Duchess), is a Canfield style game that adds a reserve of four fans, while American Toad is an easy-to-win version of Canfield with two decks.
Two Players: Canfield has been adapted for a multi-player game under the common name Pounce, and is also known as Nerts or Racing Demon. A commercial version exists under the name Solitaire Frenzy, and the published game Dutch Blitz is also a close relative. In Pounce, each player uses his own deck and tableau, playing simultaneously and real time onto shared foundations, with the goal is to be the first to get rid of your reserve pile. You can play with as many as half a dozen players or more, and the frenzied action typically proves to be enormous fun!
FAN GAMES (La Belle Lucie)
Overview: La Belle Lucie, also called in English "Lovely Lucy" or "Beautiful Lutecia", is a classic representative of the family of games typically described as Fan games. It's one of the more difficult games in the genre to win, and thus some of its variants and closely related games have arguably become more popular than Lovely Lucy itself. But this classic game of French origin is a good archetype of the genre, and you'll find it included in most books with patience games, and on most solitaire websites and software. Effectively this game is just a tableau of 17 columns of three cards each (plus a column with a single card), but the fan-style arrangement with horizontally overlapping cards that is traditionally associated with this game is a signature feature.
Game-play: A single deck is dealt face-up into 17 "fans", each consisting of three overlapping cards, plus an 18th column with just one card. Only one card can be transferred within the tableau at a time, so sequences can't be moved, and building happens downwards according to suit. Empty spaces in the tableau may not be filled. The aim is to build up four foundations by suit from Ace to King. Under the most commonly played rules, once you are unable to place or move any more cards, you take all the cards from the tableau and redeal them into fans with three cards each; there are two such re-deals.
Variations: Three Shuffles and a Draw (also called Lovely Lucy With a Draw) adds a merci play, where you can move a single blocked card once during the course of the game. While La Belle Lucie is sometimes called The Fan, this is also the name of a popular variation which allows exposed Kings to be played to empty spaces in the tableau, making the game less frustrating and far more achievable. Trefoil is identical to La Belle Lucie except that the Aces begin on the foundations, resulting in an initial tableau of just 16 fans.
My thoughts: This is a terrific single-deck game, because you have perfect information given that all the cards are face-up, and the large number of columns/fans means that buried cards have at most only a couple of cards blocking them. La Belle Lucie is very difficult to win under the original and strict rules, especially because empty fans may not be refilled, and cards beneath an unplayable exposed card (e.g. a King) are permanently inaccessible. The merci rule that lets you unblock one card is virtually essential, and usually a standard way of playing, but even after two redeals the game can still be hard to finish, depending on the draw. Some of the variants and related games that simplify things slightly are more satisfying. This is one of my favourite solitaire games to play with a single deck, since it is less luck-dependent than many other popular single-deck games like Klondike.

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Related games: One of the more popular games in this family is Super Flower Garden, where building downward is permitted regardless of suit; with good play under these rules the game can be completed almost every single time. Shamrocks takes the essence of La Belle Lucie, but implements several other changes to make the game much easier: Kings are moved to the bottom of the fan during the deal, and you may build up as well as down on the fans (which are limited in size to 3 cards) and can ignore suits; to prevent it being too easy there are no redeals.
Similar games: Games in the Baker's Dozen family (covered previously above) are sometimes classified as Fan games as well, because the game-play is quite similar, with 13 columns/fans of four cards each, but the absence of re-deals gives them a different feel. Bristol is often played with a tableau consisting of fans as well, but there are only eight fans of three cards each, while the rest of the deck functions as a stock that you deal onto three waste or reserve piles. Despite some hidden information, those who appreciate Fan games are likely to appreciate Bristol as well. Intelligence is a two-deck game in the style of La Belle Lucie, while the relatively easy two-deck game Buffalo Bill relies on reserve cells rather than tableau building.
CASTLE GAMES (Beleaguered Castle)
Overview: Beleaguered Castle is the most famous member of what can be called the "Castle" family of solitaire games, and is a classic game that you'll find in most books of Patience. This game sometimes also goes under the alternative names of Laying Siege and Sham Battle. It is an excellent example of an open solitaire game, because all the cards are dealt face-up at the start, so you begin with perfect information.
Game-play: With the four Aces placed in a vertical column as foundations, the rest of the cards are dealt face-up into four rows of six overlapping cards each on either side, forming a tableau consisting of two "wings". As expected, the goal is to build all four foundations in order from Ace through King. Cards may only be moved within the tableau one at a time, rather than in stacks, so only the end card of each row within the tableau may be moved, either to the foundations, to another row in descending sequence regardless of suit, or to an empty space in the tableau.
Variations: In Streets and Alleys, the Aces don't begin in the starting foundations at all, but are included in the initial tableau of dealt cards, so that the four rows on the left side of the foundations each consist of seven cards each rather than six. Thomas Warfield's Stronghold adds a storage cell to Streets and Alleys, to give more strategic options for movement. Citadel improves Beleaguered Castle's initial position slightly by allowing you to build straight to the foundations during the deal, while Selective Castle lets you choose the rank of the foundation cards after the deal. Some solitaire sites offer a Beleaguered Cities variant (sometimes simply called Castle), which makes the game much easier by allowing you to build in ascending or descending sequence (still regardless of suit), and this ensures that you can nearly always complete the game successfully.
My thoughts: Despite the unusual signature "wing" setup, strictly speaking the mechanics of Beleagured Castle are like most other solitaire games (especially Forty Thieves, see below), but with a single deck, eight columns of six cards each, and no stock. The strict rules for movement and building within the tableau make this a very difficult game to complete successfully. Ideally you want to be able to get one of the rows entirely clear, to give you more options for manipulation within the tableau. Even so, being only able to move the outside card on each row is quite limiting, and as a result you will often be thwarted by the luck of the draw early on, especially if high cards bury some lower cards, and so this classic game can be somewhat frustrating. You'll often find yourself quickly redealing and starting over, hoping for better luck the next time around; one advantage of a digital version is that you can keep redealing until you get a deal that seems like a reasonable starting draw. The simpler variant Castle is a good place to start with this game, since it increases your chances of success drastically.

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Related games: Fortress operates on a similar concept, but there are five rows on each side of the foundations instead of four. In addition, you are restricted to building on the same suit, but you may build in ascending or descending sequence. Aces start within the tableau (thus two rows have six instead of five cards). The variant Chessboard applies the same principle as Selective Castle, by letting you choose the rank of the foundation cards after the deal (building around the corner on the foundations as required), in order to take better advantage of the cards you have been dealt. Zerline is a German game where Queens are high, and helps by adding a four-card storage area.
SIR TOMMY GAMES
Overview: Sir Tommy (Old Patience, Try Again, Numerica) is also known as Old Patience, which reflects its origin as the oldest known patience game, and possible ancestor of all others. The average person may not have heard of it, but it deserves a place on this list because this is a game from which so many other solitaire games are derived, including many more familiar ones. It is at the head of a family of games where cards in the tableau can't be moved after being placed, and that's a unique quality that also makes it quite challenging to win.
Game-play: Suits are irrelevant in this game, and the aim is to build four foundations from Ace to King. You deal the deck face-up one at a time, and the tableau has four columns (or waste piles); dealt cards can be played on any column but cannot be moved from one to another. So while it's still technically a building game because you are building up the foundations, there is no packing in the tableau to assist you with this.
Variations: Some variants (e.g. Auld Lang Syne, Tam O'Shanter) turn Sir Tommy into even an simpler luck-based game nearly impossible to win, while others are extremely strategic like the well-known Calculation. Amazons is an interesting version played with a smaller deck that has the goal of building to the Queens (= Amazons), and is best played digitally given the amount of redealing. Other variants make the game easier (and for me, more enjoyable) by increasing the number of tableaus (Strategy, Lady Betty, and Last Chance) or redeals (Acquaintance), or make it more interesting by requiring building by colours (Puss in the Corner, and Colours, Alternate).
My thoughts: Good players can win as many as 20% of their games, and storing cards in the right order on the four columns is critical, because you want to avoid having low valued cards blocked by higher ones, or having too many cards of the same number in one column. Reserving a pile for Kings and another for high cards is often a good strategy. Even so, it's a hard game to win and can be frustrating. I recommend trying some of the easier variants as a way to enjoy this game; there's a good reason so many variants have evolved from the original over time. It's a large family that includes many solitaire variants, and these are well worth trying and exploring.

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Related games: Several two-deck games are in the Sir Tommy family, including Fanny, Frog (also called Toad), Fly, and Grand Duchess, most of which involve using a reserve. Several two-deck games use similar mechanics but operate with a larger 20 card tableau in the style of the simple game Carpet, but involve building both up and down on the foundations; for me personally these are the most fun of all Sir Tommy variants, and include Twenty (also called Sly Fox), Colorado, Grandmother's Patience (also called Grandmamma's Game), and Grandfather's Patience - all excellent games.
Calculation: Calculation deserves special mention, and has become a classic in its own right. What makes it unique is that the foundations are built up by one, two, three, and four respectively, and it requires a lot of skill. The variant Betsy Ross is more luck-dependent but is also easier to complete successfully.
YUKON
Overview: Yukon first appeared in a 1949 book on solitaire games, and has since exploded in popularity. This single deck solitaire game was partly inspired by Klondike, which is of course the most popular solitaire card game of all time. But because Yukon has no stock and more flexible rules for movement of stacks within the tableau, it allows a lot more scope for thinking.
Game-play: While inspired and indebted to Klondike, Yukon creates a game with a very different feel by removing the requirement that stacks of cards must be in alternating sequence in order to be moved. In other words, you can move any stack to a legal card within the tableau, regardless of the sequence of the cards in that stack. While this makes the game easier, another significant change makes it harder: there is no stock that you deal. So all the cards are in the tableau at the outset, and you'll have to manipulate the tableau cleverly to uncover face-down cards and build all four suits onto the four foundations from Ace through King.
Variations: To make Yukon slightly easier, a couple of variants alter things slightly to simplify the gameplay, such as removing the requirement that only Kings can be placed in an empty space in the tableau (this variation is sometimes called Great River). Some digital implementations give the option of reducing the number of suits used, such as in Yukon One Suit, which you can nearly always win, while still having to think carefully.
My thoughts: The rules for manipulating the tableau give you more options than Klondike, and thus more to consider and think about. Both Yukon and Russian Solitaire (mentioned under "related games" below) are extremely popular solitaire games, because they are simultaneously more challenging and more rewarding than Klondike style games. Skill plays more of a role, and there are players so dedicated to Yukon that they have played it thousands of times. In regular Yukon you can expect to win as much as 1 in 4 games, but the added level of difficulty in Russian Solitaire reduces that to as little as once in 20 games. The key is to bring the face-down cards into play as soon as possible.

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Related games: Russian Solitaire makes Yukon harder by only allowing you to build down in the tableau with cards of the same suit, instead of in alternating colours, and it is an extremely popular game in its own right. This requirement is also in place with Alaska, but may build in ascending or descending order in the tableau, which makes it easier to win than Russian Solitaire. Australian Patience is another popular spin-off from Yukon, and adds a stock which is dealt one at a time, while the entire 7x4 tableau starts face up; however this can feel like it's more about careful observation than decision making. Many other Yukon inspired games exist, including games which add things like a reserve, storage cells, or extra decks.
Scorpion: Special mention should be made of popular game Scorpion, which some categorize as part of the Yukon family, and the rules for moving unarranged stacks in Yukon may even originate in Scorpion. However, Scorpion uses Spider's requirement that stacks from Ace to King of the same suit must be assembled within the tableau before being discarded. Scorpion variants include Wasp, Three Blind Mice, Chinese Solitaire, and others.

== Games With Two Decks ==

FORTY THIEVES (Napoleon at St Helena)
Overview: Forty Thieves is a popular and classic game played with two decks, and is also included in most books with patience games. It also goes under the alternate name Napoleon at St Helena (not to be confused with a different solitaire game called "Saint Helena" or "Napoleon's Favorite"), and tradition says that this is the solitaire game Napoleon played while in exile on the island of St Helena. The game also goes under other names, including Roosevelt at San Juan. Its simple rules means that many variations exist, many of which are among the more strategic and satisfying versions of solitaire games that you'll find anywhere. Carefully working through the stock pile and manipulating the discard pile are a big element of successful play.
Game-play: A tableau is dealt with ten columns, each with four overlapping and face-up cards. Strict tableau building rules apply, because only the single top card of each column may be moved, and only onto a card that is the next highest rank of the same suit; any card can be placed into a space that becomes available in the tableau. The remaining stock of 64 cards is turned up one card at a time, with no redeals. The goal is to get all the cards onto the eight foundations from Ace through King in each suit.
Variations: In its strict and classic form, even with good play Forty Thieves is difficult to win, so many variants exist that seek to make the game easier. In some of these, the Aces begin as starting foundations ( San Juan Hill). In others, the tableau is not built down by cards of the same suit but by alternating colours (e.g. Streets), or by any suit other than its matching one (Indian). Some variations allow entire sequences of cards to be moved (Josephine, Forty Bandits, Ali Baba), or combine this with having tableau building in alternating colours (Number Ten, Rank and File, Emperor) or tableau building in any suit (Little Forty). In other variations, multiple redeals of the stock are permitted.
My thoughts: Game-play is very tight in the strict form of the game. It's not always a good idea to play a card just because you can, because you may block cards within the tableau that you need. You also need to pay close attention to duplicates, since two decks are in play. As a result, careful planning and consideration is needed. Unused stock typically ends up into an increasingly large face-up discard pile, but in the latter parts of the game skilful play often makes it possible to dig back through this and complete the game. This usually proves most satisfying when playing with one of the variants that makes the game slightly easier, to increase your chances of pulling out a win. Even with these variants, you'll have to play skillfully, making the Forty Thieves family of solitaire games one of the more popular choices for those who like a longer experience that is thoughtful, challenging, and yet solvable, and where skill plays even more of a role than luck.

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More variations: Instead of 10 tableau piles, some variations increase this to 12 piles (Blockade, Napoleon's Square, Corona) or 13 piles (Lucas, Waning Moon); or decrease it to 9 piles (Maria) or 8 piles (Forty and Eight, Congress, Parliament, Diplomat, Red and Black), each with different combinations of rules for tableau building. Games with just 6 piles (Blind Alleys, Pas Seul) or 5 piles (Double Rail) begin to feel much like Klondike.
Related games: Many other games take the Forty Thieves style concept and adjust it in more significant ways. In Interchange (more difficult), Breakwater, and Alternations, the initial tableau includes face-down and face-up cards. The very popular Thieves of Egypt begins with a pyramid shaped tableau. Busy Aces is a straight forward game in the style of Forty Thieves that is at the head of its own family, which includes the much simpler Fortune's Favor, a simple game ideal for beginners. For a terrific overview of all the Forty Thieves related games and their different nuances, consult Thomas Warfield's excellent complete guide to Forty Thieves types games.
CONCLUSION
This is by no means a comprehensive list that includes all builder-style solitaire games. But along with Klondike, Spider, and FreeCell, these seven additional games - Baker's Dozen, Beleaguered Castle,Canfield, Forty Thieves, La Belle Lucie, Sir Tommy, Yukon, and Forty Thieves - and the many related games that belong to their families, are the most common and popular forms of solitaire games that involve building. They have inspired many solitaire games like them, and have stood the test of time well.
If you enjoy Klondike, which is the most popular version of solitaire in the world, then Canfield and Yukon are natural games to explore next. Beleaguered Castle can be a little frustrating due to the strict rules and dependency on the luck of the draw, and even the other games in its family can be quite challenging. I'd recommend it only for more experienced and dedicated players, and would instead suggest next exploring Baker's Dozen and the games in the "Fan" family inspired by La Belle Lucie.
Their style of play is somewhat similar to Forty Thieves and its many siblings, which double the number of cards in the game by adding a second deck, and also adds a stock pile and discard pile you must manage. Forty Thieves type games are among the best you'll find for those who like a more challenging, thoughtful, and longer solitaire experience.
Author's note: I first published this article at PlayingCardDecks here.

Newbie to gambling, bringing $600 (what I can afford to lose)

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I live in a small mining town in the mountains of Colorado. Someone is building a massive casino nearby, Pictures Included

I grew up in a small mountain town named Eureka. It was founded in the late 1800s during the gold rush, but after the mines dried up the town began its slow descent into decay. Half the houses are empty or abandoned now.
You can see a picture of the kind of houses here in Eureka:
Abandoned House
Non-abandoned House
When a massive construction project began nearby, it was the talk of the town for weeks. Why would they build something in a sleepy dying town like Eureka? It wasn’t until my sister Selene talked to a few construction workers that we discovered they were building a casino.
A casino up in the mountains, over two hours away from Denver. None of us could understand why they’d chosen here of all places. After a few months of work, the casino was done.
I took a picture of the town with the completed casino in the background to the right. The ten-story-structure sticks out like a sore thumb off in the distance.
Town+Casino
After the casino opened, they hired a few dozen members of the town, offering high paying jobs to work as dealers or cleaning staff. I was already employed as a firefighter, but my sister Selene got a job as a blackjack dealer. She’s a widow with two young kids, so the paycheck was a real lifesaver.
Still, something about the situation seemed too good to be true. The jobs over there paid far too well, and the management was far too accommodating. The fire station where I work is located high on a hill overlooking the town, so I began watching the casino from a distance each day.
I had initially thought that the casino was located in a terrible location, but I was apparently wrong. True, Eureka was hours from any major city, but despite that, a bus full of people arrived every morning and left every evening.
One night I was over at my parent’s house and had dinner with Selene and her kids. I asked her about her experience as a dealer.
“It’s Ok,” she said. “Just a little boring I guess.”
“Boring?” I asked. “I’m surprised you don’t have your hands full.”
“Why’s that?” she asked. “It’s like you said, Eureka’s too small. I never have people playing cards. The casino is almost always completely empty.”
I wasn’t sure what to make of that. If the place was always empty, what happened to the people who I’d seen arriving on buses? “I’ve been keeping an eye on the building,” I said. “A bus full of people typically arrives around 9 AM every day.”
“Really?” she asked, looking confused. “If that’s true, I’ve never seen them.
“I can see it from the fire station,” I said. “If you head out for a smoke break at 9 AM, you’ll probably see them arriving.”
“Interesting,” she said. “I’ll do that. If they’re being processed for their organs or something, I’ll let you know.” She laughed.
“Har har,” I said sarcastically.
The next night she sent me a text calling me over. When I arrived, she was nearly breathless with excitement.
“Orin, You were right,” she said. “A big group of people did arrive, but they didn’t walk into my part of the casino. Instead, they all walked into an elevator at the back of the building. I’m not sure where that goes.” She looked thoughtful. “It was weird. They looked… How can I say it? Desperate? Something about the whole situation was very off. I’m gonna check out the elevator tomorrow.”
I told her to be careful, though, to be honest, I was excited to hear about what she discovered. When I visited my parent’s house the next night, I found her two kids there alone. They told me that Selene had never returned from work.
I called all her friends, then all our neighbors, but no one had seen her since she left for work that morning. Our conversations regarding the casino flooded my mind, then a plan began to form.
Early the next morning I walked across town in my nicest pair of jeans and a button-up shirt. I pushed through the door to the casino and saw that Selene wasn’t lying. The place was all but deserted. Three dozen slot machines crowded the walls surrounding a few tables interspersed throughout the floor of the casino. The only players in the whole building were Bob and Donald, two locals.
I walked up to a nearby table where Bridget, a girl I’d gone to high school with, was shuffling cards. She broke into a grin when she saw me. “Hey Orin, you here for a few rounds of blackjack?”
“I wish,” I said. “No, I’m here to ask about Selene. She never made it home last night.”
Bridget’s expression darkened. “Really? Have you asked around?”
“I already called around. Have you seen her?”
She shook her head. “No, our schedules rarely line up. I’ll be sure to let you know if I--” Her eyes focused on something behind me, and she cut herself off.
I turned around to see the casino’s pit boss watching us both. He was a tall thin man in an impeccably clean black suit. When I turned back towards Bridget, she was looking down at the table and shuffling cards absent-mindedly.
“Well, if you hear anything, let me know,” I said.
She nodded, so I turned around and headed for the pit boss. I stuck out my hand. The temperature of his hand was so hot that I had to pull my hand away after a few seconds.
“Have… have you seen my sister Selene?” I asked. “She hasn’t been seen since her shift here yesterday.”
He smiled. “Sir, this floor is for players. You’re more than welcome to head to the tellers for chips, but barring that I’m afraid I’ll have to ask you to leave.”
I stared at him for a long second before stalking towards the door. When I looked back, he was talking with Bridget.
I checked my watch. 8:55 AM, just as I’d planned. I walked around the back of the building and waited as the morning bus pulled around the building. I waited for the telltale hiss of the opening doors and the sound of people descending before I rounded the corner and joined the crowd. None of them paid any particular attention to me as I walked with them into the casino.
The crowd walked through a side door down a hallway to an elevator. Small groups of people entered the elevator as the rest of us waited for our turn. I shot a glance at the casino patrons, surprised at their diversity. There seemed to be people from all different countries and ethnicities. I heard one speaking Japanese and another speaking what sounded like an African language.
My turn came along with a few other patrons in the elevator. A sickly woman hobbled into the elevator beside me carrying an IV that was still connected to one of her veins. We piled in and rode up to the top.
The elevator rose for a few long seconds. I wasn’t sure what I would find, but I steeled myself for something horrible. The elevator’s speaker let out a TING, then the doors opened.
We all walked out onto what looked like a standard casino. Another few dozen slot machines ringed the walls, but on this floor, they were almost all occupied by customers. I took in the scene, confused at why they’d have a ground floor that was almost completely empty when this place was almost--
Selene was dealing cards at a nearby table.
I jogged over and sat down at an open seat. None of the players around me paid me much attention.
“Selene!” I said. “Are you OK? Did you spend the night here last night?”
Her eyes were glassy and confused. She looked up at me with a dumb expression and didn’t respond to my question.
“Selene?” I asked.
“What’s your bet?” she asked me. “This table is for blackjack players only.”
“I…” I trailed off, looking at the players around me. None of them were betting with chips of any kind. “What’s the minimum bet?” I asked.
“Three years,” she responded.
“Three years then,” I said, not knowing what that referred to.
Selene nodded, then began dealing cards. I shot a look down at my hand. King and a 9. Selene dealt out cards for herself, showing a 9. I stood, then leaned forward again. “Should I call the police? Are you--”
“Congratulations,” she said tonelessly.
An almost impossibly warm hand grabbed my shoulder. I spun to see the pit boss I’d spoken to earlier. He gave an impressed smile. “Orin, was it? I’m impressed, truly. Would you mind if I had a word with you?”
I shot a look back at Selene who was dealing the next round of cards. Then I got to my feet, balling my hands into fists. “What did you do to her?”
The pit boss clasped his hands behind his back. “Nothing more, and nothing less than what I’m going to do to you. That is, offer you the chance to play.”
“What the hell is that supposed to mean?”
The pit boss nodded his head towards a nearby slot machine. A woman in a wheelchair pulled a lever and watched the flashing numbers spin. They exploded in a cacophony of sirens and flashing lights. “WINNER WINNER WINNER!” The machine screeched.
The woman in the wheelchair put her feet on the ground and stood up on a pair of wobbly legs that had clearly never been used before.
“As in any other casino,” the pit boss said, “you must wager for the chance to win.”
“She... won the use of her legs?” I asked, feeling light-headed. “Wait,” I said. “I played blackjack just now. ‘Three years,’ Selene told me. What does ‘three years’ mean?” I asked.
“Three years of life, of course. Did you win?”
My mouth felt dry. “I-- Yes, I won.”
He smiled warmly. “Congratulations. I hope you enjoy them. I can tell you from personal experience that watching the decades pass is a bore. Give it some time and you’ll be back to spend them.”
I watched the pit boss’s face. He couldn’t have been more than a few years older than me, and I was in my early thirties. I looked around at the casino. No one was playing with chips of any kind. “So what?” I asked. “I won years of life. That woman won the use of her legs. What else can a person win here?”
“Oh, almost anything. They can win almost anything you can imagine.”
A cold feeling settled in my stomach. “And what do they wager?”
His eyes flashed with greed. “Almost anything. They can wager almost anything you can possibly imagine. Anything equal in value to the item they want in return.” He nodded towards a nearby roulette table.
A man stood by the table, cradling his hands. “Another finger,” he called out. He only had three fingers remaining on his left hand. As I watched, the ball came to a stop, and another finger disappeared from his left hand.
The pit boss extended his hands. “Feel free to try any of our games. Bet and win whatever you’d like.” He reached out and snatched my hand. A feeling of intense warmth passed up my arm to my chest. “There,” he said. “I’ve even given you some house money to get you started. An extra decade of life, on me.”
I ripped my hand away, staring at him in horror. Then I looked back at Selene. Something clicked in my mind. “You offered her the chance to play. What did she want?” I asked.
“Her husband,” the pit boss said. “Quite the sad story. He died two years ago. She wanted him brought back to her.”
“What did she wager?” I asked.
“She wanted the chance to win a soul, the most valuable object in existence. I’m sure you can imagine what she needed to wager for the chance to win it. What she wagered is unimportant. The important question is: What do you want, Orin?”
I stared at Selene with a flat expression. “I’m sure you can imagine.”
His eyes flashed with greed again. “How wonderful. The casino could always make use of another dealer. Feel free to make your wager at any one of our games; I’ll be eagerly awaiting the results of your night. Oh, and do take advantage of our waitresses. We always supply food and drink for ‘high rollers’.” He walked away.
I spent the next few hours trying to decide which game to play. I was going to be wagering my soul, so I wanted the highest chance possible. Slots and roulette were out. I’d done some reading online about counting cards, so I figured that blackjack gave me the best odds.
I walked up to Selene’s table and sat down. “Bet?” she asked with that same toneless voice. “Three years,” I said.
I spent the next hour or so doing my best to remember how to count cards. I knew that low cards added one to my count and high cards decreased it by one, but the casino used three decks. I had read something about how that was supposed to change my calculation, but I couldn’t quite remember how.
Every time I won a hand, I cursed myself for not putting everything on the line. Every time I lost, I breathed a prayer of thanks that I’d waited. And all the while, I kept track of the count.
I had lost fifteen years of life when the count finally reached +5.
“Bet?” Selene asked.
“I wager my soul so you can be free,” I said.
The table around me fell silent. Selene’s eyes flickered, but she showed no other emotion as she dealt the cards. I watched my first card, punching the air in excitement when I saw a Jack. My excitement turned to ash when my second card was a four. Fourteen.
I looked at her hand. One card was facedown, but the faceup card was a King. I swore loudly, staring down at my hands.
“Hit?” she asked. The entire table was silently watching me.
“Hit,” I said, not looking down. The table erupted in cheers. I looked down to see a 7 atop my two other cards. 21. Blackjack.
I looked at Selene who flipped over her facedown card to reveal a 9. 19. I won.
The glassy look left her eyes immediately. She looked around in surprise, then her eyes locked on mine. “Orin?” she asked, then almost immediately began to cry. The entire casino broke out in cheers.
I grabbed her hand and headed for the elevator. The doors had begun to close when the pit boss reached out with a hand to stop them.
“Congratulations,” he said, beaming. He seemed to be honestly excited.
“Shouldn’t you be upset?” I asked.
“Not at all. Casinos love it when we have big winners. It inspires the other players to make larger bets. I imagine I’ll gain two or three dealers before the night is through from your performance.”
“Great,” I said flatly. “Now let us go.”
“Not yet,” he said. “You didn’t just win, Orin. You got a blackjack. And blackjack pays out 1.5 times your bet. You won your sister’s soul and more.”
I stared, not sure what to say. “What are you saying? I won half a soul extra?”
The pit boss grinned wildly. “Just remember what I said. You’ll find living for decades and decades to be a boring experience. After a few centuries, you’ll be back to gamble that half a soul away. Congratulations!”
He removed his hand, and the elevator doors slammed shut.
I helped Selene back to her house. Her children were relieved. I watched them cry, then moved into the kitchen to start making dinner.
It’s been a few days since that experience. The casino is still out there, and buses full of people still arrive. I… I cut my hand pretty bad a few days later. When I checked it an hour later, it had already healed, no scar or anything. I’m not sure exactly what I won at that casino, but there’s no way I’m ever going back.
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