Who is the who?

What is a story (or an adventure) without characters?  In last weeks post we talked about writing up an adventure, and how the conflict is Man VS., But remember that MAN can be any protagonist, whether male, female, protoplasmic asexual, or super-intelligent shade of the color blue.  Depending on the game system and the setting, you may have all or none of these in your character group.  Characters, both PCs and NPCs, are a distinct and important part of making your adventure, and I will talk about each of them in this weeks post.

We will start with NPCs, or anyone not played by a player character (hence: Non-Player Character)  These range from major players, both heroes and villains, to walk ons.  They are a shorter discussion in general,but that does not mean they should be relegated to forgettable status..  The more important they are to your story-line, the more thought out they have to be.  While a chandler who sells the players waxed cotton line may need little more than a name (if even that), the big bad of the game needs quite a bit more!

Lets start small and go big.  A simple walk-on NPC needs little thought.In many cases, a name, a quirk and a voice are over thought.  Most NPCs of this type are stage dressing, shop keepers and villain fodder.  They represent Joe average.  They are OK in anything they need to do.  The more important an NPC, or the bigger role they play, they need more consideration. Hirelings of PCs should all have names, and at least one characteristic like  quick, Brave, giggles at inopportune times, cunning, untrustworthy, yawns all the time, etc…  For names, there are lots of resources, from a phone book (if you remember those) for a modern game, to various random name generators such as those found at Seventh Sanctum or Behind the Name.  At least keep a note card or page with a list of names, where you can write a couple of words about who they are, so if your players want to go back to them.  If they are important enough, make a note about how they talk.  If you are a 1st person player, imitate that when being the character.  If your more 3rd person, remind the players that this mousey little bartender talks like John Wayne!

  • Simply put: The more important the NPC, the more details you will need on them! Most major NPCS (based primarily on amount of “Screen time” they get) will need near complete character sheets with appropriate GM notes.

Before I even start on Player Characters, let me say this:  PCs should not be created in a vacuum!  PCs are informed as much by a setting as they are by other characters and/or story-line.

PCs

As the heart of your story, there are several things to consider when thinking about PCs.

  • What type of character(s) fits the story?
  • What character class, archetype or skill set is needed to meet the various challenges?
    • In general, the 5-man band trope will cover most requirements.  The RPG version is usually: Fighter (Heavy/Tank);Mage (Scientist); Rogue(mechanic,scrounge); Healer (medic);  Shooter (sniper, Archer)
  • What is the minimum and maximum number of players you need/are willing to run?
  • How can you hook your characters into the plot, or with each other?
    • The “you meet in a bar, and a mysterious stranger approaches” gives the player little connection to the plot or the other characters, but is a direct intro to the plot.
    • If each character has a personal stake in the outcome, then they want to get a good outcome.
    • If the players have at least some connection to the other players, then they will typical want to work together better.  This can range from family, to same school or hometown.  you can also connect each player with two other characters, and that way they web together.
  •  How tightly do the characters need to be tied to the story?  Drinking in a tavern and being hired by the mysterious patron is so easy to get them involved, but it does not really give them any reason beyond, something to do other than drink.  It is a great way to get a disparate group of unknown together.  On the other hand, the easiest way to get them all directly involved is having them all be part of an extended group that must resolve the issue.

You could provide pre-generated characters to your players.  This saves time during your first game, and allows you to control all the aspects of the characters.  This makes building hooks easy!  When building pre-gens, a couple of things to keep in mind:

PRE-GENS:

  • Most of the time it doesn’t matter if the character is male or female.  So if you name the character either give them a name that is gender neutral, or a male OR female name.  Often you can just leave the name to the player.
  • Make them at least somewhat interesting.  The background they have would not normally be “you work in a garage,”but should be they “worked in Uncle Vito’s garage since they could follow instructions, but when Uncle Vito was gunned down, you escaped by hiding behind a barrel of oil…”
  • Build hooks so they can relate to the story!  And conversely, make sure they have the skills to shine at least once during the game
    • This can be hard if you don’t know how many players to create for.  If you have two players and you had planned for 6, what do you do with the missing skills?
    • You may need to build yourself a table that shows you how to modify each of your characters if you don’t have enough, or make not of which skills are shy and consider how to get around them in the game

The middle ground of PC is character outlines.  Depending on your system, you may outline that you need at least a warrior, and a mage of a particular discipline; or you might say everybody needs at least one weapon skill at moderate proficiency, but you also need someone to be a divine worshiper of the god of black water.  With these basic outlines, you can get with your players and put all of the requirements on a white board or on note cards or whatever, and then draw straws to see who gets to choose what untill all of your requirements are taken care of, then let them build what ever else they want.

If you know your players, or are confident in your ability to guide players you don’t know, then you can go straight to character creation.  This gives your players the most freedom, but can put the greatest strain on your game, so lets look at some details:

Character Creation at the table

If you give your players complete freedom to create what they want (which is what I usually do), you have opened yourself up to the biggest headache.  You now need to make sure that the adventure fits the characters, and that you have appropriate hooks for them.

  • I recommend that you guide the character creation.  Kind of like the middle ground, you know what you need to have.  You know the setting and the scope.  (Creating characters for a single adventure may allow some rule breaking to fit what you need.  For a campaign…not really allowed!)
    • Keep in mind your story.  All of the next points assume you have a fairly solid grasp of the story you want to tell.  If you are telling a story about Victorian monster hunters, who incorporate part of the monster into themselves to make better hunters, you may not want a holier than thou brimstone preacher, but a preacher who fight the stain against God might work, but do you have the requirements of skills and abilities to meet the challenges of your story?
    • Talk with the characters about your setting.  Depending on the genre, you may even give them basics of the plot.  This might not work in a murder mystery, but in a” get the macguffin” (macguffin? you ask…the thing thqt MUST be gotten) dungeon crawl, you can probably tell them that.
    • In that discussion, they will need to know what type of characters you expect, and perhaps more importantly, what won’t fit.  In a witch hunting game, it is probably inappropriate for one of the characters to be a demon worshipper!
    • However, if they want to play that character, find out why.  Perhaps you can fit their desires into a character idea.  They want to play a demonologist to cast black magic?  What about White magic?  More limited perhaps,but the holy priest may fit in much better!
    • Feel free to have the players provide you hooks, but if your scope is a single game, help them change that hook to one that fits your setting.Let other players make suggestion about the character…get the ideas flowing.  If you need the characters to know each other, work out how.  do they each know all of the others, or is everyone connected to only one or two of the others?
    • Once concepts are made, work through character creation.  Try to make the build fit the idea, but make sure you get the skills covered that need to be.

Lets go to the example:

Continuing our example from before, lets touch on each of the ways you could create characters. We have come up with a story, so now consider the types of characters that you might need or want.  NPCs we need, are the spider alien,and its brood, the proconsul and a couple of servants.  That might do for a minimum.  The way the story is written, we may only need to completely stat out the big bad. The rest can get by with a few notes.but we may create some of the stats to deal with things we don’t expect.  Of course all of the bit players will need names, so I’ll have a random name generator (or a book on roman history) to create roman sounding names, with maybe space-opera monikers (Space runner, Star child, Voidmann).

If you are setting this game up for a convention, or just to try out a system or something, you may consider pre-gens.For the game you decide that all of your characters will have basic military training, so that defines part of their background.  Perhaps in your game, they have been together since they were out of the crèche as they were destined to form this cadre.  So now the players are connected.  Using that, the mission becomes important because one of their creche mothers has gone to this frontier planet, and they haven’t heard from her since she left.Like that, you have given them a reason to be together, to work together and a want to undertake the mission. (Maybe mother is in one of the villas that has been attacked…she is OK, but wants the master avenged).  You have soldiers; you also need perhaps a doctor, maybe with a xeno-disease specialty.  One of the characters is a research specialist.  You need a long-range fighter and a couple of close in fighters.  How about a diplomatic face type.  And then, as a final character, an insectoid non-citizen trying to earn its citizenship by serving the emperor.  Its motivation is different, but it adds a bit of party conflict, so you only make it available if all of the other characters are taken.  If you want, you can add character specific connections, but most single shot adventures don’t see a whole lot of use of them.  You can make it a point of play, exploiting it during one of your beats!  Otherwise, you are ready to play!

In the next situation, you may not know your players, but you are not limited by time, you may have a couple of session to cover the story, so you decide to have them create characters, but you will control the process.

You know you need all of your players to have Some fighting skills.  So, depending on your game system, you may require everyone to take a weapon proficiency, or x number of points in combat skills.  If your system is a pure class base, then this part of the decision is basically what sort of classes are needed.  As you can see, this is where a class based system could have significant advantages. Assuming you are playing a skill based or class/skill hybrid system you will need to be a bit more defined. You have access to notecards, so you use them. If you don’t know how many players, you may need to mark the characters.  something like all 1 star characters have to be taken before a two star character can be taken, and so on.  This ensures that the minimum classes/skills are covered.. If you are using a class hybrid system you may put out cards for just the classes , so everyone can pick that first.  Then, put out the skill cards with skill/talents/powers (whatever ) on them.These cards can include skill groups (skills for a thief, for instance) or maybe individual, allowing people to specialize as they see fit.  Once skills and classes are distributed, you might talk about hooks, or you can lay them out for selection as well.  If you lay them out, it might be best to be a little vague so character secrets are not common knowledge.  If you are going to leave the players to work out the character hooks, you might consider the next iteration instead!

Lets now assume you are going to be playing with your usual group of players.  You know the kind of things they play, but maybe this setting will get them to shake it up a bit.  So, you get snax and start talking about characters for the new game.  Everybody agreed to the setting, so you just need to tell them a bit about your story plan.  Everybody is happy with what you need.  So they can dive into character making right?  Yes, but…THey can make their character and then work with you about fitting them into the group, but if everybody talks through the types of character ideas they have, you can guide them in their choices, and other players may have some influence to make better characters!  Cool, eh?  OK…your group is talking about characters, and one of the players really wants to play a dwarven priestess to the God of the Axe.  You explain that this is not really a fantasy game, but they would really like to do this…now what?

Like so many other things at the game table – talk it out!  Maybe after finding out why she wants to play that, you agree that it could be a fun concept, but it doesn’t fit.  But (Later we will talk about the Yes, But.. .and No, and… concepts) how about she is a non-citizen from a high Gee Ice world called Graham Holt.  So, she is short, and hairy, like a dwarf, and she actually has psionic powers that her people have attributed to divine intervention.  You hadn’t planned on any kind of magic, but this minor power might fit well.  So, she gets to play her Dwarven priestess, that is on this operation to work toward her citizenship in the Empire.  Character motivation! She may not be connected to the other players directly…or, maybe she has been assigned to their cohort for a while!  Maybe even the slave of one of the other characters!

Once created, then you need to wrap it up with tie ins.  Once each of your characters is a closely connect with each other and the story that you are comfortable with, you are off to the races! (Not breeds of people, but competitions of speed…but actually mean you are ready to play!)  Well…almost.  Next week, I will discuss setting up for your game.

Let me know if this is of help!

How does it start?

I have talked about lots of different things about how to run a game, and how to do referee things, but only brushed on the meat of it.  So, lets choose a setting and go through the steps of actually building an adventure to run your players through!  I am planning on doing this in three sections, each a separate post, hopefully no more than a week or so apart.  This one will go through outlining a session.

Some caveats to this process.

  • Know your system.  You don’t have to be a guru at it, but be comfortable enough to know what the system you’ve chosen can and cannot do well.  As mentioned several times in these posts, you can tell any story in about any system. it’s just a matter of how well or how smoothly your system does it.  Knowing this, you will not make a central part of your adventure something that the system does not do well.
  • Consider your scope.  How big of an adventure are you creating?  If you are planning a campaign (out of scope for this article), your stories are considerably different from if you are making a single session game.  This step becomes more important as the scope becomes narrower.
  • The last caveat is more a reminder; plan to have fun!  Know that your players will likely do things you had not expected and that’s ok.  Know that you may miss a few things in your set-up, and that ok.  This is not a matter of life or death (well,maybe to characters and a few stiff drinks, but…) and it can all be made better by a simple discussion.  With these things in mind:  Lets get started!

We will start by choosing the setting.  For the purposes of these post, I am not going to refer to any system mechanics. I’ve mentioned a few created settings in these posts, so I am going to choose our Space Centurion setting.  Next we decide how to set up our game.  We need to make a few decisions at this point.  Probably most important is scope.  Generally the amount of work for a campaign set up is about the same as a single adventure, as well as anything in between, because as the focus gets smaller, the details need to be more fine.(however, the bigger the scope, obviously you will be doing more work overall because you will be bringing that focus sharp over a series of directly connected stories).  For this, because of the impetus behind these posts, we will focus on a single story.

At this point, we need to come up with our story.  Keep in mind that an RP adventure is not the same as writing a story.  In a story, you control everything.  In an RP adventure, you control the world, the antagonist and his resources, but the protagonists, (the players) really tell where your story goes and how it get there.  So, what do we need?  Conflict.  Every story is a story of conflict, as we all learned in 7th grade English.  Depending on your school, you may have learned different “Man VS” conflicts, but here lets just kind of look at Man VS Man (probably the most common in RP), Man VS Nature (This may be monsters, or just the world) and Man VS Self (Very difficult to do in RP (particularly with more players), but often very satisfying…doppelgangers do NOT count as Self! 🙂 )

Once a story-line is made, then you will need to turn it into an adventure.  There are lots of ways to do this, but lets look at a low detail version, a high detail one and a middle detail one.

  • For the low detail, you just need to come up with your antagonist, the goal of said antagonist, and the resources available to accomplish it.
    • But wait!  Can a Man VS Nature have an antagonist?  Of course!  the Volcano/earthquake/hurricane/flood/jungle may not Decide to interfere with the heroes and their goals, but it does anyway.
    • Many Nature stories feature time as a resource of the antagonist…usually the heroes are  running against the inexorable and may not have enough time to complete their task!  Once you understand that, throw the players in the mix!  you just need to figure out how the bad guy responds.  Done.
  • This usually requires a strong understanding of your game mechanics and your setting as well as the ability to improvise responses.
  • A high level of detail would start with the basics, as above, but you may define specific resources, perhaps even down to the number of wagons and oxen the evil baron has, so you can keep track of the attrition afflicted by your meddlesome players.
    • It requires you to work out at least partial stat blocks for the bad guy (as above), but also his support and at least generic supporting cast.
    • You can work out a flow chart that addresses each scene/event and direct the players along it.  Maybe each encounter has a very positive outcome, a positive outcome, a neutral outcome, a negative outcome and a very negative outcome (one step above Total Party Kill (TPK)) and each of those lead to the next event on your story arc.  This method can be very gratifying visually, and perhaps some events might only have two outcomes (did they get it, did they fail to get it) and others may have more.  This makes it quite easy to play out as you can see what has been accomplished what effect each success or failure has had on events and so on, but can be frustrating because you come up with all of these options and the players may get very lucky (or skillful) and blow right through your chart, leaving all of these cool ideas to never see the light of day!  (A common hazard of the world building GMs!)
  • Finally you might create beat or point arc.  This is not as loose as the first version, but much simpler than the last version.
    • Here, you take your villains goals, and determine a vague idea of where your players can affect them.  Maybe they will have one chance before the boss battle, or maybe they will have three, and if successful with a key one of those, they will add one more.
    • When building this version, remember that each point along the story or each beat of the adventure should have a fairly direct consequence on the outcome.  It should weaken the players or the big bad, or strengthen them.
    • Information about the weakness, or even just learning of the next plot (particularly in a campaign) gives them some bonus against the enemy.
This single story adventure will be primarily Man VS Man. 

Homer III is a frontier planet of the Star Empire of New Rome, but a planetary non-citizen (read alien) has been capturing some of the intrepid citizens, draining them of fluids and leaving their desiccated husk draped across the archways of their villas.  However, the citizens don’t know what is happening, they are just finding some of these farm holders in bizarre positions and bled dry.  Is it an alien infection?  is it an  enemy of the Empire?  Who knows.  SO the Proconsul has contacted his senator and requested aid from the Empire to protect the Citizens and deal with this…thing.

  OK. We have a story that is focused, has some intrigue and some sort of confrontation in the end.  Obviously I need to figure out some details, but we have the basics.  One of my first considerations is characters.  However, characters are the topic of the second post, so we will cover that in more detail later!

Characters are considered, and perhaps discussed.  Now you need to work out the story  details:

If I am going to build the simple version, I simply need an understanding of Homer III, and I need to define this Man-Spider Alien.  Does it have access to Empire level science?  perhaps it is a wholly primitive hunter, or a bit of both, ala Predator?  I need to stat it at least partially.  If it is alone, how is it capturing these citizens?  Do I want to throw in a few hints of a possible disease?  Perhaps the proconsul is ill when the cohort arrives…  It’s goal is to drive the Empire from its world so it can hatch its eggs in the upcoming rainy season.  It is a member of a hunting pack, while not quite as intelligent as normal humans, it is quite clever.

In a detailed story I want to cover many possibilities.  I will start with them meeting the proconsul, who is showing signs of a wasting disease.  He will give them the information available, and explain that the Empire has never sent the normal Janissaries or the phalanx troop so the colonist are fairly vulnerable to issues such as these.  If the players examine the proconsul, they will find he has a rare form of space cancer…one that requires high empire level medicine to cure…but it can lead to a wasting type illness, but it has never shown itself to be contagious before.  If they try to send for information on the security detail they will have to wait 3 days for the response, and are then told that one should have been formed, are they sure?  Eventually (enough successful negotiations) they will have a detail formed and sent, but it will take time to actually form, drill and deploy them…during this time at least one more colonist will show up dead.  If they go to investigate the villas, they will find that all but the most recent have been scrubbed clean by the slaves.  the most recent however, has had one of the slaves, a non-citizen of local stock disappear.  The wife has gone to her fathers, so only the caretaker is left. He can tell what he saw, when the thing left his master in the archway.  Knowing that the story can’t go on without some clue, if the players don’ talk with him, they can find a drag trail leading up to the villa.  with enough success, they can tell it is recent, that there was two sets of foot prints, and that the drag marks represent bare toes…and there is a dried trail of some sort of liquid .

But, to keep from working out all of the rest of the details, i would finish this with a mid level of detail.  Taking what was already detailed above with this:  I want 5 adventure beats.  The first is the interview with the proconsul.  the second is the evaluation of the most recent villa.  Next is the site of the killing, then is the tracking of the big bad, and finally the final confrontation.  Again, to keep the story going, we know that none of these can lead to a complete dead-end (unless it leads to a return to the main story line…maybe the tracking point, but that would then strengthen the enemy by giving them one more victim)  To workout the rest of this game, I need to create an impact for each point.  If the players are successful they weaken the enemy, or get something to use against it.  If they fail, then the benefit the enemy or hinder their own cause.  And because it has been presented, i might overlay every beat with a virus threat…but they might be able to mitigate that at some point.

Alright!  hopefully next week, I will post the next part of setting up an adventure, the Characters!! Keep in mind that when using the medium detail style for campaigns, each beat can be a complete adventure built like this.  Like a bead on a string, that can be examined and expanded into the beads on a string of this post!

If you have questions, feel free to comment, and I’ll try to get you an answer!

How to ref

How to be a Successful GameMaster

Probably the only reason you’d be reading this!

2 Rules:
Play to your strengths: 

When Ref’ing, do what you feel comfortable with!  Of course, throughout this blog I will be offering tips on how to find that, ways to stretch what you find comfortable, and when (and if) you should break the first rule…

If you prefer stories that are rapid fire, action after action, flying through space, you will be less successful if you ref an epic saga of a single character, lost in the enchanted forest.  There are ways to temper that, and to fool players, but in a lot of cases, if you are doing those things, you are not enjoying GMing as much as you could be. And, here is a KEY CONCEPT: The game doesn’t get played without a ref!  So, if you get burned out, or are not enjoying yourself, then the players won’t have much fun.

Play what your players want:

This is the age old rule of presenting…Know your audience.  Sometimes this is very easy, as you game with friends.  But, say you are reffing for a new group. You don’;t know what they want, so how can you play to it.  Not true!  If you tell the players what you are playing, they will come play if they are interested.  You may not know favorite colors or flavors of pizza, but you know they are interested in playing a particular genre, and using a specific rule set.  (subject for a later article: House rules!!!!!)  

One of the things we used to do, was the “Scare the Gamers Away” Speech,  (So called by MLW).  In that, we invited prospective gamers over for dinner, and then talked with them about our expectations, and what we get out of game, and what we wanted from our gamers.  This allowed us to listen to how they talked about their previous games, and characters and learn if they would fit in our game.  A bit extreme, maybe, because lots of gamers did not get invited back.

Most of the time, the people you are gaming with, you will know something about.  And, to fill in your gaps, try the revolutionary concept of: Asking!

 

A few other things, that all pale from the TWO RULES.

–  Know your game system.  The better you know the rules, the smoother the play.  If it is a game you have read the rules once a year ago..well…it gets kinda rough.  (Another subject for several entries)  

 – Decide if you need or want any special props or settings, such as player hand outs, background music, or puzzles.  

 – Table rules!  What is off limits at your table, are there any expectations?  These can make or break a group!  Who brings the munchies?  Is dice touching strictly off limits?  What about cross adding (reading you neighbors dice and adding, subtracting or otherwise determining the outcome)?  Sex? Drugs? Rock and Roll?  Some games, because of the ref or the players, must have these subjects, and others will bring a smooth game to a screeching halt if not handled correctly.  (Do two players go off to a room and come back relaxed, or should it be graphic?)

Well…that wraps up the simple overview of How to ref!  Don’t worry.  I will be touching on just about everything here and dissecting some things in multiple ways.

 

Any comments? Critiques? Criticism?

That’s my story…take it or leave it.  My trucker buddies, they believe it!

Some Common Ground

In an effort to make certain everyone knows what I am talking about, I want to start with a bit of a glossary.  This will probably be referenced a lot.  I will present the info in pairs of opposites.  Be aware that very few things fall all the way to one extreme or the other, but somewhere along the continuum   I don’t intend to get into the various merits or problems with these, as they will probably all be posts of their own.  My intention here is simply to explain some of the terms I use, so you can expect to see in these posts. The TSR – FGU Scale: Back in the early days of our hobby, there were two big companies.  TSR (Dungeons & Dragons (hats off), Top Secret, Boot Hill) and FGU (Space Opera, Chivalry & Sorcery, Bushido) who, in general approached the games from two different sides. TSR (Originally Tactical Studies Review, but became just TSR by the time RPGs were coming into fashion) tended to make games that were very easy to pick up and play, but they tended to make it very difficult to suspend the disbelief because of game play decisions that were made for the sole purpose of game balance.  FGU (aka Fantasy Games Unlimited) decided to more closely represent real life by making the game simpler to suspend disbelief, but made character creation and rules in general much more complicated. Epic – Episodic Game: Epic games cover from the start of the story to the end.  This includes the mundane as well as the fantastic.  The depth and length of these games tend to create very deep and detailed characters.  Episodic games are more like TV shows in that they go from important scene to important scene.  These tend to make highly specialized characters. Monty Hall – Pauper:Monty Hall (or haul) games (named after  the game show host: http://en.wikipedia.org/wiki/Monty_Hall) are games where the rewards (money, magic and/or experience) are very high, some might even say way out of proportion…1000GP for killing the rats in the cellar.  These games often end up with 50gp mugs of ale.  Pauper games have the characters scrimping to buy their next meal, and hoping to make enough to repair their second hand armor.  These games tend to have a more realistic economic model. Top Down – Bottom Up: World, town, universe design models.  Top down creates the Universe first, then the planets, then the terrain, then the empire boundaries  then the capital cities, then the small cities, then towns, hamlets, castles, dungeons…resulting in very rich tapestry, sometime light on local differentiation.  Bottom us is exactly opposite…start with the tavern, then the village and it’s inhabitants, then the haunted forest…can lead to patchwork worlds. Narrative – In Character: Play style.  In Character Players and NPCs speak as the character.  Great for adding accents or speech characteristics.  In Narrative, the actions and speech of the characters are described rather than word for word spoken.  Very handy when the player and the character have very different verbal (or knowledge) skills. Story – Character: Arc styles.  In Story arcs, The characters are involved, but do not have a great deal of influence on the overall outcome but specific pieces of the arc.  In Character arcs, the characters directly affect the story, and are not only main characters of the stories, but critical to it’s outcome.  Although this sounds perfect, it can present significant challenges to the ref, or leave characters with little to no guidance. Persona – Idealized- Munchkin: This triumvirate is broad stroke player styles.  They Persona player makes and plays characters to escape or explore.  These players usually have the most difficulty creating a character that fits (easily) with in the rules.  The Idealized player makes and plays characters to be the best at what they do.  They often find their character idea in the archetypes set forth by the rules as representative of their desires. The Muchkin, or min-maxer makes and plays characters to “Win,” to be better than everyone else.  They often are great during play-testing as they tend to push the rules to limits to see where they break, by taking as many advantages and as few disadvantages as possible. If there is anything that is not clear in this post, please let me know!  Remember, there are no stupid questions, just stupid people!