The Blue Room FAQ
Version 0.61 - Updated 2-01-2002
By S. John Ross
http://www.io.com/~sjohn/faq.htm

This is a FAQ [Frequently Asked Questions] file pertaining to The Blue Room (the S. John Ross home page), and to related topics. "Related topics" include everything from fiddly bits of GURPS to sourdough bread to immigration law. Eventually, I'll try to cover most of the bases here, or refer to you places that will give you better answers. Currently, the FAQ is very incomplete; I have a huge number of sourdough questions on file, for example, that need to be added, as well as literally dozens of others on every subject the Blue Room touches on. The latest version of this FAQ will always be available at the above URL. Additional queries and comments on this FAQ should be directed to me via email at <sjohn@io.com>.


Section A: Game-Design and Writing

How did you get started in game writing?

As far as GURPS goes, I started out writing articles for Roleplayer, the old GURPS magazine/newsletter. That caught the attention of C. Lee Graham, the (then) Central Mailer of All of the Above, and he invited me to join. My AotA work made me known to Loyd Blankenship, and he invited me to do development work on GURPS Grimoire, and got me my contract for GURPS Russia (and also hired me to write lots of Hot Lead material that will probably never see the light of day). My AotA work was also the reason I got invited to be an editor at Interactive Entertainment magazine, who's (then) chief was Tim Keating, also an AotA'er.

But by then, I was already working professionally elsewhere, working on adventure books for Avalon Hill in the Tales from the Floating Vagabond line. I got those contracts by networking at conventions, where I met Avalon Hill editor Nick Atlas and got him drunk.

On a third track, I was one of the early contributors to the (pre-WoD) White Wolf Magazine, both as an article-writer and Line Reviewer.

Everything else has built on these three sets of foundations. It took a couple of years of hobby writing before it became steady and stable enough to pay the rent, and a couple of years of that before I reached the "turning down more jobs than I take" point.

How do I get started in game writing?

Here's the bare-bones primer on how to be a professional freelance writer in the RPG industry. If you think any part of what follows is a joke, you are in serious trouble. Pay attention. Just because it's funny and unpleasant doesn't mean it's not true.

I throw in the last one, in particular, when I'm feeling thirsty. I'm writing a serious writer's manual on RPG writing even now; it'll be for sale on the Cumberland Games page at some point. It'll be the information above, padded out to book length and decorated with inspirational quotes. Buy it anyway; I'm poor. I've also written a couple of articles of interest to new freelancers (excerpted from the Secret Library):

How much will I get paid? What's this about a nickel?

The gaming industry rate scale is much lower - insultingly so - than in just about any other sector of the publishing biz, for reasons of scale. "'Zine" and amateur rates run from Gratis (complimentary copies + credit) to 2 cents per word. Professional rates from from 2 cents to 8 cents per word. Special-case emergency assignments can double the normal rates.

2-3 cents per word is generally reserved for magazine writing, and even then, it's considered low. However, many book publishers use a sliding scale, and start out new, untried writers at these rates. This is mainly because untried writers don't know to ask for more, but it's also – theoretically – because untried writers' work requires a lot more in-house editing and development before it's publishable.

4 cents per word is a good magazine rate, and a low long-project rate. It's as high as newer writers can expect to luck into on a book-length project, usually, but there are happy exceptions, and they're becoming more frequent as the "nickel standard" gains strength.

5 cents per word is the "professional average" for most folks working the trenches (for projects at any scale). Most writers are willing to work for this rate provided other conditions are good: professional relationship with editors, a high percentage in advance or on acceptance, and a good track record of company honesty. Any freelancer with a track record of any kind should work for this rate or higher.

6-8 cents per word are "premium" rates. These are typically reserved for established writers with a solid track-record of quality and/or speed, or as "bonus rates" for emergency, last-minute projects or other demanding "Hey, I really need a favor and can pay for it" kind of work.

The rules break down for very very small projects, of course. As a rule of thumb, any project under 1,000 words should pay as if it were 1,000 words, or it isn't even worth the mental energy of thinking about it.

All of the above assumes flat-rate pay on an "All Rights assigned" (sometimes Work for Hire) contract (except magazine work, which is presumed to be First Serial rights unless your contract indicates otherwise). All Rights is standard for book-length work. When at all possible, you should insist on All Rights rather than Work For Hire. They're nearly identical, but with All Rights you're still legally the author, while the publisher is the owner. With Work For Hire, the publisher is legally the author, too!

Not all projects, though, are flat-rate. Royalties are usually expressed as a percentage of retail, and designed to match the above rates in either one or two print runs. A one-print-run royalty is an "optimistic" royalty; a two-print-run royalty is a "safe" (for the publisher!) one. Anything lower than that isn't worth touching.

So, let's assume you're hiring Writer Alpha to write the Frombotz Sourcebook. The book will be 80,000 words long, and he's the sole author. The final book will weigh in at 128 pages and retail for $19.95, and each print run will be 5,000 copies.

Since Writer Alpha is a Generic Freelancer, he'd get 5 cents a word Work-For-Hire, or $4,000, for writing the book. Typically, he might get 25% on signing the contract, 25% on reciept of the first draft, and the remaining 50% within 30 days of the book's release to stores (this varies a lot, though).

Alternately, he could be paid royalties. The low ("safe") royalty rate would be 2% of retail. This would earn Writer Alpha the equivalent of 5 cents per word after two printings had sold out. The low rate is only fair if the writer can be certain that the book will have a second printing. This generally means a rules supplement for a popular game (a book of weapons or spells, for example, is always a good risk). Settings, adventures, and other low-volume products are much riskier, so most writers will want a "single printing" royalty of 4% or so, or (more likely) enough of an advance against royalties to make it worth his time even if sales suck. No writer should never sign a royalty-based contract without some assurance of the size of the initial print run, and an understanding of the company's history with multiple printings.

Royalties can be good because they require less money from the publisher up front, and potentially provide more income for the writer in the long run as a tradeoff. However, most writers won't touch a royalty agreement with a ten-foot pole unless the publisher provides a fair advance and has a strong payment track record. It's usually safer, and easier for everybody, to write RPG material at flat rates.

How much do you get paid?

These days, my baseline rate is 7 cents per word, but I will work for as low as 6 cents on projects with other perks making up for the loss. Such perks can include: an editor I enjoy working with, a subject matter I specialize in, a serial contract insuring me steady repeat work on a game line I enjoy, a higher-than-ordinary signing advance, a promise of large numbers of comps, or an "over-volume" royalty (a royalty that kicks in only if the book is reprinted more often than initially projected). Pick three or four of those, and that's sometimes enough to drag me down to the lower rate. I accept All Rights contracts, but never Work-For-Hire. Mostly, I'm steering away from freelance contract work to focus on Cumberland Games.

Section A1: Risus

What does the name "Risus" mean? Is it an acronym?

Risus is latin for "laughter." Since Risus is designed primarily as a "universal comedy system," it seemed to suit, since it's short and simple and easy to remember. Very early versions of the game had working titles like "GUCS!" Eek. I pronounce "Risus" with a long "i" and a short "u," with emphasis on the first syllable ("REE-sus"). This suits me best because it sounds sort of like "recess," the time in elementary school when work stopped for a while and play took over. If it's also proper Latin, that would be an amusing coincidence.

Followup: After reading the above, Kelly E. Cook dropped me a line from George Washington University:

The proper (classical, i.e., pre-catholic) Latin pronunciation is REE-Soos The 'R' is rolled, Scot fashion, the i is a long E like "deep," the S is like in "sing," the u is like "fool" and the final s is again like in "sing." (From the 'Pronunciation' section of Jones & Sidwell 'Reading Latin' © 1986)

Therefore your favored pronunciation is very close. But I will also add the cav eat a professor once told me. "Latin was in use for millennia in most of the Western World-if there is a way to pronounce a word, it was almost certainly used somewhere, sometime." So by that logic your coincidence is accurate. Okay, I feel way too scholarly! Thought you'd like to know...

I've written a new Risus thing and I want to put it on the web. What are the rules for this?

Basically, there are two kinds of Risus fan-documents. The first step is to determine what kind you've got:

Type A is a Risus Supplement. This includes no text whatsoever from the original game; it's a new document that assumes the reader has read/has access to a copy of Risus. The only requirement for this kind of page is that you mention Risus, refer to me directly as its author, and include a hyperlink to the main Risus website.

Risus Supers, by Stacy Allston, is an example of a Risus Supplement:

http://www.angelfire.com/tx2/webgamer/supers.html

Type B is "Recast Risus." This is the original Risus game (or noticeable chunks of it), re-written to suit a particular setting or genre. Since this is a repost of my original work with your original additions, we share authorship, and this should be noted. Furthermore, it's essential that you note that the portions of the game taken from the original Risus are my copyrighted material. In addition, Recast Risus pages should also include a link to the main Risus website, as above.

Travelling Light, the brainchild of Christopher Thrash, is an example of Recast Risus:

http://www.downport.com/freelancetraveller/features/rules/risustrav.html

If you quote any text from the original Risus game, the rules for "Recast Risus" apply. In general, I think supplements are the best way to go, but I understand that a lot of people enjoy putting together something self-contained, so that's cool. The only other "rule" is - write me and let me know you've done it! That way I can link to you, both from the Risus site and from the Risus directory in the Open Directory Project.

Where did you come up with Clichés, and that combat system, and so on? What are the origins of the game's systems?

The concept of Clichés was born when I read the DC Heroes roleplaying game, designed by Greg Gorden and published by Mayfair in 1985. DC Heroes introduced me to the concept of an entire profession being represented by a single "skill" (Batman had "Detective" skill, for example, which included all the things a detective might ever do). This struck me as the Way to Go for my Generic Universal Comedy System project that I started kicking around, a project that would later morph into Risus. So, in GUCS, characters could be Doctor(3) or Wizard(2) or Burglar(5), just like in Risus (I used hyphens, then, though, instead of parentheses; see below). Nobody was ever "Sinister Necromancer(4)," though, or "Nosy Blue-Haired Busybody(6)." Not yet. In those days, Clichés were just called "Professions." The basic task resolution system was adapted from my favorite RPG of all time, West End/Chaosium's classic Ghostbusters game - each player had a few six-sided dice, and rolled to beat assigned target numbers or another person's roll. Ghostbusters influenced Risus in many profound ways ... the entire attitude of the game was inspired by, of all things, the Ghostbusters rules for time and movement. You'll have to read Ghostbusters to see what I mean!

After the first version of GUCS was finished, a colleague of mine - John Nowak - wrote me a letter describing Over the Edge, published by Atlas Games, which had just been published. OTE also had super-broad skills ("traits"), including both DC Heroes-style professions and more focused things representing specific skills and perks. You could have a "strong" trait, for example. John's letter about the niftiness of OTE got me thinking about rules for literal traits and traditional skills, but the thoughts ended up pushing me in another direction, where Professions would be defined loosely enough to suggest everything at once: physique, skills, possessions, qualities, lifestyle, and even personality. I decided that calling somebody "Rich" wasn't nearly as informative as calling them a Billionaire Playboy or Eccentric Oil Baron. I started making up characters with Professions like "Backstabbing Little Grifter" and "Stock Margaret DuMont Character." At that point, I realized that I wasn't talking about professions anymore, I was talking about Clichés. An amusing irony: One thing that really appealed to me from John Nowak's description of OTE was the "parenthetical" notation, which prevented hyphentated Traits from reading like they had a minus sign in front of them. So I adopted it for Clichés, and from that point on, a Backstabbing Little Grifter-5 would be a Backstabbing Little Grifter(5), in Risus terms. The irony is that when I finally got my hands on a copy of OTE some years later, I discovered that the notation I was so grateful for didn't come from OTE at all; I had just inferred it from John's letter!

The most unusual concepts in Risus are in the combat rules: The "winner decides the fate of the loser" mechanic was my way of sidestepping the problems of comedy games like Tales From the Floating Vagabond, where characters die far too often for it to be funny, without losing the potential of comedy games like Paranoia, where dying often is all part of the fun. Leaving it entirely up to the winner solved each problem handily, and turned out to add a very nice channel for player creativity. It's more satisfying, in a western (for example), to be able to horsewhip the bad guy through the middle of town with tar and feathers on him . . . but in a "serious" western RPG, that's hard to achieve, since, realistically, gunfights end in crippling injury, coma, or death. Realism wasn't a concern, so the result was a good one for Risus. The other unusual (perhaps even entirely original) part of Risus combat: the concept of "inappropriate Clichés" giving a combat bonus - was just a result of staying up too late and thinking too hard and giggling. But it really does reflect the way a lot of fiction (even serious fiction) works, and again, it's an avenue for player creativity that directly affects gameplay.

The combat mechanic itself comes from what is possibly the most influential RPG design of all time, Ken St. Andre's moldy-oldie, Tunnels & Trolls. But while half the other roleplaying games on earth adopted T&T's ideas like quantified Luck, spells that drain points of energy, and armor that reduces damage (before T&T, all we had was the D&D method where armor made you hard to hit!), Risus adopts a less-influential system: T&T combat, where piles of dice reduce one another until a victor emerges. My piles of dice are smaller (and the combat system was broadened to include all kinds of non-physical conflicts), but T&T still simmers warmly at the core of it. This allowed me to avoid the bookkeeping of "hit points" while still retaining the tight-in-the-gut feeling of losing them, another feature I'm happy with.

Section A2: GURPS

Who is the most "Badass" character in fiction?

I think the character that most exemplifies the Truly Badass advantage is probably one of the tougher versions of Batman. Depending on who's writing Bats at the time, he shows off every single facet of the advantage regularly, and I can't think of too many other characters that do, even in films. This is understandable, since the advantage was pieced together from many different cinematic characters, and not just one. The comics are the only place they're typically all jammed together (you could make a fair argument for many other 4-color heroes having it).

What happened to the material you already wrote for GURPS Low-Tech and GURPS Black Magic? Does SJ Games own it?

As per the contracts, the rights for that material reverted to me. Mainly, they'll become house rules in my own campaigns, and a lot of the research can be used for any future projects I may have. Some parts of it may see the light of day on my website. I elected not to have most of the material "bought out" by SJ Games to be rewritten by later authors. The only part of me left in Low-Tech is my contracted outline; the only part of me left in Black Magic is my outline and the set of Black Magic rules originally written for GURPS Warehouse 23.

Section A3: Star Trek

If Andorians have cobalt blood, are they dangerously radioactive?

No. The cobalt blood detail (first mentioned in the Star Trek: The Next Generation core book) is meant to be a cute joke, not unlike the reference to "Andorian Blues" in an episode of Deep Space Nine. It's not meant to be serious biology.

If you can't rest easy without a pseudo-scientific response, though, try this: Andorians have Cobalt-59 content comparable to the iron content in humans. Which is to say, you'd need to kill five or six adult male Andorians and distill them down to get a whole ounce of Cobalt-59 out of them. Also, Cobalt-59, in its natural form, is not very radioactive at all. The cobalt used to treat cancer, irradiate foods and so on is cobalt that has spent a year in a nuclear plant, being bombarded until about 10% of the cobalt gains an extra neutron.

Is there really a "Ghalev" novel? Is Bell a real author? Are the excerpts from a personal fanfic, or a Trek novel you're trying to sell?

While I don't actually have a Ghalev manuscript, I do have a copy of the paperback; a scan is at

http://www.io.com/~sjohn/bell.htm

Seriously: Since the idea is that Ghalev is a bad book, I wouldn't admit to writing it even if I had! I did outline the plot of Ghalev to make sure my "excerpts" were consistent, and there were several other passages written which may appear at some point. There's enough in Among the Clans already to make it possible to work out the basic premise, at least. The author's name, Douglas Bell, marks him as the descendant of Howard Bell, a fictional author who's work is described in The Long, Dark Tea-Time of the Soul, by Douglas Adams. The whole thing served two purposes: I wanted to highlight human misconceptions and exaggerations of Andorians by providing a concrete example, and I wanted to lampoon of the trend of including poorly-written "vignettes" to set atmosphere in RPG books.

Is it true that in the original draft of Among the Clans, the Andorians were the crime lords of the Federation?

Well, I never intended them to be "the crime lords of the Federation," but rather a society where organized crime was a major factor in their society's structure and history. An early design concept was that Andorian society resembled the legendary history of the Cosa Nostra and the Triads, both of whom (allegedly, in the case of the Mafia, and very certainly, in the case of the Triads) began as freedom-fighting good guys who were later corrupted when their fight was over. The power structure remained, and corrupt elements kept it going as organized crime. The idea was that this had happened on a global scale to the Andorians.

The plan was to justify the obvious martial trappings of the Andorians by making the weapons and the armor the traditional tools of crime lords rather than warlords, thus neatly avoiding the Yet Another Military Culture trap. But the plan was to have the worst aspects of the criminal side of things be in the past: By the time the Andorians helped found the Federation, they had defeated their darker impulses, and now only renegade factions of Andorians were still criminals, absorbed, mostly, into the larger Orion Syndicate structure.

This early concept was morphed, however, in light of revelations included in Lou Prosperi's writeup of the Andorians in Planets of the UFP. Now, the Andorian Mafia (the Vola Vrinia) is something much darker and distinctly "criminal" in the modern sense, and my original plan for a more "noble" Vola Vrinia was absorbed into the history of the Am Tal. If you read carefully between the lines in Among the Clans, you'll find that Am Tal is very much the original "Heroic Mafia" that I had envisioned, with its history transplanted to the colony on Cimera III instead of Andoria itself. Meanwhile, the Vola Vrinia is the "bad guy" version, the ones dealing in racketeering and sports gambling and drugs and whatnot.

Is it true that you wrote an Andorian "Broadway" musical?

Not a whole musical, but I did write a few lyrics and outline a plot.

The Andorians love learning and absorbing the art and history of other worlds, and (sometime in the early 2260s) an Andorian composer named Phanev became fascinated with the old "Broadway Style" musical plays of Earth, and composed a few, ushering in a brief and regrettable fad. It overlapped with one of many pro-Vulcan trends, and the most (in)famous play was "It Is Logical To Sing," a story of a young Vulcan struggling between the attainment of Kolinahr and his desire to be a song-and-dance man. Due to Phanev's overly-literal zeal to re-create the original Earth art form, all of the Vulcans in the play (played by Andorians with rubber ears), sported cockney accents.

This is, mercifully, not in the book. However, a very brief reference to the trend is. The fragments I wrote were never intended for publication; they were passed around to the Line Developers, becoming (apparently) popular points of lunchtime conversation for a short while at LUG.

Section B: Blue Room Articles

Section B1: Medieval Demographics Made Easy

This article gets more mail - both glowing praise and bitter criticism - than any other gaming piece on the Blue Room (only my Sourdough article regularly skunks it in mail volume). Some of the criticism is legitimate, and has resulted in a series of subtle revisions; I'm grateful for that kind of input! While MDME is essentially "frozen" in its current state (it's an old soldier of many campaigns, and has earned its rest), it's still nice to hear from folks who understand where it's coming from and recommend improvements that work within its limited framework.

Most of the questions I get, though, are more like the following:

Isn't the formula for hex-area wrong? Shouldn't you multiply the width of the hex by 0.80 or so instead of 0.93 or so?

In gamerese, a hex's width is equal to the distance between the middle of two opposite flat edges. This, conveniently, is equal to the distance traveled when moving from the center of a hex to the center of an adjacent hex, making it a useful number for calculating the approximate distance between the City of Splendid Spires and the Dank Dungeons of Deadly Despair, and so on.

If you measure the width the other way – the distance between two opposite pointy bits – you get a different value (and one that doesn't do any good on a map).

If you want to recreate my simplified method, just remember that a hex is six equilateral triangles jammed together, and that the distance traveled from the center of a hex to the center of the next hex is equal to twice the height (not the base) of one of those six triangles.

Will your formulae re-create the real medieval [Country] in [Year]?

Good lord, no. The numbers in MDME are generalized, simplified, and drawn from several countries across multiple centuries. While the ranges possible with the random-dice rolls will almost always include something plausible in a general kind of way, it's not meant to model any particular real-world locale. You don't need a formula to describe the real world; just look it up.

But what if I want to know picky details about medieval Germany RIGHT NOW?

And what if you want to know about Scramjets or particle physics, or bread-baking during the Civil War? Visit your local library; the article includes a Bibliography that will get you started.

Why doesn't Medieval Demographics Made Easy have detailed info on the size of armies, the composition of the church, the average income of the peasants, the difference in village density between open country and forested lands, the details of medieval overland trade and commerce, the methods used to tax the populace, factors of population growth like mortality rates and different nonhuman species, the effects of plagues and war, the interaction of different types of magic systems with a realistic economy, and the percentage of the population that has a given skill level or number of hit points?

For the record: the question above is a much shorter version of the kind of email I get every week or so, often with a "reply ASAP; I need this for my game tomorrow night" at the end! Yikes.

The answer: Because such questions are beyond the scope of the work. MDME is a simple introduction to demographics that serves the needs of GMs interested in getting past the boring math and on with the tales of adventure, with just enough confidence in the size of his cities that he can relax and run the zombie hordes with appropriate zeal.

For GMs with more advanced interests, I included the Bibliography. For GMs with more advanced interests and a Visa card, I'm publishing Lisa Steele's Fief sourcebook!

For GMs with more basic interests (one persistent gamer recently emailed wanting to "fix" the article and make it into a more handholding, step-by-step affair) your best bet is probably some of the other game-industry treatments of the subject. Many fantasy games include step-by-step kingdom-building instructions. Chivalry & Sorcery has always had a good dose of that kind of thing, for example. I've heard some good things about the simplicity of TSR's old The Complete Kingdom (I think that's the title), though I haven't read it, yet. I have used and enjoyed the worldbuilding material in the (also old, also TSR ) Wilderness Survival Guide ... Not much on demographics there, but a nice approach to putting the rivers and mountains in the right place. Remember, though, that any step-by-step approach will presume a good deal about how you like to design, so try your hand at making your own "steps," and you'll probably enjoy it more: A fantasy world can begin with a continental outline, or it can begin with a single NPC or a country tavern or a small city or even a rune alphabet sketched on a napkin. There is no one path that makes any more sense than another; it all depends on your needs and interests.

But Sjohn, it's just ONE QUESTION, and since your article answered so many other questions I had, aren't you now morally obligated to put aside work to answer any others that may occur to me?

Aieeee! [runs away as fast as he can go].

Section B2: Flickering Lights

Since this article is still fresh and may potentially get a lot of expansion, it's "FAQ Entry" is a separate webpage!

Section C: Cumberland Games

Does Cumberland Have Submissions Guidelines?

Not yet, but so many people ask that it will happen someday soon. Keep in mind, though, that part of Cumberland's unwritten "mission statement" is to publish things that highlight and explore what I personally love about gaming, and according to a single watermark of quality: it must be my work, or it must be better than my work. Hence, Dan Smith does those cool Sparks drawings because he draws better than I do. I'm doing a Cumberland edition of Lisa Steele's Fief because she's a more obsessive researcher than I am. Anything published by Cumberland must therefore appeal (nay, pander) to my personal needs as a Game Master, and be something that I'm entirely convinced that I could never have achieved on my own.

Mostly, the idea is that Cumberland is for my work, and for collaborations with respected colleagues. That said, though, I'm eager to give advice to fellow electronic publishers ... So if you have something cool that you think would look good as a Cumberland eBook, it'd probably look just as good published by you – and I'll be happy to give advice on how to make that happen.

In the meantime, the Cumberland submissions policy is "no unsolicited submissions or proposals, please." When that changes, I'll make an announcement on the site and issue a press release.

What are the advantages of PDF publishing over traditional paper publishing?

The old stigma attached to eBooks is fading fast, along with the notion that eBooks are limited to "bargain basement" fan products. There are so many advantages to e-publishing that it's hard to sum them up without getting long-winded! Here are a few of my favorites:

Advantages to the Customer

Advantages to the Publisher

Section C1: Fontmaking

What software did you make HexPaper with?

I built the first version of HexPaper (and the original Sparks sets) with an evaluation copy of Softy Fontmaker. You can find Softy on the web in any good search engine; it's primitive but fun (and sadly unsupported, since its creator passed away some time ago). More recently, I became a satisfied registered user of Font Creator Program, from High Logic Software, and I'm experimenting with other software as well. See my links pages for fontmaking links (in the software section).

I've got this cool alien alphabet/set of runes/group of pictures I'd like to have in TrueType form. Will you make a custom font for me?

Yes. If I'm not too swamped with other work, I'll happily hire out to make custom dingbat or simple All-Caps fonts, and my rates are just about the lowest in the world: as little as $15! If you're interested, download my free fontmaking "kit," grab an ink pen, and give it a try! Feel free to inquire about more elaborate projects, too, but keep in mind that I'm usually too busy designing games to take on large fontmaking jobs.

Section Z: Miscellaneous Questions

There are a lot of things people ask me about that have little or nothing to do with my websites or my work. This suits me fine, since I'm an opinionated so-and-so who likes to share.

Section Z1: Building a Gaming Community

I love gaming but I don't have enough gamers! How can I meet other gamers in my area?


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