Some of you might have heard that the lovely offices of GMD Studios were burgled during the summer -- who'd have thought having walls of glass were a security risk! Most notably, they stole a number of computers (including the one with the list of people to send Book 2 coins too, so we're going to need your help to recollect that information.) Most bizarrely, they stole all the extra Book 1 coins laying around the various rooms -- I can only imagine their disappointment when they tried to pawn them. A pox of crickets on their households!

Even more important, though, is a bit of pre-announcement on the Eldritch 3 Reboot. One of my goals for the Eldritch universe was always to have a structure flexible enough that we could have "guest puppetmasters" conduct entire Books in the sequence, much the way guest directors might helm an episode of an established television series. In this case, that means the best I'll be able to credit myself on this Book is as "series creator" or maybe "executive producer". Who's helming it then, you ask?

Brooke Thompson and Jan Libby. Boy are you guys in for a (trick or) treat. See you in the intermission ...

One day, I'll tell you the story about how the Poet snagged the Puppetmaster, the Sculptor and the Cultist up into a mad scientist project, all while Sploit got sucked into some kind of psychological testing project. Lesson: even a deep team bench can be devestated by the realities of people chasing a living (the flip side being, of course, it is so much easier if someone is paying you a wage and telling you it is your job.)

Your outpouring of friendly support is amazing, and has barely felt like stalking at all! I'm humbled by it and don't take any of you for granted. I've missed you too. The pre-production wheels are already in motion of making sure we earned that support, although the proof will be in the pudding.

When I saw the full moon in the sky during the pre-dawn drive to work, I knew it was time to shutter up Schmeldritch. Otherwise, people might wonder if Book Three has started or not, and you might as well say it has: once the interludes are over, we tend to get pretty quiet here in favor of EldritchErrors.com to help new players jump in. It is always so hard to avoid indulging in one brief William Castle moment before shuttering this place up, though. It will be the first Schmeldritch post new participants stumble into for a while. This time, I might even indulge and give myself two brief moments to set that stage.

It goes without saying that the Eldritch crew thinks I'm insane, they've grown used to the mad scientist cackle coming from my office from time to time. My expectations for "Red Moon Rising" are obviously higher than they were even for "Scream in the Mountains," and after that many of us were going "holy crap!" May I recommend that experienced participants change their tin foil hats daily during Book Three and leave it at that?

For new participants, welcome to the party, you're still fashionably early. Don't worry that Eldritch Errors has been going since last April, Book Three was developed with you in mind. It was also developed with Book One participants in mind, as well, so you'll have lots to discover together. You might even argue that new participants only missed the confusing, complicated setup to the real action.

Until we see each other again, I leave you with a quote from Lovecraft: "I hate the moon - I am afraid of it - for when it shines on certain scenes familiar and loved it sometimes makes them unfamiliar and hideous."

It all started when that strange, short new staff member reported in for duty just before the holidays. It claimed it came from the "home office" and that it was paid for out of someone else's budget, but it refused to give us a picture of when it was 12 years old for our staff page (claims that was before photography was invented) and didn't want a phone extention. Mike tried to distract him with the "origami-a-day" calendar, but he was more interested in our production plans for Book Three.

I think we've managed to keep his creepy tentacles out of the storyline, but I totally blame him for falling behind on the meta materials, including the amazing stories you've been telling. I'm told they are calling it the Cthecret Cthanta Worm. We call it Worst Intern Ever, but only when we think it isn't watching us.

In Book One, we asked you to show us your creativity. For Book Two, we want to encourage something a bit more in the spirit of H.P. Lovecraft -- we want you to tap the Eldritch storyteller in you and share it with everyone else. As storytellers we believe we can use anything under the Sun to tell our story, and so we believe you can too. No messy self-addressed envelopes this time around, just a quick email to inquiry at this blog's domain with a link to where we can enjoy your EE creation and the address where we should send your participatory commemoration. Those of you who have already been telling stories can count yourself a step ahead of crowd.

We've got a mystery to share with you, too. We don't want to show you the back yet, even though there isn't anything on the back you haven't already experienced. Sometimes, though, what you choose to focus on from a Book makes a detail suddenly more significant. We owe it to you let that discovery come first from inside the narrative rather than from a commemoration of it. You'll have an opportunity early in Book 3 to clarify your understanding of something you already know, and when that happens what's on the back will seem more natural and less like a reveal.

Lovecraft was an alternate reality game designer, a writer who believed his stories must be "devised with all the care & verisimilitude of an actual hoax," stories that he unfolded like forensic investigations. He was also an Open Source advocate and loved implied share alike licensing (although I suspect the license I linked too is more restrictive than what he believed in.) He delighted when others lifted references from his work and equally delighted incorporating their references back into his work. He had an intimate relationship with his readers, because he was frequently the one mailing them the manuscript to read. It shouldn't be surprising that tabletop gaming and non-tabletop gaming have so embraced his work (now public domain) and played such a key role in preserving and extending it.

Describing what Eldritch Errors is should frankly be the job of the other site; I'm cheating if I have to do it here. However, there is no client whose ultimate needs must drive this production, so the intentions of what we hope to craft stem from the experiments that we want to explore, not from a marketing need. Eldritch Errors didn't appear from a vacuum; it is the continuation of past experiments that also shed a light on the kinds of experiences participants have already had ... and what you might expect from Eldritch Errors in the future.

"Nobody expects anything of a letter, or judges any man's style by one. Even when I write one by hand I pay no attention to rhetorick, but just sail along at a mile-a-minute pace ... If you were to analyse the language of this letter you would find it shot all to hell with solecisms and bad rhythms."

I can't let that stop me: there seems to be so much power in his letters, an easy elegence of style that smells suspiciously 21st century. In an essay that Lovecraft wrote defending his work "Dagon," for example, he penned a line that I think is among the most revealing glimpses into his soul as an artist: "There are probably seven persons, in all, who really like my work; and they are enough. I should write even if I were the only patient reader, for my aim is merely self-expression." Here's the story of one of those "seven persons" and a few of the tidbits from those letters that have shaped my view of Lovecraft.

What follows is intended primarily for other interactive storytellers or those really interested in the mechanics of what makes Eldritch work behind the scenes from a budget perspective as an independent production. It isn't intended as a tutorial or a comprehensive budget model. It is just one producer's notebook about ways to think about how budgets -- of live events, especially -- can become useful tools for both qualitative goal setting and for making small budgets look bigger than they are.

So I'm going to need your help. In the perfect world, we're writing all of each Evidence page except for the "speculation," where we're faithfully curating your various takes on the topics. This would be the place to help us do that, by posting your comments here with references on the best of that speculation. If you're feeling really froggy, start a Sentry Wiki page and submit that as your link!

We've got 28 different topics in 4 categories to take that first swipe at an Encyclopedia of Eldritch Errors, and our plan is to launch a handful of them each week. We might as well let you dump your speculation on the whole pile of them, though, so that you can imagine how they fit together as a set.