Folks,
Over the course of the past month or two I've had the time, in a rare fit of frenzied inactivity, to drop by now and again and read (and reread) some of the tremendous work that goes on around here... Though my own participation has been sporadic at best, and my singular individual contribution so scant as to be unmentionable, I feel a certain attachment to (read: I take a certain pleasure in the creations of) a group of people who day after day devote countless hours to scrawling thousands of words across an electronic pane and do so knowing they aren't going to get paid. What's more, and this is the bit that really gets any writer where he lives, knowing there's no possibility of ever getting paid, not even in contributor's copies.
In this Marxian nightmare we've taken to calling life, that's a level of devotion and integrity and pure, honest-to-goodness hobby, pastime, play not often found in such large doses from so many ordinary people. It's almost sickening, really. So healthy, so altruistic. And what's altogether more impressive is that a lot of what goes on here is so damn good a curious look at one of the uber-AAR's can easily end up whiling away a day or two. The "novels" are downright astonishing.
I'm prefacing, in a roundabout way, a desire that nagged at me for a number of weeks and has led to a second attempt at adding a little something of my own to the patchwork of war-stories and melodramas and comedies. In order to ensure that it won't be as abortive as the last, I've taken the liberty of completing Volume One and I've come up with a bit of a posting schedule. In order to ensure that I follow the posting schedule, I've built up an idealization and little melodrama of my own (see the previous two paragraphs). In order to ensure that I remember the idealization and little melodrama, I've used them to justify the amount of time I've already given over to doing something for which I won't get paid or left dozing in a dumpster in Seattle, the two things for which I strive. In order to ensure that I keep that justification in mind, I've saved the contents of this post to my desktop, where it will continue to embarrass me until all the other justifications and counter-justifications and reverse-counter-justifications sort themselves out into a demonstrable product of some kind. Or I "accidentally" reformat my harddrive and forget this ever happened.
To get on with it:
Version: EU II 1.05 with EEP 1.2.2.1. installed (better OE, better Austria)
Country: Venice (for reasons laboriously explained below)
Difficulty: Hard/Furious
Scenario: Grand Campaign
Rules: This is where it gets complicated and distended.
As most longtime fans would agree, even on the hardest settings EU in single player mode has become irritatingly easy with all but the smallest minors (NA Indians, Orleans, Provence), for whom there are very few leaders and events. It's necessary, just to keep things interesting for more than fifty years, to invent rules and checks to keep the player leveled to the AI. Some of these are artificial (no cannon until X; all positive relations with Catholics) and others add a realistic flavor (no more than XXXX infantry and XXXX calvary raised per decade; warships unserviceable for a year after construction; naval caps).
To keep things interesting (to play, anyway) until 1820 requires an enormous number of rules, which I invented over the course of the first twenty or so years of play. Among these:
Army Size: To prevent the levy of huge regiments in rapid succession and, in the beginning, simulate the Italian dependence on mercenaries
-Standing army limited to one-tenth the total population of all national provinces per twenty years (those with no nationalism or possible vassal status).
-Conscripts limited to one-fifth the total population of all provinces per twenty years. (I considered lowering this, but it occurred to me that EU only counts the urban proletariat-mainstay of Italian national, rather than mercenary, armies since Marius. Seems balanced)
-If the number of "conscripts" exceeds the professional soldiers and mercenaries, land support is tacked down to seventy-five percent to lower morale (This, unfortunately, can't be decided on a case by case basis-hence the compromise)
-Calvary is limited to the historical equestrian tradition of Venetian possessions, reset every ten years
-Cannon won't be fielded at any time during the course of Volume One. I've come up with a scheme, however, based on metal producing provinces, land tech, weapons manufactories, infrastructure and random events.
Fleets: To curb Venice's naval superiority before it spins out of control in the sixteenth century, and better represent the necessary investment of time, resources and labor in the construction of warships
-Galleys can be built and serviced immediately, but are limited to four per province (ten per province with naval supplies) per five years
-Transports can be built and serviced immediately, but are limited to one per province (four per province with naval supplies) per eight years, then doubled for every naval manufactory or shipyard
-Warships require one year post construction to be serviced, outfitted and broken in, and are limited to two per province with naval supplies per eight years, then doubled for every naval manufactory and tripled for every shipyard
Combat: To add a little flavor and keep the AI from foolish losses
-Provinces must be fully besieged before an army can progress, to simulate the flanking resistance most generals of the era would avoid, unless the enemy's forces have been completely reduced (in which case covering is enough)
-An army must remain in a province for two months after a successful assault or leave a sizable detachment
-Pitched battles are the rule if enemy armies occupy or beset any provinces or possessions
-Prior to entering a war, only the fortresses of neighboring provinces, or those within site of a fleet, can be surveyed
-Prior to entering a war, only those fleets within site or on the open sea can be surveyed
-A neighbor's tech can only be checked after the first engagement on land or sea, by Venice or her allies
-If stability falls below -1 during wartime, no army or fleet can serve beyond three provinces or sea zones of the national territory (presumably, stability also applies to the army's mood, which is always volatile)
-Armies and fleets must be dispatched whenever possible to assist allies, particularly to protect COT's or other AAR-related interests
Diplomacy: Realism and AAR-related decisions
-A DOW must be made to protect a vassal, even if it means leaving an alliance and declaring war on its members (for reasons relating more to the AAR than historicity)
-Under the Republics, only one royal marriage can be made per tick toward Aristocracy on the DP slider per decade
-Under the Monarchies, only twelve royal marriages can be made per decade
Economics: To slow down the player's growth and development and to simulate more fully the difficulties involved in maintaining the wealth
-Investments must reflect AAR political and social choices and upheavals, and no slider can be maxed out
-Manufactories must be built to their products; other provinces can build breweries and art schools
-The DP sliders must reflect AAR political and social choices and upheavals-even if it means devoting ticks decades afterward
-Judges and governors can only be appointed in national provinces (no nationalism)
Society, Culture and Politics
-As these will play a big part in the AAR, everything will be simulated as well as it can be, whatever that entails in-game
-Rebellions that attain significance in the AAR will be handled differently and with more difficulty, and to different ends, then they would normally under optimum game conditions-this is a big deal (as will become clear in Parts III and IV)
-Because of the way governments and leaders have been scripted, a big change (to avoid coding events, which is a big hassle. And too deterministic for my taste anyway) will be simulated through a religious conversion and (temporary) maxed out intolerance of the dominant faiths
-Personalities, trends and movements that arise in the course of the writing or through unforeseen happenings in the game will direct the policies, good or bad, and actions of Venice (I know how Volume One went now, but despite the skeleton with which I started a lot of the largest and, in my opinion, best sections arose out of creeping ideas and random events)
In addition to these are lesser, or temporary, restrictions and procedures and the usual (no editing, reloads, peeking). Most of this stuff won't be noticeable in the course of the AAR (unless asked, I won't be providing the usual screen shots or notes-though I will provide any information or clarification I can OOC), but I think it's helpful to know what's going on under the hood.
By the way, this play-style, while largely unsuitable for a regular game, is not as rigid and, well, arduous and miserable as it may seem. Toward the end of the first time frame I'd gotten used to it, and in many ways it's great fun.
Now, a few notes on why I chose Venice and how I've managed the AAR...
First off, I was torn between three different styles, the first of which, the now standard narrative (exmplified most recently by MrT's behomoth), was easily discarded as dauntingly accomplished by many others. I leave it to them, and to HOI (pulp fiction, anyone?)
The second and third, however, came down to a matter of time. I had wanted to try an overarching history of Europe, at first as a multiplayer (the game itself then became too consuming) and then from the perspective of a hands-off non-European minor. But as a one-man show, to do what I wanted to do with either style, it would be too large and too liable to get lost when life takes its inevitable (often getting-paid-or-sleeping-in-dumpsters) toll.
Which left me with a last, moderately less ambitious recourse. A History of X, half college textbook (remember those awfully big things?), half middle-academic. Something beyond a fitted account of the game, even as engagingly draped as it has often been, or a well-researched (primarily because I'm not a well-researching kind of guy) hybrid between the game and actual history.
Now, there are only a very few helpful ways to write histories. They have to be clear, concise, succinct. Redundant, but not repetitive. Objective and even plain. This as opposed to fiction, where the work is not only open to, but served by, violated rules, creative grammar, flowery language, incorrect spelling and pages and pages of text that isn't necessary, doesn't make sense and can't really be called English, or whatever language it happens not to be written in.
There isn't a lot of room to experiment. But that's style. The content of a history can be extremely varied, particularly when, like this AAR or any American high school textbook in common usage not written by Howard Zinn, they're made up. So what I wanted to do, conveniently, was disregard everything that happened in a particular country (and, as it turns out, in several particular countries) between 1419 and 1820, but still provide the cultural, economic and political background for the usual adventures that make the average AAR great.
And that was how I was going to justify scrawling my own meager words across an electronic pane when I haven't had a clean pair of pants or a well-manicured lawn since 1989. I got to invent a whole mess of characters and events just for fun, which sounded to me like a whole lot more fun than figuring out how to use the washing machine or buying a machete and hiring someone, improbably, called a lawn care specialist.
Which left me with one final question to answer (and I heartily thank and applaud anyone still reading; I for one stopped a ways back), which was more a matter of setting than anything else. The choice of Venice had to do with its peculiar situation as the financial master and military mite of Europe, its location between Austria and Turkey, its reliance on a fleet and the standing history of the Republic of St. Mark. I think it worked out rather well, though a passing Venetian would probably have a number of things to say about that. And he would probably say them very loudly.
One thing I was nervous about, and which might strike some as being too planned or ripe for exploitation, was rewriting the monarch and leader files. However, in order to really capture the flavor I was on about, it was pretty much unavoidable. The first three Doges and the attendant leaders are the same (though their personal histories are completely different), but everything else has been changed. To minimize the control I had over stats and so forth, I used the excellent LeaderGen utility and then edited it for dates and (in rare instances) excessive or diminutive abilities where the history would be muddled by it.
I left in the events, for a writing challenge, and kept all province attributes and CB's. Beyond my own rules and the direction of the AAR, nothing in the game mechanics or files was altered.
That about sums it up... I'll be posting the Preface and Chapter One shortly, but expect a slow start before the first major action of the Trans-Dalmatian War as I setup the characters and locales. The basic format for Part One will be carried on throughout, as interludes on Venetian family life, society or government take place usually in the beginning and middle. While these will often be wry or even absurd, as such things usually are, I've tried to keep the military and political history, particularly battle and campaign descriptions, up to straight-laced EU II standards, so don't be put-off.
And I've also tried to keep them plentiful. It isn't absolutely necessary to read one or the other, though mutual references have, of course, been made, and there should be enough of both to keep everyone entertained.
Feedback is very much appreciated. Even though I've written Volume One, I'm quite open to suggestions and expect to do some hefty revisions of future installments. And besides, there's always Volume Two...
Over the course of the past month or two I've had the time, in a rare fit of frenzied inactivity, to drop by now and again and read (and reread) some of the tremendous work that goes on around here... Though my own participation has been sporadic at best, and my singular individual contribution so scant as to be unmentionable, I feel a certain attachment to (read: I take a certain pleasure in the creations of) a group of people who day after day devote countless hours to scrawling thousands of words across an electronic pane and do so knowing they aren't going to get paid. What's more, and this is the bit that really gets any writer where he lives, knowing there's no possibility of ever getting paid, not even in contributor's copies.
In this Marxian nightmare we've taken to calling life, that's a level of devotion and integrity and pure, honest-to-goodness hobby, pastime, play not often found in such large doses from so many ordinary people. It's almost sickening, really. So healthy, so altruistic. And what's altogether more impressive is that a lot of what goes on here is so damn good a curious look at one of the uber-AAR's can easily end up whiling away a day or two. The "novels" are downright astonishing.
I'm prefacing, in a roundabout way, a desire that nagged at me for a number of weeks and has led to a second attempt at adding a little something of my own to the patchwork of war-stories and melodramas and comedies. In order to ensure that it won't be as abortive as the last, I've taken the liberty of completing Volume One and I've come up with a bit of a posting schedule. In order to ensure that I follow the posting schedule, I've built up an idealization and little melodrama of my own (see the previous two paragraphs). In order to ensure that I remember the idealization and little melodrama, I've used them to justify the amount of time I've already given over to doing something for which I won't get paid or left dozing in a dumpster in Seattle, the two things for which I strive. In order to ensure that I keep that justification in mind, I've saved the contents of this post to my desktop, where it will continue to embarrass me until all the other justifications and counter-justifications and reverse-counter-justifications sort themselves out into a demonstrable product of some kind. Or I "accidentally" reformat my harddrive and forget this ever happened.
To get on with it:
Version: EU II 1.05 with EEP 1.2.2.1. installed (better OE, better Austria)
Country: Venice (for reasons laboriously explained below)
Difficulty: Hard/Furious
Scenario: Grand Campaign
Rules: This is where it gets complicated and distended.
As most longtime fans would agree, even on the hardest settings EU in single player mode has become irritatingly easy with all but the smallest minors (NA Indians, Orleans, Provence), for whom there are very few leaders and events. It's necessary, just to keep things interesting for more than fifty years, to invent rules and checks to keep the player leveled to the AI. Some of these are artificial (no cannon until X; all positive relations with Catholics) and others add a realistic flavor (no more than XXXX infantry and XXXX calvary raised per decade; warships unserviceable for a year after construction; naval caps).
To keep things interesting (to play, anyway) until 1820 requires an enormous number of rules, which I invented over the course of the first twenty or so years of play. Among these:
Army Size: To prevent the levy of huge regiments in rapid succession and, in the beginning, simulate the Italian dependence on mercenaries
-Standing army limited to one-tenth the total population of all national provinces per twenty years (those with no nationalism or possible vassal status).
-Conscripts limited to one-fifth the total population of all provinces per twenty years. (I considered lowering this, but it occurred to me that EU only counts the urban proletariat-mainstay of Italian national, rather than mercenary, armies since Marius. Seems balanced)
-If the number of "conscripts" exceeds the professional soldiers and mercenaries, land support is tacked down to seventy-five percent to lower morale (This, unfortunately, can't be decided on a case by case basis-hence the compromise)
-Calvary is limited to the historical equestrian tradition of Venetian possessions, reset every ten years
-Cannon won't be fielded at any time during the course of Volume One. I've come up with a scheme, however, based on metal producing provinces, land tech, weapons manufactories, infrastructure and random events.
Fleets: To curb Venice's naval superiority before it spins out of control in the sixteenth century, and better represent the necessary investment of time, resources and labor in the construction of warships
-Galleys can be built and serviced immediately, but are limited to four per province (ten per province with naval supplies) per five years
-Transports can be built and serviced immediately, but are limited to one per province (four per province with naval supplies) per eight years, then doubled for every naval manufactory or shipyard
-Warships require one year post construction to be serviced, outfitted and broken in, and are limited to two per province with naval supplies per eight years, then doubled for every naval manufactory and tripled for every shipyard
Combat: To add a little flavor and keep the AI from foolish losses
-Provinces must be fully besieged before an army can progress, to simulate the flanking resistance most generals of the era would avoid, unless the enemy's forces have been completely reduced (in which case covering is enough)
-An army must remain in a province for two months after a successful assault or leave a sizable detachment
-Pitched battles are the rule if enemy armies occupy or beset any provinces or possessions
-Prior to entering a war, only the fortresses of neighboring provinces, or those within site of a fleet, can be surveyed
-Prior to entering a war, only those fleets within site or on the open sea can be surveyed
-A neighbor's tech can only be checked after the first engagement on land or sea, by Venice or her allies
-If stability falls below -1 during wartime, no army or fleet can serve beyond three provinces or sea zones of the national territory (presumably, stability also applies to the army's mood, which is always volatile)
-Armies and fleets must be dispatched whenever possible to assist allies, particularly to protect COT's or other AAR-related interests
Diplomacy: Realism and AAR-related decisions
-A DOW must be made to protect a vassal, even if it means leaving an alliance and declaring war on its members (for reasons relating more to the AAR than historicity)
-Under the Republics, only one royal marriage can be made per tick toward Aristocracy on the DP slider per decade
-Under the Monarchies, only twelve royal marriages can be made per decade
Economics: To slow down the player's growth and development and to simulate more fully the difficulties involved in maintaining the wealth
-Investments must reflect AAR political and social choices and upheavals, and no slider can be maxed out
-Manufactories must be built to their products; other provinces can build breweries and art schools
-The DP sliders must reflect AAR political and social choices and upheavals-even if it means devoting ticks decades afterward
-Judges and governors can only be appointed in national provinces (no nationalism)
Society, Culture and Politics
-As these will play a big part in the AAR, everything will be simulated as well as it can be, whatever that entails in-game
-Rebellions that attain significance in the AAR will be handled differently and with more difficulty, and to different ends, then they would normally under optimum game conditions-this is a big deal (as will become clear in Parts III and IV)
-Because of the way governments and leaders have been scripted, a big change (to avoid coding events, which is a big hassle. And too deterministic for my taste anyway) will be simulated through a religious conversion and (temporary) maxed out intolerance of the dominant faiths
-Personalities, trends and movements that arise in the course of the writing or through unforeseen happenings in the game will direct the policies, good or bad, and actions of Venice (I know how Volume One went now, but despite the skeleton with which I started a lot of the largest and, in my opinion, best sections arose out of creeping ideas and random events)
In addition to these are lesser, or temporary, restrictions and procedures and the usual (no editing, reloads, peeking). Most of this stuff won't be noticeable in the course of the AAR (unless asked, I won't be providing the usual screen shots or notes-though I will provide any information or clarification I can OOC), but I think it's helpful to know what's going on under the hood.
By the way, this play-style, while largely unsuitable for a regular game, is not as rigid and, well, arduous and miserable as it may seem. Toward the end of the first time frame I'd gotten used to it, and in many ways it's great fun.
Now, a few notes on why I chose Venice and how I've managed the AAR...
First off, I was torn between three different styles, the first of which, the now standard narrative (exmplified most recently by MrT's behomoth), was easily discarded as dauntingly accomplished by many others. I leave it to them, and to HOI (pulp fiction, anyone?)
The second and third, however, came down to a matter of time. I had wanted to try an overarching history of Europe, at first as a multiplayer (the game itself then became too consuming) and then from the perspective of a hands-off non-European minor. But as a one-man show, to do what I wanted to do with either style, it would be too large and too liable to get lost when life takes its inevitable (often getting-paid-or-sleeping-in-dumpsters) toll.
Which left me with a last, moderately less ambitious recourse. A History of X, half college textbook (remember those awfully big things?), half middle-academic. Something beyond a fitted account of the game, even as engagingly draped as it has often been, or a well-researched (primarily because I'm not a well-researching kind of guy) hybrid between the game and actual history.
Now, there are only a very few helpful ways to write histories. They have to be clear, concise, succinct. Redundant, but not repetitive. Objective and even plain. This as opposed to fiction, where the work is not only open to, but served by, violated rules, creative grammar, flowery language, incorrect spelling and pages and pages of text that isn't necessary, doesn't make sense and can't really be called English, or whatever language it happens not to be written in.
There isn't a lot of room to experiment. But that's style. The content of a history can be extremely varied, particularly when, like this AAR or any American high school textbook in common usage not written by Howard Zinn, they're made up. So what I wanted to do, conveniently, was disregard everything that happened in a particular country (and, as it turns out, in several particular countries) between 1419 and 1820, but still provide the cultural, economic and political background for the usual adventures that make the average AAR great.
And that was how I was going to justify scrawling my own meager words across an electronic pane when I haven't had a clean pair of pants or a well-manicured lawn since 1989. I got to invent a whole mess of characters and events just for fun, which sounded to me like a whole lot more fun than figuring out how to use the washing machine or buying a machete and hiring someone, improbably, called a lawn care specialist.
Which left me with one final question to answer (and I heartily thank and applaud anyone still reading; I for one stopped a ways back), which was more a matter of setting than anything else. The choice of Venice had to do with its peculiar situation as the financial master and military mite of Europe, its location between Austria and Turkey, its reliance on a fleet and the standing history of the Republic of St. Mark. I think it worked out rather well, though a passing Venetian would probably have a number of things to say about that. And he would probably say them very loudly.
One thing I was nervous about, and which might strike some as being too planned or ripe for exploitation, was rewriting the monarch and leader files. However, in order to really capture the flavor I was on about, it was pretty much unavoidable. The first three Doges and the attendant leaders are the same (though their personal histories are completely different), but everything else has been changed. To minimize the control I had over stats and so forth, I used the excellent LeaderGen utility and then edited it for dates and (in rare instances) excessive or diminutive abilities where the history would be muddled by it.
I left in the events, for a writing challenge, and kept all province attributes and CB's. Beyond my own rules and the direction of the AAR, nothing in the game mechanics or files was altered.
That about sums it up... I'll be posting the Preface and Chapter One shortly, but expect a slow start before the first major action of the Trans-Dalmatian War as I setup the characters and locales. The basic format for Part One will be carried on throughout, as interludes on Venetian family life, society or government take place usually in the beginning and middle. While these will often be wry or even absurd, as such things usually are, I've tried to keep the military and political history, particularly battle and campaign descriptions, up to straight-laced EU II standards, so don't be put-off.
And I've also tried to keep them plentiful. It isn't absolutely necessary to read one or the other, though mutual references have, of course, been made, and there should be enough of both to keep everyone entertained.
Feedback is very much appreciated. Even though I've written Volume One, I'm quite open to suggestions and expect to do some hefty revisions of future installments. And besides, there's always Volume Two...
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