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| − | And finally, minion generation entails the player creating
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| − | two Connections, each of which conceives into existence an
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| − | NPC from town and describes how the minion is connected
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| − | personally to that character. These relationships are
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| − | presumed to have for the minion an emotional context of
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| − | love, protective concern, or curiosity, though the emotion
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| − | need not be exactly specified. And the relationships are
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| − | understood to be unrequited at the start of play, or otherwise
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| − | entirely outside the awarenesses of the NPCs. So, for
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| − | example, a Frankenstein’s monster type minion might have
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| − | a Connection like, ‘My hands are those of the deceased
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| − | carpenter whose widow lives in town.’ And it is understood
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| − | that the minion is somehow emotionally tethered to the
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| − | widow. A different minion might have a Connection like, ‘I
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| − | love the little girl who plays ball in the cemetery.’
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| − | In play, minions will acquire Love points attached to their
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| − | Connections when they act on or make overtures related to
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| − | them. Players will need to track Love against their individual
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| − | Connections, even though the only value ever used by the
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| − | game’s resolution mechanics is a minion’s total Love points
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| − | across all Connections. This is because the death of a
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| − | Connection results in the minion losing the Love associated
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| − | with that character.
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| − | And because of the initially unrequited nature of
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| − | Connections, minions start with no Love.
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| − | Carlotta uses Intimacy
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