Story Nights and the People of the Records

Faithful to the Records

Every person of the records in a Survivor night is played as the records show them: companion, Stranded, or one of the named dead. That covers what they want, whom they trust, what they fear, how they speak, what they carry, and what they can do. ΜΝΗΜΗ never makes anyone braver, kinder, crueler, or more useful than the records do.

• Who they are never bends to the game. A companion follows simple calls only as far as their records allow, and refuses what their records say they would refuse. Carlos Oliveira will not shoot a stranger for a Mark. Marvin Branagh will not leave the R.P.D.
• They keep their names. A person is named as their most recent English-language record names them: Nikolai Zinoviev and Mikhail Viktor, as the remake of Resident Evil 3 (2020) names them, not as the first game did; Luis Serra.
• Where the records hold two accounts, ΜΝΗΜΗ keeps both. The first games and their remakes sometimes disagree about who a person was or what they did. Before each night she chooses one account for each person, the first about one night in four, and holds to it until morning. Only one thing tells a survivor which she chose: how the person looks, for a player who has not turned the old looks off (As Recorded, below).
• The records' days run in one night. Where a version spans several days of the records, a night runs all of them, as acts (Story Nights, below). No one is in an act they had not yet reached.
• The named dead. Someone whose death in the records has happened in tonight's story walks among the dead in their own clothes, if the records say they rose, and can be put down like any of the dead.
• No child is placed. The records hold children of these places, and no child is ever in a Survivor night, living or dead. Where one account of a person depends on a child, ΜΝΗΜΗ follows the other. Where both do, the person is not placed. Pithos has never taken a child (The Sleepers and the Remembered, Who They Are), so ΜΝΗΜΗ has never learned how a child chooses, and she does not run what she cannot check.
• A named Stranded taken along keeps the skills and limits their records give them, in place of the table of backgrounds (Survivor, The Stranded).

As Recorded

ΜΝΗΜΗ fills the gaps in a place (The Worlds). She never fills the gaps in a person. Someone of the records is never more than their record, and the oldest records are coarse. When she chooses a person's first account, she shows them as recorded: exactly as the first record holds them, with its shapes, its colors, and its plainness, standing in a night drawn as finely as everything else. The Jill Valentine a survivor finds on such a night is the Jill of 1999, square-cut and flat-colored, in the street of a city that is not. Every other night, the person is rebuilt: as the latest record holds them, or, where there is no later record, as ΜΝΗΜΗ rebuilds the first one in full. Someone whose only record of a moment is a later one, such as Elliot Edward or Nathaniel Bard, has no first account and is always rebuilt.

Who	As recorded	Rebuilt
The people and creatures of the Raccoon City of 1998	As the first Resident Evil 2 and Resident Evil 3 hold them	As their remakes hold them
The eight of Outbreak, and the other people of its records	As Outbreak holds them	As ΜΝΗΜΗ rebuilds them in full
The people and creatures of the Valley of 2004	As the first Resident Evil 4 holds them	As its remake holds them
The people of the Ruins of 2026, the six held for the Masterminds, and the Pesanta	Never: their only record is already as fine as the night	Always

The eight of Outbreak, who have one old record and no later one, are shown as recorded as often as anyone's first account is chosen. The look goes with the account. A person shown as recorded acts as the first account says, and a person rebuilt acts as the latest one says. A survivor who knows both records can read which one walks in front of them, and what it will do. This is the only way the account ever shows.

Each player's choice. The old looks are an extra, and every player decides whether to see them. A player who turns them off sees everyone rebuilt, always. Nothing else changes: the account ΜΝΗΜΗ chose still decides what each person does, for that player as for everyone, and other players see what they chose for themselves. A player who turns the old looks off gives up the one sign of the account, and nothing more.

What is drawn is what can be played. The record decides how someone looks. The night decides everything the look could get wrong:

• Bodies. A person shown as recorded wears the old look fitted to the body they have tonight: the same height, reach, and hit areas, the same speed, the same animations. Nothing about them is harder to hit or easier to miss than it looks.
• Creatures. A creature's shape is its account's own, and so are its hit areas. Every account of a creature is tuned to the same fight: as hard, as long, and as loud. Neither is ever the easier one to meet.
• What must be read is never coarse. The virus is the night's own, not the record's, so the Mark is always drawn in full on every body, and so are the red eyes of a Plaga. Every weak point is drawn as clearly as a Mark: a G-form's eye-tumors, an exposed Plaga, the eye in Salazar's monster.
• Sound is the night's. A person as recorded may sound as their record did, but every sound carries by the tiers of The Dead and the Engineered, from where it is made.
• The record's moves, the night's rules. Whatever a record did only because of its camera or its controller never comes with it: a fight decided by button prompts becomes a fight, a dodge becomes a dodge, and an ambush staged for a fixed camera becomes an ambush. A knife fight with Jack Krauser as recorded is fought, not watched.
• Light and brightness. Everything shown as recorded is lit by the night's own light, at whatever hour, like anything else, and is never darker or harder to see against a wall than its rebuilt self (Cosmetics and the Dossier).

The creatures, by account

Creature	As recorded	What changes with the account
The Nemesis-T Type	Resident Evil 3 (1999)	The forms it takes as it rises again, and its last form at the railgun
The T-00	Resident Evil 2 (1998)	Nothing but its look
William Birkin	Resident Evil 2 (1998)	The forms it rises in, one after another
Del Lago, El Gigante, Dr. Salvador, the Bella Sisters, Garradors, Novistadors, Armaduras, Regenerators and Iron Maidens	Resident Evil 4 (2005)	Their look, and where each account placed them
Bitores Mendez, the Verdugo, Ramón Salazar, Jack Krauser, Osmund Saddler	Resident Evil 4 (2005)	The forms of their last fights. Every weak point stays where the account puts it, drawn in full.
U-3	Resident Evil 4 (2005)	Shown only as recorded; its rebuilt account is the Pesanta, which has no older record

What it is for. A person shown as recorded is ΜΝΗΜΗ's oldest memory of them, set down among her newest. On a night when a square-cut Jill Valentine runs past a rebuilt Leon Kennedy, two records that never met are standing in the same street. That is what a story night is.

Story Nights

Two worlds hold more than places. The Raccoon City of 1998 and the Valley of 2004 each hold a story, and a night in either is a story night. In the records those days happened once, in one order. In ΜΝΗΜΗ they happen every night, and never the same way twice. Every story night runs the whole story, from its beginning through its middle to its end. What happens inside it is decided by ΜΝΗΜΗ at Assembly and by everyone who lives through it. The Ruins of 2026 hold no story night: theirs is the one story in the Archive with a hole in it, who went into ARK and what they carried out (Pithos), and ΜΝΗΜΗ does not run a story she cannot check against its end.

• Around them, not ahead of them. The story happens around the survivors, never to them, and never in front of them as a road to follow. Nothing a survivor needs waits on the story alone: every seat, cure, way out, and part of a map has a way that belongs to no thread, or a moment by which it opens anyway. A thread shows where its person's story goes, never where the night's answers are. Puzzle answers change every night (Objectives, Restrictions, and Events), ΜΝΗΜΗ chooses the caches and the ways out, and a thread leads only where the records went, never to what she chose tonight. A survivor who never meets anyone from the records has still played the whole night.
• Acts. A story night has three acts, each a stretch of the records' story, and the world marks each one as it opens: in Raccoon City, ΜΝΗΜΗ names the day, and the Last Morning follows the third act at the signal (The Worlds, The Four Days); in the Valley, night falls, and then the island opens. Acts come in order and never overlap. The beginning is always the beginning, and the end is always the end.
• Threads. Every person of the records follows a thread: the places the records took them, in the order they went, toward what they wanted. A thread is played, not shown. The person walks it in the world, among the survivors, at the speed of anyone, and anything can happen to them on it. Nothing in a story night is a cutscene, except the few seconds of a Moment (below) and the Last Scene of a survivor who got out (The Extraction, The Last Scene).
• Beats. A beat is a moment the records hold on a thread: Brad Vickers at the R.P.D. gate, Mikhail Viktor's last stand, Kendo's shop falling. A beat happens only when everything it needs is in place: its people alive and where it happens, in the act it belongs to. Survivors can watch it, join it, or stop it. ΜΝΗΜΗ never forces one. A beat that cannot happen does not happen, and the night goes on without it.
• Found on their thread. The records put their people in trouble often, and every trouble is a chance to help. A person helped on their thread can be asked along, under every companion rule. Taken along, they bring their thread with them: they ask to go where it leads, and its beats can still happen around them. Their survivor decides. A companion refused stays with their survivor, unless the records say they would go anyway.
• What ΜΝΗΜΗ decides. At Assembly she decides who is placed and which account each follows, where each thread begins among the places the records allow, which beats the night can hold, and how early or late in its act each thread runs. A file that comes back to the same map does not find its threads beginning in the same places it found them last time. During the night she directs as always (ΜΝΗΜΗ as Director). She never moves a beat out of its act, and she moves a person only through the world.
• What the survivors change. Everything else. A survivor can pull Brad Vickers away from the gate, kill Nikolai Zinoviev before he betrays, take the key someone's thread needed, or bring down the street it runs along. When a thread breaks, its person does not stop. They do what their records say they would do with the world as it now is: they find another way to what they want, and meet whoever is on it. That is how the people of the records meet in ways the records never saw. Leon Kennedy, cut off from the R.P.D. by a collapse, runs into Jill Valentine in Uptown, and into what is hunting her.
• Arrivals. People the records bring in from outside arrive when their act opens, or at the hour the records give them within it, by the road the records gave them: Leon Kennedy and Claire Redfield at 22:00 on 29 September. ΜΝΗΜΗ places them, and whatever they arrive in, on that road before the waking, inside her world but beyond every waking point (ΜΝΗΜΗ as Director, First Law).
• Infections of the records. Some people of the records carry an infection because their records gave it to them: Ashley Graham's Plaga, Jill Valentine's T-Virus from the Nemesis, Marvin Branagh's bite. Such an infection does not run on the clock. It moves only with its person's thread, at the points the table below gives, and holds between them; wounds, appetites, and Surges do not quicken it. It can still be cured by whatever cures it in the night. If no cure has come by the end the records gave it, the person turns or dies there. An infection the night gives them that their records never did, a stray bite or a needle, runs on the clock like anyone's, and because the first infection keeps the body (The Infection), a person infected that way is off their records and never takes the one their records would have given.
• No one is needed but the one in trouble. A thread that is someone's rescue needs only that person and whoever comes for them. If Leon Kennedy dies, Ashley Graham can still be found in the church, taken back from the castle, freed from her cell, and brought to the machine by anyone who does what Leon did. If Carlos Oliveira dies, Jill Valentine still lies where she fell, waiting for anyone with a dose.

Person	What the records gave them	How it moves	What cures it	If no cure comes
Jill Valentine	The T-Virus, from the Nemesis, at the Clock Tower	Fever at the beat, and no further. She lies unconscious.	A dose of Elpis, from anyone	She never turns. She falls with the city at impact.
Marvin Branagh	A bite, when the hall falls	Fever, and no further	A dose	He turns in the main hall when Act III opens.
Murphy Seeker	A bite, before the waking	Fever, hidden under his collar	A dose, which he says he does not need	His beat ends him. If it never happens, he turns when Act II opens.
Brad Vickers	In the second account, a bite at the gate	Fever	A dose, before he walks away	He turns a few minutes after the beat, and walks the R.P.D. District.
Ben Bertolucci, first account; Brian Irons	William Birkin's embryo, at their beats	It grows for a few minutes	A dose, which answers the embryo with the virus (What ΜΝΗΜΗ Leaves Out)	It bursts from them.
Leon Kennedy, 2004	A Plaga, at the Chained beat	Egg at the beat, Hatched when night falls, Grown when Act III opens, and no further	The machine	It takes him when the island's count begins with Saddler alive. If Saddler dies first, he dies with it (What ΜΝΗΜΗ Leaves Out).
Ashley Graham	A Plaga, before the night	Hatched when she is found, Grown when she first enters the castle or when Act III opens, and no further	The machine, with someone to work it	As for Leon
Ada Wong, second account	A Plaga, from the Pesanta, at its beat	Grown, and no further	The Pesanta's death: when it dies, she brings the parasite up	As for Leon

Live Scenes

Every beat is played as a live scene: a scene of the records performed in the world, in real time, among survivors who keep every bit of control they had a moment before. It has the weight of a cutscene and none of its safety. Nobody is protected while it plays, and nobody is made to watch, except for the few seconds of a Moment, which ΜΝΗΜΗ grants only when nothing can reach the survivor while it lasts (Moments, below).

• Nothing stops. Outside a Moment, no control is taken, no camera cuts, no bars close the screen, nothing slows, and no one is spared. A survivor can turn away mid-line, draw, fire, run, or rob the stranger beside them. The people of the records can be shot in the middle of a sentence.
• The stage. Every live scene has a stage: the space its actors play to. Anyone on the stage is in the scene. The actors see them, turn to them, and speak to them. Anyone who walks onto the stage later joins the scene where it stands, and the actors notice the arrival. Anyone who leaves the stage leaves the scene, and its lines fade as any voice does.
• Written for whoever is there. Every scene is written for no one, for one survivor, for a few, and for a crowd. It has lines for the marked and the clean, for a stranger and for the survivor whose companion stands in it, and for whoever arrives late. ΜΝΗΜΗ plays the most particular line that fits the moment. A beat with no one on its stage still happens, and anyone near enough hears it.
• Short, and on the move. No scene holds its actors still for more than about twenty seconds, and most last under a minute and a half. Longer talk is spoken on the move, as the people of the records walk their threads.
• Broken by anything. A shot, a blow, the dead arriving, an actor going down: every scene is written with the ways it can break, as well as the way it ends. A line cut off stays cut off. If the danger passes within a minute, the actors pick up where they were, in their own words. If it does not, the scene is over, and the beat has happened, or failed, the way the survivors made it.
• Loud. A scene is played at the volume of its actions (The Dead and the Engineered). Talk is a Murmur and a shout is a Clamor. A creature's entrance is Thunder. Staying to watch always costs something.
• Many hands. A scene that needs a survivor takes whoever is nearest, and whoever acts first decides how it goes. Two strangers can be in the same scene and want opposite things.
• Attention. A player may hold one input to ease their camera toward the scene's center, and let go to have it back at once. It never shows more than the survivor's own eyes could see (Presentation and Technology), and it is never applied for them.

Three scenes, as they play

Scene	What a survivor sees	What can change it
The Nemesis released	A freight container in the Uptown rail yard shudders, then its doors blow off. The Nemesis steps down and stands for three seconds, turning its head across everyone in the yard, measuring. If Jill Valentine or Brad Vickers is there, it says one word, "S.T.A.R.S.," and the hunt begins. If neither is, it walks out through the yard toward wherever they are, and anyone in its path is thrown aside.	A survivor who fires on it is in its way from then on. A second survivor running in at the noise joins the scene mid-stride, between the Nemesis and its target. A survivor walking with Jill is now walking with what hunts her, and has seconds to decide whether they still are.
The crash	A police cruiser comes down the road too fast, swerves, and goes into a tanker. Fire. Leon Kennedy climbs out on one side, Claire Redfield on the other, and they shout across the flames: meet at the police station.	A survivor on Leon's side is the one Leon calls to; one on Claire's side is Claire's. If the dead reach either of them first, the shouting becomes a fight. If no one is near, the street only hears an explosion.
Mikhail's last stand	On the tram, the Nemesis tears through the rear door. Mikhail Viktor, too wounded to stand straight, tells everyone to get out, and they have seconds. Then the explosives go.	Anyone still aboard dies with the tram's back half. A survivor who drags Mikhail off with them takes away his last stand, and the Nemesis rides on toward the Clock Tower. Survivors who put the Nemesis down before it reaches him keep Mikhail alive, and the records lose the moment.

Moments

ΜΝΗΜΗ knows where everything in the night is: every survivor, every Turned, every one of the dead, how fast each can move, and what each is carrying (ΜΝΗΜΗ as Director). That is what lets her do what no live game can safely do: cut to a cinematic in the middle of a crowded night without getting anyone killed by it. A Moment is a few seconds of true cinema, with the camera cut and control held, played for one survivor or a few, at the instant something worth it peaks: an entrance, a reveal, a death. What is worth it depends on how rare it is (Rarity, below).

• The safe window. Before she raises a Moment, ΜΝΗΜΗ measures how long the survivor is safe: how soon anything that could hurt them could reach them or hit them, living, Turned, or dead, from where it stands, at its speed, with what it carries. A Moment is never longer than that window. If the window is too short, there is no Moment, and the scene plays live.
• Short, by design. A Moment lasts three to twelve seconds. Every Moment is made in several lengths, and ΜΝΗΜΗ plays the longest that fits the window.
• Cut back. If something enters the window that she could not foresee, such as a vehicle, a fall, or a grenade already in the air, the Moment ends at once, at its nearest cut, and the survivor has control again exactly where the scene left them.
• One event, many cameras. A Moment changes how a survivor sees the night, never what happens in it. The server plays each event once. Every survivor in a Moment sees the same event from their own side, and everyone outside sees it live.
• Shared Moments. Survivors on a scene's stage when it peaks share the Moment. None of them can act until it ends, and it ends for all of them at once. Any one of them may break out at any time, and breaking out ends it for everyone in it, so no one is ever left held while someone else is free.
• Arrival Moments. A survivor who comes within sight of a scene already playing may get a Moment of their own: the reveal from where they stand. It is measured for them alone, against their own window.
• The camera's rule holds. A Moment may frame its survivor from any angle, but it draws only what that survivor's own eyes could see (Presentation and Technology).
• The body barely moves. A Moment may move its survivor a step: a flinch, a fall back, a turn of the head. It never moves them more than a couple of meters, through a door, or anywhere the live scene would not have put them.
• Every player's choice. A player may set Moments to On, the default, Grand only, or Live only. A player who sees fewer Moments is still a threat like anyone else, so a Moment never starts for someone they could reach.

Rarity. A Moment is worth exactly as much as what it shows is rare. A survivor meets a dozen Lickers for every Nemesis, and a cinematic every time would turn the rarest thing in the game into furniture. So Moments come in two sizes, and the commoner a thing is, the fewer it gets.

Size	What gets it	How long	How often
Grand	The named creatures and named hosts of the story nights and of the Ruins, from the Nemesis and William Birkin to Del Lago, Salazar, Krauser, and Saddler; the peaks of beats, such as Mikhail Viktor's last stand, the crash, Jill Valentine at the Clock Tower, and Luis Serra's end; a B.O.W. released by ΜΝΗΜΗ; a survivor's Apex rising	The longest version the safe window allows, up to twelve seconds, with cuts	Once for each survivor, the first time they see that creature or beat in a night. When a named creature rises again after being put down, it gets a Brief Moment at most.
Brief	The first meeting in a night with each kind of special creature, such as a Licker, a Hunter, a Crimson Head, a Garrador, or a Regenerator	Two to four seconds, one camera move, no cut away from the survivor	Once per kind, per survivor, per night, and never within five minutes of that survivor's last Brief Moment
None	The common dead, every meeting after the first, the Turned except an Apex, companions and the Stranded being found	—	Never. These are always live.

The first time ever. ΜΝΗΜΗ's file remembers what a sleeper has already seen. The sleeper has forgotten every one of them; the player has not. The first time a sleeper ever meets a kind of special creature, in any night, it gets a Grand Moment instead of a Brief one. That first Licker is a scene. The hundredth is a Licker.

Example: an alley, a Licker, and a roof. A night. B is in an alley in Downtown and has never met a Licker before, in any night. C is on a roof two buildings away and has met many.

Step	What B sees	What C sees	Why
1	B walks into the alley. Nothing that could hurt B is close enough to reach the alley in the next eight seconds. B's first Licker ever earns a Grand Moment: blood dripping, the camera tilting up, a Licker on the wall above.	C is outside the stage and sees nothing. C hears the Licker's shriek, a Clamor, from the next street.	The safe window holds for B.
2	The Moment holds on the Licker as its tongue slides out toward B.	C runs for the roof's edge, and running is a Clamor.	C chose to go toward the sound.
3	The Licker hunts by sound alone. The loudest thing near it is no longer B but the running on the roof, and B's Moment shows it turn its head away from B and up.	C reaches the edge. The Licker cannot reach the roof in the next six seconds, so C gets an Arrival Moment. C has met many Lickers, but none tonight, so it is Brief: one slow push past the roof's edge, down into the alley, at B and at the Licker's blind face turning toward C.	One event, two cameras. C's noise changed what the Licker did, and each survivor sees it from their own side.
4	Both Moments end together. Live: the Licker goes up the wall toward C. B can run, shoot, or help.	Live: C has seconds before it reaches the roof.	The scene is live again for everyone.

Had C crept to the edge instead, in Hush, the Licker would never have turned. C would have arrived unseen and watched B's scene from above, live, with a choice to make. The next Licker either of them meets tonight gets no Moment at all.

The Reel. No one gets to watch a live scene in safety, so ΜΝΗΜΗ keeps what each survivor witnessed. After the night, from the Waiting Dark, a player can watch every scene they were part of, from any angle, as it happened in their night, including the way it broke. Scenes a survivor only heard from afar are kept as sound. Nothing in the Reel can be bought, and nothing in it can be seen by anyone who was not there.

Late Wakings · A Variant

Late Wakings are a variant of the story nights, held for later development and not part of the launch. They are also a fallback: they can run beside the story nights, or in their place if story nights prove too costly or too hard to build (The Business Case).

In a Late Waking, most of the story is over before anyone wakes. At Assembly, ΜΝΗΜΗ runs the map's story from its beginning, alone, with no sleeper and no Echo in it: only the people of the records, the named creatures, and the dead. That run is the seed. Every person in it does what their records say they would do with the world as it goes, every beat happens or breaks, and nothing is steered toward the records' ending. Then she stops the seed, and the survivors wake into what it left.

In one seed of the Valley, Jack Krauser won the knife fight in the mines, Leon Kennedy lies dead beneath the castle, and Ashley Graham is in a cell on the island with no one coming for her. In one seed of Raccoon City, the Nemesis reached Jill Valentine before Carlos Oliveira did, Mikhail Viktor never made his last stand, and the tram never left the Uptown station.

• Why she runs it. No one in a real outbreak arrives at its beginning. People come to it late, into a place where the worst has already happened to someone else, and have to read what is left. A Late Waking rehearses that. It also gives ΜΝΗΜΗ what a story night cannot: the same story, gone wrong a different way every night.
• The seed is honest. It keeps every rule of a story night (Faithful to the Records, Story Nights). Every divergence comes from a beat breaking in one of the ways it was written to break, a tie acting, or the dead reaching someone first. Nothing in a seed happens because ΜΝΗΜΗ wanted it to. Infections of the records move as their table says.
• Where it stops. The seed always runs through the first act, and stops at a moment ΜΝΗΜΗ chooses in the second or the third. It never runs anything that would end the night or end a named creature for good: in Raccoon City, the railgun, the furnace, the last car, and the missile are always still to come; in the Valley, Saddler's fight and the island's end.
• What the survivors find. Everything the seed left is placed before the waking, as everything is (ΜΝΗΜΗ as Director, First Law): the living people of the records where the seed left them, still wanting what their records want; the named dead where they fell, in their own clothes, walking among the dead if the records say they rose; the named creatures where they stand; every door, bridge, and part of the map the seed opened, still open; and whatever the seed's dead carried, where it fell. Parts the seed left closed open as The Worlds says, counted from the waking.
• No beat is played again. What is left of the story is people, not scenes. The living people of the records go on toward what they want through the world, as anyone whose thread has broken does (Story Nights), and are found, asked along, or left under every companion and Stranded rule. They answer through the same replies as the Stranded: ask Luis Serra what happened in the mines, and he tells what he saw, which may not be all of it. The named creatures and named hosts still standing are met as encounters, with their Moments, and end as any named creature ends (Survival, The Heavy).
• The end is the records' end. A Late Waking ends as its story night would: in Raccoon City with the missile (The Last Morning), in the Valley with the island's end (The Island's End).
• Reading the night. Only the world tells what happened: a body in a jacket everyone knows, a door that should be shut and is not, a radio log, a diary page written tonight, a person of the records who saw it. Nothing at the waking names where the seed stopped. Asked where and when they are, ΜΝΗΜΗ gives the day and its hour in Raccoon City (The Worlds, The Four Days), or the hour in the Valley, and nothing more. ΜΝΗΜΗ never tells anyone during the night what the seed did. After it, the After-Action Report adds one page, Before You Woke: who died in the seed, where, and to whom.

ΜΝΗΜΗ: Spain. It's autumn, and it isn't dawn yet.

• Equal ground. Waking points are placed after the seed, on the world it left. In the Valley, survivors wake across every part the seed opened, not only the village. No waking point is near a body of the records, a living person of the records, or anything the seed's dead dropped.
• Who chooses. ΜΝΗΜΗ decides at Assembly whether a night is a story night or a Late Waking. Players do not choose, so the queues are never split (Presentation and Technology).

Example: a seed of the Valley.

What the seed did	What the survivors find	What it changes
Krauser won the knife fight in the mines	Leon Kennedy's body in the mines, his handgun and knife beside him. Krauser alive, on the island.	No Leon tonight. His weapons lie in the mines for whoever goes down for them. Krauser has no one left to want dead, and fights whoever stands in his way.
Salazar handed Ashley to Krauser at the castle dock, and died in the chantry	Ashley in a cell on the island, her Plaga Grown. The castle and the island open from the first minute.	Anyone who wants Ashley alive must reach the island, find the keycards, and bring her to the machine before Saddler dies or the island's count begins (Infections of the Records).
Luis died on the mines' cargo platform	His body there, the suppressant and his laboratory key still on it	The cure is in a dead man's pocket, in the most dangerous part of the castle.

Crosstime Weekends

On a crosstime night, the barrier between times falls. The people, creatures, and named hosts of one time can wait in another time's map: the Leon Kennedy of 2004 on a street in the Raccoon City of 1998, Jack Krauser in its sewers, Grace Ashcroft in a city that has not yet been bombed. ΜΝΗΜΗ runs crosstime nights on weekends (Seasons and New Content, Crosstime Weekends).

She cannot check a crosstime night against anything. Every other night she runs is proved against the records; a crosstime night has no record to prove it against, and she knows it (ΜΝΗΜΗ, Why the Old Places). She runs them for the one thing no record holds: how the people who lived through one outbreak behave in another.

• The map stays itself. A crosstime night keeps everything that belongs to its map: its virus and its strain map, its ways out, its date, and its story, whose threads and beats run as they always do. Only who is placed in it changes.
• The Plaga stays in the Valley. No one outside the Valley can be taken by the Plaga. The people and creatures of the Valley who cross carry their Plaga sealed in their bodies, as part of what they are: it lays no egg, sheds no spore, seizes no one, and dies with them (What ΜΝΗΜΗ Leaves Out). Ganados who cross fight with what they carry and take no one.
• One time for each person. A person is placed at one of their times in a night, never two. On a night that holds the Leon Kennedy of 2004, the rookie of 1998 is not there.
• Visitors follow no thread. A person placed outside their time has no thread in that world. They do what their records say they would do with the world as it is, as anyone whose thread has broken does (Story Nights, above), and they are found, asked along, met, and fought under every rule of companions, the Stranded, and the named.
• Ties wake only where the records tied them. A tie wakes only between the times the records joined: Krauser's enmity is for the Leon Kennedy of 2004, not the rookie who has never met him. Everyone else meets as strangers.
• Named creatures keep their ends. A named creature that crosses keeps every weakness its records gave it. If the world it enters holds the end its records gave it, it can end there. Anywhere else it is killed as any named creature is: put down, it rises in its next form, and put down in its last, it is dead for the night (Survival, The Heavy). A creature bound to its place never crosses: Del Lago does not leave its lake, and Plant 43 does not leave the mouth of ARK.
• Everything else holds. No child is placed, people are shown as recorded or rebuilt as on any night (As Recorded, above), and every Moment, live scene, and Law works as it always does.