diff --git a/.obsidian/plugins/longform/sessions.json b/.obsidian/plugins/longform/sessions.json
index 330d80e..f28f2c0 100644
--- a/.obsidian/plugins/longform/sessions.json
+++ b/.obsidian/plugins/longform/sessions.json
@@ -1 +1 @@
-[{"start":"2023-04-03T22:32:04.607Z","total":0,"drafts":{"Projets/Absolue Nécessitée/Index.md":{"total":0,"scenes":{"Chapitre 1 - Montée en puissance":0,"Diner chez Althéa":0,"Assassinat raté":0}}}},{"start":"2023-04-03T21:23:19.384Z","total":0,"drafts":{"Projets/Absolue Nécessitée/Index.md":{"total":0,"scenes":{"Chapitre 1 - Montée en puissance":0,"Diner chez Althéa":0,"Assassinat raté":0}}}}]
\ No newline at end of file
+[{"start":"2023-04-04T09:57:49.868Z","total":0,"drafts":{"Projets/Absolue Nécessitée/Index.md":{"total":0,"scenes":{"Chapitre 1 - Montée en puissance":0,"Diner chez Althéa":0,"Assassinat raté":0}}}}]
\ No newline at end of file
diff --git a/.obsidian/plugins/obsidian-style-settings/data.json b/.obsidian/plugins/obsidian-style-settings/data.json
index 7af4825..0b8a6c1 100644
--- a/.obsidian/plugins/obsidian-style-settings/data.json
+++ b/.obsidian/plugins/obsidian-style-settings/data.json
@@ -10,5 +10,17 @@
"o-theme-settings@@o-float-tabs": true,
"o-theme-settings@@o-bar": true,
"title@@advanced-toolbar-mode": true,
- "title@@custom-page-header": true
+ "title@@custom-page-header": true,
+ "sanctum@@color-accent-rgb-l": "165, 119, 218",
+ "sanctum@@color-accent-rgb-d": "165, 119, 218",
+ "sanctum@@table-cell-border": false,
+ "sanctum@@table-row-border": false,
+ "sanctum@@table-column-border": false,
+ "sanctum@@table-alternate-row": false,
+ "sanctum@@table-alternate-column": false,
+ "sanctum@@table-hover-row": false,
+ "sanctum@@table-single-rows": false,
+ "sanctum@@table-sticky-headers": false,
+ "sanctum@@table-tabular-figures": false,
+ "sanctum@@table-nums": false
}
\ No newline at end of file
diff --git a/.obsidian/themes/Encore/manifest.json b/.obsidian/themes/Encore/manifest.json
index 7e10d60..dcb295d 100644
--- a/.obsidian/themes/Encore/manifest.json
+++ b/.obsidian/themes/Encore/manifest.json
@@ -1,6 +1,6 @@
{
"name": "Encore",
- "version": "2.3.2",
+ "version": "2.3.4",
"minAppVersion": "1.1.9",
"author": "Lucas Champagne",
"authorUrl": "https://lucaschampagne.dev/"
diff --git a/.obsidian/themes/Encore/theme.css b/.obsidian/themes/Encore/theme.css
index 8378978..4ad02b8 100644
--- a/.obsidian/themes/Encore/theme.css
+++ b/.obsidian/themes/Encore/theme.css
@@ -597,7 +597,10 @@ body:not(.encore-disable-fancy-headers) .workspace-tab-container .workspace-leaf
body:not(.encore-disable-fancy-headers) .workspace-tab-container .workspace-leaf-content > .view-content .cm-scroller {
padding-top: calc(var(--header-height) + 32px);
}
-body:not(.encore-disable-fancy-headers) .workspace-tab-container .workspace-leaf-content .markdown-preview-view {
+body:not(.encore-disable-fancy-headers) .workspace-tab-container .workspace-leaf-content > .view-content > iframe {
+ padding-top: var(--header-height);
+}
+body:not(.encore-disable-fancy-headers) .workspace-tab-container .workspace-leaf-content .markdown-reading-view > .markdown-preview-view {
padding-top: var(--header-height);
}
body:not(.encore-disable-fancy-headers) .workspace-tab-container .workspace-leaf-content .graph-controls {
diff --git a/.obsidian/themes/Obuntu/theme.css b/.obsidian/themes/Obuntu/theme.css
index bf2ff6d..1fe4a97 100644
--- a/.obsidian/themes/Obuntu/theme.css
+++ b/.obsidian/themes/Obuntu/theme.css
@@ -161,16 +161,13 @@ iframe {
margin-bottom: 20pt;
margin-left: auto;
margin-right: auto;
- max-width: 320px;
- text-align:center;
- margin: 0 -10%;
- /*experiment with values*/
+ width: 50%; /*experiment with values*/
transition: transform 0.25s ease;
}
.markdown-preview-view img:hover {
- -webkit-transform: scale(1.3); /* experiment with values */
- transform: scale(1.3);
+ -webkit-transform: scale(2); /* experiment with values */
+ transform: scale(2);
}
/* fix background of folder-collapse-indicator */
diff --git a/.obsidian/vault-stats.json b/.obsidian/vault-stats.json
index 92de705..ccdff99 100644
--- a/.obsidian/vault-stats.json
+++ b/.obsidian/vault-stats.json
@@ -1 +1 @@
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\ No newline at end of file
diff --git a/Characters/Kuma.md b/Characters/Kuma.md
deleted file mode 100644
index 3e53c38..0000000
--- a/Characters/Kuma.md
+++ /dev/null
@@ -1,56 +0,0 @@
----
-banner: "https://www.worldanvil.com/media/cache/cover/uploads/images/9d04c7625f3f0515c8abcab226215353.png"
----
----
-banner: "https://www.worldanvil.com/media/cache/cover/uploads/images/9d04c7625f3f0515c8abcab226215353.png"
----
----
-alias: [Tulius]
-tags: []
-banner: "https://www.worldanvil.com/media/cache/cover/uploads/images/9d04c7625f3f0515c8abcab226215353.png"
-banner_y: 0.548
-
-race:
-class:
-ethnicity:
-short-desc: "test"
-image: "../Illustrations/Portraits/kuma.webp"
-goals: []
-likes: []
-hates: []
-
-status: TODO
-
----
-> [!infobox]+ `= this.file.name`
-> `$= "![](app://local/" + this.app.vault.adapter.basePath + "/" + this.app.vault.config.attachmentFolderPath + "/" + dv.current().image + ")
"`
-> *source: *
->
-> | | |
-> | --- | --- |
-> |**Description** | `= this.short-desc` |
-> |**Buts** | `=this.goals` |
-> ## Infos
-> | | |
-> | --- | --- |
-> |**Peuple** | `=this.race` |
-> | **Ethnie**| `=this.ethnicity`
-> | **Organisations**| `=this.organisations` |
-> | **Relations**| `todo` |
-> ## Goûts
-> | | |
-> | --- | --- |
-> |**Aime** | `=this.likes` |
-> | **Déteste**| `=this.hates`
-> ## Réferences
->```dataview
->LIST WHERE contains(file.outlinks, this.file.link) SORT file.name
->```
-
-
-# Notes
--
--
-
-# Histoire
-
diff --git a/Illustrations/Pasted image 20230404145824.png b/Illustrations/Pasted image 20230404145824.png
new file mode 100644
index 0000000..b5f3b28
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new file mode 100644
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@@ -0,0 +1,3 @@
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+oid sha256:069be60ab68dc95e127f62682a7989f3d10a0f050ffb59fbc956dbc1deffc19f
+size 85268
diff --git a/Illustrations/Pasted image 20230404151212.png b/Illustrations/Pasted image 20230404151212.png
new file mode 100644
index 0000000..c051c14
--- /dev/null
+++ b/Illustrations/Pasted image 20230404151212.png
@@ -0,0 +1,3 @@
+version https://git-lfs.github.com/spec/v1
+oid sha256:8b9a11185d3a1a610327d2b47f91de5189bb327260608025e12d6481324eba21
+size 87217
diff --git a/Notes/Aides à la création.md b/Notes/Aides à la création.md
index 9e9b08e..a19b60f 100644
--- a/Notes/Aides à la création.md
+++ b/Notes/Aides à la création.md
@@ -16,63 +16,3 @@
- https://www.youtube.com/watch?v=COxS5cNxMb0
-# Les 8 cadrans du cercle narratif de Dan Harmon
-
-Voici à quoi correspondent les 8 étapes :
-
-1. **YOU** : Un personnage est dans son environnement familier
-2. **NEED** : Il désire quelque chose, ou quelque chose ne va pas dans son quotidien. C’est la raison pour laquelle l’histoire va avoir lieu
-3. **GO** : Il franchit un point de non-retour et se retrouve dans un environnement étranger
-4. **SEARCH** : Il s’y adapte, s’entraîne, expérimente et traverse des épreuves
-5. **FIND** : Il trouve ce qu’il cherchait (même si ce n’est pas ce qu’il croyait chercher à la base). C’est un point pivot, une révélation, où le protagoniste fait un choix déterminant
-6. **PAY** : Mais il en paie le prix
-7. **RETURN** : Il retourne à son environnement de départ
-8. **CHANGE** : En ayant changé. La vie ne sera plus jamais pareille
-### Symétrie et mouvement
-
-La force de cette méthode tient à la fois dans sa **symétrie** et dans la notion de **cycle**, de retour au point de départ.
-
-Il y a d’abord une symétrie horizontale. Le cadran supérieur du cercle se déroule dans l’environnement familier, l’ordre. Le cadran inférieur est consacré à l’inconnu, au chaos. On peut aussi y voir une opposition entre la vie et la mort, entre le conscient et l’inconscient, entre le monde réel et le monde fantastique.
-
-Le mouvement entre ces deux états crée une symétrie verticale, avec **d’abord une descente, puis une renaissance.**
-
-Le passage de la moitié supérieure à la moitié inférieure, et inversement, implique généralement un **conflit avec un antagoniste externe**. Le passage de droite à gauche, à l’inverse, représente plutôt le **conflit interne du personnage.**
-
-Notez qu’il ne s’agit que d’une **symétrie de structure et pas de longueur du texte** : les parties 1, 2, 7 et 8 sont généralement assez courtes dans un roman, tandis que les autres sont détaillées plus longuement et comprennent l’essentiel des péripéties.
-
-Note intéressante : si vous avez plusieurs personnages principaux, chacun aura son propre cercle, en plus du cercle global de l’histoire.
-### Exemples d’application du cycle narratif
-
-Pouvez-vous penser à des exemples d’histoires auxquelles ce schéma s’applique ?
-
-Prenons, au hasard, _Le Seigneur des Anneaux_ :
-
-1. YOU : Frodo vit sa vie tranquilou en Comté
-2. NEED : Mais il aimerait bien partir à l’aventure avec Gandalf
-3. GO : Il se retrouve chargé de l’Anneau et doit parcourir le vaste monde pour le mettre à l’abri/le détruire
-4. SEARCH : Il trouve le soutien de la Communauté pour accomplir son périple
-5. FIND : Il porte l’Anneau jusqu’à la Montagne du Destin
-6. PAY : Mais l’Anneau l’a corrompu et, alors qu’il frôle la mort, il regrette d’avoir quitté la Comté
-7. RETURN : Il regagne la Comté, chargé d’honneurs
-8. CHANGE : Mais la quête l’a trop affecté et il décide finalement de partir pour les Havres Gris
-
-Ou, dans un tout autre style, _[Des Fleurs pour Algernon](https://www.lastreetlaplume.fr/2019/07/19/lu-recemment-des-fleurs-pour-algernon-daniel-keyes/)_ (attention spoilers) :
-
-1. YOU : Charlie Gordon, qui souffre de retard mental, vit sa vie d’apprenti dans une boulangerie
-2. NEED : Mais il rêve de « devenir intelligent »
-3. GO : Il fait l’objet d’une expérience chirurgicale qui augmente son QI de façon exponentielle
-4. SEARCH : Ses capacités intellectuelles augmentent peu à peu, sa mémoire se réveille
-5. FIND : Charlie dévore des tonnes de connaissances, découvre le monde avec un enthousiasme immense et se fait des amis
-6. PAY : [SPOILER – surlignez pour lire] Mais son intelligence devient trop supérieure, il suscite envie et jalousie chez les personnes qu’il aime et est hanté par les souvenirs de son passé
-7. RETURN : [SPOILER] Comme pour Algernon, la souris qui a servi de cobaye avant lui, Charlie se met à souffrir de dégénérescence cérébrale
-8. CHANGE : [SPOILER] Il retrouve son ancien niveau intellectuel, mais décide d’aller désormais vivre dans un asile pour ne pas subir la pitié de son entourage
-
-Comme vous le voyez, cette structure s’adapte à des histoires bien différentes et **n’oblige donc pas du tout à créer des scénarios convenus ou ennuyeux.**
-Le changement d’environnement ne s’applique pas uniquement à des déplacements physiques.
-
-D’ailleurs, vous aurez sans doute remarqué que ce cercle reprend, recoupe ou complète d’autres structures narratives bien connues.
-
-Vous pouvez aussi essayer avec _Star Wars, Harry Potter ou Zootopie_, par exemple.
-
-Maintenant, à vous de vous l’approprier !
-
diff --git a/Notes/Cyrillane - Idée.md b/Notes/Cyrillane - Idée.md
index c7254be..6806693 100644
--- a/Notes/Cyrillane - Idée.md
+++ b/Notes/Cyrillane - Idée.md
@@ -15,10 +15,10 @@
### Tableau des pouvoirs.
-| |But profond | Militaire | Légitimité | Commercial |
-| :---: | :---: | --- | --- | --- |
-| [Kartaçöl](../Factions/Empire%20de%20Kartaçöl.md) | Les yeux de l'immortel sont rivé sur l'Arolavie. La Cyrillanne n'est qu'une étape, et le contrôle d'une petite région lui donnant acces a la Mer Ustalva lui suffira. L'essentiel est de nouer de bonnes relations avec le vainqueur |Une flotte puissante et le quasi contrôle de la Mer Ustalva | Ils se prétendent héritier de l'[[Empire de Bail]]|
-|[Mégare](../PNJ/Mégare%20de%20Cyrillanne.md) | D'une lignée d'anciens rois, Mégare convoite le trone.|Elle contrôle une cinquantaine de chimère puissantes | Elle est la descendante de la famille #toWrite , la deuxième famille noble la plus puissante après les Kadméïde. |
-| Dragons noirs | |Ce sont des dragons noirs. Bien que puissant, ils ne sont pas particulièrement agressif, sauf pour manger. Par contre, ils collaborent volontiers avec des ravageurs. | Aucune | | |
-| Kadméïde | |
-|[Mille-Visages](../PNJ/Mille-Visages.md) | A des [[anostheni]] infiltré un peu partout dans chaque factions.
\ No newline at end of file
+| Faction | But profond des machinations en Cyrillane | Militaire | Légitimité | Commercial | |
+|---|---|---|---|---|---|
+| [Kartaçöl](../Factions/Empire%20de%20Kartaçöl.md) | Les yeux de l'immortel sont rivé sur l'Arolavie. La Cyrillanne n'est qu'une étape, et le contrôle d'une petite région lui donnant acces a la Mer Ustalva lui suffira.
L'essentiel est de nouer de bonnes relations avec le vainqueur | Une flotte puissante et le quasi contrôle de la Mer Ustalva | Ils se prétendent héritier de l'[[Empire de Bail]] | | |
+| [Mégare](../PNJ/Mégare%20de%20Cyrillanne.md) | D'une lignée d'anciens rois, Mégare convoite le trone. | Elle contrôle une cinquantaine de chimère puissantes | Elle est la descendante de la famille #toWrite , la deuxième famille noble la plus puissante après les Kadméïde. | | |
+| Dragons noirs | | Ce sont des dragons noirs. Bien que puissant, ils ne sont pas particulièrement agressif, sauf pour manger. Par contre, ils collaborent volontiers avec des ravageurs. | Aucune | | |
+| Kadméïde | | | | | |
+| [Mille-Visages](../PNJ/Mille-Visages.md) | Surveiller de loin | A des [[anostheni]] infiltré un peu partout dans chaque factions. | | | |
\ No newline at end of file
diff --git a/Notes/Structures narratives/12 Step Mystery.md b/Notes/Structures narratives/12 Step Mystery.md
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--- /dev/null
+++ b/Notes/Structures narratives/12 Step Mystery.md
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+
+%%
+Bien que la structure ne corresponde qu'assez peu à un scénario de jeu de rôle, elle peut permettre de structurer un scénario d'enquête. A ne pas suivre a la lettre.
+%%
+## Disclose the mystery
+This is the opening scene of the mystery where you disclose an extraordinary crime. This section hooks the reader's attention and includes an unusual victim and/or perpetrator; the victim must be well developed, with enough details to ensure the reader cares about the solution of the crime. The Sleuth should also be introduced, with unique character traits that set them apart.
+
+- Open with a vivid, dramatic event that transports the reader to the time and place of the crime.
+- Offer clues that hint at both the physical and psychological aspects of the crime, which will carry the Sleuth to the end of Act 1.
+- Offer some clues that will point the Sleuth in the right direction, some distracting red-herring clues, and other elements that are not yet obvious as clues.
+- Introduce the Sleuth with enough information to make them unique and allow the reader to understand their world (e.g. small-town detective, FBI agent, coroner, or journalist), but do not reveal too much of their character, as this will unfold throughout the story.
+
+### Ideas to Consider:
+
+- Open the story with the Sleuth in a dire situation to allow the reader to see how the Sleuth works under pressure, with details unfolding gradually throughout the mystery.
+- Identify something unique about the crime which can act as a metaphor and/or be used again at the conclusion to create unity (e.g. the killer's signature, an object, a person, or setting).
+- Use a prologue to describe the crime in detail or have the information revealed by characters.
+
+#### Note:
+
+- As this is a mystery template and the events of later chapters depend on occurrences in early chapters, it is strongly suggested to review the entire template before beginning your story.
+- This template's subplot has three distinct chapters which must be kept in mind throughout the entire novel. As you write each chapter, consider how the events impact the Sleuth and continue to push them towards personal transformation by the conclusion.
+
+### Breakdown:
+
+- Act 1 makes up the first 25% of the story.
+- Disclose the Mystery should take approximately the first 10% of the story.
+
+
+## Set the Sleuth on the Path
+The Sleuth starts working toward solving the mystery. While considering suspects who appear to have the motive, means, and opportunity to commit the crime, however, the Sleuth encounters a twist about midway through this section that shows the crime is more complex than initially thought.
+
+- Introduce suspects who appear to have the motive, means, and opportunity to commit the crime.
+- Have the Sleuth question the most likely suspects, one of whom will end up being the perpetrator.
+- Create a twist that is attention-grabbing and makes it clear to the reader the investigation will not be straightforward.
+- Build suspense and tension by offering hints that allow the reader to see possibilities yet unknown to the Sleuth.
+
+**Breakdown:**
+
+- Act 1 makes up the first 25% of the story.
+- Set the Sleuth on the Path should be from approximately the 10% - 20% mark of the story.
+
+## Subplot ?
+
+Introduce a subplot at the End of Act 1, which will carry a theme while the main plot progresses the story. The subplot should represent a universal theme easily identified by the reader; the resolution of the subplot will demonstrate the transformation of the Sleuth, with either a personal or professional climax. Subplots allow the manipulation of the novel's pace by switching back and forth between main and subplots.
+
+- The subplot can originate either in a crisis in the Sleuth’s private life or a dilemma the Sleuth needs to face to resolve a matter of character, such as addiction, courage, or honesty.
+- Consider using this as an opportunity to introduce a love interest or a confrontation of the Sleuth's personal demons.
+- The subplot climax may occur before or in conjunction with the climax of the main plot.
+- In the chapters that follow, intermingle the impact of the main plot on the subplot and vice versa – do not lose sight of one over the other in future chapters.
+
+**Breakdown:**
+
+- Act 1 makes up the first 25% of the story.
+- This section of the subplot should take the story to the 25% mark.
+
+## Facts About Suspects
+During Act 2, the investigation is directed toward a conclusion that proves to be erroneous. In this section, further information about the suspects are revealed, but the investigation runs into obstacles. The stakes are raised, and it becomes clear that there will be terrible consequences if the mystery is not soon solved.
+
+- Use interrogations and new clues to offer more information about the suspects.
+- Have one or more suspects disappear or flee.
+- Develop a sense of urgency.
+- Consider how this section develops the subplot.
+
+**Breakdown:**
+
+- Act 2 makes up the second 25% of the story.
+- Facts About Suspects should be from approximately the 25% - 35% mark of the story.
+
+## Broaden the Investigation
+**Middle of Act 2:**
+
+Use this section to introduce other characters, spread suspicion, and introduce new information which will point toward the solution. The relevance of the new information may not be apparent.
+
+- Place suspicion on other characters, new and old.
+- Gather new information and/or physical evidence to subtly point toward the solution (e.g. with interrogations or physical investigations).
+- Consider how this section develops the subplot.
+
+**Breakdown:**
+
+- Act 2 makes up the second 25% of the story.
+- Broaden the Investigation should be from approximately the 35% - 45% mark of the story.
+## Sleuth's Background
+
+**End of Act 2:**
+
+Further develop the subplot by revealing more of the Sleuth's background. Make the Sleuth's personal stake in the outcome clear, and use this as an opportunity to further increase the tension and sense of urgency.
+
+- Identify what drives the Sleuth (e.g. Is there something missing from their life, or is there something from their past haunting them?)
+- Demonstrate what is personally at stake for the Sleuth (e.g. Is there a threat to their life or safety? Do they risk having disturbing personal matters revealed?)
+- Make the personal stakes hit on an emotional level.
+
+**Breakdown:**
+
+- Act 2 makes up the second 25% of the story.
+- Sleuth's Background should be from approximately the 45% - 50% mark of the story.
+
+
+
+## Reveal Hidden Motives
+**Beginning of Act 3:**
+
+The Midpoint of the story, Act 3 represents a pivotal point, which takes the story in a new direction as an unexpected occurrence makes it clear the Sleuth was on the wrong path. This section introduces new information and details which bring forth hidden motives and secrets.
+
+- Begin to clarify the importance of earlier clues by further developing and exposing the meanings behind matters hinted at in Act 1.
+- Reveal hidden motives that increase the tension and add a twist to the story (e.g. secret relationships or kinships, hidden business agreements, romantic involvements, or past scores to be settled).
+- Consider how this section develops the subplot.
+
+**Breakdown:**
+
+- Act 3 makes up the third 25% of the story.
+- Reveal Hidden Motives should be from approximately the 50% - 60% mark of the story.
+
+## Reveal Results
+
+**Middle of Act 3:**
+
+The reader (and other characters) are able to review what is known and consider the possibilities of the case, as the Sleuth reveals the results of their investigation. The crime appears to be impossible to solve, and the Sleuth has been stymied at every approach, largely being led in the wrong direction by misinterpreting clues or faulty conclusions. The Sleuth must use logic to find a new perspective to understand the uncertainties. The reader begins to doubt the Sleuth's ability to solve the mystery.
+
+- Logically and clearly lay out the evidence as it is currently understood.
+- Make it clear that the evidence does not add up and that a new approach must be taken.
+- What clues has the Sleuth misinterpreted?
+- What were the Sleuth's faulty conclusions?
+- Raise the stakes as all appears lost.
+- Consider how this section develops the subplot.
+
+**Breakdown:**
+
+- Act 3 makes up the third 25% of the story.
+- Reveal the Results should be from approximately the 60% -70% mark of the story.
+## Review the Case
+
+**End of Act 3:**
+
+In this section, the Sleuth reviews the case in an attempt to find where they went wrong. In reviewing the crime's chain of events, the Sleuth identifies a seemingly inconsequential piece of evidence from Act 1, which has been overlooked until information revealed in Act 3 shows it to be crucial. This new understanding makes the Sleuth (and keen reader) aware of the error ahead of the other characters.
+
+- Give an overview of the case and chain of events. What was the critical piece of evidence overlooked in Act 1?
+- Why was the crucial evidence overlooked, and what new information offered in Act 3 illuminated its importance?
+- Allow the keen reader to piece together the error ahead of the other characters – this increases reader buy-in and connection to the story.
+- Consider how this section develops the subplot.
+
+**Breakdown:**
+
+- Act 3 makes up the third 25% of the story.
+- Review the Case should be from approximately the 70% - 80% mark of the story.
+
+
+
+## Weigh the Evidence
+**Beginning of Act 4:**
+
+Build toward the solution of the investigation. The Sleuth, and perhaps keen reader, weigh the evidence and come to a conclusion yet to be shared with the other characters. They must use their knowledge to find proof of concept.
+
+- Have the Sleuth consider the information gleaned from interrogations and conversations with other characters, as well as the evidence, to come to a plausible conclusion.
+- The Sleuth must use what knowledge they have to seek further evidence and proof to support their conclusion.
+- Consider how this section develops the subplot.
+
+**Breakdown:**
+
+- Act 4 makes up the final 25% of the story.
+- Weigh the Evidence should be from approximately the 80% - 85% mark of the story.
+## Subplot Resolution
+**Middle of Act 4:**
+
+In this section, the subplot is resolved. The Sleuth has been tested through the case and their private ordeal, leading to a personal transformation and preparing them for the final actions leading to the mystery's solution.
+
+- Resolve the subplot completely if it's a stand-alone story or leave some threads unresolved if part of a greater series.
+- Show the Sleuth being tested and overcoming an obstacle that prepares them for the conclusion of the case.
+
+**Breakdown:**
+
+- Act 4 makes up the final 25% of the story.
+- The Subplot Resolution should be from approximately the 85% - 90% mark of the story.
+## Climax
+**End of Act 4:**
+
+A dramatic confrontation between the Sleuth and perpetrator brings us to the ultimate Climax, with the Sleuth prevailing. The clues are revealed, the deductive process has been shared, and the case is solved; the greater the odds and the more impossible the solution seemed, the greater the payoff and reward will be for readers. A pleasant ending for all involved, save the perpetrator.
+
+- Increase the tension right up to the Climax. Is there a chase scene? Does the perpetrator fight back once they realize they are caught?
+- Reveal the clues and deductive reasoning to portray a clear picture of the whole case.
+- Demonstrate that the case has been solved and justice has been served.
+
+**Ideas to Consider:**
+
+- Reuse the unique object, item, or killer's signature from Chapter 1 to complete the circle back to the beginning of the case and create a tidy resolution.
+- If part of a series, add a hook or a teaser for the next book.
+
+**Breakdown:**
+
+- Act 4 makes up the final 25% of the story.
+- The Climax should be approximately the final 10% of the story.
\ No newline at end of file
diff --git a/Notes/Structures narratives/Les 8 cadrans du cercle narratif de Dan Harmon.md b/Notes/Structures narratives/Les 8 cadrans du cercle narratif de Dan Harmon.md
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+Voici à quoi correspondent les 8 étapes :
+
+1. **YOU** : Un personnage est dans son environnement familier
+2. **NEED** : Il désire quelque chose, ou quelque chose ne va pas dans son quotidien. C’est la raison pour laquelle l’histoire va avoir lieu
+3. **GO** : Il franchit un point de non-retour et se retrouve dans un environnement étranger
+4. **SEARCH** : Il s’y adapte, s’entraîne, expérimente et traverse des épreuves
+5. **FIND** : Il trouve ce qu’il cherchait (même si ce n’est pas ce qu’il croyait chercher à la base). C’est un point pivot, une révélation, où le protagoniste fait un choix déterminant
+6. **PAY** : Mais il en paie le prix
+7. **RETURN** : Il retourne à son environnement de départ
+8. **CHANGE** : En ayant changé. La vie ne sera plus jamais pareille
+### Symétrie et mouvement
+
+La force de cette méthode tient à la fois dans sa **symétrie** et dans la notion de **cycle**, de retour au point de départ.
+
+Il y a d’abord une symétrie horizontale. Le cadran supérieur du cercle se déroule dans l’environnement familier, l’ordre. Le cadran inférieur est consacré à l’inconnu, au chaos. On peut aussi y voir une opposition entre la vie et la mort, entre le conscient et l’inconscient, entre le monde réel et le monde fantastique.
+
+Le mouvement entre ces deux états crée une symétrie verticale, avec **d’abord une descente, puis une renaissance.**
+
+Le passage de la moitié supérieure à la moitié inférieure, et inversement, implique généralement un **conflit avec un antagoniste externe**. Le passage de droite à gauche, à l’inverse, représente plutôt le **conflit interne du personnage.**
+
+Notez qu’il ne s’agit que d’une **symétrie de structure et pas de longueur du texte** : les parties 1, 2, 7 et 8 sont généralement assez courtes dans un roman, tandis que les autres sont détaillées plus longuement et comprennent l’essentiel des péripéties.
+
+Note intéressante : si vous avez plusieurs personnages principaux, chacun aura son propre cercle, en plus du cercle global de l’histoire.
+### Exemples d’application du cycle narratif
+
+Pouvez-vous penser à des exemples d’histoires auxquelles ce schéma s’applique ?
+
+Prenons, au hasard, _Le Seigneur des Anneaux_ :
+
+1. YOU : Frodo vit sa vie tranquilou en Comté
+2. NEED : Mais il aimerait bien partir à l’aventure avec Gandalf
+3. GO : Il se retrouve chargé de l’Anneau et doit parcourir le vaste monde pour le mettre à l’abri/le détruire
+4. SEARCH : Il trouve le soutien de la Communauté pour accomplir son périple
+5. FIND : Il porte l’Anneau jusqu’à la Montagne du Destin
+6. PAY : Mais l’Anneau l’a corrompu et, alors qu’il frôle la mort, il regrette d’avoir quitté la Comté
+7. RETURN : Il regagne la Comté, chargé d’honneurs
+8. CHANGE : Mais la quête l’a trop affecté et il décide finalement de partir pour les Havres Gris
+
+Ou, dans un tout autre style, _[Des Fleurs pour Algernon](https://www.lastreetlaplume.fr/2019/07/19/lu-recemment-des-fleurs-pour-algernon-daniel-keyes/)_ (attention spoilers) :
+
+1. YOU : Charlie Gordon, qui souffre de retard mental, vit sa vie d’apprenti dans une boulangerie
+2. NEED : Mais il rêve de « devenir intelligent »
+3. GO : Il fait l’objet d’une expérience chirurgicale qui augmente son QI de façon exponentielle
+4. SEARCH : Ses capacités intellectuelles augmentent peu à peu, sa mémoire se réveille
+5. FIND : Charlie dévore des tonnes de connaissances, découvre le monde avec un enthousiasme immense et se fait des amis
+6. PAY : [SPOILER – surlignez pour lire] Mais son intelligence devient trop supérieure, il suscite envie et jalousie chez les personnes qu’il aime et est hanté par les souvenirs de son passé
+7. RETURN : [SPOILER] Comme pour Algernon, la souris qui a servi de cobaye avant lui, Charlie se met à souffrir de dégénérescence cérébrale
+8. CHANGE : [SPOILER] Il retrouve son ancien niveau intellectuel, mais décide d’aller désormais vivre dans un asile pour ne pas subir la pitié de son entourage
+
+Comme vous le voyez, cette structure s’adapte à des histoires bien différentes et **n’oblige donc pas du tout à créer des scénarios convenus ou ennuyeux.**
+Le changement d’environnement ne s’applique pas uniquement à des déplacements physiques.
+
+D’ailleurs, vous aurez sans doute remarqué que ce cercle reprend, recoupe ou complète d’autres structures narratives bien connues.
+
+Vous pouvez aussi essayer avec _Star Wars, Harry Potter ou Zootopie_, par exemple.
+
+Maintenant, à vous de vous l’approprier !
+
diff --git a/Notes/Structures narratives/Snowflake.md b/Notes/Structures narratives/Snowflake.md
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+#structure/global
+Randy Ingermanson invented **the Snowflake Method** in the summer of 2002.
+
+**The problem** the Snowflake Method solves is _"How do you get the first draft of your novel written?"_
+
+**Note that there are many possible answers** to that problem. The Snowflake Method is my answer, and it's been immensely popular. [My "Snowflake Method" page](https://www.advancedfictionwriting.com/articles/snowflake-method/ "https://www.advancedfictionwriting.com/articles/snowflake-method/") on my website has been viewed more than 6.5 million times over the years, and it's made me famous around the world as a teacher of "how to write fiction."
+
+**I've also written** a best-selling book, [How to Write a Novel Using the Snowflake Method,](https://www.advancedfictionwriting.com/books/write-novel-using-snowflake-method/ "https://www.advancedfictionwriting.com/books/write-novel-using-snowflake-method/") which you can buy at any of the usual online retailers. The book is written as a story. It's the story of a young woman who always wanted to write a novel, but didn't know how. The story is written in fairy tale format, and it's pretty crazy and very silly. That's for a reason. _**The crazy, silly story makes it easy to remember.**_
+
+**Let's remember** that there are other ways to write your first draft. If the Snowflake Method works for you, then that's a win. If some other method works for you, that's also a win. In the end, your reader won't care how you wrote your first draft. Your reader only cares if your novel gives them a powerful emotional experience.
+
+**You might be wondering** why it's called the Snowflake Method. I'm glad you asked...
+
+
+
+## Why It's Called the "Snowflake Method"
+
+**I have a PhD** in theoretical physics and have worked as a software developer to write many complex scientific software projects over the years.
+
+**When faced** with a new challenge, a software developer starts with something small and builds out.
+
+**Here's a metaphor** for how to do that.
+
+**Imagine you're asked** to draw the following complicated "Snowflake fractal":
+
+
+
+**How could you** possibly draw that?
+
+**You could just put** your pencil down on the paper and start drawing, but ... it's complicated! There must be an easier way.
+
+**There is an easier way**. Instead of trying to draw the whole complicated image in one shot, you can start with a simple triangle:
+
+
+
+**That's not much**, but it's a start. You can build from that. All you have to do is erase the middle part of each side and then add a triangle projecting out. Like this:
+
+
+
+**That's still not much**, but it's more than what you started with. Now you can again erase the middle of each edge and replace it with a triangle again. Like this:
+
+
+
+**That's starting to look** like something! Now you just keep repeating the process, erasing the middle of each edge and adding more tiny triangles. Like this:
+
+
+
+**You can see that** in just a few steps, you've made enormous progress. At each step, all you did was either erase a bit of a line segment or draw a triangle. Each step was easy, but the whole is so much more than the sum of the parts.
+
+**You can take as many steps** as you like, but very soon, you'll be adding triangles smaller than the thickness of your pencil. That's when it's time to stop. And you'll have this:
+
+
+
+**All of this** is a deep metaphor for how you design a novel _**before you begin writing it.**_
+
+**You start** with the basic idea of the novel. Then you make it a bit more complex. Then a bit more complex. Then a bit more. After doing that just a few times, you have the skeleton of a beautiful, perfectly-designed novel.
+
+**Once you have that**, you can sit down and start writing.
+
+**The Snowflake Method** has 10 steps. Step #10 is to write your novel.
+
+**Here in this template**, we'll work through the other 9 steps. You can do each of these nine steps right here in Plottr.
+
+**Just follow** the guidelines in the notes below. Each step will tell you to do one task, and it will tell you which part of Plottr to use to complete that task. Just follow your nose, and in a few hours of intense, creative work, you'll have a beautiful and elegant design for your novel.
+
+## Step 1: Explanation of the One-Sentence Summary
+**Take an hour** and write a “Storyline” — a one-sentence summary of your novel. Something like this: “A rogue physicist travels back in time to kill the apostle Paul.” (This is the summary for my first novel, _Transgression_.) Your Storyline will serve you forever as a ten-second selling tool. This is the big picture, the analog of that big starting triangle in the snowflake picture.
+
+**When you write your book proposal**, this Storyline should appear very early in the proposal. It’s the hook that will sell your book to your editor, to your publishing committee, to the sales force, to bookstore owners, and ultimately to readers. So make it the best one you can!
+
+**Some hints** on what makes a good Storyline:
+
+- Shorter is better. Try for fewer than 15 words.
+- No character names, please! Better to say “a handicapped trapeze artist” than “Jane Doe”.
+- Tie together the big picture and the personal picture. Which character has the most to lose in this story? Now tell me what he or she wants to win.
+- Read the one-line blurbs on the New York Times Bestseller list to learn how to do this. Writing a one-sentence description is an art form.
+
+**If you want more details** on the one-sentence summary, see Chapter 3, "Your Story in One Sentence," in my book [How to Write a Novel Using the Snowflake Method](# "#").
+
+## Step 2: Explanation of the One-Paragraph Summary
+**Take another hour** and expand your one-sentence summary to a full paragraph describing the story setup, major disasters, and ending of the novel. This is the analog of the second stage of the snowflake. I like to structure a story as “three disasters plus an ending.” Each of the disasters takes a quarter of the book to develop, and the ending takes the final quarter. I don’t know if this is the ideal structure, it’s just my personal taste.
+
+**If you believe in the Three-Act Structure,** then the first disaster corresponds to the end of Act 1. The second disaster is the mid-point of Act 2. The third disaster is the end of Act 2 and forces Act 3, which wraps things up. It is OK to have the first disaster be caused by external circumstances, but I think that the second and third disasters should be caused by the protagonist’s attempts to “fix things”. Things just get worse and worse.
+
+**You can ultimately use this paragraph** in your proposal. I recommend that you write a paragraph with five sentences:
+
+- The first sentence tells the backdrop and story setup.
+- The second sentence explains the beginning up to the first disaster.
+- The third sentence describes the first half of the middle, up to the second disaster.
+- The fourth sentence describes the second half of the middle, up to the third disaster.
+- The fifth sentence explains the ending.
+
+**If you want more details** on the one-paragraph summary, see Chapter 5, "The Importance of Being Disastrous," in my book [_**How to Write a Novel Using the Snowflake Method**_](https://www.advancedfictionwriting.com/books/write-novel-using-snowflake-method/ "https://www.advancedfictionwriting.com/books/write-novel-using-snowflake-method/").
+
+## Step 3: Explanation of Your Character Definitions
+**In the first two steps** of the Snowflake Method, you’ve worked out a high-level view of your novel. Now you need something similar for the storylines of each of your characters. Characters are the most important part of any novel, and the time you invest in designing them up front will pay off ten-fold when you start writing. For each of your major characters, take an hour and fill out the beginnings of a character sheet. You don't need to define everything about these characters. Just the really important stuff, such as:
+
+- The character’s Name
+- The character's Role in the story (Hero, Villain, Love Interest, Sidekick, or whatever role you want to assign. Or none at all.)
+- The character’s Storygoal (what does the character want concretely?)
+- The character’s Ambition (what does the character want abstractly?)
+- The character's Values (each Value can be summarized in a single sentence of this form: "Nothing is more important than _________.")
+- A one-sentence summary of the character’s Storyline (write this as if this character is the Hero of the story. Remember that every character thinks they are the Hero of their own story. Even the Villain thinks so.)
+- A one-paragraph summary of the character’s storyline (again, write this as if this character is the Hero of the story.)
+
+**An important point:** You may find that you need to go back and revise your one-sentence summary and/or your one-paragraph summary that you did in Steps 1 and 2. Go ahead! This is good — it means your characters are teaching you things about your story. It’s always okay at any stage of the design process to go back and revise earlier stages. In fact, it’s not just okay — it’s inevitable. And it’s good. Any revisions you make now are revisions you won’t need to make later on a clunky 400-page manuscript.
+
+**Another important point:** It doesn’t have to be perfect. The purpose of each step in the design process is to advance you to the next step. Keep your forward momentum! You can always come back later and fix it when you understand the story better. You will do this too, unless you’re a lot smarter than I am.
+
+
+
+## Step 4: Explanation of your One-Page Synopsis
+**If you’ve done** the first three steps of the Snowflake Method, you should have a good idea of the large-scale structure of your novel. So now just keep growing the story.
+
+**Take several hours** and expand each sentence of your one-paragraph summary (from Step 2) into a full paragraph. All but the last paragraph should end in a disaster. The final paragraph should tell how the book ends.
+
+**Write your one-page synopsis** in the present tense, like this: “Jack sells his cow in town for some magic beans. When he comes home, his mother throws the beans out the window . . .”
+
+**This is a lot of fun,** and at the end of the exercise, you have a pretty decent one-page skeleton of your novel, which we’ll call a short synopsis or a one-page synopsis. It’s okay if you can’t get it all onto one single-spaced page. What matters is that you are growing the ideas that will go into your story. You are expanding the conflict.
+
+**It's also okay** if you can do your one-page synopsis quicker than the "several hours" I recommended above. But you don't want this to drag out for days or weeks. Write it fast, and remember that you can always come back and make it better later when you understand your story better.
+
+**Eventually, you might expand this** into a synopsis suitable for a proposal, or you may find that this is all the synopsis you need. You can decide that question later.
+
+**If you want more details** on the one-page synopsis, see Chapter 7, "Your Story in One Page," in my book [How to Write a Novel Using the Snowflake Method](# "#").
+
+## Step 5: Explanation of Your Character Synopses
+
+**Take a day or two** and write up a one-page description of each major character and a half-page description of the other important characters. These “character synopses” should tell the story from the point of view of each character.
+
+**As always**, feel free to cycle back to the earlier steps and make revisions as you learn cool stuff about your characters. I usually enjoy this step the most. I find it effective to put the resulting “character synopses” into my proposals in addition to a plot-based synopsis.
+
+**Editors love** character synopses, because editors love character-based fiction.
+
+**If you want more details** on the character synopses, see Chapter 8, "Your People's Secret Stories," in my book [How to Write a Novel Using the Snowflake Method](# "#").
+
+**However**, you didn't fill in everything yet. You only filled in the character's Name, Role, Storygoal, Ambition, Values, One-Sentence Summary, and One-Paragraph Summary.
+
+**There's a lot more** to your Characters than that!
+
+**Now I strongly recommend** you take some time to think more about each character and write up a synopsis of that Character's storyline as if they were the Hero of the story. Just tell the story as that Character sees the story.
+
+**There is a Character Synopsis** attribute in the Snowflake Method Character Template. Fill it in. Take as much space as you need.
+
+## Step 6: Explanation of Your Long Synopsis
+**By now, you have a solid story** and several story-threads, one for each Character.
+
+**Now take a week** and expand the one-page synopsis of the novel to a long synopsis of about four pages. Basically, you will again be expanding each paragraph from Step 4 into a full page. This is a lot of fun, because you are figuring out the high-level logic of the story and making strategic decisions.
+
+**Here, you will definitely want to cycle back** and fix things in the earlier steps as you gain insight into the story and new ideas whack you in the face.
+
+**If you want more details** on the long synopsis, see Chapter 11, "Your Long Synopsis," in my book [How to Write a Novel Using the Snowflake Method](# "#").
+
+## Step 7: Explanation of Your Character Charts
+**Take another week** and expand your Character definitions into full-fledged Character charts detailing everything there is to know about each character. Some writers call this the Character “bible.” You’ll want to include the standard stuff such as birthdate, description, history, motivation, goal, etc. Most importantly, how will this character change by the end of the novel?
+
+**This step** is an expansion of your work in Steps 3 and 5, and it will teach you a lot about your Characters. You will probably go back and revise Steps 1 through 6 as your Characters become “real” to you and begin making petulant demands on the story. This is good — great fiction is Character-driven.
+
+**Take as much time** as you need to do this because you’re just saving time downstream. When you have finished this process, (and it may take a full month of solid effort to get here), you should know your characters inside out.
+
+**If you want more details** on Character charts, see Chapter 12, "Your Character Bible," in my book [How to Write a Novel Using the Snowflake Method](# "#").
+**In Steps 3 and 5**, you already began defining your Characters by filling in the **Snowflake Method Character Template** for each of your Main Characters.
+
+**However**, you didn't fill in everything yet. You only filled in the Character's Name, Role, Storygoal, Ambition, Values, One-Sentence Summary, One-Paragraph Summary, and the Character Synopsis.
+
+**There's much more** to your Characters than that!
+
+**The Snowflake Method Character Template** has some basic attributes defined for things like Date of Birth, Age, Height, Weight, and a number of other obvious ones. If you don't care about these, you can actually delete them from the template.
+
+**More importantly**, you can add custom attributes. You can make your own Character template that has exactly the things you care about. Go ahead and do that first, and then fill in the charts for each Character.
+
+**Always remember** that these charts are for your benefit, to help you think deeply about your Characters. Don't fill them in just because they're there. Fill them in only if they help you get a clear understanding of your Characters.
+
+**And have fun**, always!
+
+## Step 8: Explanation of Your Scene List
+**Your next step** is to take either your long synopsis or your short synopsis (or any other synopsis you may have made) and make a list of all the scenes that you’ll need to turn the story into a novel. All you need is one sentence that tells what happens in each scene.
+
+**Every scene** should have a "Point of View" Character. You can set up a Timeline for each of your POV Characters.
+
+**For our purposes,** every Chapter in the Timeline should be a single scene in your story. (Ultimately, when you write your novel, you'll cluster your scenes into chapters, but you can make that decision very late in your story development. For right now, just consider each Chapter as a single scene.)
+
+**It can take a week** to make a good scene list. In Step 8, you only need to write up a single sentence for each scene, telling what happens. (Later in Step 9, you can flesh this out with more details.)
+
+**If you want more details** on scene lists, see Chapter 14, "Your List of Scenes," in my book [How to Write a Novel Using the Snowflake Method](# "#").
+**That just provides** you with the boundary points that mark off the three main disasters in the story. These happen approximately at the 25%, 50%, and 75% marks in your story.
+
+**If you know** the Three-Act Structure, then the first Disaster comes at the end of Act 1. The second Disaster comes in the middle of Act 2. The third Disaster comes at the end of Act 2.
+
+**These three Disasters** mark major turning points in your story. The first Disaster commits your lead Character irrevocably to the story. The second Disaster causes your lead Character to rethink what isn't working and to choose a new approach that will actually work. The third Disaster causes your lead Character (and the villain, if you have one) to BOTH commit to end the story in some sort of final showdown.
+
+
+
+
+## Step 9: Explanation of Your Scene Detail
+**You may want to make** some extra notes about each of the scenes in the scene list that you created in Step 8. You can select any scene from the list here. If necessary, you can change the Point-of-View character and edit the summary of the scene. Then you can add any extra notes that you want to remember for the scene. You might want to write notes on the setting, characters, cool dialogue, or anything else related to your scene. Write as many notes as you need to.
+
+**Scenes generally** fall into two types, and you may want to classify each scene as one of these types and make notes on the various parts:
+
+**A Proactive Scene** has the following pattern:
+
+- Goal
+- Conflict
+- Setback
+
+**A Reactive Scene** has the following pattern:
+
+- Reaction
+- Dilemma
+- Decision
+
+**The structure of scenes** is very important, because the scene is the fundamental unit of fiction. If you’d like a quick survey on scene structure, see chapter 17 of my book in my book [How to Write a Novel Using the Snowflake Method](# "#").
+
+**If you want to become an expert** in scene structure, I've written a whole book that goes into great detail on exactly how scenes work, with lots of examples. So check out my best-selling book [How to Write a Dynamite Scene Using the Snowflake Method](https://www.advancedfictionwriting.com/books/write-dynamite-scene-using-snowflake-method/ "https://www.advancedfictionwriting.com/books/write-dynamite-scene-using-snowflake-method/").
+
+**If the scene** is neither a Proactive Scene nor a Reactive Scene, then you should think very hard about whether this scene is pulling its own weight. Why is this scene in your story? What does it do for your story? Is it advancing the conflict? If not, maybe you don't need the scene, or you can revise it to be either Proactive or Reactive, or you can combine it with some other scene that contributes to the conflict.
+
+**Of course**, you can do whatever you want, but when a scene is neither Proactive nor Reactive, that's a big red flag. Proceed with caution.
+
+## Step 10: Write Your Novel
+**If you've completed** all the first 9 steps of the Snowflake Method, you now have a well-balanced strategic plan to write your novel.
+
+**You can now export** this Plottr project to a Microsoft Word document or a Scrivener document, and that'll give you a place to start writing.
+
+**Now that** you have a plan for your novel, you can write each scene with confidence. You know it's in the right place. You know it serves the story.
+
+**Write fast** and write well.
+
+**And** have fun!
\ No newline at end of file
diff --git a/Objets/Contrat entre Lysandre et Lunarion.md b/Objets/Contrat entre Lysandre et Lunarion.md
new file mode 100644
index 0000000..2de948c
--- /dev/null
+++ b/Objets/Contrat entre Lysandre et Lunarion.md
@@ -0,0 +1,6 @@
+Lunarion possède plusieurs lettres et contrat le liant à une entité appelé "La Danseuse".
+Ces contrats lie "Le Capitaine", "La Danseuse" et mentionne souvent "L'Orvet"
+
+"Le Capitaine" est une référence à Lunarion, et a la famille Agnadelle qui était des explorateurs et des constructeurs maritimes.
+"La Danseuse" est une référence utilisé pour mentionner Lysandre, et plus globalement la Raqija.
+"L'Orvet" est un surnom péjoratif donné à Althéa, en référence a son blason évoquant un dragon.
diff --git a/Personnages/Kuma.md b/Personnages/Kuma.md
index c290118..6e93ece 100644
--- a/Personnages/Kuma.md
+++ b/Personnages/Kuma.md
@@ -6,40 +6,3 @@ banner_y: 0.548
---
-```RpgManagerData
-data:
- synopsis:
- complete: false
- dob:
- death:
- goals:
- pronoun:
- images:
- - path: "https://www.worldanvil.com/uploads/images/1ea98b63712b35ec8dfde6823276352f.png"
- caption: ""
-```
-```RpgManager
-models:
- header: true
- lists:
- pcs:
- relationship: "unidirectional"
- npcs:
- relationship: "unidirectional"
- factions:
- locations:
-```
----
-### Player Character Notes
- -
-
----
-```RpgManagerID
-### DO NOT EDIT MANUALLY IF NOT INSTRUCTED TO DO SO ###
-type: 32
-campaignSettings: 0
-id: "7726b269-91bf-41ad-aa4c-d60c6be0c47b"
-campaignId: "160d7ffd-1d69-4848-b5e5-443eb5992dea"
-parentId: "160d7ffd-1d69-4848-b5e5-443eb5992dea"
-positionInParent: 0
-```
diff --git a/Scénario/Chapitre 1.1 - Trouver l'Assassin.md b/Scénario/Chapitre 1.1 - Trouver l'Assassin.md
index 2a124bb..f80f197 100644
--- a/Scénario/Chapitre 1.1 - Trouver l'Assassin.md
+++ b/Scénario/Chapitre 1.1 - Trouver l'Assassin.md
@@ -2,4 +2,11 @@
tags:
- ch1
type: Scénario
----
\ No newline at end of file
+---
+
+Donc il faudra, pour que les joueurs puissent trainer Lunarion en justice :
+- Un témoin, Mahira.
+- Un contrat crypté, reliant Lysandre et Lunarion
+- Un argumentaire pour relier les pseudonymes aux personnes auxquels elles font références
+- Une preuve de lien entre Lysandre et Derlynn
+