Everything an Organizer can do on ImmA

An Organizer runs the event. An Architect wrote the mystery; you decide where and when it is played, you set the place up, and you are the one in the room while it happens.

In practice the evening splits into three jobs, and ImmA does most of two of them:

• Before. Print the QR kit, put each code at its physical spot, walk the venue once to pin every location to its real coordinates, and open a session players can register to.
• During. Watch Mission Control. The characters answer your players by themselves, the points and the clues are handled for you, and your job is to keep the room moving: a nudge to a stuck team, a broadcast when the pace drops, a hint code when it really drops.
• After. Read what happened, and publish the good bits.

You need a venue, a printer and one screen. Your players need a phone and nothing installed: they scan a QR code and they are in.

• Nothing to write. The hardest part of an investigation is the mystery itself, and it is already finished before you license it.
• It runs on your own place. A museum, a village centre, a hotel, an office floor, a stretch of coast: the scenario is built around a kind of location, not a fixed one.
• One person can run it. The characters are AI actors, so you are not casting and rehearsing eight performers for a Saturday.
• It repeats. The same licence, the same kit, the same setup, run again next month for a new group with none of the preparation done twice.
• Several ways to make money: tickets to your own event, reselling licences in your city, or charging a place-owner for a paid stop on the route.

What is left is the part only you can do: being good at the room.

1. Create an account and pick the Organizer role. The Organizer Portal opens straight away and costs nothing to look around.
2. Find a scenario that fits your place. Filter the catalogue by the kind of location, the group size and the length, then read the scenario page as an organizer rather than a player.
3. Request the licence. You choose a package and a duration, send the request, and the ImmA team confirms availability within 48 hours.
4. Do a dry run in Preview. Play your own scenario as a player, in a sandbox that touches no real data. This is the step people skip and regret.
5. Set the venue up, following the checklist on the Setup tab: print, place, pin, open a session.
6. Run it, with Mission Control open.

The first event takes about an hour of setup. The second one at the same venue is quicker still, because the codes are already placed and the coordinates are already pinned.

The catalogue is the public list of everything Architects have published, and it is worth reading with your own venue in mind rather than as a story:

• The kind of place it needs. A scenario written for one building will not stretch across a village, and one written across a village will not compress into a room.
• Group size and duration. Both are set by the Architect and both are honest: a two-hour scenario has two hours of things to do in it, not one hour spread thin.
• Audience and difficulty. The same premise reads very differently for a family afternoon and a corporate evening, and the Architect chose one.
• Language. Scenario content is translated for your players, so a French team can play a scenario written in English.

If nothing fits, that is what a custom commission is for, two chapters down.

A licence is your right to run one scenario, and you request it from the Portal rather than buying it off a shelf, because dates and exclusivity have to be checked against other organizers.

• Pick a package. Each Architect offers their own: the scenario licence alone, or bundled with organizer training, a physical kit, event-day support, a social campaign, a public listing, press coverage or custom branding.
• Pick a duration. Licences are sold by the day, so a single evening and a whole season cost different things.
• Fill in the billing details once: company, VAT, contact, address, and how you want to pay (invoice, SEPA, card, or an online Stripe link).
• Send it. The ImmA team reviews the request and confirms availability within 48 hours.

Your licences then live in one list with their status and validity dates, and each active one has a button straight into its Mission Control.

When the catalogue has nothing for your venue, you can ask an Architect to write for it. This is a conversation, not a checkout:

• Describe the event: what you want, your preferred date or that dates are flexible, the city or the venue, how many players you expect, and a phone number if you would rather be called.
• Talk it through. Requests are a thread, so the Architect can ask the questions that decide whether the idea works before anyone commits.
• Ask about an existing scenario too. The same channel reaches the Architect of any scenario in the catalogue, which is the right place for "will this work in a museum with no phone signal?"

Nothing is charged while a request is open, and you can withdraw one at any time.

The Setup tab is a three-step checklist, and it is the whole of the preparation:

1. Print and place every QR code. The QR Kit tab gives you one token per location. Print them, and put each one at its physical spot.
2. Set each location's real GPS on site. Stand at the spot and capture the coordinates, or type them in by hand. Do both indoors and between tall buildings, where a phone's fix is often wrong.
3. Share the Entry QR with the house rules. This is the one players scan to join. Print it large at the entrance with the four rules beside it.

Hidden objects are the part no checklist can do for you. Some clues are stashed physical props, and the Architect wrote a hiding instruction for each one. Read those before the doors open, not while the first team is already searching.

Every scenario has a Preview mode: the full player experience, in a sandbox. Scans, interrogations and every point spent are written to a preview ledger and touch no real scenario state, and you can wipe that ledger and start over as many times as you like.

It is worth an hour of your time before the first event, because it is the only way to find the things that read perfectly in a listing and fail in a street: a code taped somewhere a phone camera cannot reach it, a location whose description assumes a door that is locked at weekends, a walk between two stops that is longer than the pacing expects.

Mission Control is the screen you keep open during the event. It works on a laptop at a desk and on the phone in your pocket, and every tab below is live: you are watching the game happen, not refreshing a report.

Two things are worth knowing before the tour:

• Some tabs are organizer-only. Switch to Preview and the operational ones disappear, because in Preview you are a player, not the organizer.
• You can intervene without breaking anything. Broadcasting an event, nudging a group as the Companion or changing the points multiplier are all designed to be used mid-game. None of them rewrites the scenario.

Not every audience is walking a city at night. In a care home or a day centre the same investigation runs seated, in one room, with no time pressure and no distance to cover: the QR codes go on the tables, a companion reads the answers aloud, and a session lasts as long as it lasts. The licence is exactly the one described above, and the pricing does not assume a paying audience, so ask us what fits rather than working from the public rates. If you run this kind of setting, say so when you request a scenario: architects can mark which of theirs suit it, and the ones that do are written to be gentle rather than tense.

There are three revenue models and they are not exclusive:

• Sell tickets to your own event. You license the scenario, you keep what your players pay you.
• Resell licences in your city. Volume and reseller terms exist for agencies and destinations running the same investigation repeatedly.
• Sell a venue slot. A place on the route is worth something to the business that owns it. Sell the stop to the place-owner, and the fee and your payout are both recorded against the event.

Whichever you use, the price your client pays is the whole price: ImmA's platform fee is a share of it and is never added on top, and every offer shows the split before anyone signs.

How the money reaches you. ImmA is merchant of record: the client pays ImmA, and ImmA holds your share until you take it out. Before the first transfer you register the account it goes to, once, in Payouts. A small verification amount is sent to it and you type the figure back, which proves the account is yours rather than merely a valid one, and then your balance is either transferred when you ask or raised for you by the monthly run.

An event that went well is next season's marketing, and the platform has a place for it. From Mission Control you can submit the event as a Story: a title, a one-line teaser, the write-up and a cover photo. The ImmA team reviews it, and published stories appear on the public Stories page with your venue named.

Consent is explicit rather than assumed: you confirm that the people in the photographs agreed to them being published, and that confirmation is part of the submission.

ImmA does not fill your event. There is no listing service, no ad spend and no press push from us: a Story is free publicity when it is published, and the public catalogue is where people browse, but the audience for your evening is yours to find. That is the trade the margin pays for.

• The help centre covers the questions that come up most, and is the fastest answer the night before an event.
• The contact page reaches a human when the answer is not there.
• The bug report link in the footer comes straight to us with a screenshot attached, and is the right one when something is broken rather than confusing.
• The Architect of your scenario is reachable directly, through the same request thread you used to license it. For a question about the STORY rather than the platform, they are the better answer.

Paid event-day support is one of the packages an Architect can include, and it is worth asking about for a first event with a client watching.

Five families, and the approach differs more than the price does. Knowing which one you are talking to changes the first sentence.

• Places that want people to come, and to stay longer. Tourist boards, museums, monuments and châteaux, zoos, aquariums and science centres, nature parks and botanical gardens, libraries, shopping centres, hotels and campsites, wineries and farms, stations and airports. They already have the venue and the footfall problem; you are selling them a reason to visit on a Tuesday.
• Organisations that want their people together. Works councils, HR seminars and team building, onboarding for new starters, event agencies reselling under their own name, trade shows drawing traffic to a stand, recruitment fairs. They have a budget line for this already, and it is bigger than a ticket price.
• Organisations that want to say something. Schools, universities in freshers' week, associations and NGOs, local authorities running public-health or road-safety campaigns, festivals spreading a crowd across a site. They are buying attention that sticks, and they will judge you on whether the message survives the game.
• People who just want an evening. Meetups, birthdays and private parties, bars, restaurants and escape-room operators, sports clubs. The shortest sale and the smallest invoice, and the one that fills a quiet week.
• Places that care for people. Hospitals and long-stay units, retirement and care homes, day centres and rehabilitation services, disability and special-education services. Seated, one room, no clock. Ask what fits rather than quoting a public rate.

The venue you already have decides which of these to call first. Start with the one whose problem your building is the answer to.

Money is what YOU get. It is rarely what THEY are buying, and naming the wrong one is how a good offer gets turned down.

• Footfall at a time you choose: off-season, midweek, in the evening.
• Dwell time: two hours instead of twenty minutes, because the story is not finished.
• A message people played through rather than scrolled past.
• Local history learned because it was needed to solve something.
• Team cohesion, out of two hours of relying on each other.
• Loyalty: a reason to come back with different people.
• Press and social coverage worth photographing.
• A building that felt intimidating becoming a place you can play in.
• Strangers who talked because the game required it.

Say which one you are selling in the first two sentences, and let the price follow it rather than lead.

You are quoting an evening, not a licence. What it costs you to run is your business; what they are paying for is the result above.

• Price against the outcome, not the hours. A museum's late opening and a works council's team day are the same work to you and very different budgets to them.
• Bring a date, not a proposal. "The 14th, from seven, up to forty players" is a decision they can make; "we could organise something" is a conversation they postpone.
• Walk the venue first if you can. Half the sale is showing them their own building being used in a way they had not pictured.
• Say what you need from them: a room or a route, a printer, and someone who can open a door. It is a short list, and saying it early kills the fear that this is a production.
• Offer the second date while the first is still fresh. A venue that ran one evening well already has the codes placed and the coordinates pinned, which is why the second one takes about an hour to prepare.

If a venue wants an investigation written for their own building rather than one from the catalogue, that is a conversation with an Architect and it starts the same way: describe the place and the evening you want.