Long-Term Problems

Problem 1 is known as the "Vehicle Problem". As it sounds, it requires the team to create a vehicle or vehicles that complete some sort of task [5]. There are specifications about how the vehicles must be built, what they must do, and sometimes how they must be incorporated into the skit. All parts of the vehicle must be included in the total cost of the long-term solution, so teams must be very creative and frugal with their cost forms.

Problem 2 is the "Technical" problem. It requires teams to use technical skills to make devices that complete a set of tasks. This problem is similar to the vehicle problem, but requires less movement on the part of the device. The skit is largely left to the team, but there are still often some specifications about how a few parts of the skit must be presented or what must be included in the skit. A common theme is to specify what one of the characters in the skit must be, in the context of the story, or what they must do.

Problem 3 is called "the Classics" and is, by far, the most popular problem for teams to choose. Every year, the creators of the problems choose a "classic" story and bend it into a problem that OMers must solve. For example, in 2015, the classics problem was about Pandora's Box, an old mythical story [5]. Classics problems only involve a skit. There is no additional creation, which is why many teams gravitate towards it, especially when they first start out. This does not make them any easier, however. Without technical scores to back them up, teams competing in problem 3 only have their skits to get scores for long-term. Many teams in problems 1, 2, and 4 neglect their skits in favor of making their technical aspects outstanding and their scores don't hurt much for it. This is not possible for the classics problem, so teams have to make their performances that much better.

Additionally, there is much more competition in problem 3 than most other problems, making it even more difficult. However, the specifications for problem 3 are much more restricting [1]. Since there is only a skit to score, there are many parts of the skit that are lined out for the teams. There is a basic roadmap of the skit in the problem synopsis, and teams must think of creative ways to stay within the guidelines of the problem, but still stand out from the competition.

Problem 4 is always what is called the "Balsa Problem". It requires a skit and the creation of a wooden structure made out of balsa wood [5]. Balsa wood is very light, but can be very strong. The structure always has a weight limit and some other challenges attributed to it depending on the year. Sometimes, the problems are much more difficult than others. There must be some team members that help to place weights on the structure while the skit is going on. These team members can rotate if they wish, but weights may only be placed on the structure for score during the eight minutes that the skit is going on. So, if a team rotates weight placers too often, they might lose valuable time that weights could be being placed.

The skit for the balsa problem often has very little direction or guidelines other than a cost limit and the inclusion of the weight placers in the plot of the skit. The weight held by the structure is half of the long-term score, making it a very important part of the balsa problem. Structures are very important to balsa teams, so if you aren't in OM, don't patronize a team or team member for being very protective of their structure. The rest of the score has to do with style, creative use of materials, and quality of performance.

Problem 5 is a bit of a wildcard. It always involves only a skit, like the classics, but it varies in other ways. Often times, problem 5 is known as the performance problem because it requires singing, dancing, or rhymes along with the normal skit. There have been times in the past, however, when problem 5 was not a performance problem. When it is a performance problem, the problem specifications are fairly heavy as in the classics. Teams are given a general premise of the skit and a few odds and ends specifications that must be met and the rest is up to them. In this case, though, creativity is asked for in more of the common sense: art.