Kategoriarkiv: Rollespil

JaLL – Just a little sexuality

When I published my intro post about the larp “Just a Little Lovin” I asked what people would like to read about in my posts on JaLL. One suggestion that came up was sexuality. Apparently others have had very strong experience with this. I remember several of the gay and bisexual players talking about how great it was to finally play a game for them. Erik put it very well:

“JaLL making the plotlines gay and queer made them easier to understand for me, or at least identify with, so I could appreciate the *stories* on their own merit without having to make mental adjustments and hypotheticals.”
(You should also read his account of the game, it’s way better put than mine)

Many also commented on the fact that it was great to experience a larp with a set of characters from their world view so to say. (As someone joked: finally the straight roles was outnumbered in a larp)

That for me as a straight(ish) male has really been an eye opener. I have been thinking about this before for example in connection with “Things That Happen to Other People.” (A Fastaval game also by Tor). That this larp is sadly special because many of the characters are LGBT, but other than the fact that AIDS hit this group first most of the conflicts and stories don’t arise from the fact that the characters are LGBT, it’s just a fact like any other part of the character. It’s the same in “Things That Happen to Other People.” It’s about a group of people fleeing a civil war, and in this group there’s a love story, where the two lovers just happen to be men. It’s not an issue, it’s just a fact, and I love that and we need more of that.

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Foto: Petter Karlsson

Another thing that is kinda connected to sexuality or more correctly gender (I think) is something I took from the larp: those who know me, know I’m not the most manly of men in that boring traditional way. I have in the past been asked if I’m gay. My stance and body language is not traditional masculine and my favorite cocktail is the cosmopolitan. I’m ok with that, I have accepted that. And luckily I have never been ashamed of it. It’s such an ingrown part of who I am, that I have never tried to change it. Not because I was particularly proud about it, but because I know it would be uncomfortable and in wain any way.

And I know now who very stressful and tense it would be to try and change, but I’ll get back to that. As I said I’m not ashamed of it. But I’m fully aware that some men and probably also women have looked down on me because of that. And I have seen it as a weakness. It’s hard to 2-IMG_3727explain. It’s a bit like I know I’m not that good looking, but I’m not ashamed of that, there’s nothing to do about it. But I’m fully aware that it’s a weakness that puts me at a disadvantage in some situations.

Bruce on the other hand was very masculine. I even went to Hanne, who ran a gender bending workshop, for people playing a different gender than their own, to get some tips on how to be and move more masculine. That by the way became a great tool for getting into and out of character. I would dramatically change the way I stood or moved and I would feel different. When getting out of Bruce I would exaggerate my own body language to show myself that I was me again, it felt so liberating because it felt very tense to be in that manly way and to be so aware of how I held myself at all times (that’s what I meant by stressful and tense. It helped my immersion, because Bruce was stressful and tense, but to try and do that day in and day out? Never!)

But Bruce felt very powerful, so sure of himself and his place in the world. Even when cracking when facing death and confusing love he was still powerful. He was still this pillar of energy, power and command. Just on shaky ground. And without thinking about it after the larp I felt this power stance move from Bruce’s way of standing and moving into my own way of standing and moving. I suddenly felt proud of my body language almost defiant. It has since gone away a bit, but I can still once in awhile feel this defiant power and proudness of my way of being. Before I didn’t care what others thought, but I was aware that they might see my body language as week compared to other men. Now I’m at times able to feel proud of my way of being. This is me, this is my strength, and I’m fucking proud of it. There’s power in it not weakness. That is a strong experience. And that is what I took from the larp in form of sexuality or gender or whatever it is.

Now playing gay, well as I said I’m straight(ish), but I have played gay before. I have even played straight relationships where my female partner was played by a man. And I have played gay relationships with a woman playing my gay lover. And I have never had a problem distinguishing the player form the character and being aware that the love I played was towards a character not the player. So I didn’t really have any issues with playing gay. It’s just yet another love story just with different genitalia combinations. And who doesn’t love a good love story?

JaLL – The dual story of Bruce – act 3: Happy ever after, breakdown and buildup

Read my introduction here
Read act 1 here
Read act 2 here

Right continuing where we left off:
So the goals for Bruce in the last act was to try and work out a better relationship with Mickey, and find out what that meant. But also to avoid the empty church, he had seen in his mind, when no one came for him after the brush with death. Many other things were planned as well, but I won’t go into them here.

In 3 act I tried to go for a more relaxed Bruce, a man confused about his spot in life and relationships and not angry any more but still hurt. As I write this, I now see how close to home that is. During the game Bruce drifted closer and closer to me, I see that now.

Do you know how hard it is to plan to create meaningful relationships in game? Especially with only one act left. What was I thinking? Anyway that’s what I tried to do. It didn’t work. The beginning was fine Bruce had a great shouting match with someone who wanted his financial support, but almost demanded it from him because his friend was sick. To which Bruce shouted: “I was one of the first to lose someone! You do not get to play that card at me!” While the other hurried off. Loved it.

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Mickey and Bruce in the 3 act. They look happy. And see how more relaxed they both dress compared to act 2. Foto: Elina Andersson

It was interesting to watch Bruce and Mickey try and find a way to be in a relationship they both could be comfortable with. This was explored in a few rather subtle scenes that I still love. They kinda just showed in small ways that things had changed and now they were figuring out how to do this as equals, but also as two men used to power games and wearing masks. They both struggled with the same issues but in very different ways. It was hard to play because it was so subtle, but looking back at it now, it feels kinda beautiful. Especially in contrast to the ugliness of act two.

I keep coming back to one tiny moment during the drag show. Bruce was shouting some comment at the stage and suddenly Mickey gently put his hand on Bruce’s knee and shook his head ever so slightly as if saying “enough.” And for the first time Bruce relented and muttered “you’re right, sorry.” No one saw this, I’m not even sure Mickey’s player knows the importance of that moment. But for me it showed that Bruce had changed, but also how special Mickey was to Bruce. The only one the shark would listen too.

I want to mention two other scenes as they kinda closes the story of Bruce and Micky. One might have happened twice once in the evening once in the morning. But the point of the scenes was Bruce once again telling Mickey, that he loved him but now saying, that he knew that Mickey could not say it back or maybe even feel it back, but that Bruce was ok with that. And that he knew that this might not be forever, but that he would enjoy every moment of it as long as it lasted. Or something along those lines. The essence was that Bruce had come to terms with the relationship and the uncertainties in it and was in a word: content.

The other scene was a double black box scene towards the very end. It was basically either Bruce or Mickey dying first. With Bruce he left half he owned to Mickey, the other half to the fight against AIDS, but left no note. This confused and saddened Mickey. He didn’t need the money, that was just a hassle, he needed a note, a goodbye, anything! But that was Bruce in a nutshell, bad at relationships to the end.

In fact the missing note was so frustrating for me as a player, that a few days after the game I had to write two versions of the goodbye note just to please myself. The player of Gwen’s interpretation is that Bruce wrote these, but didn’t show them, “No. Too emotional”. But as Mickey’s player said: all versions are true, that’s the beauty of role play. In the other scene Mickey dying first it turned out that he had quite a bit of money and could easily have made it on his own but chose not to. He left the money to his half sister Sam with a note saying:

“She needs it more.
I love you too.”

Ah that still breaks my heart in such a beautiful way. It turned out that the money was something he had stolen from Bruce as a safety for when Bruce threw him out. But Bruce never did that, so in the end he gave it to Sam. Bruce was rich enough to not care. Again I love the fact that these two scenes are both true! In what other medium is that possible!?

Even though we had more scenes together (For example: Sam, Mickey and Bruce (weirdest family ever) holding hands during the wait at the last funeral) those three scenes kinda ended the story arc of Bruce and Mickey and now it’s time to end and kinda begin the other story or more experience that I had during the game.

As I have hinted to a few times, another theme for Bruce was loneliness and that he wanted to spend act three trying to create some meaningful and lasting relationships. I don’t know what I was thinking, I don’t even know how to do that in real life, how did I expect to do it in a game?

So towards the tea ceremony I found it more and more difficult to find play. Most others were deep in their close relations working towards the conclusions of them. Which makes sense. But for me it meant that it became more and more difficult and taxing to find scenes to play. I was also more tired than I knew at the time.

I had to think hard to come up with anything to do and everything I came up with was over very quickly and it became clear, that I was falling in creating meaningful relationships, well except for Mickey, but that was kinda done by that point, not much more to play on.

This situation was draining me and I was starting to feel rather unhappy and having a hard time remaining in character, so after the green tea I went to my room, that was still technically in game, but that I know would likely be empty, to just take a break and think about what to do now. I was gripped by a strange intense feeling of sadness, frustration and loneliness, that I couldn’t quite place. I felt very out of character. After a bit I knew I could not ignore these feelings, so I decided to just include them in my play. This was after the green tea, so it would make sense to Bruce have a little breakdown. So I went and sat in the central lounge area and let the emotions go free and tried to incorporate them into the character.

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Foto: Elina Andersson

So I sat there alone, head in my hands letting what ever was in me flood over me, while the others was out sending up lanterns for the dead. I did not know that at the time, but it explained why I was alone in that area. Suddenly a flood of realization hit me.

I knew this feeling! And I definitely know this experience! Of feeling alone at a party and other situations. Of having plenty of people to talk to in the beginning but always about superficial and practical things, but as the evening wore on people would find their closer friends and that would leave me alone. Also this whole struggle to find more meaningful relationships and not knowing how to do that. Not being able think up things to talk about other than practical stuff or intellectual stuff. Not being part of their shared anecdotes. That was all so familiar. I was as alone as Bruce.

This is of course a truth with modifications. I’m not as alone as it sounds, but it still something I struggle with: “being alone in a sea of friendship” I think I called it. Throughout countless conversations afterwards, I now know that this was not the only issue at play, but I’ll stay with this as we don’t want this to turn into another therapy session.

No matter what, the result was a breakdown. I opened my mouth in a silent scream and tears started flowing unhindered down my cheeks. I have never cried as freely as that. Does this sound like too much? Like over the top and too emotional? Yes it properly is, but at that moment it was important to me. I was tired, I was already emotional from the game, and had just decided to let go of my hold of my emotions and just feel, now it’s no wonder for me that it happened.

Anger and frustration suddenly hit me: “This is something I don’t know how to solve in real life how on earth am i supposed to fucking roleplay my way out of it?!” That and the way my mind and body reacted made it clear for me: Something is wrong and I need to go off game for good. I basically just burst into the organisers room, sat down on the floor and continued crying in front of a rather surprised Nicolaj (sorry mate).

I know now that I would never normally have done that, I would never had shown such loss of control in front of any one. This is my greatest fear, as I have struggled with temper tantrums (a too small word for it) in my childhood. I have lost friends and respect because of loss of control. And the last thing I wanted was to have my new great community of roleplayers see that side of me. Seeing the disgust and pity in their eyes. So I guard myself very hard, and that has been an important part of becoming the nice, calm(ish) man I am today. But that day I learned that at some points I have guarded myself too hard, I’m in the process of trying to find the balance. (I could go into much more detail here, but I think you get the gist of it.)

Alarm bells were ringing in my mind, stop it, don’t show it, hold back. But that night I was so tired, so worn, so vulnerable that I stopped caring, and just let my breakdown show to the organisers, somehow, somewhere knowing that it was important to do. (This is still very difficult for me to write. But I have since learned that it’s when I feel this instinct to hide that I must be open about it, it’s the only way to work my way through it. The mental resistance to writing this gives me the stubborn strength to continue writing.)

I hadn’t sat there for long before Anna showed up (oh and Nicolaj didn’t go to me because he had strained his hand so don’t blame him). She took action straight away and after sorting Nicolaj out went to me, held me and just let me talk. (This is harder to write than I thought, I still feel a strong urge to just delete it all. I’m just so god damn grateful for Anna and Arvid (you’ll see why) in all this) (I use real names here, to thank them and because that feels right).

To begin with I just told her, that I was leaving the game. But I felt like I needed to explain why, but also I felt a great need explain myself and maybe somewhere knew that this was an important moment and that this was my chance to do something about all this. This is the same reason I’m telling this very emotional and silly story on my otherwise rather calm blog. I know every time I feel like shuting up, I need to do the opposite, it’s my way of breaking down the blockade I have built over the years. It might matter nothing to you, but it’s important to me.

So I started talking. I told her how my game with Bruce echoed my real life. How I couldn’t handle that not in game, not in real life. She just sat with me for a long time, calmed me down and said it’s ok, don’t feel guilty, I don’t think you’re wrong or pathetic. Just basically giving me the exact opposite than that look I feared so much. Instead of pity, disgust and shock came compassion, understanding and even thankfulness that I had the courage to show this to her.

I told her, I would drop out of the game and thought that was that. But she said, that this is one of the things this game can handle and that I should give my fellow players the chance to show me that I and Bruce do mean something for them. This I rebelled against for the same reasons as before, but also I felt guilty. As I have said everyone was in the midst of their very strong end game. I didn’t want to take time away from that to deal with little poor me. But she opposed me saying they would be honored to help out. That’s what we are all here for and that it would ruin nothing in fact the opposite. My strong experience would enhance their game. I thought she was humoring me, but still I could resist, not at that point.

She suggested to get in to play again at the latest tomorrow, but at that point I was beginning to see that this moment, this crack in my defenses was important, not sure why yet but I knew it was. So I agreed to return to the game, but that it had to be tonight, or else I might come to my senses in the morning. We agreed on some players that I trusted and that it would make sense to interact with Bruce at this point. I stilled hated doing this but also knew that it was a good idea. I mentioned: Mr. T (played by Arvid), Ike and Artie.

She came back with only Arvid, but that was fine, then I only had to tell it all again to one person. I told him the same story, and he reacted exactly like Anna had said they would. Hugging me hard, tellin me it was ok, that I was brave to do this, and that he was honored to be there for me. At the time I kinda suspected Anna for instructing him on how to react, but I chose to believe them now (well ish).

During all this I slowly got the idea on how to return to the game. The dance floor was full, and in act two, to get the party started the disco star Leon had given a late night performance. So I suggested: Why don’t Bruce give a song. And I knew just the song: “Don’t stop me now” the theme song for Bruce though out all this. Both Anna and Arvid shouted: that’s my favorite song, and again I suspected them for humoring me. But at least they thought the idea was good. So we went to the dance floor, got the DJ Tony to set up the song. Mr. T presented me: “Bruce wants to give you all a number, and give him a big hand as he’s feeling a bit down!” Not in a million years would I have seen myself doing something like that. But this was the time to do it. I don’t know how many was on the floor, but it felt packed.

The song started and I went crazy, just acting out all my emotions dancing and pretend singing like never before and the floor went amok, singing along at the top of their lungs dancing with me, around me, it was insane. I have rarely felt so much support and love and the most amazing thing? They had no idea why I did it. They just thought it was a crazy event. It still brings me a smile when I think about, it it was such a powerful moment, I will treasure for a long time. I might have looked ridiculous as I dance very badly, but it must have looked like I meant it.

It was like being recharged, so I spent a long time on that dance floor, dancing my heart out having many different dance partners or just enjoying myself on my own. I even felt enough surplus energy to start interacting with other players that looked like they needed some game. I particularly remember Rosemary, whom I later found out had come from a very emotional experience and was on her way to sleep and me and two others got her on the floor and we ended up dancing very close after which Bruce shouted: “first time I’ve done that with a lesbian!” I was later told that, that little dance had meant a lot to Rosemary. That night I felt as low as I rarely have, and as high as I rarely have, it was very powerful. It also taught me some important things, but i’m still figuring out exactly what.

And I’m gonna end my retelling here. As for the story of Bruce this is the dual stories he (and I) had. The complex at times ugly but in the end happy love story between Bruce and Mickey and then this strong emotional experience that I’m still trying to figure out what meant. There was much more to JaLL and it feels wrong to leave it out, (For example the whole last funeral and a lovely last minute wedding, but that might get mentioned in the favorite scenes post, if I do it), but from a storytelling view that is it.

Thank you if you read this far, though I think only very few did. Coming up is more posts about JaLL (selected scenes, playing on sexsuality and maybe something on design and structure.) And then posts on the Larp Writer Summer School and what I took home from that. And then who knows…

JaLL – The dual story of Bruce – act 2: Love and confusion

Read my introduction here
Read act 1 here

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The act 2 get up, much more stiff and tense. But still defiantly Bruce. Foto: Petter Karlsson

I’m just gonna continue like you know what this is about, so you should at least read the act one post, if you haven’t.

In the planning between acts me and Daniel (I’ll use people’s characters names here) agreed that they had dated for a few months after the party, but then Daniel just stopped returning calls and kind of disappeared as he had a habit of. It was also decided that Sinclair died a few months before the next party. So during that year Bruce was abandoned in his first attempt at a relationship and lost his close friend, a man he thought was invulnerable, but he also realized how little he knew Sinclair and even worse no one knew the real Bruce (whoever that was). This marked the beginning of the second story I experienced: the fear of loneliness.

Me and Mickey also decided that Mickey had lived with Bruce that year and gradually Bruce started showing him of as his boyfriend, but also started building up Mickey to a level where Bruce could be seen with this young man. “I can’t just date anyone.” Bruce got him a studio (Micky was an art photographer) and made sure he got his art showed at just the right galleries and received good reviews.

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The new core group after act 1. For me the way Bruce, Mickey and Gwen stands really well show the relationships there. Gwen leaning on Mickey Bruce holding Mickey, Mickey caught in the middle. Foto: Petter Karlsson

Mickey was part of a core group with Lester and Gwen who’s theme was all about dominance and power, so Bruce fitted in well there. But where the others played, Bruce didn’t. He actually looked down on BDSM, “If you need wips and robe to make sex work, then you’re not doing it right.” So the master and servant like relationship Bruce and Mickey had became a real one to mirror the game that Mickey, Gwen and Lester played. It was only after the act I saw how cruel and oppressive I ended up playing.

In act two Bruce was a shaken man, Sinclair’s death was still close and the first time he had exposed a bit of himself, he had been abandoned by Daniel. And then there was this young Mickey living with him, doing everything to please him. But Bruce was not nice to him. I Later learned the Micky was sacred of Bruce. He knew Bruce could crush Mickey and feared it would happen any day. But Bruce didn’t think like that. He was distraught, confused and not handling the new emotions very well. It was a very tense act for me. And for Mickey’s player as well, as I, especially in the beginning, played very possessive and commanding.

Early on in the act me and Mickey had a trio of black box scenes to show how our relationship was. Ok better put in a trigger warning here: The scenes were not nice.

The first was Bruce coming home from Sinclair’s funeral, we did that as a kind of symbolic dance where the player of Mickey utilised something called contact improvisation, that sounds really cool. In essence I moved around going through the many emotions that Bruce felt after this, anger, fear, sadness and so on, taking it all out on Mickey. When I pushed Mickey, he would move closer, when I pulled him in, he tried to move away. It was great, it was perfect, a cool metaphor for it, rather than just doing the scene. I Still remember lying on top of Mickey my arm raised, hand in a fist, seeing the fear in the young man’s eyes and then just collapsing and crying on his stomach.

The next two was Mickey trying to keep Bruce happy, thinking that he alone wasn’t enough for Bruce. So he brought him gifts. The first a drag queen for Bruce’s pleasure. The next gift shocked Bruce: two young boys 15 years old. Angry Bruce yelled at Mickey. “What on earth were you thinking?” Mickey looking confused and hurt said: “But it’s the only way to keep you safe. These have definitely not been exposed to anything.” Remember this act was about the fear of death and we were beginning to learn that HIV was transferred via sex.

Those three scenes so simply showed all that was wrong in that relationship. They both kinda liked each other and Mickey at least wanted to take care of Bruce even if he fears him. But they are both so damn bad at it. The look of fear on mickeys face had intrigued Bruce, it was the first time he saw anything else than a mask of friendly servitude. Bruce became fascinated by what lay beneath the masks that Mickey wore.

This only deepened as Bruce saw more and more of the real Mickey. He saw the young man talking to other artists and suddenly he saw a passionate young man, who created art, and was good at it. The life Bruce saw in the eyes of Mickey when he talked about art was intoxicating for a hollow man like Bruce. Bruce was falling in love slowly, fearfully but surely.

Therefore throughout the act Bruce confronted Mickey in different ways, trying to push him to show some real Mickey. And also being afraid of getting hurt again he kept wanting assurance, that if he did allow himself to fall for this young man, he wouldn’t be left again. But Mickey on the other hand (I learned later), was afraid to show himself to this dangerous shark, better just keep trying to please him. None of them realising that the other wanted the exact opposite.

Things really got hot when Bruce discovered what relationship Mickey had with Gwen (Lester being much out of the picture at that point) and that it was still going on. Mickey got caught between Gwen and Bruce, who both wanted him, and also needed him. We had many scenes back and forth, Mickey trying to keep the balance and also to keep the dangerous Bruce pleased. Mickey even going so far as to offer to punish Gwen on behalf of Bruce. That struck Bruce as silly, but later he said yes do it, do the worse you can think of. Again he didn’t care the least about Gwen, but he used it as a way to push Mickey, “show me something! React! Push back! Don’t just accept!” But Mickey did.

After the green tea Bruce made the ultimatum: “leave Gwen!” He wasn’t sure he meant it but he knew that it would push Mickey to perhaps show some real emotions or to actually leave Bruce, so it would be over and done with before Bruce fell too far. Mickey tried to be allowed to keep her: “Don’t you want to control her through me?” But again remember: Bruce was falling for Mickey and wasn’t interested in controlling someone he saw as beneath him anyway. And on the other side Mickey still hadn’t realized that Bruce was falling for him. He still feared him and saw him only as a power hungry capitalist. I love how much Bruce falling in love with Mickey confused Mickey.

Mickey said he would leave them, but Bruce still deeply mistrusted him, both because he was clearly doing and saying everything he thought Bruce wanted to hear, but also because Bruce felt very vulnerable and wanted to be sure he would not get hurt again.

But a talk with Ike, another important character for Bruce, that I don’t have the space to get into here, (I hope to cover him more in a post about my favorite scenes) convinced Bruce to give Mickey a chance and to try and trust him. I had planned to be really tough next time Bruce met Mickey, so Ike saved him from that. Instead Bruce confessed his love to Mickey and got only stunned silence in return.

But by the end of act two Bruce had come to a kind of acceptance: He was in love with Mickey, and might get hurt, but he should try and trust him and have patience that Mickey might someday open up to him. So we had a great scene where Bruce said: “If you promise to try and open up to me, I promise to give you time to do that.” Mickey looked back stunned and tried to show something but couldn’t yet, but the effort was enough for Bruce. Oh and it also helped when Mickey offered to get his stuff from Gwen’s place.

At the funeral scene Mickey name was picked, that was a punch to the stomach. So it felt like a true relief when Bruce was picked as well. At least he would be there for Mickey. Neither Bruce nor Mickey died, but again the funeral had an element of loneliness for Bruce. No one rushed to him, when he came back from the ordeal, unlike everyone else. Artie even brushed past him to get to someone else more important. That hurt.

When Bruce saw Mickey’s sister Sam (who he had talked to the other night to get to know Mickey better) and Gwen standing together looking for Mickey, he hugged Mickey and pushed him towards them, trying to signal that it was ok. Then turned his back and stood alone yet again. Soon after Mickey came and stood silent besides him. I didn’t know at the time that he had walked straight past them still following my order.

In the break both me and Mickey’s player agreed that we didn’t want this power play anymore, we wanted a more equal relationship. It took us some time to figure that out, because we both thought that the other wanted more of the same.

JaLL – The dual story of Bruce – act 1: The rich bastard in doubt

Read my introduction here

So without going on for over 20 pages (which I did in the process of just writing the whole damn thing down), I’ll try to quickly tell the stories, I experienced through my character Bruce at the Larp: “Just a Little Lovin.” (edit I failed this thoroughly so this will be divided into several posts, and it will still be very long sorry.) Remember: this is the retelling of my story, mostly done for my own sake. I hope to write more intellectual and design focused posts on this later on.

To avoid having to explain the structure of the game several time during this, I’ll just quickly do it here:

  • There were three acts, each one a fourth of july party for these many colorful people in the years: 82, 83 and 84. Each act had a theme: desire, fear of death, and friendship.
  • Game would start at 17.00 with the theme song “Just a Little Lovin” playing with us standing frozen at our chosen start point, at end end of the song, the game would start with a bit of mingling before Mr. T, the organizer of the party would give a speech, we would then sing the star spangled banner while the flag was raised.
  • The next point was dinner in Peppers Diner, later on there was a drag performance and other things that characters wanted to show, (from poem readings to strip tease.)
  • At midnight there was a grean tea ceremony around a bonfire held by the saratoga people, a group of spirituals and cancer survivors. This also had the meta rule, that when you drank the tea you should choose to either increase your game by 150 percent or make a 180 degree turn of direction of your game.
  • We were ingame during the night (even though we did sleep) and in the morning until 11.00 were we would gather in the diner and an eerie music would start. This was the lottery of death, were one or more people would die.
  • After that was gamestop, workshop and planning what happened in the year between the two parties until 17.00 where it would start all over again.
  • We were all part of a small core group (closest friends and partners) and social circle (more lose relations) and both could and did change between acts.
  • Available was also two black boxes to do scenes that took place outside of the party in the past or in a probable future or even in a dream.

As I mentioned in my last post I kinda had two stories. It’s important to note that I had many more great scenes that didn’t fit in this retelling, that I feel sad leaving out, as they were an integral part of the experience. This game was for me very much defined by short beautiful scenes linking together to form a surprising narrative. I might later do a post just with scenes that I liked.

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Bruce act 1. Foto: Petter Karlsson

But it all started in act one with me playing as I had planned: arrogant, brass, bold, taking up a lot of space. I wore a white smoking, a pink buttered down shirt, sunglasses at all times (the use of them is almost it’s own post) and a silver necklace, (It’s not only in fantasy we have magic items).

I spoke my mind whenever I felt like it, uttering every loud, self confident, bragging line I could think of, (just as I had planned). I was also intense, engaging in conversations with power and looking people straight in the eyes, never apologizing for being a rich bastard, aggressively flirting with all the young men.

Very shortly after game start Bruce had his first conquest, if you could call it that. The young man literally threw himself at Bruce and the encounter left Bruce feeling empty. He had seen the whole thing play out before it happened, it was all just too easy. This combined with people talking to him about relationship had him thinking that maybe it was time for something different, (even though he on the surface ridiculed those idiots in stable relationships “think of what you are missing!”)

So Bruce started considering trying out this relationship thing, you know just as an experiment. In act 1. there was two options. Daniel / the drag queen Lady Verona whom he’d had a flirt with before game start and Artie, a nice guy. One that believed in the good in every one, even Bruce. Disgusting, but you know kinda cute and clearly interested in Bruce.

Bruce and Artie had a great flirt scene in the drag queen’s dressing room. We were all just hanging out after the drag show and just being sassy to each other and everyone else. But while talking me and Artie ended up sitting on the floor holding hands never commenting on it, it was just there in the air unsaid.

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Daniel as Lady Verona doing his drag performance, during the song Bruce joins in and start acting along to the song. This is from that moment. Foto: Elina Andersson

In the end Bruce slept with Daniel, and actually ended up rejecting Artie after that. Both out of tiredness but also in a week moment thinking: I’m not good for Artie. But during all this one other important thing happened: just after the green tea ceremony a young man also literally threw himself at Bruce.

Bruce didn’t know this Mickey, and off game I also knew very little. Only that he lived with Gwen and Lester as their young BDSM master, and Bruce knew Lester from the stock market, but not that he was into BDSM.

All Bruce cared about was that this young man threw himself at Bruce offering himself to him with the words: “I asked around for the riches man and every one said you.” Just the right thing to say to a man like Bruce. Bruce had his way with him in a rough kind of ekko of the first young man he had at the party. But still there was something different about this Mickey. So when Mickey hinted that he might need a place to stay, Bruce casually handed him the spare keys for his penthouse.

Walking away from the bonfire one of the lesbians, Rosemary, came to Bruce for advice and Bruce feeling like a generous God sent Mickey running and listened to Rosemary, not something he would normally do, but the green the was still in his system.

So in essence Bruce had three persons to tryout this relationship experiment with. Mickey Artie and Daniel. He ended up choosing the latter, why I’m not sure, maybe because I as a player knew that it was doomed from the start because Daniel being a love’em and leave’em type (#nordicpain). But then came the death lottery.

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Sinclair giveing a speach. Foto: Petter Karlsson

Sinclair, Bruce’s close friend and lover of Nate, Bruce’s other good friend. (These three were my core group) was drawn in the death lottery. Bruce and Daniel was almost carrying a barefoot Nate in the rain under one umbrella as we made the long walk to find out whether or not we would lose our Sinclair.

After a painful wait we had our answer: Sinclair was dead. This was by far the most intense funeral. I still remember it vividly. How the rain gently patted our umbrellas until it stopped just as the eulogies were read out and then the sun came out.

Bruce held back tears for long, choosing anger instead. But then Bruce took a chance turned to Daniel and let the sorrow overwhelm him, and he wept on to the shoulder of Daniel. He let Bruce do that for about two minutes before he gently but firmly walked away from Bruce, leveing Bruce alone, standing with the back to the rest of the group. The sense of abandonment was intense, almost a good experience to let it just flow through me. (Little did I know what would come later). That was the end of act one.

Just a Little Lovin – Theme music for a character

Another thing I have done in my work with Bruce, my character for Just a Little Lovin, is to make a short playlist for him, and even found “his number.” This again I did with my friend, but have worked on it since, (but I still can’t recommend enough to work on your character with a friend, it has really been helpful, especially if you’re a bit nervous about it.)

So the songs are both songs I know but also songs from the time and inspired by the playlists they have made for the game, (I’m listening to that right now). Not all of the songs are made before the game is set, but most is, and the most important one is, and one is definitely not from the eighties, but it has it’s point. So lets go through them.

Queen: Don’t stop me now
As soon as I remembered this song I thought: “This is perfect!” And the more I listen to the lyrics it just screams Bruce. But also the tempo, the partyness of it, the beet, it just fits! And luckily it’s made late in the seventies, so it could easily be the song he listens to, as he gets ready for another mad night out.
Just see these lyrics that I have picked out from around the song:
“I’m floating around in ecstasy”
“I’m a shooting star leaping through the skies”
“Like a tiger defying the laws of gravity”
“There’s no stopping me”
“I’m burning through the sky yeah!”
“Two hundred degrees”
“I’m trav’ling at the speed of light”
“I wanna make a supersonic man out of you”
“I am a satellite I’m out of control”
“I am a sex machine ready to reload”
“Like an atom bomb about to Oh oh oh oh oh explode”

Queen: Another one bites the dust
The one thing that got this one the list is the beat, its hard and sweaty. This songs plays in his head when he’s putting on his suit that fits just so. Or the one he hears after a good day at the stock exchange, where he has just gotten another client from the nose of a competitor. It’s a powerful song, and he likes it. (Queen fits in general, the lead singer also lived a double life, and lived life too hard. But I don’t think we yet knew he was gay by 1982?) Where the lyrics in “Don’t stop me now” fits perfectly for Bruce they don’t so much for this one, this is more the beat and the repeated phrase: “Another bites the dust.” Taking down another one, be it a good sale or another young lover, both is a success to be celebrated long into the night.

Michael Jackson: Billie Jean
Again this is only because of the beat. He likes to move to it, both on his way to the office and in bed. But also the strength and agility Jackson radiates in this song, is something Bruce likes. By coincidence I ended up with six songs, so you can in a way also see them as songs for each act. So the previous two are the ones from act one, it fits that act, is all about love, parties and enjoying life. Now this is the first song of act two, (which is a bit darker, and about partying, because there might be no tomorrow, ignoring the fear and partying for one more night.) So “Billie Jean” fits as the story in the song, is a bit more dark, but Bruce ignores that and keeps the party going.

Queen: Headlong
This one is kind of says the same thing as “Don’t stop me now” but with two differents: the singer says: you instead of me and it still someone moving too fast, but now out of control and heading for a crash. “And there’s nothing you can do about it…” If Bruce reacts to the pressure in act two with even more partying, this song fits very well, it can easily go very wrong and what he has been suppressing will hit him hard. The question is: will he realize the course he’s on and will and can he change it? I don’t know, but I hope I get to find out. (Bruce might die before this point, but I sure don’t hope so, I really want to explore this character, especially in act two, I can survive him dying (haha pun) in act three, but would still regret it.)

Eurythmics – Sweet Dreams (Are Made Of This)
This song is from before I started dividing them into acts, so it’s both a symbol of him chasing those pleasures (sweet dreams) (and again it’s also the beat I like), but it can also be the confusion act two and three might be putting on Bruce. What is his dreams and what is it everyone else around him wants? The sound if the song is also slightly mystisk and confusing, this is the conflict in Bruce. “Everybody’s looking for something, what are you looking for Bruce?”

Marilyn Manson – Sweet Dreams
But that’s just the same song! And it’s definitely not from the eighties, I hear you shout. Yes, I know, but I just like it so much, so it went on there. But the more I listen to it and especially in connection with the Eurythmics version, they start complimenting each other. This is much more dark and destructive, this is the sound of loss and collapse. I imagine, that if this was a film and that if Bruce did die, this song would be playing as he scared and (maybe) alone died. You never came around, you wasted your life, the devil mocks him as he gasps for the last time. This is in short the worst end that Bruce can face. Will it come to that? I don’t know, I have no idea how the two last acts will be, I and don’t want to. It’s impossible to plan anyway, as he and other players will also have a great influence on what happens.

Just a Little Lovin – Talking about the character

I completly forgot about this series I was doing a life sometimes eh? Oh well were are the rest at the same time, Then you can read that while I’m at JaLL (it start tomorrow)

There was one post I didn’t get around to write about costume and how to use that as a proces for your character. But I’ll get back to that 🙂

In my last post, it was all about the unstructured thinking that I’ve done about my character for Just a Little Lovin, Bruce. And how I’ve used that to deal with some of the doubts I had with it. This time, it’s how I’ve used talking to other people, as a tool to get a better grip on Bruce.

So one of the issues, I didn’t have a great handle on, is how to flirt and seduce. See that also plays a role in the game and with Bruce. He likes young men and he’s definitely the one that does the seducing. So how on earth do I (shy, and in a relationship for the last 10 years and with a history of bad oh so bad flirting before that) handle that?

Well this is where talking about the character with my friend, Anine, became very helpful. And we figured out a few things. First of all my take on dominance and manipulation works well here, (see my last post). Short recap: I mustn’t hold back myself and my ideas and compulsions out of fear for what others think, because Bruce will just do it, if it will help him get, what he wants. And Bruce will be nice and will talk others up, to get them to like him.

Or rather: when you first read Bruce, he’s easy to see as a selfish asshole, who like to be front and center. But you don’t get to the position he’s in by being a selfish asshole or you won’t at least if you show it too much. No I think Bruce is great to be around, he’s fun, charming and talks you up. But he has his own motives by doing that. So just by talking about my worry about flirting, I came to see, how my take on dominance and manipulation could be used here.

But what if it doesn’t work and someone rejects his advances? Well my friend had an answer for that, and it’s found in Bruce’s other trait: hedonistic. He likes pleasure he abhors boredom. If someone don’t want to play along he would just leave and find a party somewhere else.

I have also spend some time talking to people who have more experience in this kind of larp than me. Especially Oliver, who has been my constant consultant. Recently he visited me and we talk about many things, among which me participating in JaLL.

One thing he suggested was finding some small repeatable scenes or actions to do if one has a low moment or just needs a break. That is something I want to work with.

All in all I have talked to many people about this, more than is necessary but I find it interesting and as this is my first big larp it’s hard not to. I have talked to people who have played the game, people who I’m going to play close to in this run and so on. Each time I have left the conversation feeling more ready and less nervus.

Questions about the character
This was another thing we did a lot, when I talked with Anine about Bruce. She asked me questions about Bruce, like the one I mentioned in one of the first posts: “what will he do if someone’s dies?” And the answer to that was he or me doesn’t know. But she asked other things, that really helped me with the character.

It’s like the workshop technique called the hot chair, where you ask a player questions and he answers them truthfully about his character. Just coming up with the answers helps you build a better image of a character. But this worked even better, because her questions often came out of the blue while we were doing other things. I think she is fascinated by the game and would have signed up, if she had the time. She also a psychologist and finds asking questions rather natural.

I can’t remember many specific questions or answers, they short of flow together now. Many of the insights with the traits comes from these questions and answers, but now it’s all sort of part of my image of the character.

So this is definitely an advice, but it might be hard to follow. You need to find a friend who is fascinated by the game, by role play, and by your character, and who isn’t afraid of asking a lot of questions. Have that friend over, cook some good food together, and let the friend ask questions during it. That way your answers become more spontaneous and less forced.

If you invite me over for good food I’ll gladly pay by asking questions about someone you are about to play. I’m sure many feel the same.

Just a Little Lovin – Thinking about the character

Until now my work with my character for Just a Little Lovin, the hedonistic Bruce, I described in my last post, have been very unstructured, a lot thinking in short. We got our spot for the game and character, just as I had gone to bed one evening and that set of a whole thought stream, so I didn’t sleep until 3. that night.

And since then I have let my thoughts dwell on the character once in a while, much like I work with my ideas I now realize. Let it be there in the background and only touch lightly on it once in a while, as I with do other things and if something new appears work and with that a bit until it is thought through.

In the beginning it was mainly worries, what if this, what if that?

See one of the things that troubled me with Bruce is his traits:
Competitive
Hedonistic
Dominant
Manipulative
Flashy

These are the traits of a strong and outgoing man. And I’m more to holding back. As I talked about in my post about playing “New Voices in Art”, I’m very self conscious about what others think about me. Therefore I created a character that wasn’t. And to some extent Bruce is like that. But the big difference is that he does care, or rather it’s important that he seems strong, where as in the artist character it didn’t matter, if he was seen as a fool, he just didn’t care. Neither does Bruce, he just never ends up seeming like fool. But I do. Or at least i’m afraid I do.

But this is role play, you might say at this point, can’t you just pretend? Well yes, but from experience I also know that I need to find some connecting points within myself to the character. Especially for the bits that’s very different from me. Because these parts are so alien to me, I need to find out, how I will express them, if I don’t, well then I know that I’ll either freeze up, (thinking too much about am I doing this wrong or right) or I’ll do it very cliche or superficially.

I need to convince myself, that I can play this alien character, so that I during play can relax and focus on the experience rather than on what to do now and is this good enough? And I do that by looking at how I will express the different and difficult parts of the character. And that is the process I will go through now:

Competitive: I’m not competitive, I just really don’t care who’s best. Luckily this part of Bruce would mostly come out during his working hours and they are not part of the play. But if they do, I think I’ll try and turn my own attitude to competition upside down: I don’t care because I know I can’t be the best. Bruce doesn’t care because he knows, he is the best.

Hedonistic: This is the one I know straight from the start I could do. I love pleasure and good things. Even to excess. It’s a part of me I’m a bit worried about sometimes, all I need to do is shut that worry down and just let myself go (and crank it up to 11). Bruce wants pleasure, and as much of it as possible. One of the things I talked about with Anine, (mentioned in my last post) is that Bruce is quantity over quality, more, more, more! I can do that. If something is boring move on from it look for the next pleasure. And that also solves another worry. Which we will come back to.

Dominant: This one I struggled with a lot, until I realized one thing I often do with strangers: I hold back, a lot, especially if we are talking in english. I speak english as well as danish (because I’m half english). I also try in workshops and group work to hold back, because I often have a lot of ideas and other things, I just want to throw out there. I’m very responsive, If someone says something that often gives me a new idea, and I’m worried that I take the spotlight too much, and often hold back. I want others to have a good time as well, you know give others room. Well Bruce doesn’t have that worry, so I just need to shut down that consideration. If I want to speak, if I want to grab center stage, I just do it. I know it’s not a traditional form of dominance, but it will be how I’ll try and handle it.

Manipulative: Again I thought this is something I’m not, but then I saw another thing: I’m a nice guy and I like to be nice to others. Bruce is the same, but he has other motives. He’s nice and I think complementing, but he does it, because it helps him get what he wants (calling back the the whole hedonistic thing). So he will be fun and nice to be around, a good party friend, but he has a reason for his behavior. It kind of fits, because he is living a double life: in the day he’s around straight traditional men and the stock exchange, but at night he parties at gay bars with young impressionable men. Also the personal issue with suppressing all other parts of life requires a strong mask. So it’s not that I need to change my way of being much but my interior motivation has to change.

I spend a lot of time on praise others and I want people around me to feel appreciated. I do this, because I like to please and I want to be friends with everyone and also I want others to feel good about themselves. Struggling with low confidence, I know what that kind of words means to me, so I want to share the love, (you bloody hippie). And that can be twisted to be seen as manipulation, (or rather it kind of is already). But again I need to switch the motivation. See nice guy Simon does it, because he wants others to feel good about themselves. But Bruce does it because he knows that it will get him what he wants.

Flashy: This is kind of the visual combination of the above four. He is a success and must show it in clothes and actions. I hope that comes with the other things.

Just a Little Lovin – Bruce

So as mentioned in my last post I’m playing Bruce, let me just give you the lowdown on him from the character description: (It’s a completely transparent game, we even get all the other character descriptions, so we know what to play on.)

5 defining characteristics:

  • Competitive
  • Hedonistic
  • Dominant
  • Manipulative
  • Flashy

Also the character description starts like this: “Yuppie, this is your age. Rags to riches story. High on testosterone, money and the high life of the city.”

When I first got the part I thought “wow he’s everything I’m not,” and even for a few seconds considered turning it down, (that would have meant forgoing my spot and only getting a spot if someone else backed out, and then maybe even getting a less fitting character).

But the more I read and reread the character and thought about it and talked to others about it, the more I could see that my first reaction is both true but also not so.

At some points he’s like me, at some points he’s what I pretend to be in the right circumstances, at some points he’s what I should be (by now), and at a few points he’s the opposite from me, which is also something that’s fun to explore (such as my experience with New Voices in art, Read about that here.)

But the main reason I want to play Bruce is his personal issue, the internal conflict that will drive this character, especially as we move into act two and three and his current superficial lifestyle comes under pressure and is seen in the harsh light that AIDS epidemic will set it in. For that same reason I have decided to not think about this character beyond the first act. I don’t want to know how he will react until it happens.

So in my work with this character I will only look at him as he is right now even though this is a clearly unstable condition that can’t last. And it is:

He lives to hard! Spends his working hours at Wall Street, high on the adrenalin rush of the stock market, he throws himself at this full hearted. And throws himself just as powerful at the city’s party life after work is done. This is the city that never sleeps and I don’t think that Bruce sleeps much either. He works too hard, he parties too hard, and as a result:

“You have been forced to shut down so many other parts of your life and personality: Friendship, Family, Insecurity, Guilt, the need to relax and the need to simply pause and think.”

But:

“You can sometimes feel these shut­ down parts of yourself hammering on the iron doors you have locked them behind.”

And that of course leads to the question:

“Will they (the locked away parts) manage to escape, or will you succeed in keeping them subdued?”

And that question will be central in act two and three, that is why I want to play Bruce, and that is why I don’t want to think about it before hand.

I was visited by my friend Anine recently and we ended up talking a lot about the game and my character and that actually become an important part of my work with Bruce. (See the thing is the character description is actually rather short and you are meant to interpret on it yourself, (atleast thats how I understand it). You can’t play your character wrong, because you will be playing your interpretation of it.)

And at one point she asked me: “what happens if a close friends die” and after a short pause I said “I don’t know and Bruce definitely doesn’t”, at this point he never even thinks of death as a possibility, which is why I dont want to either.

In the next posts I will write about what I have done so far, in my work with finding my version of Bruce.

Just a Little Lovin – Intro

So I wrote these posts shortly after Fastaval, and have been going back and forth on whether or not I should post them, as they are rather personal. But now with a week and a day to go before the larp, I’ve decided to run them one a day as warm up for the larp.

So this summer I’m going to play my first real big larp lasting more than a day. And I’m starting out in the deep end with the, in some circles legendary “Just a Little Lovin.” It has been called the best larp in the world, and that is of course impossible to say as larps are so different, it would be the same as try and find the best movie or piece of art in the world. But enough to say that it’s seen as one of the best out there. And it’s another rarity: it’s one of few big larps that has been rerun many times, this is the fourth run.

That actually had me hesitate to sign up. Because having heard so much about the huge experience, that people had with it, you can’t help think: “Can it live up to that?” And when you hear who have played it you think: “well all the good ones have played it, won’t this run just be whatever is left?” (including me). But Oliver was on my case me until I gave in and signed up.

Seeing the player list has shown me, how wrong I was on that last point. The people going are amazing, and when I hear about the people that didn’t get in, I’m even more amazed, there might even be people for a fifth run. Apparently we have many more talented roleplayers than I had ever thought.

So any way what is “Just a little lovin”? (or JaLL) It’s a larp about love, sex, friendship and the fear of death. It takes place in the early eighties, when the AIDS epidemic hit USA. Most of the characters are from the gay and lesbian scene, that was sadly hit particularly hard. The other half of the characters is from other alternative sub groups, that was prevalent in the eighties. So it’ aslo a look into alternative USA in the eighties with spiritualism and alternative lifestyles.

The setting for the larp is three 4. of july parties, that each is one act of the game, so a year passes between each act. The game also runs for three evenings and in the morning we workshop and plan what has happened in the year between the parties.

The three years are: 82, 83 and 84. Each year has a theme. The first year is all about the party life. Times are great and it’s all about living to the fullest. The second year AIDS has started to spread and there’s a beginning panic, some become infected and a few die (yes you can die in the year that passes between each party, if that happens you get a new character, but still it’s a brave move, but I have been told that it works.)

So 83 is all about the fear for death and partying like there’s no tomorrow, because there might not be. 84 is about sticking together and friendship in the face of the tragedy. Many have now become infected and every one has lost friends and loved ones. Death is completely random, done via a lottery which is properly the most terrifying part, and rather real, that is how it must have felt.

So it’s in one way a very dark and sad game, but also a game full of love. As we have explored many times: when faced with loss we pull together and the emotions becomes stronger. But it’s also a game about the styles, looks and music of the eighties, especially the New York alternative and hedonistic party scene, (think Studio 54). And yes it’s in parts also about homosexsuality, but not in a front and center kind of way, and if you don’t want to play gay you don’t have to.

The game runs from sunday evening until friday afternoon. I’m don’t know much about the program after that, but assume that we will workshop a lot (I hope) and then for three evenings is the game itself with a ending party on friday (a real one mind you).

So having explained the larp a bit, I will in the next few posts muse a bit on my character and also on how I have worked with it so far. But just to answer the unspoken question: yes I’m going to be playing a gay character. It’s Bruce, a rich and confident stockbroker who parties all night. He’s differently out of my comfort zone, but the more I think about it, I think it’s just the right character for me. And everybody keeps saying that as well.

The Longest Stay – A larp about political prisoners

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Detail of the prison building

So these days I’m always looking for someone who will do one of those big larps at The Prison Museum: Horsens Statsfængsel (now famous from Black Box Horsens.)

I myself have never designed a big larp and I also know I’m bad at getting ideas this way, (starting from the need of a larp and not from ideas slowly crystallising into something finished.)

So it took some time before I realised, that the newest idea I’ve been chewing on fit perfectly at Horsens Statsfængsel (Horsens State Prison).

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The locals call it the Castle, (with good reason)

It started with the thought about the intensity there must be in connection with a system change were political prisoners are suddenly set free and now have to decide how to deal with the ones that locked them up. But I also quickly realised that it must also be strange to be that guard, to be told that the ones you have been keeping locked up indefinitely suddenly has to be set free and will soon be the ones in power. If you know your history you know that i’m especially thinking about apartheid and Nelson Mandela.

As far as I remember he was rather graceful about it, but it might not have been so. And that is what I want to explore. So this is the concept:

The larp is set in a prison in an alternative world where what played out in South Africa has played out in Denmark. Much like they did in Finland for the larp Halat hisar, (where the situation in Palestine now played out in Finland)

This prison is where political prisoners are held. And they are to be held there indefinitely. There will be different kinds, leaders, activists, rebels, and different opinions among the imprisoned.

There will also be the guards and the rest of the prison staff. The point is that in preparation for the larp the two groups will design the two cultures that live in that country, the natives and to colonisers (So they are completely fictional, so no one will be offended). So it’s a fictional world but being a clear and open parallel to the development in South Africa.

The larp will take place over a couple of acts, three or four with five to ten years between each. In between the acts it will be workshopped (and maybe black boxed) what happens in those years. I’m also thinking that the characters will have makeup added as the years progress, to show that passed of time.

It will also be a larp where it’s possible to play all of it or some of it, both as guard and prisoner because you might just be imprisoned or hired later. Some change in staff will also make sense, as they move on with their lives, (unlike the prisoners).

Each act will have some kind of focus. It must be a time when tensions in the country comes to a peak, so there’s something to play on. But what exactly that will be requires more study of South African history. But the last act will of course be the system change.

It will be a story about many things: prison life, the feel of the world moving on without you, the meaning of freedom, the effect of apartheid on both cultures, revenge or forgiveness, duty or conscience and so on.

So that’s the idea as far as I’ve gotten so far. Will it be made? I don’t know. If I go forward with it, I would hope to ally myself with some of the designers of some of the bigger larps from recent years, as they have experience doing stuff like this.

It will be an expensive larp as the prison is not cheep. But there’s also a lot of opportunity for funding or even cooperation with the prison, (I’m considering make parts of the game in crowd during the opening hours of the prison.) Theres also the possibility that human rights organisations might want to support it, and I definitely want to write the game in such a way, so it’s open for non larpers who are just interested in the subject. They could be activists from NGOs, students in as different fields as psychology and history, teachers, politicians, researchers and so on.

But what do you think?