Tag: Fairweather Manor

  • Not All Black And White

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    Not All Black And White

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    How it is to be a woman of color in the larp scene?

    Dear non-Person of Color (PoC) larpers. 

    We are not here to give you all the answers on how to solve racism.  Neither will we be able to give you one coherent answer for you to use on questions on how to make the larp community better.

    We are four Women of Color (WoC) with different backgrounds and different reasons for why we love larping.

    We are not the same but we have one thing in common: we all want to see the larp community change for the better and be a bit less oblivious towards racist structures.

    With this article, we invite you to sit with us, listen, and remember our words and stories.

    Photo of Anna Erlandsson
    Anna Erlandsson at the larp Witches of Ästad Farm. Photo by Anna Erlandsson

    So, who are we and what do we do when we are not larping?

    Aina: My name is Aina Skjønsfjell. In my everyday life, I work as a translator and have done for 10 years now. I have a degree in languages and linguistics. Oh, and I live in Norway!

    Liselle: I’m Liselle Awwal, and I live in Denmark. I am a self-employed crafter with a webshop with a lot of nerdy things!

    Jonaya: My name is Jonaya Kemper and I’m a Nebula Award winning game designer and an instructor of game design at Carnegie Mellon University in the US. In addition to that, I am known for some of my theories on identity transformation using role-playing games.

    Anna: I’m Anna Erlandsson from Sweden. I work with digital games and have a burning passion for making the gaming culture more inclusive.

    The four of us have larped for over 20 years and it‘s breathtaking to think that we have done this hobby for so long. But what made us start larping?

    Anna: For me, it was a longing to play fantasy for real. I read a lot as a kid and I was drawn to the fantasy bookshelf in the library. I read these magical stories and so wanted to be a part of them myself.  When I was a teenager, I discovered that there was a thing called larp and as soon as I turned 18, I went to my first one. I have never looked back.

    Liselle: Just as Anna, I was an avid reader from childhood, particularly of fantasy books. Once I got online in the early nineties, I started role-playing online. It was a random segment on television, just before the turn of the century, which revealed the larp world to me: a brief clip of a fantasy larp in a forest. I was immediately obsessed, and upon discovering that my cousin was a larper, introductions were made.

    Aina: I wanted to be a goth vampire and wear vampire clothes! My goth friend told me that she and her goth boyfriend played Vampire: the Masquerade not too far from where I lived and that I should absolutely join. So I had my grandmother sew me an all black, medieval-inspired “period” piece of the finest polyester fabric and off I went to drink red wine and look pretty.

    Jonaya: I love to dress up and play pretend, and I have trained for my entire life in improvisational theater. A very close friend of mine, Noxweiler, suggested I give it a try as he loved it. I always said no to larping, because as a Black person in the U.S. we don’t tend to go to a secluded area unless we trust everyone involved. I know it sounds absurd, but this is very true. There is a real pattern of Black people dying on innocuous trips. Many large U.S. based larps are boffer campaigns taking place in forested areas, and this isn’t always accessible or safe.

    I trusted Nox, but not everyone involved. Nox basically had to show me that no one would try to murder me, in order for me to go. He actually had to say: “There will be other Black people.”  It worked, and here I am today. Dr. Diana Shippey was actually the first person I saw there and it made me feel a lot more relaxed.

    Photo of Aina Skjønsfjell (left) and Jonaya Kemper in Regency clothing with lace fans
    Aina Skjønsfjell (left) and Jonaya Kemper at Fortune and Felicity. Photo by Kalle Lantz.

    Over the years, we have tried a lot of different styles of larp, from Nordic larp to blockbuster larps and we all have different types of characters we prefer to play.

    Liselle: Ohh, I very deliberately try to bounce between characters that are very different, but I often have the most fun with scheming manipulators.

    Aina: It depends on the larp, I enjoy playing a leader a lot, or a villain. That being said, I have greatly enjoyed playing Thug #3, The Mad Scientist, and even The Vapid (but pretty) Princess. I can find joy and fun in almost any character if I can play with good people at a good larp

    Jonaya: In general I like to play any character I can learn from or learn things with. Or the ones I am most disallowed from being in actual society. My favorite role genuinely was an NPC. I played Death in the U.K. run of Just a Little Lovin’, and this was perhaps my favorite role of all time.

    Anna: I either like to be very different from myself, like a visual pretty teenage princess or super cool ranger, or I like to create a lot of pain and drama for my co-players – with full consent of course! In the latter case, I love playing characters that are in the background but at the same time have all the power.

    Photo of Liselle Awwal in a fur hat.
    Liselle Awwal at a scene in The Last Song, by Avalon Larp Studio & Yxengaard. Photo by Henrik B. Hansen.

    Besides being larpers, we have done different things in our communities and on the international level that we will now brag about!

    Aina: I am proud of being a name many people recognise in the world of larp, both as a larper (some even say that I’m good – I am one of those people) and as a voice for larpers of color. The fact that people have come to me for advice on inclusivity is always something I’m proud of and grateful for, even if I don’t always have the ability and/or spoons to help out.

    Jonaya: Despite the actual psychological harm it caused to me personally, I would say my biggest achievement is fighting as much as I can for the inclusion of people of color in fantasy, which led to me coming up with my theory of emancipatory bleed. I didn’t know how much the theory has helped people, but I think I am more proud of this than any of my other work. I love helping people.

    Liselle: There are larps I have organized that I am proud of, but I am also proud to have developed my crafting skills to a level where I can monetize them. The making of things is the fun part, and selling them enables me to spend as much time crafting as I want.

    Anna: I feel so proud over how much I speak up for inclusion for PoC in larp and in the gaming hobby. That I have also been able to push this on a national level and talk about it abroad gives me hope that perhaps it will make it easier for other PoC after me.

    We are from different countries, Anna from Sweden, Liselle from Denmark, Aina from Norway and Jonaya from the U.S. What are our experiences when larping in our home countries and being a Woman of Color?

    Liselle: Oh god, it is frequently exhausting, being one of less than a handful of PoC in my local community, and frequently at larger international larps or events. Sometimes lonely, if difficult debates surrounding marginalization are attempted, as it is very easy for my voice to be drowned out by a multitude of dismissive ones.

    Jonaya: While I am grateful for the people who have helped me find success, for me, it has been genuinely awful. If I did not truly believe that larp was an excellent tool for liberation I would stop. I have many privileges being a U.S. citizen, but it was very difficult to get death threats for my work and to be accused of perpetrating “cancel culture.” I have been doxxed. I have been lied to. I have had other larpers scream in my face while running larps. It can be very exhausting honestly, and I am one of the more well-known faces. Marginalized people also face representational burnout, i.e. we have to be a perfect presentation of a human and any slip up can toss us out. So there’s a feeling that we must present perfectly while facing enormous scrutiny.

    Anna: In the beginning, I did not think about it so much, mostly cause I was so happy to be able to larp. But it has been exhausting at times to both be one of the few WoC and a very loud voice about diversity and inclusion. I have mostly gotten small “well-intended” comments but it is the ignorance towards racist structures and how… white the larps hobby is in it’s thinking that really drains me.

    Aina: Well, it is better now, as I am older and meaner and give fewer forks. But you rarely escape a “well-intentioned” “compliment” or an action/question that is a micro-aggression. They’re [at] least daily at events.

    Photo of Anna Erlandsson in period costume holding a flyer
    Anna Erlandsson at Fairweather Manor 5. Photo by Nadina Dobrowolska.

    There are few PoC in our larp scenes and we four found each other in recent years. Have we felt supported by other PoC in the larping community during the years?

    Aina: I think the larp community as a whole is too big with too many cultures to say only yes to that. Obviously not all PoC will support me, as I probably will not support all PoC. And I don’t always need support. But I try to focus more on the support I get from the people around me than the support I don’t get.

    Anna: I have felt so much support from other PoC in larp during the years but at the same time, we come from such different backgrounds that it is impossible for us to agree on all things. I have way different experiences and opinions from some PoC and that is just as it should be and sometimes, the clashes are real.

    Liselle: Yes, and no. Several years ago, I joined the newly created “Larpers of Color” group on Facebook. It was purportedly a global network, but since the vast majority of members were U.S. larpers, my experience was that my perspective as a European PoC was often ignored or dismissed. I was excited for such a group to exist in theory, but in reality it became a stressor to the point that I left.

    I have felt very supported by PoC – from all over the world – I have met through larps and related events, and I have heavily relied on especially a handful of other WoC for support and encouragement.

    Jonaya: Yes and no. I have a thriving and amazing community that supports me and I can dialogue with, but there have been a few noticeably bad actors who do their level best to close the door behind them by appealing to a “status quo.” There are certain PoC who have done real damage by perpetuating stereotypes and causing lateral violence. Even so, I think I have become a better person by learning from and dialoguing with many people of color, especially from outside of the U.S.

    Photo of Aina Skjønsfjell in a half-mask wearing a fur coat
    Aina Skjønsfjell. Photo by Kamil Wędzicha

    PoC are in a clear minority when it comes to larp and all four of us are in agreement that larping is a very white hobby. But why?

    Jonaya: This is something we need to look at systemically. I don’t believe any one ethnicity is intrinsically disposed to a hobby, but that their lives allow them to do it. From a U.S. standpoint white people have a systemic upper hand and have more leisure time, unless they are lower class. It’s quite hard to think of larping when you do not have your fundamental everyday needs met. In the international larp scene as well, many of the participants are middle class and have large degrees of mobility and disposable income. If you don’t have to worry about healthcare and vacation days, then you can sign up for every game. There’s also the point that if you don’t see anyone that looks like you who larps, you may believe you don’t belong there. This happens frequently.

    Liselle: We have to remember that not only is larp a white hobby. For example, Denmark is a pretty ethnically homogenous country. Even so, there should be more POC larping, but I fear that the experience of being one of the few larpers of color may have scared many off over the years.

    Aina: I see the same in Norway, it’s a white hobby. The way larp is portrayed in the media, showing white people doing white nerdy things. The lack of representation will lessen any interest for the few non-white people who are interested in trying, because if you already are a little geeky, chances are you are ostracised in your current communities already. Not everyone is up for finding a new community where you will once more be the odd one out. Then when no PoC joins, including them for representation is harder, and thus the spiral continues.

    Anna: From a Swedish point of view, this is an expensive hobby and you need to know someone that can point you to larps and help you with the first steps, from equipment and transport to friends. The lack of PoC is another thing that I think scares away people. It is not easy to go into a hobby where you are not represented and you have to worry about racism.

    I think it’s a serious issue when we take larp as an example of an inclusive hobby. In Sweden, the larp scene is so good at welcoming women and queer people but white larpers tend to stop there and think that this is good enough. “Well, if more PoC would like to larp, they can just join us.” They completely forget about the previously mentioned barriers for PoC when it comes to larp.

    Jonaya: Yes, I think the biggest barriers for getting more PoC into larp are time, money, and relevance.

    Aina: And the lack of visibility and representation.

    Liselle: This is an important thing. Because if the first thing potential newcomers encounter when they look at the larp scene is a wall of dismissiveness along the lines of “larp is for everyone, we do not see color, learn to separate fantasy and reality,” that is not reassuring or actually inclusive. We need to trust that our concerns will, at the very least, be taken seriously or listened to, rather than mocked, belittled and brushed off.

    Photo of Aina Skjønsfjell in a black robe and gloves holding a person's hand
    Aina Skjønsfjell at a larp organized as part of a friend’s wedding. Photo by Nadina Dobrowolska and Maciek Nitka.

    Without getting into details, we have had bad experiences when it comes to being a WoC in the larp community. How has that affected us?

    Liselle: I spent too many years afraid of rocking the boat before I decided it was vital I raise my voice and object when I encountered issues. When I met other PoC in the international scene, it gave me confidence. The realization that me not speaking up on certain issues might mean no one would was also a deciding factor.

    Anna: I started to speak up when I met another WoC and realized that she have had the same experience. That it was a structure and not just me. From then I just continued to “make a mess” and being the one that made trouble. I wanted it to be better for PoC that came after me. But dear god, it can be so exhausting.

    Aina: Yes, it can often make me tired, and feel like I am “that person” who always has to bring up “that thing.” On good days it makes me proud that I am and can be, but mostly it makes me want to give up because I still have to.

    But I see that times may be changing. Some people are trying more, making more effort. The larp community isn’t doomed or hopeless, but it looks like it will take a lot more time than I should like.

    Photo of Liselle Awwal
    Liselle Awwal at The Last Song, by Avalon Larp Studio & Yxengaard. Photo by Henrik B. Hansen.

    While it has become better, some big mistakes have nonetheless been made by white larpers when it comes to inclusion that still make us want to facepalm.

    Liselle: A common mistake is to make assumptions about what PoC want or need without actually consulting us. I realize inclusion can be difficult to navigate, but it is frequently not enough to glance at the opinion of a single PoC on social media and then decide that this must be the universal truth. What is needed or wanted for a larp in Denmark may be entirely different from what PoC larpers in the U.S. require.

    Jonaya: Totally agreeing on not listening to their local populations!  As much as many of us are connected, we are different. I don’t know anything about being Ghanaian and Danish, so I don’t know what that community needs exactly. Listen to what the racialized people in your community need first.

    Anna: The idea that all PoC are one big happy family is so weird, since we all have different backgrounds and experiences. I honestly get pissed off when it‘s assumed that we need to think the same way and give one answer, for inclusion to be allowed to happen.

    Aina: Non-PoC larpers need to listen more when you are being told something is problematic. Do not dismiss it because you wouldn’t do that. Chances are, you might. Speak up if you see others do problematic things. Stand with us. Don’t make us seem like the only “those people” who always and only have to talk about “those things.” Be one of “those people” with us. If everyone is “those people,” none of us are.

    Liselle: And make sure to elevate PoC voices. Listen attentively if attention is called to something being an issue, even if it is one you – or even your personal PoC friends – have not experienced to be an issue.

    Anna: I feel that white people can be offended very quickly when they are pointed towards racist things, or even problematic people that are using racial slurs. That is one thing I would like to improve. And not having to argue why actual Nazis should not be allowed at larps…

    Jonaya: And we need to rethink how the community uses “cancel culture” and “woke.”  Oftentimes organizers may fear being canceled or complain about wokeness if a PoC player comes to them with an issue. Instead of listening, they use these phrases exactly like far-Right politicians, and that stops the growth of larp. I wouldn’t feel comfortable at a larp where an organizer reacts to feedback that way.

    Photo of Anna Erlandsson in a fur shawl
    Anna Erlandsson at the larp Vedergällningen. Photo by Anna Erlandsson.

    One question that we have gotten during the years is: “Why do we keep on larping if things are so horrible?” There are some reasons, apart from the fact that we love larp.

    Liselle: To discover and bond with other WoC in recent years has been wonderful. It´s a special feeling to experience solidarity when we are meeting. Just to support each other in chats has been novel and delightful. There has been an uptick in allied voices of support trying to amplify my own to ensure it is heard on issues that affect me, for which I am thankful.

    Jonaya: Another one of my favorite experiences is being a visible PoC in order to help other visible people of color. I played the Headmistress for the first run of Forbidden History, and had an amazing scene in which I was able to acknowledge oppression and power, and open a door for a player who played a student.

    Aina: I love that I have met other WoC that I would not have met elsewhere. It has been really good, it is like we have our own little community within a community. To see how similar and yet different our experiences are, comparing “war stories,” and to really know that we are not an entity; usually most of these women have vastly different opinions on everything and I love us for it.

    Anna: I have loved to find my voice in the community and be part of the change I’ve seen happen during these years. It goes slowly but it happens, and that gives me hope. Not to mention that I have met so many wonderful WoC that have become dear friends. They are people that I can reach out to and share experiences with as a WoC and that has been invaluable for me.

    Photo of Jonaya Kemper in action with a wand
    Jonaya Kemper at Avalon. Photo by Nadina Dobrowolska.

    We will be larping for at least 20 years more and sometimes, we will be very loud when it comes to inclusion. For all non-PoC, here is some advice from us to you on how to get more PoC into larp. 

    Liselle: Invite PoC larpers into your projects, and not solely as inclusivity consultants but fully fledged collaborators. This is so important. Do not expect us to work for free.

    Jonaya: Continue to support PoC in making their own stories and uplifting them, especially in their own communities. There are many racialized individuals living in Nordic countries who need their voices amplified in the ways that only they know how to explain. I would love to play in the worlds they create.

    Anna: Support PoC in your community and accept that we have different opinions. Yes, it will get complicated but it is the road forward. Accept that larp is not so inclusive as of now, and that it is not enough to just say that “everybody is welcome.” Collaborate with organizations and schools to open up the door to larp for young PoC.

    Aina: In short: Listen to us.


    Cover photo: Aina Skjønsfjell at the larp Avalon. Photo by Nadina Dobrowolska. Photo has been cropped.

    This article is published in the Knutpunkt 2022 magazine Distance of Touch and is published here with permission. Please cite this text as:

    Erlandsson, Anna. 2022. “Not All Black and White.” In Distance of Touch: The Knutpunkt 2022 Magazine, edited by Juhana Pettersson, 15-23. Knutpunkt 2022 and Pohjoismaisen roolipelaamisen seura.

  • A Ramble in Five Scenes

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    A Ramble in Five Scenes

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    She strode down the stairs, purpose forgotten in the new surroundings. She had done what she had never expected to do: signed up for the kind of event she had never been part of before, and travelled to Poland on her own. Until now it had been an amazing experience, perhaps the first of many.

    I have always thought of my body as my own, not something other people could own. Often it seems that I have more control of my body than my mind. Maybe that is why I have marked it with wolves and birds, lines and symbols. But the body is a canvas that can be filled out. At the time I played my first larp it almost was.

    Being part of a larp is an exhilarating experience. For a few days of your life you can be a queen or a pauper, a whore or a nun. But as you play more games you start to realize there is a price to pay, rules you must follow, parts you must play. As time passes you learn, and you start to make choices. And when you become as old as I am, your life’s experience and the knowledge you have achieved will be part of your game.

    And so, it begins.

    The author at Fairweather Manor 4 (2018). Photo by Dziobak Studios.

    Memory

    They came for us in the early evening. We were hurled into a bus; they only gave us time to collect the most necessary things. We were not told where we were going, why this was happening to us. After some time, the bus stopped, and we were unloaded. The officials processed us and led us into the stadium. I am here now, looking at faces I have seen before and faces I do not recognize; waiting for the next move, the next atrocity.

    I remember the real faces of the refugees from Pinochet’s Chile and the coup d’etat in 1973. I met them in 1978 just after I had moved to Copenhagen, young and without even the trace of an idea of what they had been through. I lived at Øresundskollegiet with the guy I would later marry. Just down the hall from us lived a famous Chilean harpist. We could hear her play when we came home.

    As time passed some of the refugees stayed. Others went to other countries or back home when it became possible. But their memory stayed with me. A memory, something that is part of your personal life or history, can be the trigger that allows you to realize the true horror of being lost in a situation you cannot control, whether it is a detention center on the Welsh border or a prisoner in Villa Grimaldi in Chile. You start to recognize the same patterns in society today. This is part of the magic.

    Larping can be an incredibly self-indulgent experience, even the very unpleasant scenarios.  Fulfilling my dreams and desires has never been enough for me. Hugaas and Bowman (2019) write in their “Butterfly Effect Manifesto” that bringing a personal experience into your character can have a profound effect on your game. You may think that being an older person also means that this transformative experience is no longer possible. You are wrong. No matter how old you are, it is never too late. So use your experience to create change in your life and your community.

    People huddled in coats and hats on arena chairs
    The author in Desaparecidos by Terre Spezzate (2019).

    Weakness

    She had failed them all, her husband, her daughters, her family. For years she had been silent, never complaining, always supportive of her husband, even when they had to leave their grand home in the country to live in this shoddy apartment in the city.  Why had she let it come to this? Why had she not said ‘no’ a long time ago? Now everything was gone, everyone had left her.

    Families are perhaps the most complex organism to use as the background for a larp. That complexity also makes them the perfect place for murder and mayhem, either symbolic or real. I have met and recognized parts of me that are different from how I normally perceive myself. I have met and played with amazing sons and daughters. Not just as the maternal figure who always supports her family, but sometimes also the monster. Sometimes you meet your own bad personal choices, your weakness in personal relationships, your failures in connection with your children or your family. I certainly did when I met this character.

    I always wish for an older character given the choice. I larp because I want to learn about myself and maybe change the person I am now, warts and all – not the person I was a long time ago.  Some of your choices in life may be wrong. As a human being, you constantly lie to yourself about your life and your relationships. In larps, you are sometimes forced to confront the bad choices and the lies. Often they will bleed into your character and be part of how you react to your “family.” You may not realize it until later, but they will come back to haunt you.

    Photo of a seated woman in a dress in a room with floral wallpaper
    The author at A Nice Evening With the Family (2018) by Anders Hultman and Anna Westerling. Photo by Caroline Holgersson.

    Choices

    My dear daughters,

    I think this will be the last letter I write to you. As you have probably already seen, I am now part of the Countdown Show, waiting to be killed. There is only one survivor and I very much doubt that it will be me at the moment. We are slowly being decimated person by person, but the violence has been hidden away, only visible in short outbursts. But enough about me – how are you doing? I hope my mother is looking after you both. If I am lucky, you now have her fame and are living in a nicer neighborhood. So, this will be my final goodbye. I hope you may have a better life than me and make better choices. — Your always loving Mum.

    In this game I am a woman who is caught in a reality show from hell. Her every move is seen by a whole nation, including her mother and her children. Every move she makes is on a knife’s edge. She is incredibly lonely even in the crowd. Every choice she makes will be recorded; the future of her children will depend on these choices.

    Children are important and having children is a joy.  Even when you reach my age you will still be apprehensive. As time goes by you will also learn the fear of losing them, of not being a good enough parent. And you will make mistakes. I used this knowledge to give strength to my character, to make her into a fighter. Love is often part of larps, but mostly as romantic love. The love between parents and children is different. It can be strong or weak, and is often accompanied by loss and misery on both sides. It is dangerous territory but if you want to dive deep into your character it is an interesting place to explore. You can dive into the magic of fairy tales and mythology and be a good mother, a bad stepmother, or a fairy Godmother – your choice. But when you meet someone like me – remember that being old also means that I have been all of these and more.

    Gluttony and Greed

    Menu for the summer party at a country estate around 1800

    Lunch

    Vegetable soup

    Salad

    Pie (meat, vegetable)

    Cold meat and fish (ham etc.)

    Bread and butter

    She was up early because the bread had to be prepared for the guests. Next she had to prepare the vegetable soup that his Lordship always insisted had to be served at lunch. An old friend had told him that it was good for the stamina required for the excesses experienced during the evenings and nights. This was the best time of the day. She enjoyed the quiet, the music and the occasional guest coming down for a cup of coffee. 

    Sometimes you can use personal work experience and knowledge collected through a lifetime as part of a larp. I know a lot about historic food. I was the cook at the summer party of Lord Mander at his country estate for the two runs of Libertines. The food had to be solid country fare, appropriate for keeping up the stamina of the house guests, something required of a true Libertine. The food was based on recipes from the era and served a la francaise, with all the dishes on the table at the same time. Luckily, I was blessed with a great kitchen staff, without whom this would not have been possible. But this was a larp, not reenactment,((As an old reenactor I agree with Harviainen (2011) in his differentiation between larp and reenactment.)) the food was not the center of the play and I was the cook, not a player – or was I? An old woman will have a certain role in this scenario: the undesired but all-knowing procuress or mother.((Angela Carter writes about this in The Sadeian Woman (1979).)) As the days went by, the line blurred.

    I used my experience to create the meals, but not the play around the dinner table. Still, the meals were part of the different acts of this play, almost like a ritual. The outcome is prewritten, but the participants create their own story using their own knowledge and experience just as I used mine. It created a special and safe magic circle, where you can take risks. Libertines did just that – and I like to play with fire.((More about this in Bettina Beck and Aaron Vanek’s (2018) “Let’s Play with Fire! Using Risk and its Power for Personal Transformation.”))

    Photo of a person chopping potatoes in 1700s clothing with others behind them, their hands to their faces
    The author at Libertines (2019) by Atropos Studio. Photo by Carl Nordblom.

    Age

    Love was easy for you; you had always known that you were beautiful in the eyes of others. When you looked in the mirror you saw what others saw. But now you are beginning to see another person in the cracked mirror, a skinny and haggard woman hiding beneath the doll’s face and dress. Will you always be loved even when you are no longer beautiful? And will you be able to connect and love anyone but yourself – and who are you?

    (Trial for a larp character in a larp not yet written)

    Larp is magic. If you dare to invest yourself and use your knowledge you can be part of the magic no matter how old you are, how broken your body.((But there is a physical limit that you must respect.)) I have presented you with ephemera from some of the larps I have attended since I started in 2016. Each piece represents an aspect of my journey, a piece to the puzzle. Together they represent aspects of what I already am, what I already know. They are also tools to be used in a personal journey. Jonaya Kemper (2020) talks about “wyrding the self.” She describes it like this: “When one does wyrd the self, they seek out emancipatory bleed, steer for liberation and investigate themselves through the lens of play.” But you can not do this by yourself.

    I am one of the wyrd sisters, forever toiling, forever looking for trouble.

    Come play with me!

    References

    Beck, Bettina, and Aaron Vanek. 2018. “Let’s Play with Fire! Using Risk and its Power for Personal Transformation.” Nordiclarp.org, March 1.

    Carter, Angela. 2015. The Sadeian Woman and the Ideology of Pornography. Virago, November 5.

    Harviainen, J. Tuomas. 2011. ”The Larping that is Not Larp.” In Think Larp: Academic Writings from KP2011, edited by Thomas D. Henriksen, Christian Bierlich, Kasper Friis Hansen, and Valdemar Kølle. Copenhagen, Denmark: Rollespilsakademiet.

    Hugaas, Kjell Hedgard, and Sarah Lynne Bowman. 2019. “The Butterfly Effect Manifesto.” Nordiclarp.org, August 20.

    Kemper, Jonaya. 2020. “Wyrding the Self.” In What Do We Do When We Play?, edited by Eleanor Saitta, Jukka Särkijärvi, and Johanna Koljonen. Helsinki, Finland: Solmukohta. Available at: https://nordiclarp.org/2020/05/18/wyrding-the-self/


    Cover photo: Photo of the author at Countdown (2019) by Not Only Larp. Photo by Martin Østlie Lindelien. Photo has been cropped.

    This article will be published in the upcoming companion book Book of Magic and is published here with permission. Please cite this text as:

    Petersen, Inge-Mette. 2021. “A Ramble in Five Scenes.” In Book of Magic, edited by Kari Kvittingen Djukastein, Marcus Irgens, Nadja Lipsyc, and Lars Kristian Løveng Sunde. Oslo, Norway: Knutepunkt, 2021. (In press).

     

  • Fairweather Manor: Perspectives from a United States Player

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    Fairweather Manor: Perspectives from a United States Player

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    I thought I’d write up a game summary about my experience playing Fairweather Manor, as there seems to be some interest. My background is as an American larper with some-to-moderate larp experience in the American scene, whose first international larp was College of Wizardry earlier this year.

    Fairweather Manor was set in early 1914, and the larp was run at Moszna Castle, a period-appropriate residence. An international crowd of roughly 150 players participated. The premise was that Sir Edward Fairweather, Duke of Somerset, was celebrating his 60th birthday and had invited many of the disparate branches of the family together to celebrate.

    My Character

    I was playing Richard Wayward-Fairweather, the patriarch of the American branch of the family. The American branch was represented by myself and my in-game family consisting of my wife, my daughter, my sister-in-law and my niece. Our background was that the American plantation — we named it Wayward Hall — was mismanaged horribly by my elder brother, who had died two years before. It was starting to recover, but still suffered under an extreme amount of debt. My primary goal in the larp was to find investors to restore the manor, possibly by finding a rich suitor for my daughter.

    The characters were well-written, but there needed to be more information shared across characters. As an example, my wife had information about our dead son which didn’t make it into my packet. Also, my character had invited someone else to the manor, but I was unaware of it until I was approached by them at the larp.

    It would have been very helpful to have a “family background” packet that shared all the relevant common information about the family, then allowing the individual packets to fill out the private information on a character-by-character basis.

    Schedule

    The game ran from Thursday to Saturday. Thursday we arrived, had about 90 minutes to get to our rooms, change into costume, and play a brief in-character scene. This included picking up our costumes if we chose to rent them. I was staying in a room with the other members of the American branch; noble families were housed together, and this was a great idea, as the rooms were large enough to comfortably accommodate everyone and it provided a way for families to communicate.

    After arrival, after everyone had unpacked and arranged their costumes, players broke into small groups for workshops and dinner. The first scene, which was filmed for the documentary, was all the guests arriving at the manor at night, greeting the family, and heading into the great hall for a brief address by the Duke.

    Friday and Saturday began with everyone waking up in game. There was generally a servant available in the morning to help us get dressed, which was extremely helpful, as a number of women in my room were wearing corsets. Then breakfast, followed by a brief homily in the chapel. Following that, there were various activities around the manor; examples include a poetry reading, a political discussion, and a scene from a play. This was followed by lunch, another round of activities, some speeches, and an hour to dress formally for dinner. The evening started with dinner, then men and women separated into two groups for discussions. Finally, each night ended with a formal ball: a Servant’s Ball on Friday and a Grand Ball on Saturday.

    Meals, with the exception of breakfast, were served for all the nobles at once; servants ate at different times. There was assigned seating and the servants would serve each course to the table in order. Some people complained about the pace of the meals — they ended up taking a significantly longer time than predicted — although to some extent, this was an artifact of the period.

    Fairweather Manor

    What Worked Well

    By far the biggest reason the larp worked as well as it did is the setting, followed closely by the care and effort the players put into their characters and costumes. Moszna Castle is stunning, and filled with servants and nobles, it’s very easy to imagine you’ve been transported back in time.

    Another strength for me was the “brute force” design. Some of the hallmarks of brute force design are having many subgroups with different agendas, having members within each subgroup disagree with one another, and seeding power imbalances and secrets through the character writeups. Rather than have specific plots or events woven through the weekend, characters were free to play out their stories naturally, and players were given the agency to create their own game. This allowed a number of different play styles and themes to coexist. Some players lived out a gothic tragedy, others a Belle Époque romance, still others a Remains of the Day-style elegy. This was obviously more work for players, but it accommodated a wide range of approaches.

    What Needed Work

    There’s only one thing that requires serious attention: the servant/noble mechanics. They are sufficiently complex that I discuss them in more detail below. Otherwise, there were some fairly minor issues to address.

    When we arrived Thursday, we were rushed to get dressed for the workshops and the opening scene. I felt like the day could have been structured better. I was hoping to start playing on Thursday rather than just having one short scene, and some of the workshops could have been more focused on specifics like etiquette, rather than the more general information. As an example, a number of nobles found it difficult to get out of the habit of thanking servants when they did something, which struck many people as jarring and out-of-character. Some explanation and practice beforehand could have alleviated those problems.

    In casting and plotlines, it seemed like there were a lot of women looking for eligible bachelors, but not very many young men looking for women. This created some frustrating play for some people.

    Meals were assigned seating, which I thought was a great idea as it provided an opportunity to interact with people whose characters wouldn’t normally interact. Unfortunately, there could have been more thought put into the rotation; I found myself frequently at the same table with many of the people I had sat with for different meals. Others commented on the same thing.

    Servants and Masters

    The biggest challenge for the larp, though, was the relationship between the nobles and the servants. While most of the nobles really enjoyed the game, the players to whom I talked who played servants had much more varied opinions. They certainly had a lot more demands placed on them: their day started several hours earlier than the nobles, they were constantly pulled away from their stories to serve the whims of upstairs, and they often had no opportunity to sit down or relax at all.

    There were also times — like the servant’s mealtimes, or when they were preparing for their ball Friday night — when it wasn’t possible for nobles to find servants.

    I think it comes down the fact that there are essentially two separate and fundamentally different larps running simultaneously, with only a few points of connection between them. I’m not sure that’s a bad thing, but it does require being up front about the experience you should expect as a player. One suggestion, which may or may not be feasible, is to raise the price for nobles, while dropping the price for servants; that makes it more clear what the expectations of each role should be. Increasing the number of servants, as well, would reduce the burden on each individual player while increasing their availability.

    Overall

    In short, this was a largely successful iteration of the “blockbuster” formula, and a particularly interesting one, proving that it works even for genres which don’t rely on action or adventure to drive their plot mechanics. These games are ambitious and difficult to pull off, owing to their expense, logistics, and reliance on a fully engaged player base to generate play. But when they work, they provide an impressive amount of latitude in the play they can generate, and can be uniquely engaging to their participants.

    Ludography

    • Fairweather Manor (2015). Agata Swistak, Agnieszka Linka Hawryluk-Boruta, Akinomaja Borysiewicz, Alexander Tukaj, Beata Ploch, Charles Bo Nielsen, Claus Raasted, Dracan Dembinski, Ida Pawłowicz, Janina Wicher, Krzysztof “Ciastek” Szczęch, Krzysztof “Iryt” Kraus, Maciek Nitka, Mikołaj Wicher, Nadina Wiórkiewicz, Szymon Boruta. Rollespilsfabrikken and Liveform. Moszna, Poland. http://www.fmlarp.com/

    All photos are exclusively licensed for use by John-Paul Bichard. Contact him for use of these and other photos from Fairweather Manor.

  • Fairweather Manor – The Latest Iteration of the Blockbuster Formula?

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    Fairweather Manor – The Latest Iteration of the Blockbuster Formula?

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    Fairweather Manor is a historically-inspired international larp for 140 whose first run took place in Zamek Moszna, Poland, on the 5-8th of November 2015. It was created by the Liveform/Rollespilsfabrikken team already behind the creation of College of Wizardry. As such, the format, creative team, and overall design of the larp connects Fairweather Manor to the previous games considered as following the Blockbuster Formula, while also having its own, unique identity.

    This article will therefore try to analyze how we might examine the design choices of Fairweather Manor in this light, how this larp also might differ singularly from those others, and which elements pertaining to the Brute Force design may also apply to Fairweather Manor.

    In the Grand Scheme of Things

    In the continuity of The Monitor Celestra and College of Wizardry, Fairweather Manor utilizes the full potential of running a game in a truly breathtaking location and of using both the setting and players’ efforts to create a spectacular 360° illusion. The Castle of Moszna possesses a variety of small sets whose exploration works as a perpetual incentive and makes for the possibility of a variety of scenes. A grand staircase, the dining area opening on the Winter Garden in the Orangerie, the chapel, the grounds, and Graveyard were all spectacular settings. On the upper floors, the big suites of the Castle served as family rooms for the nobles, making them a little less accessible, but giving some players the opportunity for other grand scenes.

    The sheer size of the game — 140 players divided into three character-type groups —  and the collective efforts of the players ensured that the experience would be a descent into 1914. Players could offer activities, such as a fencing lesson, an open stage, a play rehearsal, concerts, or speeches, which would become part of the frame for the larp. You could go on a car or a coach run, and then discuss the comparative merits of the two. You would meet different people at dinner and hone your skills at small or big talk.

    The larp, like its predecessors, also benefited from the established world material factor. Historical resources on the period are numerous and, by claiming only a loose historical accuracy, the larp allowed for some flexibility on that ground. For the dramatic side, knowledge of the inspirational television series Downton Abbey was certainly an incentive for most of the players and the melodramatic aspect of the series’ narrative combined with the play-to-lose approach of the larp ensured that the play style of the participants, even when they came from a lot of different nationalities and backgrounds, would remain sensibly the same. These elements ensured that, overall, the game presented itself as a flowing, immersive experience with an extremely high production value.

    Characters at Play: The Legacy of the Brute Force Design

    However, Fairweather Manor seems to differ from the previous blockbuster models in regard to context, background, and the way it would influence the characters’ agenda. In a context such as those larps, which were inspired by Battlestar Galactica and Harry Potter, the incentive comes from the universe in itself. In other terms, the context drives the plot. In Battlestar Galactica, there is a (space)ship to run for the sake of the preservation of humanity and duties to be fulfilled. In the Harry Potter-verse or any magical equivalent, the combination of school routines and a general sense of exploration, fun, and adventure is more than enough to drive any narrative. In the confines of the strict hierarchies and overall lack of universe or plot-driven incentives, however, the narratives of Fairweather Manor had to rely mostly on characters.

    Following heavily the character template established by College of Wizardry (CoW) — albeit with a little more room for pre-established character interactions —  the characters of Fairweather Manor followed the same logic, aiming at giving the players something very flexible with which to play. Characters could be changed and exchanged at will, and players had to prepare as much interactions and development by themselves as they could. However, where the location and structure of College of Wizardry makes this type of flexibility fairly easy with most characters being students in the same location, the same cannot be said of Fairweather Manor, where characters came with established gender, age groups, family ties, social functions, etc. This design was a necessity to establish the society of Fairweather Manor in a credible way, but also, combined with a rather arbitrary distribution of characters between players, it limited the liberty that some players would have to transform their character at their will. Furthermore, the characters had gone through a variety of approaches in the writing process, making them extremely diverse. Some characters were, within the confines of the CoW model, more detailed, with pre-established storylines. Some were more constrained within their social function; some would prove fairly difficult to enact. Furthermore, Fairweather Manor, while run by a substantial staff of organizers, chose to dispense entirely with NPCs. While the purpose was obviously to make the larp completely self-sufficient and self-contained, it meant that Fairweather Manor would not have the leeway that College of Wizardry would have when it came to letting players create their own storylines. As such, most of the character work had to be done upstream when it was needed, the margin for freeplay being much more reduced once onsite. Therefore, as is often the case with the huge sandbox type these games prove to be, any character would only be as good as the way each player chose to handle them and co-create their own narrative.

    When characters worked, however — and a significant number of them did — they provided the frame for a lot of deep, emotional interactions. In keeping with the social norm — and thanks to the rather clever technique of “think of the family” (an in-game expression that would also work on a meta-level to incite the player to keep secrets hidden) — most of the interactions were kept low-key, avoiding for the most part the risk of expansive melodrama or plot overload that can happen in this type of format. Lastly, we might underline the fact that two elements associated with the Brute Force design also came very much into play in that regard: secrets, and conflicting characters’ agenda.

    Fairweather Manor

    Although the approach of the larp was fairly transparent, with  all characters published in a common folder, players did not have to read them if they did not want to do so. Existing storylines often included personal or familial secrets, and pre-game preparation between players also tended to include secrets of the backstory that would come to fruition over the course of the game. A lot of players wrote letters addressed to or sent by their characters, which would be used to put their secrets in the open. Again, in keeping with the play-to-lose approach, secrets were used only as hooks for big reveals and intense conflicts. Whether this aspect makes for interesting role-play or not is of course a matter of personal preference, but seems necessary to a design such as Fairweather Manor, where (dysfunctional) family values really came out as an overarching theme.

    Conflicting characters’ agenda were also present, a matter for which players expressed some concerns, for fear that these would hijack the sense of narrative and become a competitive gameplay. Issues pertaining to the Duke’s inheritance, matrimonial strategies, the search of patrons for the artist, the opportunities for better employment, or improving one’s situation for servants, for example, relied on characters’ agenda, and sometimes caused oppositions, but they also were played in a low-key, mostly narrative manner. Although it was not explicitly stated in such a way, most players seemed to choose that any accomplishment in that regard would come with strings attached, or at some cost, which worked well enough, as a valid take on these issues.

    The existence of social hierarchies and subgroups — family groups, artists and intellectuals, higher and lower servants — also appear as a legacy of the Brute Force design. They were used, however, less to create conflict than as a backdrop for the enacting of social conventions and constraints. These, however, could have been more forcefully enforced, especially in regard of what would be considered proper and acceptable or not, and what the cost of deviation from the norm would be. More workshops on these issues, manners, and body language might have been useful. At the in location, briefings tackled essentially the subjects of play style, location, safety, and ideologies of the time period. A slot devoted to behaviors and cultural calibration could have been helpful to some, but was probably left out by design.

    Players’ Duties and Sequencing

    Like College of Wizardry, Fairweather Manor was based on a strictly timed structure — activities and meals being used to structure the daily lives of the residents — relying on some players’ duties.

    Most were taken voluntarily: players wanting to host an activity registered to do so ahead of the larp, providing the entertainment fit for a high-end reception. Artist characters, of course, were very much encouraged to do so. This aspect, combined with a general sense of goodwill in the audience, ensured that the setting always felt active and alive.

    The main branch of the nobles — the characters who were the hosts of the reception — were hand-picked and cast way ahead of the lottery. These players did a lot of work pre-game and in-game to ensure that the reception would be running properly, and that information about timing and activities were properly delivered. How heavy a duty that was and how much the larp came to rely on these characters is hard to clearly evaluate, but it certainly should be emphasized that the structure of the larp needs this core group of characters as its foundation.

    Then, there is the matter of the servant characters. A huge amount of work has been put to make them operate as a corps, some players being directly involved in the writing of the servants’ handbook. However, if the standing ovation the servant group received at the end of the game is any indication, it is quite obvious that the servant group took upon themselves a much bigger workload than was originally announced or expected of them. In addition, the higher servants — butler, housekeeper, and their seconds — obviously held a great many organizational tasks as well. Could the communication on these aspects have been clearer? Most certainly. But this point also shows how Fairweather Manor worked in no small part through the willful commitment of the participants, and managed to stir their passions, in combination with what remains a grand production design.

    A Story about Love?

    To quote from the second teaser, “Being at Fairweather Manor, that’s love.” I would believe that; for all the complexity and issues that are always raised by the grand scope of a blockbuster larp such as this one, it managed to hold up through the love that so many of its actors put into it. This sense of affection is perceptible in the show that inspired it: Downton Abbey is, in my opinion, a nostalgic, benevolent took at a Time that Was, while overlooking its obvious limitations and gruesome inequalities. Likewise, Fairweather Manor displayed all the outdated charm of the period that was called in France La Belle Epoque the Beautiful Era — before the upheaval brought by the war transformed all of society, for better or worse. The high-grade staff production, combined with a significant volunteer work and player commitment to the larp was considerable, its undeniable success as a result, and the surest testimony of the way it succeeded in engaging its participants wholeheartedly in its construction. While being clearly connected to the blockbuster model, Fairweather Manor also managed to be quite unique in distilling elements of the Brute Force in its own narrative. Whether other larps and future runs will manage to follow and improve on the same delicate balance will surely be interesting to contemplate.

    References

    Bibliography

    Ludography

    • Fairweather Manor (2015). Agata Swistak, Agnieszka Linka Hawryluk-Boruta, Akinomaja Borysiewicz, Alexander Tukaj, Beata Ploch, Charles Bo Nielsen, Claus Raasted, Dracan Dembinski, Ida Pawłowicz, Janina Wicher, Krzysztof “Ciastek” Szczęch, Krzysztof “Iryt” Kraus, Maciek Nitka, Mikołaj Wicher, Nadina Wiórkiewicz, Szymon Boruta. Rollespilsfabrikken and Liveform. Moszna, Poland. http://www.fmlarp.com/

    All photos are exclusively licensed for use by John-Paul Bichard. Contact him for use of these and other photos from Fairweather Manor.