Nordic Larp

Tag: Krigshjärta

  • Documentation of Larp Design

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    Documentation of Larp Design

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    Background

    Working with larp professionally for 10 years has forced me to think a lot about structure, communication and documentation. When writing larps that are supposed to be run multiple times and by multiple people, it needs to be documented.  You then need a language to talk about what that documentation is. What parts does it consist of and what do we call the different parts? This has been relevant for me in my previous job as one of the founders and larp pedagogues at Lajvbyrån and in my new position as part of the Transformative Play Initiative at the Department of Game Design at Uppsala University. Both on a practical level and on a theoretical level. I have also seen discussion about this showing up online in larp communities and I would like to address this. 

    Procedural Documentation

    As I see it there are eight main design relevant documents that need to be talked about that are aimed at different audiences and have different purposes. These documents can be either finished edited documents or living documents that get updated regularly for example on a web page. You probably won’t need all of them but instead will choose the versions that are relevant for your larp. The first part is the part that is aimed at the players, then we have the part aimed at facilitators/game masters and organizers, and the last part is aimed at the organizers only. I will now go through the different parts and the documents. 

    For Players

    Player Handbook

    The player handbook is all the info that the players need. That means both things that are sent out and info on the webpage. It can include; practical info like time and date, safety info like content warnings and safety person, narrative info like the setting and the vision, dress code info, meta techniques, transparency and so on. 

    For Facilitators/Game Masters

    A facilitator/game master is someone running the game but not necessarily organizing it. An organizer has more responsibilities that also include things like production. For example a facilitator could be someone running a game in a convention where the organizers would be the ones renting the place for the convention and making the schedule with slots where the individual facilitators/game masters would run games.

    In this category we have a number of different documents. You will probably only have some of these since they overlap and sometimes entail each other. Which ones you need depend on your design and who will be reading the documents.

    Gameplay Design Document

    A gameplay design document contains what is relevant for the players interactions and agency. This would include things like characters (if pre-written), groups, relations, meta techniques,  and what happens during the playtime. It would not include any type of framing such as pre- or post-game activities or any planned activities during off-game breaks mid-game. This is a helpful document to look at the design of the game itself, how it all fits together and what the players will be able to do during the larp.

    Runtime Script

    The runtime script contains what happens during the runtime of the larp. That is what happens from the players go into character until the game is over. This is without any pre- or post-game parts but including mid-game parts. It also wouldn’t contain characters, groups or relation since that happens outside of the runtime. This is a helpful document to look at what happens once the larp starts until it ends. It could be something that you might want to have available in a game master room during the run. Another reason to have a separate run time script could be that you have a design that has three small larps on a theme that are interchangeable but where the framing for the games are the same. 

    Larp Script

    The larp script entails what you have in the gameplay document and runtime document and also the full framing including pre-game and post-game activities. So this includes things like any kind of workshops, deroleing and debrief. This is what you would need to have to facilitate/game master the larp. It also includes annotations with comments about how to facilitate/game master the larp and minor preparations like moving chairs, starting a fire or hiding the secret potion recipe. It can be done in different ways from as simple as overarching headings to really meticulous with exact timestamps for every little part. This is a helpful document to cover the whole design from the facilitators/game masters perspective.

    Complete Schedule

    This is something that is not needed most of the time. It is for those times where you might want to run several small larps as part of a bigger theme but have workshops and other things that are overarching. Then it can make sense to separate out the parts specific to the small larps from the overarching experience. For example, at Lajvbyrån we had a larp experience focused on the industrial revolution for school classes. During one day a school class had lectures, got visits from historical persons and got to play two shorter larps. Everything during the day is facilitated by the larp pedagogues. Half the class will play one of the larps before lunch and then the other after lunch. The other half does it the opposite way around. Both classes have the lectures and the other parts together. Here it was a lot easier to have an overarching script for the whole day with the specific exercises in there and then just a header saying “Larp 1” for the first larp slot but no further info in there. Then we could have one GM running the same larp twice and having the larp script for that specific larp in the assigned larp location while having the overarching script in the main room. In this case each larp would have  its own framing and then there would be a broader, more overarching debrief and after discussion for the full day in the main room with the full class. 

    Campaign Design Document

    The campaign design document is only relevant for larger campaigns that have many larps running as part of it. Here you have the overarching information that goes for all the larps in the campaign. It can include world info, systems for fighting or economy, what you are allowed to change or not in the setting, visual guidelines, and so on. A lot of the info in the player’s handbook would be found here if you are running a campaign larp. This is a helpful document to have a coherent world but still have many larps run by different organizers. 

    Design Document

    The design document contains everything you need to facilitate/ game master the entire larp experience.
    It includes (Some or all of the following): 

    • The player handbook – or all the info from it
    • The gameplay design document
    • The runtime/larp script
    • The complete schedule
    • The campaign design document 
    • Annotations: Extra comments relevant for running the larp and info like the target audience that might not be relevant for the players. This might also be included in a larp script but is more common in a design document and therefore gets an extra highlight here.

    So what is the difference between a larp script and a design document if both contain what you need to facilitate the larp? A lot of the time a larp script is a design document. But as mentioned you might have a situation where you are doing a larger larp experience with more than one larp as a part of it so you also have a complete schedule. In that case the design document would contain the complete schedule and maybe two or three larp scripts. 

    For Organisers

    Design Bundle

    The design bundle contains everything you need to organize/re-run a specific larp. It includes the design document but will also include things like production info, a list of necessary props to have, promotion material, and maybe a budget. It could also include relevant articles about the larp. By giving someone the design document they would be able to run the larp with only this information. This also means the design bundle often is less of a document and more of a folder with multiple documents in it.

    Examples

    The Hobbyhorse Scenario
    by Nynne Søs Rasmussen

    This is a 3 hour short scenario larp that is available to print and play. It contains everything you need to know to run the scenario. From in-game info that could go into a gameplay design document like the scenes, to the broader parts that could go into a larp script like workshops. It also contains things that are relevant only to the facilitators/game master like how to game master the scenario and how to prep the room. Since it’s a free form scenario that means the players don’t have to read anything before. That means there is no need for a player hand book. All the players would need would be a blurb, a time and a place but the general info found in a player guide is still available for the facilitators/game masters. Since it’s a scenario larp for one game master it is a larp script as well as a full design document. But since there are no document with more overarching info I would call it a design document. 

    Krigshjärta (Warheart)

    Krigshjärta is a campaign that has been running for many years in Sweden. Like most campaign larps it has one overarching fictional universe but many different individual larps. It also has many different organizing groups that run larps in this fictional universe. A game design document here would need to include a campaign design document, a larp script for the specific larp, a player handbook and probably annotations. A runtime script or a gameplay design document could be included but are not necessary. Here the facilitators/game masters would probably also be the organizers. But this would not be a design bundle since each run is different and can have very different content and therefore the production parts and the larps script will be very different for each larp. If you would do a rerun of one of the larps, then you would instead create a design bundle.

    Just a Little Lovin’ Book

    by Anna Emilie Groth, Hanne “Hank” Grasmo, and Tor Kjetil Edland.

    This book is actually called Just a Little Lovin’ – the Larp Script. I would say this is not a larp script, it is more, it is a design bundle. It contains everything you need to organize the larp. Runtime design, framing, music, food, sleeping arrangements, articles and so on. It also has a list with checkboxes to tick off as you go along.

    Why Do We Need All These Versions and What is the Purpose of Them? 

    I would say a lot of the time we do not need to have all of these. Many larps are for example one offs and then you don’t need to put hours and hours into writing a design document that should be understandable by someone else. But for making a larp re-runnable you will need to document all of it in some form. You will probably never need all 8 but will pick what level you need depending on the larp. Many times you don’t need a freestanding overarching script with separate larp scripts for example. But there are also times when it can be very good to have it. Like when me and my colleague were supposed to run a larp while I was working at Lajvbyrån and I got sick and lost my voice the evening before. Then it was super good to have a larp script and an overarching script because then we could just ask someone to read one of the larp scripts and they could jump in. They didn’t need to read or know the overarching script since that could be handled by my colleague that also ran the other larp in parallel.

    The reason to separate the player info is because your players should get all the info they need but not more. If you give them all the info it will be hard to find what is actually relevant for them. If you have a plot written about finding a treasure you don’t give them the location because that is what the whole plot is about. The players also might not need to know the exact price of the rentable toilets because that is not what’s important to their experience (even if the fact that there are toilets there absolutely are). Even in games with full transparency not all players need to beforehand read exactly what workshop exercise that will be run pre-game and in what order. That just leads to information overload. And as a game master/facilitator you might want to have some freedom to run different workshops depending on how the group feels and what they need and then it can be better if not everyone has expectations on what should happen. 

    On the other hand there might also be information that needs to be in more than one place. Info about the world might be available in many places. This means that you might have to change info on multiple places if you do any changes late in the process which lead to extra work. My experience is that even if it can be a bit of extra work it is worth it. Having a clear structure helps with knowing where to make the changes and each document has a different purpose.

    So to conclude, depending on how you interact with the game you will need different information. As a head organizer there is a lot of info that you need that a runtime game master or a player doesn’t need. By having different documents it’s easier to share the relevant information with the right people. 

    References

    Krigshjärta. https://krigshjarta.com/

    Groth, Anna, Emilie, Hanne, “Hank” Grasmo, and Tor Kjetil Edland. 2021.  Just a Little Lovin – the Larp Script. Volvemál Grasmo.

    Rasmussen, Nynne Søs. 2018. Hobbyhorse. Available at: https://stockholmscenariofestival.files.wordpress.com/2018/11/hobbyhorse_english.pdf

    Cover Photo: Image by KOBU Agency on Unsplash.

  • Krigshjärta 7 – The Gamification of Nordic Fantasy Larp

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    Krigshjärta 7 – The Gamification of Nordic Fantasy Larp

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    Krigshjärta 7 was the latest addition to the Krigshjärta (Heart of War) campaign, a Swedish war larp campaign that has gained international recognition since its founding in 2006. The campaign uses a collectively developed renaissance low-fantasy fiction available online for public use. The main story follows the ongoing conflict between the capitalistic trade federation Gillet (The Guild) and the fascist-communist empire of Cordovien (Cordovia).

    The setting of Krigshjärta 7 was a small incursion into the Cordovian homeland by Guild special forces as part of a war over a natural resource known as Cordovium, required to cure a viral disease that was spreading all over the world. The scenario took place in the mining areas of Cordovia, where this resource is extracted, and focused primarily on holding and extracting this resource instead of eliminating the enemy force. All players played soldiers or civilians in attachment to one of the armies, each with a main camp for immersion-style role-playing.

    Both camps were separated from one another by a small game area used for combat, consisting of primarily wide open fields, a lake and some forested areas. At this game area three outposts and two minor bases were built and decorated to be used during the game as control points. The game attracted roughly 400 players and took place between Tuesday the 9th and Sunday the 14th of June 2015. Players were in-game around the clock between Wednesday lunch and Saturday afternoon.

    Swedish War Larp 101

    War larp in Sweden is not only widespread and grand, but a style that has rapidly grown in popularity during the last years. Where traditional Swedish fantasy larp generally avoids the international brand “Nordic larp”, major productions like Granland or Krigshjärta actively describes themselves as Nordic larp in order to attract international players. The style tries to uphold an immersionist tradition, while at the same time promoting gamistic elements like combat.

    Swedish war-larping has many similarities to Swedish fantasy-larping, primarily a long tradition of historical design and craftsmanship mixed with a strong culture of DIY. Both personal costumes and shared equipment (like tents, furniture and banners) are amongst many players’ top priorities.

    Because of this, Swedish fantasy-larping fields some of the highest-quality costumes and equipment available on the market today. Swedish war-larping is no different. At a Swedish war larp, the group is the organizational basis of the game. Groups create their own fiction and characters (though strictly within the bounds of the scenario) and are in charge of food, lodging and transportation as well as of all costumes and props. Because of this, most groups also play as a squad together. Most games have substantial demands on in-game tents and furniture being historically accurate, and generally do not offer an off-game camping site. Almost all games take place at locations in the wilderness. Organizers supply the overall scenario and fiction, the location as well as drinking water and sanitary solutions for all participants.

    Location, Location, Location!

    Traditionally, Swedish fantasy larp organizers look for a cheap location in order to save money, the result almost always being several logistical problems and a lot of gametime wasted taking care of easily solvable logistics like getting water or having to go very far to get to the bathroom. Sweden has also often had problems with large distances between the two camps, resulting in less action on the game area and long marching distances tiring the players. We wanted to change this. We rented a fantastic location with toilets and fresh water easily accessible all over the game area. A big lake alongside the entire area for in-game bathing, as well as off-game showers and electricity right by the camp. The area was a maximum of one square kilometer large, resulting in very short marching distances and the feeling that the enemy was always close by… Which they also were! We adapted the scenario accordingly, issuing a constant “hold the line”-order, allowing all squads to go into battle whenever they wanted – without having to wait for in-game orders from commanders.

    The Rejuvenation of Swedish War Larp

    Making Krigshjärta 7 we wanted to breathe new life into a scene that had been doing the same thing for ten years. We wanted to take a new look at the game design, so we did. To this end, the organisers recruited controversial game designer Hampus Ahlbom as well as the original founder of the campaign, Robin Berglund. The idea was to find a new approach to many of the common problems that had been plaguing Swedish war larps for years. We did.

    The first thing we realized was that the entire game was heavily reliant on players of in-game officers on both sides successfully synchronizing the time and place for battles using (literally) medieval methods that failed most of the time. Instead, we created a system where the players were required to occupy different control points at scheduled times, earning points if they succeeded. We put a lot of energy into informing the players about this and thus managed to create several “naturally occurring” times and locations for those who wanted combat. It worked wonders. We had at least three times as much combat as ever before, something that we had always wanted. When the officers no longer had to worry about synchronizing battles, they could suddenly focus more on role-playing and upholding the immersion in camp. We wanted to use this, and we also wanted to make the players feel and think that the in-game world was bigger than only the larp area. So we started using NPCs and missions.

    NPCs and Missions

    Four to five times a day the game masters would send in a mission to the in-game officers, usually one mission per side. The objectives were very specific, and if the mission was successful, the team was awarded points. The missions would arrive in the form of a printed off-game document with some short fictional information plus the time, the place and the mission objective. The officers would then use that information to create an in-game order, adding all the fiction and roleplaying required to uphold the illusion. A squad would be dispatched, which was limited to a certain amount of soldiers and armor in order to ensure that they met a balanced resistance whenever possible. As most players participated in the game as part of a squad, the goal was that each squad at the game would get to experience at least one mission. Many had two.

    The missions added an extra flavor to the game. This was partly because the players would almost always only encounter NPCs on the missions, thus adding to the illusion of there being a world outside the game area (new faces), but also because suddenly the game was more than just fighting the other side and hoping to win. The quests rarely had winning a battle as the objective – more often they were about rescuing someone, infiltrating a place or laying an ambush (and much more). The idea was to give the players a broader immersion into the life of a soldier. Because the missions were always created and performed by the game masters and NPCs we could guarantee a time and place to the players. As none of our NPCs participated in the actual game, but rather stayed in an off-game house when not performing missions – ready to act whenever required.

    Winning the Game

    For a long time Swedish fantasy-larping has frowned upon the concept of winning a larp, arguing that competitiveness creates friction and conflicts and that larp is an experience we create together.

    This works well until you involve large gamistic elements, where the will to win is a fundamental driving factor. Krigshjärta has always had an outspoken policy that one team can win the game, and traditionally this has been done by winning the final battle on the last day, thus ignoring all battles up until then. We thought this to be unfair and cheap.

    Instead, we created the system with control points to be controlled and missions to win. Players would generate points for their team (Gillet or Cordovien) and at the end of the game the winning team would be granted victory in the fiction. Winning a battle didn’t generate any points at all, thus making it possible to win all the battles but still lose the war. The result was a more fair competition, but it also made mastering not only combat but also logistics, endurance, speed and tactics necessary in order to win the game. The current score was updated several times a day throughout the game, and published at a discrete location in each camp. In the end the result was very close – with a victory for Cordovien.

    Conclusion

    One of the most important things to know is that this new, and somewhat controversial, game design was in no way mandatory for the players to use. We actually called it Krigshjärta Plus and presented it as an add-on to the traditional way of playing Krigshjärta. Players were free to use it (or not) as they pleased. That being said, the goal of the new game design was primarily three things:

    • To improve the quality and quantity of battles.
    • To solve off-game communication problems between the two sides.
    • To give players more control over their in-game experience, while at the same time maintaining the illusion of a military hierarchy.

    This makes the game design of Krigshjärta 7 different from many other game designs in the Nordic larp tradition, primarily because very little of it focused on improving roleplaying or character immersion. Instead, it was a game in the word’s more traditional meaning, with a clear set of rules for achieving victory, a scoreboard and a tactical scenario. By creating an in-game scenario with a constant in-game order (hold the line) we gave players the option of commandeering themselves into battle when they wished, without feeling that they betrayed the illusion by doing so. This was highly appreciated and saved many players a lot of downtime.

    By creating a clear set of rules for achieving victory, we ensured that the game was not dependent on off-game communication between the officers of both sides in order to synchronize battles. This left these players free to instead create bonus content that the game was not dependent on, for example focusing on maintaining and improving the in-game illusion. This removed a lot of off-game responsibility from the officer players, which led to an improved experience for both them and those playing soldiers.

    By using control points to generate points at specific times every day we managed to create a naturally occurring time and place for battle, so that those who wished to fight could do that without feeling that they were breaking the illusion. This made it possible for players to schedule their game, allowing them to plan festivities, heavy scenes or battles for themselves in good time. This allowed each player to have a broader playing style, being able to focus on different play during the game – without having the threat of an alarm constantly hanging over them.

    The game design was a huge success and is already influencing future war games being created, both in Sweden and abroad.

    Krigshjärta 7 (Heart of War 7)

    Credits: Hampus Ahlbom, Robin Berglund, Peter Edgar and Maria Rodén.

    Dates: June 9–14, 2015

    Location: Kopparbo, Västmanlands län. Sweden.

    Duration: 3.5 days in-game. 5 days with workshops.

    Participants: 400

    Participation Fee: €50, €70 or €100, depending on income.

    Game Mechanics: Immersive camp game and gamistic wargame

    Website: http://www.krigshjarta7.com/

    This article was initially published in The Nordic Larp Yearbook 2015 published by Rollespilsakademiet and edited by Charles Bo Nielsen, Erik Sonne Georg, et al.

    Cover photo: Battle ensues (play, Kalle Burbeck).

  • Krigshjärta Campaign Trailer

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    Krigshjärta Campaign Trailer

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    Krigshjärta (Heart of War) is a Swedish low fantasy larp campaign centered around a large scale conflict. Though it is combat heavy, it’s quite different from American style combat heavy fantasy larps. Check out their campaign trailer here:

    Read more on their website (in Swedish):
    http://krigshjarta.com/