Tag: Solnedgång

  • Hinterland: Playing to Really Lose

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    Hinterland: Playing to Really Lose

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    In the year 2013, the Swedish midsummer idyll is shattered to pieces when Russia suddenly attacks. A war without winners commences, followed by the deadly epidemic called Rosen (the Rose). In refugee camps around the country, tens of thousands die from starvation, violence and sickness. Three years after that first fatal bombing night, the gates to Kolsjön’s refugee camp finally fall and a small group of survivors find their way out into what was once Sweden.

    Makeshift protection from disease (play, Sebastian Utbult).Thus begins Berättelsefrämjandet’s Hinterland, the most recent larp of the Solnedgång campaign. I participated in the second run of two, together with 45 other larpers who also decided that a “hardcore sandbox larp in a post-apocalyptic setting” was just right (although that might sound intimidating, several first time larpers participated and reportedly had a blast). However, I’d rather like to create the new category called “survival larp,” and label Hinterland as that.

    The instructions from the organizers were clear: don’t bring stuff! The entire packing list encompassed a water bottle, something to eat out of, and possibly some personal memorabilia. Food had to be found in-game, as did sleeping gear and heat sources. After the first run of the larp, the amount of findable food had been adjusted and reduced to make it too scarce for everyone to be fed at the same time. The strong or the cunning survived.

    The safety aspect was of course carefully planned on the organizers’ part. For example, there was always enough water for everyone, and sandwiches and a bed in the off-game house. Just knowing this existed calmed a lot of people, and for me it meant that I never had to use it: I was perfectly safe in knowing that the option was there while we tested new larp limits.

    Thou Shalt Readily Steal

    One of the strongest taboos of all in larping is to never steal people’s food or sleeping gear. Hinterland went outside the box even here and encouraged stealing these things in order to emphasize the sense of scarcity, vulnerability, and exposure. Before the larp, several participants mentioned how hard it was going to be to steal someone’s food or let someone freeze at night. What helped me in momentarily shutting down my off-game moral compass was the common agreement we’d all accepted when signing up for the larp. We were prepared for rough times, for being hungry and cold, and we wanted to experience that.

    Trying to survive (play, Sebastian Utbult).During the larp, there was indeed some sneaking and stealing, but I think it could have been expanded even further. One culprit turned out to be, somewhat surprisingly, the Swedish freedom to roam. It was clear that this part of Swedish culture provides us with knowledge and access to food at all times without us considering it as special, something that one of the foreign participants noted in wonder:

    And then I saw people starting to pick grass, and I thought that I hope they’re not going to eat… Yes, they’re eating it.

    Another culprit was the “niceness trap”, which was discussed briefly prior to the larp albeit hard to avoid. It’s much nicer if everyone is happy: we are supposed to share, we are supposed to meta-think that it will be too much for someone if they don’t get lunch. A big push in the right, individualistic direction came when a group of raiders robbed us of everything they could find – including the iron stove in one of the houses! When 46 people own 3 blankets instead of 50, the situation is suddenly quite different.

    Control of the Sandbox

    The larp was labelled as sandbox, i.e. very little control and guidance came from the organizers, while the participants were free to create the story they wanted. The location itself also offered “physical sandboxing” as several houses set for full renovation, entailing lots of scrap, were at the larpers’ disposal. To be able to break windows, smash furniture, and steal anything not nailed down really added to the immersion in a larp like this.

    Raiders using dogs to terrorize the refugees (play, Olle Nyman).While it can be really hard as an organizer to let players be “bored” during a larp, this was crucial to the Hinterland experience. Long periods of downtime and a low-speed larp in general offered both opportunities for processing, fine-tuned play and internal misery. Also, downtime made the action-filled elements much stronger as they became a sudden contrast to the low pace. A few occurrences of NPC groups (Non-Player Characters) appeared to stir the player pot, where the example of raiders has been mentioned above and others were the national forces or neighbouring farmers.

    The use of dogs as a terror and power aspect with the NPCs worked excellently. It’s a physical trigger both visibly and audibly, and at the same time it touches upon fears tied to survival even off-game. Naturally, the dogs must be well trained and the players must act safely around them at all times. Hinterland had clear rules regarding this. The character creation process also included a common memory for all characters of leaving the camp and getting past the guard dogs, which made the dogs easy and believable triggers that enabled strong play.

    There was some guidance apart from the NPC elements. A small number of players from run 1 participated during run  2 with the explicit function of being able to escalate the play or increase hardships if the story became too “cozy”. Their characters could also vanish from play earlier than Sunday, which I think gave a deeper emotional game than otherwise, since people lost friends and were simultaneously reminded that no one was safe. The organizers had instructed us in the dramaturgic curve of the larp as well, which ranged from cooperation during Friday to breakdown during Sunday. That aided me in steering some of the choices I made, even if that was a more subtle kind of guidance.

    1, 2, 3, Gulp!

    A comforting hug (play, Sebastian Utbult).A large part of the larp circulated around the deadly disease Rosen. To determine who was infected during the course of the weekend, the organizers had created a system of “disease pills”. At run 2, we got three pills each to be taken continuously on Saturday. If the pill contained sugar, we were healthy, but if it contained salt, we had been infected. It was up to us as players to determine how fast we wanted to act out the passage of the disease and if we wanted our characters to die on Sunday. According to the organizers, 10 out of the 46 participants were randomly selected for infection, and I was one of them.

    The pills didn’t exist in-game; they were a meta thing only added for guiding the game. I took my first pill with tense expectation; it felt fun in the same way as opening a lottery ticket does. Sugar! My second pill, a few hours later, was taken with palpable anxiety and clenched stomach. Salt. Instinctively, I tried to deny the taste up until the capsule broke and the entire dosage fell out on my tongue. As I had decided not to play sick prior to the game, this was a surprising turn for me that, thanks to its quite physical instruction, really gave me the entire journey from denial to despair  –  and death. I can definitely see this technique being used in other situations where a “higher power” randomly decides the outcome of characters.

    The Mental Steps

    For a larp with such heavy themes as Hinterland’s, pre- and post- work is important. On Friday, there were mandatory workshops focused on character identity and physical play, as well as a measure of relation building. Afterward, a few of us discussed the lack of more psychological play in workshops. Today, physical play gets more and more incorporated in most larps, including a pre-set basic level of it. Even at larps where the focus is not on physical violence, it usually gets a disproportionate amount of time during workshops. Techniques for psychological oppression, on the other hand, are scarcely represented in instructions and exercises despite the fact that they offer great depth for characters and relations. During Hinterland, which was a low-speed larp as opposed to an action larp, more psychological play between characters would have fit perfectly.

    Casualites of the plague (play, Sebastian Utbult).After the larp, a mandatory longer debrief was held for all participants. The motivation that even if you yourself don’t need a debrief, you’ve been part of someone else’s story that might need debriefing, was spot-on to me. My view of the debrief techniques was that they emanated from the thought that one had had a very strong experience during the larp and that one had to return step by step. This didn’t suit everyone, but better to originate with those who need it most than least. On the other hand, several participants felt stressed by having to stay while they themselves were not comfortable with the debrief methods. That might have been remedied by presenting more info on this before the larp, and a more structured organization of the clean-up that followed after debrief. To be able to start fiddling with things gives a sense of doing something relevant and not just waiting.

    The function of “debrief buddies” becomes more frequent in relation to larps nowadays, and is a technique I appreciate. Many along with me find it hard to tell how they were affected immediately after the larp ends, and the worst bleed often appears a few days later. To have a check-up booked with someone who was there is something I find sensible and is a safety aspect I welcome. However, I’m not sure that I think that debrief buddies should be appointed randomly, as they were here, considering that the mission is to handle heavier reactions (which means a kind of exposure). On my part, I’d like to have someone I at least interacted with during the larp, in order to have a sense of who the other person is in our common context.

    Effects After the Game

    A shallow grave (play, Olle Nyman).It’s fascinating how much you can let yourself be affected during just one weekend. It helps, of course, to be mentally prepared, to go with the idea of experiencing vulnerability and harsh living conditions. Still, many reactions turned out surprisingly strong afterwards, especially when it came to food and property.

    When you’ve been on your knees in the gravel picking up seeds of rice fallen out of the raiders’ stolen goods, when you’ve gone to sleep with a piece of a curtain as a blanket, when you’ve lost everything you owned and realize that the most important item was the broken bottle you used for water… Then, other perspectives suddenly become apparent in our off-game Sweden.

    I see how the gas station screams at me with hundreds of labels and items, how the servings at the restaurant are enormous and how we throw away that which could have fed lots of people for days. I realize how many things I own that have no value when it comes to survival. And how safe we are, really, in this society we were lucky enough to arrive in. I’m ashamed by the privilege of being able to “pretend” to suffer and live rough during a short while, just to return to my own reality without persecution, war, and hate.

    And at the same time, I’m eternally grateful for all the insights I gain, because that makes me better, makes me be better as a person in a world where resources really are too few and far between. I think that for each person who goes through a larp like Hinterland, the level of understanding in the world increases a little. And that, dear fellow larpers, is huge.

    Post-larp workshop for leaving your character behind (post-game, Sebastian Utbult).

    Hinterland

    Credits: Main designers and producers were Olle Nyman, Sebastian Utbult & Erik Stormark, for Berättelsefrämjandet. Co-produced by Karin Edman & Simon Svensson, with the help of Andreas Sigfridsson, Helen Stark and Ida Eberg.
    Date: May 8–10, 2015 & May 22–24, 2015
    Location: Private land (abandoned 19th century farm) near Kopparberg, Sweden
    Length: 40 hours of play, 3–4 hours of workshop (per run)
    Players: 83 (max 50 per run) + NPCs
    Budget: ~€7,000 (Proceeds were donated to Ingen människa är illegal/No One is Illegal)
    Participation Fee: €50–€250 (depending on income), €80 for a standard ticket
    Game Mechanics: Honor System, playing to lose, safewords, pre-larp workshop, act structure, blank-firing firearms & blank weapons, meta-techniques (opt in).
    Website: http://beratta.org/hinterland
    Trailer:


    Cover photo: Players scraping up spilled rice from the ground (play, Olle Nyman). Other photos by Sebastian Utbult and Olle Nyman.

  • Hinterland: Design for Real Knives and Misery

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    Hinterland: Design for Real Knives and Misery

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    Hinterland was a Swedish post-apocalyptic larp about refugees and disease. It was language-neutral, in effect meaning that people did their best to switch to whichever language was most inclusive for the players present in any given scene. What follows is my personal take as a player on some aspects of its design, and in particular on the way it used real weapons and real physical misery.

    The raiders have left, taking most of our scavenged food and blankets with them. Now a group is checking everyone for Rosen (“The Rose”, the deadly infectious disease spreading among the refugees). I’m slowly removing my stinking shirt and jacket when I see it, the tell-tale symptom: a bleeding rash on my stomach. God, please, no…

    Physical Misery

    Refugees sleep in an abandoned house (play, Sebastian Utbult).
    Hinterland was pretty hardcore. In it, players took on the roles of exhausted refugees in a post-nuclear war, plague-ridden Sweden for 48 hours. They could not bring any food with them, and organizers provided very little. Even this was partly taken from them by NPC raiders, along with most of their blankets (temperatures dropped to about 5°C at night). Characters then fought over what was left, stealing anything unguarded.

    Organizers encouraged those who felt that digging for one meal a day and shivering in their dirty rags wasn’t hardcore enough to “play to lose harder,” for example by finding an excuse to sleep in a leaky barn instead of staying in the main house. As a result, many players were actually cold, hungry and tired.

    This was of course the whole point, as I perceive that one of Hinterland’s aims was to make participants experience the life of a refugee for two days. This facet of the larp was akin to agendas of other games, such as Last Will (where you can play a slave) or Just a Little Lovin’ (where you can play a gay person). Even though the organizers more or less explicitly stated their objective (in particular during the debrief discussion topics), one didn’t have to engage in political discussion around the larp to enjoy it. Personally though, I found it a pretty cool and effective way of getting the point across.

    Players milling around after the game (post-game, Sebastian Utbult).But back to the misery! So how do you get people to play along so far into hardcore-land? The trick, I feel, is the presence of a safety net: if at any time, a player felt they had had enough (too cold, hungry, stressed), they could just head off to a designated off-game area for a meal and warm bed. Apart from a few caffeine-addicts, no one actually made use of this possibility on the run I attended (the larp was played twice). But knowing it was there made many of us feel safe when “playing to lose our food” or stealing someone’s blanket.

    The system is not foolproof, of course. Just like safety words, all sorts of things can still go wrong. But I personally found the safety-net approach to hardcore misery to be simple and effective. Not only did people agree to get pushed into something closer – if naturally not equivalent – to what a refugee might experience, but it also created an improved framework for dramatic play. Things which are powerful topics for conflictual scenes, but are in many larps not to be messed with (especially not all at the same time), were fair game here, knowing yourself and the other player had this safety net to fall back on: getting thrown out of the only warm place to sleep, hiding a can of rice while others are hungry, etc.

    As I stumble towards the barn, coughing blood, I notice the sign planted in the middle of the road. On the torn-off plank, the moonlight reveals crude letters hastily drawn in charcoal: ROSEN. All I can do is stand there and stare at it, shivering in my dirty blanket.

    So, No Boffer Weapons, Huh?

    A sign warning about Rosen (The Rose), the plague killing off  the refugees (play, Sebastian Utbult).Most weapons used by the characters were knives or tools, such as old pitchforks for example. Real, sharp ones, that is, not the boffer versions. This made for a very immersive experience; after all, nothing looks more like a rusty blade or a metal club than the actual thing.

    Of course, this meant that anything beyond threats was almost impossible, for safety reasons. Armed fighting needed to be very carefully planned, and even then, it was limited to things like “a deadly stab in the back.” This, in turn, meant that weapons in Hinterland were more a way to control or influence people and situations than actual fighting tools, thus serving the larp’s narrativist agenda. It might seem surprising, but when properly workshopped, real knives mean more drama.

    It’s been some time since I’ve traded our last scraps of food for painkillers. People are leaving, saying goodbye, while someone strokes my hair. Dying bodies lie crumpled on the ground. Enya, how I wish you were here… I’m floating away…

    Conclusion

    Having a safety net allows players to “go harder”. This can be interesting for its own sake. It’s also a smart design move for larps that rely on getting participants out of their comfort zone to make a political point. Hinterland is a prime example of this, making people experience some of the hardships faced by refugees.

    The other main design lesson for me here was the use of real weapons. While initially surprising, it’s a great way of shifting a larp’s focus from actual fighting to drama; with the added bonus of looking good.

    Workshop to let go of character (post-game, Sebastian Utbult).

    Hinterland

    Credits: Main designers and producers were Olle Nyman, Sebastian Utbult & Erik Stormark, for Berättelsefrämjandet. Co-produced by Karin Edman & Simon Svensson, with the help of Andreas Sigfridsson, Helen Stark and Ida Eberg.
    Date: May 8–10, 2015 & May 22–24, 2015
    Location: Private land (abandoned 19th century farm) near Kopparberg, Sweden
    Length: 40 hours of play, 3–4 hours of workshop (per run)
    Players: 83 (max 50 per run) + NPCs
    Budget: ~€7,000 (Proceeds were donated to Ingen människa är illegal/No One is Illegal)
    Participation Fee: €50–€250 (depending on income), €80 for a standard ticket
    Game Mechanics: Honor System, playing to lose, safewords, pre-larp workshop, act structure, blank-firing firearms & blank weapons, meta-techniques (opt in).
    Website: http://beratta.org/hinterland


    Cover photo: Bandits raid the refugee camp (play, Sebastian Utbult).