Tag: spolu/sami

  • together/alone – Searching for a Soulmate in Summer Prague

    Published on

    in

    together/alone – Searching for a Soulmate in Summer Prague

    Written by

    spolu/sami (in English: together/alone) was a game about ordinary people in present-day Prague. The larp
    was lyric, melancholic, atmospheric, and authentic.  It was about friendship, love, life, and things that really matter.
     The characters were asking themselves “Can we be happy when we find our soulmate?” The game was created through
    workshops during one weekend and played on the following weekend.  It used the whole city as a scene – streets, parks,
    cafés, and flats. The game had neither a main plot, nor events common for all characters, except for the ending
    location. We gave players guidance through the workshops, a theme, structure, and most importantly the feeling of the
    game.

    There is an English version of the Design Document and a Workshop
    manual published
    with this article. That is everything you need to run the larp and we will be truly pleased if
    you use them. And even happier if you let us know about it. Please keep the difference between Czech play culture and
    yours in mind and adapt the materials accordingly.

    Collective Creation

    The decision to create the game through workshops was based on several reasons. Firstly, we wanted players to play the
    characters as everyday people in everyday situations. It is easier to do this with close-to-home characters created by
    the players themselves to suit them. Secondly, we were aiming at authenticity. We supported players in including their
    experiences into their own characters or inspiring other players. Also, as the game mechanics were rather hardcore, it
    was important for the players to meet each other before the game. This gave them the opportunity to design the
    relationships of  their characters with respect to the other players and their personal sympathy.

    Saša’s last text message to Pavel after he broke up with her. She pushed his hand off when he
    tried to hug her on their last meeting.

    “I don’t remember when you hugged me last time. I would like to remember it.”

    It was important to us to ensure that the players would leave the workshops with a clear picture of their characters,
    relationships, and plots . Therefore we prepared the Book which contained worksheets for a number of workshop exercises.
     It helped players to note, concretize, and stabilize their ideas. The game on the second weekend was played completely
    in-character. No further metagame communication, except of safety techniques, was allowed.

    Everyday Play

    We believe that the designers should not only give content to the players (it doesn’t matter if they create it directly
    or provide tools for its creation), but they should also tell them how to play the game. A few words of instructions are
    able to change a larp entirely. Just imagine what would happen with the last game you have played, if the author told
    the players before it started “It is a comedy larp. Play it that way.”

    We went even further in spolu/sami. We instructed players not only how to play the game but also how to act
    within it. We used a concept of everyday play which perfectly suits the vision of this particular larp. We believe that
    everyday play brings both esthetical and functional quality. It is challenging for players in all forms: as actors, as
    creators, and as spectators. As actors they are asked for subtle, natural, detailed acting (high resolution). Everyday
    play leads players to use all existing means of expression. As creators they have to work out how to portray characters
    and their stories in hints only. The aim was to avoid literality. The players were continuously deciding what to say and
    what should stay untold. The things you don’t say are often more important than what you do say. As spectators they need
    to read between lines and to interpret the behavior of other players.

    In-game photo by Dominika Kovarovičová
    In-game photo by Dominika Kovarovičová

    We believe that everyday play looks more authentic and it supports immersion of players. The game itself is set in an
    absolutely authentic setting. Almost everything could be (and should be) interpreted within the game. We believe that
    the most vulnerable place which may break a player’s immersion is interaction with another player, in this particular
    game. And everyday play makes the interface between the game and the reality as seamless as possible.

    Of course, there are limitations connected to this approach. The player is able to play only things which he is able to
    portray authentically. The player can’t fake a cry –  a fake cry is still a fake cry in the game reality. And we put
    further limitations within the game ourselves because of safety (intimacy techniques) or playability (key partner rule).

    Freedom

    The players alone were responsible for the believability and consistency of the characters. We emphasize the freedom of
    creation and possibility to change any aspect of the character anytime. As mentioned above, the players created the
    character, its development or meetings with other characters, in workshops. But everything could be changed to better
    suit the actual situation within the game. If anything pre-agreed didn’t make sense, the player could simply leave it
    out or alternate it.

    Night talks on Messenger with a friend.

    Šimon: Well, I have been on a night walk with Saša. Do you know her?

    and and

    well

    I kind of ran away, you know

    I mean

    I am really attracted to her

    but I can’t do that because of Nikola

    but Nikola is supposed to be home like now

    and she still didn’t come

    (…)

    Alžběta: Well, Nikola was sitting in the subway next to Karel and it seemed to me that the party was just
    about to begin.

    (…)

    Alžběta: Are you okay? You say that you are okay at first but you are silent now and that’s not a good
    sign.

    She went for a drink with him and she pulled out a bottle of wine, I don’t think that she is cheating on
    you

    But I know it still can make you miserable”

    Everything that the co-players do during the second weekend is interpreted as an action of the character, not the
    player. If a player didn’t come to a pre-agreed meeting, the character is blamed, not the player. The co-player may send
    them an angry text message or call another character worrying about them. Everything what happened or did not happen
    affects the game that follows.

    Internal Conflict and Key Partner

    It is easy to get lost in such large creative freedom. Therefore, we provided the players with a clear guide and game
    development structure. We set the main topic of the game: “Can we be happy when we find our soulmate?” Based on the
    topic, each player set an internal conflict of the character, which we called the Problem. The Problem affects the
    character in everyday life, no matter if they know about it or not. It was crucial that the conflict was truly internal
    and independent of external impulses. We wanted characters to struggle with themselves, not with each other or the game.

    The manifestations and changes of the Problem were prepared by the players during the workshop weekend as well. The
    changes of the Problem were shown (directly or indirectly) in interaction with the Key Partner.  The rule of the Key
    Partner was the only concession we made on players’ freedom. The game was so fluid that we worried about its
    playability. We wanted to avoid a situation in which the player is not able to play the game. Or more precisely, a
    situation in which there is nobody to play the game with. Therefore, each player chose one Key Partner who had  to
    follow their crucial pre-game agreements and meetings. The rule enabled playing the game in rough contours even if
    everything else were to go wrong.

    Facebook Interlude

    The players created a closed Facebook network with their characters and relationships, between the first and the second
    weekend.  They  were asked to set up the character’s profile, the character’s key life moments, and write at least one
    post every day. They could also comment on the posts of their in-game friends. All Facebook communication was in-game as
    well.

    Our goal was to bridge the gap between weekends and give the players a reason to think about the character every day. It
    worked great. The in-game digital microcosmos was quickly established. It allowed players to internalise who is who, how
    they behave, and who knows whom. Facebook was used during the second weekend for in-game communication as well.
    Unexpectedly, it also became the most important source of information about the game for us, the organizers.

    Intimacy

    In-game photo by Markéta Haladová
    In-game photo by Markéta Haladová

    Intimacy is an inseparable part of the vast majority of romantic relationships. We knew that it would be an important
    part of the game. We had done a lot of research about intimacy mechanics before the game. The authenticity of the larp
    brought us naturally to the option with minimum simulation techniques. The majority of intimate expressions were used as
    they are. A kiss was a kiss and a French kiss was a French kiss. We introduced a technique for simulation of sex which
    was a French kiss in a situation where the partners are shirtless (corsets, bras and similar stay on). The players’
    safety and comfort was crucial for us. And because  the mechanics were rather hardcore we set several safety rules.

    Safety Mechanics

    We distinguished four intimacy levels: kiss on the cheek (starting level), kiss on the lips, French kiss and sex. If
    players wanted to move up a level, they asked a partner for permission by double-tapping them with a hand. If the
    partner agreed, they responded by another double-tap. It was necessary to get this agreement for every increase of
    intimacy level, and separately for every intimate contact.

    The players registered themselves in groups of four. This rule should ensure that everybody had co-players with whom are
    ok to play the mechanics. As the relationships were created in the workshops, the players could easily chose what they
    will play with whom. Of course, the players had to discuss their personal intimacy levels and preferences: and they were
    able to lower the intimacy mechanics’ levels.

    Argument on Messenger, after a live argument.

    Šimon: dead phone, it was ringing when I called at half past two

    I wish you wouldn’t pull the wool over my eyes

    Nikola: And if I told you that I just wanted to be switched off? Would it be better for you?

    Šimon: and you just want to be switched off?

    just go away at night

    without me

    However, it was forbidden to raise the level of intimacy. We have strictly forbidden real sex during the game even
    between real off-game partners. The rule should prevent the hypothetical situation when the game partner believes that
    manifestations of affection are real and they would want more. The no sex rule is clearly saying that such behavior
    cannot be considered as a part of the game (it is out of the magic circle) and it has to be stopped. Last but not least,
    the Cut safety rule could be used.

    Based on the after-game questionnaire, we can say that the intimacy mechanics worked quite well. A number of players
    appreciated the possibility to agree on other than the default mechanics with a specific partner. In several cases
    players didn’t need to use any mechanics in the game. At least three players used the sex mechanic as it was designed
    and they were happy with it. Several players mentioned that they stopped using the double-tap rule during the game with
    a specific partner. But they used it again if they played intimacy with another player.

    Acknowledgement

    We would like to thank many people. The players, translators, photographers… But also, we want to thank a number of
    people who inspire us by their work. Who spent a tremendous number of hours writing articles, editing books and
    websites, sharing their thoughts on conferences, and talking in pubs with foreigners. The following ones inspired us
    deeply: Dance Macabre (which was inspired by In Fair Verona), On the Road and a great chat with
    Kamil Bartzak. Of course, The Workshop Handbook and also Blue-print of Agerlund by Jesper
    Heebøll-Christensen, article on High Resolution Larping by
    Andie Nordgren and many, many others.

    Thank you. It makes sense.

    Aftermath

    If you are interested in a player’s view on spolu/sami, you can check the review by Jakub Balhar.

    We are thrilled that Rolling will use the adapted workshops of the larp for Zusammen/ Sami/ Sudetenland.


    spolu/sami (together/alone)

    Authors: Kamil Buchtík, Lucka Chlumská
    Translation: Zevla Zevlová, Kamil Buchtík and others
    Proofreading: Crian Shields
    Date: first run June 11-12 and 17-18, 2016
    Location: Prague, Czech Republic
    Length: 27 hours 1st and 25 hours 2nd weekend
    Players: designed for 16 to 36 players, played by 21 players
    Budget: CZK 6,300 (EUR 230)
    Participation Fee: CZK 300 (EUR 11)
    Website: http://spolusami.larpy.cz/

    Ludography

    Kamil Bartczak and Aleksandra Ososińska, On the Road (Poland: 2015).

    Tue Beck Saarie and Jasper Bruun, In Fair Verona (Denmark: 2010).

    Mikuláš Bryan, Kateřina Holendová, and Monika Kadaňková, et al., Dance Macabre (Czech Republic: 2012).

    David František Wagner, Lucie Chlumská, and Severin Rast, et al., Zusammen/ Sami/ Sudetenland (Czech Republic,
    Germany: 2017).

    Jesper Heebøll-Christensen, Elisabeth Nørresø Haase, and Sanne Harder, Agerlund (Denmark: 2009).

    Peter Schønnemann Andreasen, Kristoffer Thurøe, and Mathias Kromann, et al., Totem (Denmark: 2007).


    Cover photo: together/alone (promo photo by Hana Maturová)