Last weekend at Geek 2017, I played Sarcophagus, a Nordic LARP (Live Action Roleplay). LARP, as we know it today, grew out of the international popularity of Dungeons and Dragons and other tabletop roleplaying games. It didn’t take long, in the late seventies and early eighties, for people to start making costumes out of blankets and swords out of camping mats and gaffer tape, to take the game away from the table and into the real world. Indeed, I played in one of the first commercial LARPs, Treasure Trap at Peckforton Castle.
People still do that of course, and the weapons have become better made, safer and more “realistic” in their design (with in the spiky aesthetic of fantasy illustration). LARP is not limited to high fantasy genres either. In the nineties there was an explosion of gothic LARP in the US, with people playing communities of Vampires. Any world can be recreated in LARP form, even the real one.
The popularity of LARPing in Scandinavia, led to style/variant with its own name, Nordic Larp (note, in this form, Larp has become a word in its own right, no longer an acronym). This style has gained an international reputation for attempting something more than recreating fantasy adventures, exploring its possibilities as an art form in its own right. Similarly, the form often eschews external, procedural adventures in favour of exploring internal, emotional struggles.
Thus it was that I, and a dozen or so other players (though we’ll return to the ideas of games and players shortly), signed up to a five hour experience that would involve us being locked up in a nuclear bunker with no hope of escape. The players ranged from Larp virgins to experienced Larpers from Belarus, a Canadian musician, lecturers and students. (Three of us are doing PhDs.) We weren’t in that bunker the whole five hours though, and given that I’m writing this, you’ll understand we were let out. But this isn’t like an Escape room game, where we have limited time to solve the puzzles and find a way out, neither is any of us expected to win by becoming the king of a post-apocalyptic society. (Though, as we’ll see, my character might have thought so.) In fact its arguably not a game at all. Our facilitator, artist Adam James, kept correcting himself when he used the word game, explaining that his Larping mentor disapproved of it. So we are not players in a game, but rather players in an improvised drama, and not just the players but the audience as well. Indeed, Adam defined larp as an artform where the participants and the audience are one and the same. (Which is something Robin Laws used to say about tabletop roleplaying games, though he’s had to drop that definition as the streaming of such games on Twitch and YouTube has become more and more popular.)
The object of Sarcophagus is not to escape or win, but to explore the five stages of grief, as modeled by psychiatrist Elisabeth Kübler-Ross in her book On Death and Dying. First all though we had to work out who we were.
The preparation took a couple of hours in itself, with Adam explaining Larp, running us through some improvisation exercises and helping us create a character for ourselves. To begin with, he littered the briefing room with pictures, some large (A3) some small. Some abstract, some figurative, some photographs, some drawings. Adam encouraged us to walk among them, pick them up, and see if any of them inspired thoughts about who we might be.
I latched upon a couple, a medieval drawing of a ploughman and a dead bird which may have been trussed into some sort of totem, and imagined the pastural post-apocalyptic fantasies of my youth, things like John Christopher’s Tripods and Sword of the Spirits trilogies, the seventies BBC series Survivors, and Riddley Walker (which is set very close to where we were playing). What about a character who’d actually looked forward to the end of the world, I thought, a character who’d foolishly imagined a clearing away of everything what was wrong with the world, and a return to simpler, purer times. Of course he would be disappointed, Adam had made it clear that we’d know we wouldn’t even survive long enough to see the nuclear winter, let alone a new Garden of Eden.
Talking about it with other players, I imagined that my character might be rather reactionary, not necessarily well liked. Then Adam passed around a “hat” with little slips of paper listing the jobs we might have had before we found ourselves in the bunker. We found out we were hairdressers, waiters, sailors, stockbrokers and gym teachers. I pulled out “politician” and everything fell into place. I didn’t once mention the word UKIP once, indeed I painted myself as someone who, like Churchill, had moved between parties, but everyone knew exactly what sort of politician I had been. We also got to pick a flaw out of the hat. I ended up an alcoholic, though frankly I felt politician was enough of a flaw.
Then we split into two groups. One of people that wanted close connections with other player’s characters (for example, sisters), and a slightly smaller group who preferred thinner, looser connections. I went with the second, thinking many will have seen my politician on television, but few would know me well. We workshopped our connections, the gym teacher had taught my children, the security guard was someone I ignored on the way into the gated community to lived in, neighbour to the stockbroker, and the waiter was the rebellious son of wealthy donors to my political campaign.
Some more improvisation followed, this time walking as our characters, in different situations. Then after a break, and some meditation on what the world would be like if we died today, we met up outside the Bunker for one last improvisation workshop before going into (in this case) as reconstruction of a WWII Anderson shelter. Adam asked us to find a position to start then read out a short introduction:
11:27—Radio and TV broadcasts are interrupted by breaking news. Brussels and Copenhagen have been hit by large explosions.
11:31—Unconfirmed sources report that the blasts may be nuclear explosions.
11:33—Similar explosions are reported in Paris, Stockholm and Dublin.
11:37—A black helicopter lands on the roof of the prime minister’s office in
11:38—Associated Press confirms that Copenhagen has been hit by a nuclear explosion.
11:40—The air alarm goes off in London. Most people haven’t heard the news and just think it is an exercise. A few run to the shelters.
11:41—TV and radio transmissions are jammed.
And we begin. I won’t go too much into what happened, every version is different. Suffice to say, my politician tried to build a power-base in within the group, before properly realising the hopelessness of the situation, and even then trying to get people to like him – I’d managed to keep my bottle of booze (creme soda) secret until, hopeless, I shared what was left to curry favour. The only scripted moments were that introduction above, the lights going out in three phases before ending in darkness, and one event that one of the players is previously given guidance on timing. Note the importance even in this mostly improvised story, of having kernels – events that happen in order, even if its only the lights failing and the (spoilers!) event.
Afterwards there was a (vital) debrief session, almost a decompression chamber. We had time to get happy again, and use to the light of day and discussed how our story developed. Adam observed that we hadn’t quite entered the depression stage when he had to bring it to its conclusion, and I thought we hadn’t quite had time. I felt my character had been bargaining to the last, and was teetering on the brink of depression when Adam came through with the torch and rounded us up. I was about to say something to that effect when Adam let slip that we were meant to spend four hours, not two in the bunker.
Due to constraints of the day, we always knew we were only going to have two hours, but I would have liked to have played the longer stint if it were possible. And of course it is! If I get to play again, it will be a totally different experience. I won’t be a politician again, maybe I’ll be a historian, or hairdresser, and the stor(ies) will be, even if the lights still go out and “the event” happens as before.
I even thought about playing it in the bunker that the National Trust owns, on Orford Ness. Now, that would be cool.