THEMEThis is a larp about feelings of comfort andsafety pitched against the necessity to leave thesource of these emotions behind. Dealing with
the question of leaving the familiar or staying
behind, the larp moves from the fantastic to theeveryday in three scenarios, a remote pseudomedieval village facing a plague, a postapocalyptic shelter running out of resources,
and a single room, in which the different mental
and emotional faculties of a single person are
faced with suddenly diminishing comfort. How
would you choose? The known threat or the
unknown salvation?

FACTS

VILLAGE,SHELTER,COMFORT
Escape from Comfort Larp

Genre: Abstract to absurd realism
Duration: 5.5 hours
Actual play time: 3.5 hours
Number of participants (min-max): 3-7 (always
an odd number)
Number of organisers: 2
Workload: Medium
Possible locations: Black box, gallery,classroom, conference room
Equipment: Some small items (chains, pins,
sashes) to differentiate players; a laptop
Playing style: Realistic, but with plenty of
improvisation
Food and drink: Some snacks and water

LARPWRIGHT
Björn-Ole Kamm

IN COOPERATION WITH
Kōhei Katō, FOST, CLOSS Larp
Material available at www.b-ok.de

TABLE OF CONTENTS
Parameters of the Larp

1

General Overview
The Faders
Structure and Timeline
General Rules, Methods, and Techniques
Practical Setup

1
3
4
5
6

Workshop8

Pre-Exercise

9Self-Intro Walk

9

Scenario Take-Off and Landing

10

Soft Take-Off
Soft Landing
Scene Start and Change

10
11
12

Scenario 1: The Village

13

Scene 1-1: A Pleasant Life
Scene 1-2: A Threat
Scene 1-3: Evaluation
Scene 1-4: Escalation
Scene 1-5: The Catastrophe
Scene 1-6: A Resolution?

14
15
16
17
18
19

Scenario 2: The Shelter

20

Scene 2-1: The Conflict
Scene 2-2: The Community
Scene 2-3: The Council
Scene 2-4: The Rumour
Scene 2-5: The Revelation
Scene 2-6: The Vote

21
22
23
24
25
26

Scenario 3: The Room

27

Scene 3-1: Reflections
Scene 3-2: Bliss
Scene 3-3: Something Amiss
Scene 3-4: Realisations

29
30
31
32

i

Scene 3-5: Social Worker
Scene 3-6: Break Down
Scene 3-7: Reversal

33
34
35

Debriefing

36

Characters

37

Scenario 1 Player Characters
Scenario 1 Non-Player Character
Scenario 2 Player Characters
Scenario 2 Non-Player Characters
Scenario 3 Player Characters
Scenario 3 Non-Player Characters

39
43
44
48
50
54

Appendix

56

ii

PARAMETERS OF THE LARP
1. General Overview
2. Tendencies regarding setting, transparency, style etc. in accordancewith the Faders of the Mixing Desk of Larp.
3. The structure and timeline of the larp.
4. General rules governing the whole larp.
5. The practical setup before the larp.

General Overview
This larp is not about making the correct decision, gaining a level or winning. It
is about collaboratively creating a story and experiencing a given dilemma.
The dilemma is that of being caught in a decision for which neither choice
is desirable: Staying where one fears diminishing comforts if not a threat to
one’s life, or leaving this familiar, if not loved space and set out into an
unknown, frightening world. This larp was designed to make the lifeworlds ofhikikomori, people who have withdrawn from society for a prolonged time,
experienceable to others, at least to some degree. Thus, the debriefing after
the play is an important, if not the most important part of this larp.
The play is divided into three “parallel” scenarios, in which the basic
dilemma is the same but the details differ. The characters in each scenario“speak to” the characters in the others, which means that players have achance to experience the dilemma through each scenario from a slightly
different perspective.
Scenario 1: The players are the elders of a small, remote village. Envision amedieval town, located in Europe or maybe rural Asia. Their ancestors havebuilt the village at this far-away place to get away from the immoral anddangerous larger settlements. Sometimes travellers or merchants passthrough but rarely. Through hard work the villagers have created a petite
paradise on Earth for themselves and they enjoy the fruit of their labour
happily.
Suddenly, they must decide how to deal with a threat to this perfectcommunity. Should they stay or leave everything they and their forefathers
have worked for? While they seek a solution, the danger becomes more andmore serious.

1This scenario pitches the characters against an immediate threat to theirlives. While the other elders can influence the Mayor, he or she is blessed by
the villager’s faith or has some deity’s mandate so that they usually defer toher or his judgment.
Scenario 2: The players are members of an elected council that governs the
supposedly last group of surviving humans in an underground shelter. This isa post-apocalyptic world, after a great war involving nuclear weapons or aplanet-wide catastrophe. The shelter provides security, air, food and some
comforts but is a harsh realm. Its legal code knows only capital punishment,
regardless of how insignificant a crime may seem. As the shelter’s space islimited, the council continues to enforce a one-child-policy. During their council
sessions the members have to judge two inhabitants charged with a crime.
There is no immediate danger but an issue arises that will affect the longterm survival of the human race. Will they stay and deal with the problem
however they must or do they seek a solution outside the shelter?
The council makes decision on a majority basis with the chairperson as atie-breaker.
Scenario 3: The players are the various mental and emotional faculties of asingle person, living in absolute bliss within the four walls of their single room.
These personae spend their – or better forget – time by playing games or
surfing the internet, chatting with friends online. Supported by the parents, thislifestyle has continued for a while, with infrequent interruptions of an online
order being delivered or a social worker dropping by.
One day, the person in this room, however, faces with suddenly
diminishing comfort. Will the individual go out into the unknown world beyondin the hope of finding comfort there or stay in a space known that might
continuously lose its appeal?
Only the dominant persona can interact with the surroundings during ascene, the others are “just” voices in the head.
The third scenario includes a seventh, final scene and offers two play
options. Further, it might need the most improvisation on the organiser’s partin the end.
Each scenario begins and ends “softly,” meaning there will be a slow
countdown and not an abrupt start. Between scenarios players receive some2break time, pick characters for the next scenario and plan its basic aspects(e.g., name and size of the village, age of the single person in the room).
Debriefing: The debriefing should begin with a short round of immediate
reactions and then include a longer discussion about the experiences.

The Faders
See the “Mixing Desk of Larp.”1
1. Openness (Transparency vs. secrecy)
The general course of events during the larp – what is going to happen andwhat will be the main issue – will be disclosed to all participants. All players
should have the same amount of information as grounds for theirimprovisation.
That this is a “hikikomori larp” or that this is in the background of thegame, however, should not feature so much in the beginning but might bediscussed during the debrief.
2. Scenography (360-degree illusion vs. minimalism)
The larp can be played in a black box with only minimal props (listed undereach scenario overview). If so desired, much more sophisticated decorations
and costumes can be used to (possibly) intensify immersion.
3. Character Creation Responsibility (Organizer vs. player)
The organiser sets the basic parameter of each character but players flesh
them out during the pre-workshop and during the larp.
4. Runtime Game Mastering (Active vs. passive)
The organisers announce the change of scenes and describe what eachscene is about but the players are mostly free in handling what happens
during a scene. Some scenes involve NPCs.

5. Story Engine (Collaborativity vs. competivity)

1

https://nordiclarp.org/wiki/The_Mixing_Desk_of_Larp

3

The players have to find a shard solution to the problems they are faced with
but until a compromise is reached, the discussion and interaction may be quite
competitive.
6. Loyalty to Setting (Playability vs. plausibility)
The basic tone of the larp is abstract or absurd realism. That is, it asks for a
realistic portrayal of characters, motives and emotions in slightly abstract,
fantastic or otherworldly situations.
7. Bleed-in (Close to home vs. differentiation)
The larp will begin in a setting that is rather fantastic or otherworldly but will
come closer to the player’s everyday with each scenario.
8. Communication Style (Physical vs. verbal)
This is open to the players and should be decided before play commences:
Are they all comfortable with physical interaction, such as touching or evencaressing? Especially, the last scenario encourages physical closeness.
However, the larp can be played in a mostly verbal manner.
9. Representation of Theme (Abstraction vs. simulation)
The larp tends towards abstract representations of atmosphere and mood andless towards realism.
10. Meta-techniques (Intrusive vs. discrete)
The larp uses a flashback scene in one scenario and employs the techniqueof “bowing out” if a player feels their comfort zone is challenged. The whole
third scenario could be seen as a meta-technique as the players play different
mental faculties of one person, in essence playing out the inner monologue of
this person.
11. Player Pressure (Hardcore vs. pretence)
There will be no physical exhaustion or torture but the discussions canbecome quite heated and emotional.

Structure and Timeline
1. Workshop• Larp presentation and scenario information• Explain rules, methods, and techniques• Character distribution(45-60 min)4

2. Playing the Larp
• Play each scenario (3 x 45-60 min)• Have 10 min breaks between each scenario
3. Debriefing• Talk about the experience (30-45 min)General Rules, Methods, and Techniques
Cut and brake. These are the fundamental rules of any larp that deals withheavy themes and involves physical play. Any player can at any time say“cut!” if they feel that their physical or mental boundaries have been crossed.
All play around them should stop and the person should be made comfortable.
Do not start to play again before that player says it is OK or has left the playarea. Do not ask why they cut, as this may be very personal.
If a player does not feel that their boundaries have been crossed yet, butthey are afraid that they will, they can say “brake!” The players around themshould then back off a little and give the player a chance to play themselves
out of the situation (cited from Larps from the Factory).
For more info on emotional safety, see Fatland, Eirik. 2013. ‘Notes on
Kutt, Brems and Emotional Safety’. The Larpwright.
http://larpwright.efatland.com/?p=339.
Bow-out. Instead of using “cut” or “brake” to stop or change the play if aplayer’s comfort zone is threatened, players may exit a scene by “bowing out.”
The player holds a hand in front of his or her face, bows the head a little, tries
to ensure that the other players have seen her or him so doing, and leaves.
This signals the other players that one “has seen enough” as a player but
does not want to interrupt their flow and concurrently makes sure that it is theplayer leaving and not the character.
For more on this meta-technique, see Koljonen, Johanna. 2016. ‘Toolkit:
Let’s Name This Baby! (Bow-Out Mechanics)’. Safety in Larp.
https://participationsafety.wordpress.com/2016/05/30/toolkit-lets-name-thisbaby-bow-out-mechanics.
What you say happened, happened. During the game players will have toimprovise, for example, relation statuses to other characters, past5

experiences, what a law says, or the like. If a scene description mentions
unnamed persons, such as “two villagers,” it is up to the players to come up
with names and relations to those persons. If a character thus names such aperson or brings up a past experience, for example, the other players have toaccept this and engage with what has been said – they may nuance, however,what another character told. Take the persona “Memory” from the scenario
The Room: If “Memory” reminds “Psyche,” that they have been horriblybullied during high school, then this is true. The person in The Room has had
this past experience. However, “Psyche” – or any other persona – may build
on and/or amend such statements (“Yes, I was bullied but in hindsight, I also
did some things that probably seemed strange to other kids”).
Be nice to and tolerant of other people’s improvisation. This is very important
to emphasise, so the players feel comfortable with improvising facts andstories about their own or other characters. It is not important whether
characters tell the same story about their relationship, the important thing isthat a story is told.

Practical Setup
The following setup presumes that the larp is played in its most “simple,” thatis the black box version, where everything happens in a single room and mostelements are representational, such as props. For a more realistic setup, buildon these basic recommendations.
Many tools (e.g., a map, representations of produce and food, sound effects)
are available at www.b-ok.de or with direct links listed in the Appendix).
Scenario 1: The Village• a single room with one or several tables, chairs or sofas, arranged like atavern or parlour• some cups and water to represent “drinks”• some (electrical) candle lights for lighting• insignia, such as mayoral collars or brooches, for the village elders• a generic map of the village
Scenario 2: The Shelter• a single room with a table and chairs, arranged like a meeting room
• if possible, arrange in u-form (so that the “criminals” can face the whole
council)• name table-tags or function table-tags (“Chairperson”)

6

•
•
•
•
•

pins or brooches of office for the councila brooch, hat or other item to designate the officer NPC
a book or pad of law
handcuffs for the thief and the accused parent
either real produce or a representation for the market

Scenario 3: The Room
• a single room with many (floor) cushions• a laptop (incl. some prepared websites)• colourful sashes for the mental faculties• a token for the dominant persona• a tray, some snacks• either real food recourses or a representation
All Scenarios• some music or sound effect to be used for scene transitions and scene
conclusions

7

WORKSHOP
1. Larp Presentation and Scenario Information
Brief overview of the larp and its three scenarios.
2. Rules, Methods, and Techniques
Explain the basic rules and techniques used during this larp, first and foremost“cut” and “brake.”Ask the players if they understood your explanation.
3. Character Distribution
Hand out the characters for each scenario, one at a time. Let the players
suggest, which characters they want to play.
Give them time to come up with names and let them think about how to playtheir character of choice.
4. Pre-start Exercise...some play to get into character before the first scenario.

8PRE-EXERCISE
Self-Intro Walk
Let the players walk around the room as if they were on a stroll. Wheneverthey encounter another player, they should introduce themselves and make astatement about the relationship with that character (this can be connected to
the “Relationship Spark” given on the character sheet but must not necessarily
relate to it).
For example, the Mayor could say:“Greetings, I am Jean Doe, the Mayor of this village. My
niece Jane is married to you and I enjoy the shared family
dinners once in a while.”
The other player then has to repeat this statement from their perspective:“Greetings, you are Jean Doe, the Mayor. I am married toyour niece Jane and you enjoy our shared dinners once ina while.”To continue with their self-introduction:“I am Mai Muster, a Farmer. We often have arguments
about how to run this village.”
Finally, the first player reseats this statement, too:
“You are Mai Muster, a Farmer, with whom I often havearguments about the villages’s affairs.”
Now both say heir goodbyes and move on to the next conversation.
All players should encounter each other in this way before the first scenario
starts.
Note: Scene 2-2 works in a similar way but is less structured.

9

SCENARIO TAKE-OFF AND LANDING
Read the following countdown before (“take-off”) and after (“landing”) eachscenario. Use only the appropriate word in the square bracket [ ], for example,“village” when you guide the players into the first scenario, “shelter,” when into
the second.

Soft Take-Off
You will now listen to my voice.
My voice will help you and guide you still deeper into [the village/theshelter/the room].
Every time you hear my voice, with every word and every number, you willenter a still deeper layer, open, relaxed and receptive.
I shall now count from one to ten.
On the count of ten, you will be in [the village/the shelter/the room].
I say one.
And as you focus your attention entirely on my voice, you will slowly begin torelax.
Two.
Your hands and your fingers are getting warmer and heavier.
Three.
The warmth is spreading through your arms to your shoulders and your neck.
Four.
Your feet and your legs get heavier.
Five.
The warmth is spreading to the whole of your body.
On six I want you to go deeper.
I say six.
And the whole of your relaxed body is slowly beginning to sink.
Seven.
You go deeper and deeper and deeper.

10Eight.
On every breath you take you go deeper.
Nine.
You are floating.
On the mental count of ten you will be in [the village/the shelter/the room].
Be there at ten.
I say ten.

Soft Landing
You will again listen to my voice.
My voice will guide you out of [the village/the shelter/the room].
Every time you hear my voice, with every word and every number, you willenter a still higher layer, awake, and energised.
I shall now count from one to ten.
On the count of ten, you will be out of [the village/the shelter/the room].
I say one.
And as you focus entirely on my voice, you will slowly begin to become more
awake.
Two.
Your hands and your fingers are getting energised and become lighter.
Three.
The energy is spreading through your arms to your shoulders and your neck.
Four.
Your feet and your legs get lighter.
Five.
The energy is spreading to the whole of your body.
On six I want you to go higher.
I say six.
And the whole of your relaxed body is slowly beginning to rise.
Seven.

11

You go higher and higher and higher.
Eight.
On every breath you take you go higher.
Nine.
You are soaring.
On the mental count of ten you will be out of [the village/the shelter/the room].
Be out at ten.
I say ten.

Scene Start and Change
Each scenario and scene provide you, the organizer, with a general overview,mood, scene and character goals and other information that should help you
run them. You do not have to stick to them, see them as guidelines andhelpful tools. If the players do things that make scene obsolete, just improvise
the same way they do.
Before each scene read the “Description” to the players and let them play out
the scene until the condition given under “Scene End” is met or the specified
time is coming to an end. Adjust the “Description” to what has happened
before (e.g. if the players improvised in scenario 1 that only a certain livestock
was infected, add “the disease has spread also to other animals” to either
scene 1-4 or 1-5; if the players ignore the laptop and the router in scenario 3,
either read the alternative description or improvise one matching their play).
Approx. 2 minutes before you end the scene, play the “scene end sound”
appropriate for the scenario (available at www.b-ok.de). Then, play the soundagain once the time is up and dim the lights (if possible). Read the next
“Description.” If it was the last scene of that scenario, play the “scenario end
sound” (a heartbeat) instead, and close with the “Soft Landing.”

12

SCENARIO 1: THE VILLAGE
Overview and Setting
The elders of a small, isolated village have to decide how they deal with athreat to their community. Should they stay or leave everything they and theirforefathers have worked for? While they seek a solution, the danger becomes
more and more serious.
Mood: The players should feel immediate threat and fear for their lives.
Scenario Timeline
Enjoying the pleasant life in their village, preparing for the harvest festival, thecommunity is shocked by the outbreak of a deadly plague. The village elders
come together to debate how they should respond to the threat in several
meetings, when suddenly not only livestock but also humans are affected. The
destruction of the village appears imminent and so the elders have to decidequickly what to do.
The scenario encompasses six scenes, each of which may take 5-10 minutes.
The scenes switch between meetings of the elders and conversations withother villagers.
Minimal Props
Symbols of office for each elder (brooches, chains or the like), some cups fordrinks for the meetings, a map of the village.
Scenario Preparation
Ask the participants to co-design their village: What is its name? How large isit (geographically, demographically)? What is their religion/faith/customs?
Remind them that the mayor may be elected but has the blessing of their faithand thus is relatively powerful (the other elders may question the mayor andvoice their options but defer to the mayor’s decisions in the end).

13

Scene 1-1: A Pleasant Life
Overview
The characters sit in a tavern or outside on a porch and talk about theirvillage.
Description“After a day’s work you have gathered in the village’s tavern to relax with afew pints and enjoy the fruits of your labour. You talk about how great
everything is in your village and also discuss a little the upcoming harvest
festival.”
Scene Goals or Function
This scene works as an exposition, introducing the characters to the“audience” (=each other), establishing how they relate to each other, andestablishes how perfect the village life is.
Scene End
The players should receive about 10 minutes to get to know their charactersand settle in. Once you think they feel “at home,” end the scene by leading
into the next scene through the arrival of the NPC.

14

Scene 1-2: A Threat
Overview
The characters learn of a severe threat to their village and everything they
have worked for.
Description“The tranquility of your evening conversation is suddenly disturbed whenanother villager rushes towards you. First, you doubt what you are presented
with.”
Scene Goals or Function
This scene sets the stage for the main conflict: The characters learn of the firstsigns of a strange disease killing livestock, which might become a severe
threat to their village. The other villager seeks to convince the elders of theseverity and urges them to action.
NPC Interaction
Villager: Directly after the scene begins, rush towards the elders and exclaim:“Elders, a terrible disease has stricken our village!” Try to convince at least
two elders to follow you to the dead animals.
You may use the map to show the elders where the animals are.
Character Goals
The characters first want to deny that anything bad could have happened.
Scene EndThe scene ends once at least two players decide to follow the NPC to see forthemselves.

15

Scene 1-3: Evaluation
Overview
The characters saw with their own eyes the effect of the disease and have toevaluate the threat to the village.
Description“You have now seen the effects of the disease with your own eyes andgrudgingly accepted that it poses a threat to the village. As the elders it is now
your task to evaluate the situation and find ways to contain the problem.”
Scene Goals or Function
This scene works as a short reprieve, a break before the storm hits. The
characters should feel a certain degree of control, that they can manage thethreat. This should ease their tension and give the next scene, when the threat
escalates, more impact.
Character Goals
The characters want to face the threat quickly and seek to contain it.
Scene EndThe scene ends once the players have decided on a course of action.

16

Scene 1-4: Escalation
Overview
The villagers have worked hard to isolate and contain the threat and it seemedthat they succeeded. Soon, however, the situation worsened extremely.
Description“You and the whole village have laboured hard to isolate the disease. A few
days have passed and the threat seemed contained. This morning, however,
you woke to cries of alarm: More livestock, far away from the previous
contamination and in large number, was found succumbing to the disease.”
Scene Goals or Function
This scene builds the groundwork for the catastrophic climax. Faced with thisescalation, the characters are forced to realise that they might not be able tomanage the problem. They should still have hope. One or two other villagers
might suggest solutions.
Character Goals
Despite the odds the characters still seek a way to rescue the village.
Scene EndThe scene ends, once the players have decided on what to do next.

17

Scene 1-5: The Catastrophe
Overview
After working hard to keep the threat contained, the village must learn that
also humans are affected by the disease.
Description“You have sweated and worked hard isolating sick or dead livestock, killingand burning many animals. Exhausted beyond your limits, the next blow hits
you harder than you could have imagined: Three villagers are found dead,four more show signs of the disease.”
Scene Goals or Function
This scene should hammer in the inevitability of the situation: The village islost and the characters should suffer all the emotions that come with thisrealisation.
Scene EndThe scene ends after 5-10 minutes when the players have played the horror of
their situation. Then lead over to the next one.

18

Scene 1-6: A Resolution?
Overview
The last scene is the space for the Mayor’s decision about the future of thevillage and its inhabitants.
Description“Other villagers approach you asking to be allowed to leave the village forgood, while another wishes to seek outside help but remain in the village. As
all eyes are upon you, the elders, the Mayor has to decide what is going tohappen next.”
Scene Goals or Function
This scene leads to the final decision. The characters face two options,represented by those villagers who want to leave and those who still keep thehope alive that this can be overcome.
Character Goals
The characters want a final call on the question if they should stay or abandon
the village.
NPC Interaction
Villager 1 & 2: One will ask the elders to stay in the village and face the threat(maybe get help from outside), while the other implores them to leave
immediately and flee. After about 5 minutes the NPCs seek to push the elders
and the Mayor to a decision.
Scene EndThe scene ends, once the Mayor has decided what shall be done or after amaximum of 10 minutes (marked by playing the “scene ends” sound after
which the players have another minute to conclude). The players won’t learn if
their choice had positive or negative results.

19

SCENARIO 2: THE SHELTER
Overview and Setting
The council of the supposedly last surviving group of humans learns of athreat to their underground shelter. There is no immediate danger but thisissue will affect the long-term survival of the human race. Will they stay anddeal with the problem however they must or do they seek a solution outside
the shelter?
Mood: Less immediate danger, this scenario deals with the moral issue ofremaining in the shelter.
Scenario Timeline
This scenario starts right with the conflict, that food production will not sufficein the near future, to be followed by a flashback to a time when all was well.
Over the course of six scenes (5-10 mins each), the council meets several
times to discuss the issue, meet with other people, to in the end decide if they
stay or send a group of people outside.
Minimal Props
Brooches for each council member symbolising their status, cuffs for the two
accused inhabitants, a book of law.
Scenario Preparation
Ask the participants to co-design their shelter: What was the catastrophe that
led humanity to flee the surface? How large is the shelter (how many people
live there)?
Remind them that the council is democratically elected and equally makes
decisions based on the majority of votes of council members. The
chairperson, though, can break ties if necessary.

20

Scene 2-1: The Conflict
Overview
During a council meeting an officer suddenly hauls in a shelter inhabitant who
has stolen food.
Description“You are sitting in council, discussing the smaller or larger issues of the
shelter community, when abruptly the tedious boredom of this task isinterrupted. An officer delivers a supposed thief to you who has hidden large
amounts of food. What shall be done with him?”
Scene Goals or Function
This scene exposes the characters directly to the conflict of their shelter, thatfood supply is no longer secure – it might be enough for some more years but
not indefinitely. The scene establishes the precariousness of their situation.
NPC Interaction
Officer: Directly after the scene begins, enter with the thief. “Esteemed
council, during a routine maintenance workers just discovered a huge amountof food hidden away under this thief’s room flooring. S/he says s/he just saved
from her rations but there is just too much. What shall be done with him/her?”Thief: Hauled before the council, defend yourself. “They are exaggerating! I
just did not eat all my rations.” “Calculations by the bursar clearly show that ina few years food will not be enough for all of us. I just took precautions!”
Scene EndThe scene ends after max. 10 min when the officer excuses him-/herself ass/he has to return to the crime scene.

21Scene 2-2: The Community
Overview
This is a flashback: The characters mingle in an open area and enjoy the
produce showcased in the market of their community.
Description“This is a flashback: You are frolicking in the market cave of your community,
exchanging greetings, some of you also looking for groceries, others justtaking a stroll.”
Scene Goals or Function
This scene works as getting-to-know space where the characters may tell alittle bit about themselves and enjoy the plenty of their community.
NPC Interaction
Vendor: Interact a little with the council and offer them your produce.
Scene End
The players should receive about 10 minutes to get to know their charactersand settle into their relationship with the others. Once they seem to enjoy theircommunity, cut the scene suddenly and lead over to the next.

22

Scene 2-3: The Council
Overview
The council meeting continues and its members have to decide not only what
to do with the thief but how to address the larger issue.
Description“You relinquish your memories of your strolls through the shelter and thecommunity you felt there. Back in the present, you face the task of dealing
with the particular criminal but also with the question if there are others andthe prognosis of your food supply.”
Scene Goals or Function
This scene opens the discussion among the council members. They should
see this as a minor problem, something with which they have dealt before, butalso feel that there might loom a larger problem in the background.
Scene EndThe scene ends once the players have decided on a course of action, or once
10 minutes have passed. If they did not come to a decision, lead into the next
scene directly through the request by the officer. If they came to a decision,
introduce the next seen with “Several days later.”23

Scene 2-4: The Rumour
Overview
The characters are confronted with rumours about insufficient food supply.
Description“You thought to have dealt with the problem of food hoarders. The
investigations were sloppy apparently and people started to talk about issuesof supply and unrest is spreading.”
Scene Goals or Function
This scene should put pressure on the characters. It should still appear like amanageable interruption of routine and not yet as an existential threat.
Character Goals
A bit more restless themselves, the characters seek to be done with this issue
as soon as possible.
NPC Interaction
Officer: Deliver news of unrest amongst the populace. “Somehow people
learned of the thief’s case and now rumours abound that we are soon out offood. I will return to the force and try to keep things calm. But I ask you toaddress this problem.” Leaves directly afterwards.
Scene EndThe scene ends after max. 10 min when the officer hauls in another criminal.

24

Scene 2-5: The Revelation
Overview
As a result of their search for others hiding food another revelation unsettles
the council.
Description“You are called together for another meeting of criminal justice: An inhabitant
has been found guilty of having a second child, threatening the foundations of
population control.”
Scene Goals or Function
This scene should make visible on which precarious grounds the shelter’scommunity is built and that in the long run its inhabitants have to leave. The
characters should suffer the burden of deciding the future of their world.
NPC Interaction
Officer: Directly after the scene begins, enter with the accused parent.
“Esteemed council, during our search for more people hiding food, we
encountered this inhabitant. S/he already has a child but is having anotherone. What shall be done with her/him?”
Accused Parent: Hauled before the council, defend yourself. “I have not done
anything wrong. This is a child who will be born out of love. Does the council
criminalise love?”
Scene EndThe scene ends after max. 10 min when the officer excuses him-/herself ass/he has to return to his/her duties.

25

Scene 2-6: The Vote
Overview
In this last scene, the council has to vote on the future of their shelteredcommunity.
Description“After word spread of the newest case, you have been pressured to come to adecision concerning the strategic plans for the community. You have
convened to discuss the future and vote on the shelter’s path.”
Scene Goals or Function
This scene leads to the final decision. The characters face several options,either to conservatively uphold their laws and hoping for the best or to seekout new possibilities by leaving the shelter.
Character Goals
The characters want a final call on the question if they should continue as
always or if they should abandon their rules and find new ways.
NPC Interaction
Officer: Enter after about five minutes and ask the council for a decisionbecause the people outside are becoming more and more restless. If thecouncil has questions, make up appropriate answers.
Scene EndThe scene ends, once the council has voted on what shall be done or after amaximum of 10 minutes (marked by playing the “scene ends” sound after
which the players have another minute to conclude). The players won’t learn if
their choice had positive or negative results.

26

SCENARIO 3: THE ROOM
Overview and Setting
Living in absolute bliss within the four walls of their room, the different mental
and emotional faculties of a single person are faced with suddenly diminishing
comfort. Will the individual go out into the unknown world beyond in the hopeof finding comfort there or stay in a space known that might continuously lose
its appeal?
Mood: Increasing unease about the situation, doubt, but no immediate harm.
Scenario Timeline
In the beginning, everything is well, even though the personas are briefly
reminded of their reason to withdraw. The person receives food and support
from outside but over the course of seven scenes (5-10 mins each), these
comforts are one by one stripped away. In the end, the mind has to decide if it
wants to live with this diminished comfort or leave.
Play Variants
This scenario may be played differently to the previous two. Variant A)
matches the set-up of the other scenarios in that sense that the decision
power rests solely with Consciousness throughout play. In Variant B) thispower rotates between the persona and a different faculty is dominant in eachscene.
A) Consciousness is the only dominant persona that can interact with theoutside world (talk to NPCs, engage the laptop, open doors etc.). The otherpersona interact with Consciousness and each other to persuade the rest of
taking — or not taking — a certain action.
B) In each scene another persona is dominant, reflecting the person’schanging moods and feelings. The first three scenes are assigned to aparticular persona. After this initial play, the current dominant persona decides
who is dominant in the next scene by passing on the token to a persona of
their choosing. Each persona has to be dominant at least once before thecycle can begin anew and a persona may be dominant again.
Variant B) in particular makes it hard to predict what kind of path the person in
the room will follow. Thus, the last scenes are open for different directions andmay need complete improvisation on the organiser’s part. Still, when it
becomes clear that the person has made a decision (to stay or to leave, toopen the door just a little etc.) end the scenario at this point.

27

Minimal Props
Sashes in different colours for each persona (cf. colour wheel), a laptop, a tray
for imagined or real food.
Scenario Preparation
Ask the participants to envision the person whose inner monologue they will
be playing: How old is the person? What is their name and gender? How istheir relationship to the parent(s)? What is the name of and the relationshipwith the social worker? Leave the reason for the withdrawal to be played in thefirst scene.
Remind the participants that only the dominant persona can interact with thesurroundings during a scene, the others are “just” voices in the head.

28

Scene 3-1: Reflections
Overview
The person stumbles upon something that jolts them into remembering why
they went into the room.
Dominant Persona: Memory.
Description“You were searching for something – a picture, a snack, or a cheat sheet foran old game you wanted to play again – and by chance opened an old folder
or inadvertently clicked on an old file which contained something that forces
you to remember why you went and stayed in your room.”
Scene Goals or Function
This exposition should create the foundation for the motivation and direction of
the following scenes.
Scene EndThe scene ends after max. 10 min when the personas had time to (re-) create
the reason for them being in the room.

29

Scene 3-2: Bliss
Overview
Everything is just perfect within the four walls of the room. The personas may
enjoy this bliss.
Dominant Persona: Consciousness.
Description“You are living in the perfect room, stuffed with everything you need. Yourhigh speed internet connection gives you access to the world, friends, andonline delivery - right to your doorstep.”
Scene Goals or Function
This scene should create a sense of harmony, that everything is alright as it isand that this bliss will continue indefinitely.
NPC Interaction
Parent: During the scene, a parent delivers food. “I put the tray with yourdinner right outside the door, pick it up while it is still warm, okay? Oh, andyour Amazon package has arrived, I will bring it up later when I come tocollect the tray.”
Chat Buddies: Throughout all scenes, interact with the person, ask or answer
questions.
Scene EndThe scene ends after max. 10 min when the personas had time to mingle, to
eat dinner, and relax.

30

Scene 3-3: Something Amiss
Overview
After some time, the personas realise that the parent never came back.
Dominant Persona: Curiosity.
Description“Time has passed. You do not know how much, but you suddenly realise thatyour parent never came back to collect the tray. And did not bring the package
as was promised. How do you deal with their absence?”
Scene Goals or Function
This scene introduces the first crack in the perfect world that is the Room.
Character Goals
The personas will interact with the situation as is their function within thecharacter, seeking to avoid the question of looking what has happened
outside.
Scene EndThe scene ends once the personas had time to exchange their ideas andconcerns (up to 10 min).

31

Scene 3-4: Realisations
Overview
Faced with this unusual situation, the personas check what resources they
have left, only to realise that their favourites are missing.
Description“You felt the sudden urge to check your rations of water, drinks, food, andsnacks. Going through your stash you realise that you have enough foodstuffs
for the next days but that all your favourites have been consumed already.
Their replacements were in the online delivery that was never brought to yourRoom.”
Scene Goals or Function
The scene should create some degree of security but also imply the necessitythat the personas might have to leave their abode at some point in the future.
Character Goals
Increasingly worried, the character seeks assurances that they can remain in
their Room.
Scene EndThe scene ends once the personas appear to have reached anunderstanding, whether to remain or leave the Room. Either way, they areinterrupted by a knock at the door and the next scene.

32Scene 3-5: Social Worker
Overview
A “rental sister” or another social worker interrupts the personas’
contemplations but is reluctant to stay.
Description“Suddenly someone knocks at your door.”
Scene Goals or Function
This scene should give the character a sense that really something strange isgoing on.
Character Goals
The character may not really want to let the social worker in but would like tolearn from him/her what is going on outside.
NPC Interaction
Social Worker: “Hey. It’s me. I just wanted to check if you are ok.”Any questions concerning the parents will be deflected. S/he vehemently
refuses to enter the room. After a while s/he will become agitated and leaves.
Scene EndThe scene ends a few minutes after the social worker has left.

33

Scene 3-6: Break Down
Overview
First, the internet connection will become slow. Soon it breaks down
completely.
Description“You want to check the news if something is going on outside only to be
confronted with extremely slow downstream speeds.”
Scene Goals or Function
This scene should deal the ultimate blow: Now even the Internet hasabandoned the character, especially once the connection breaks down
completely.
Character Goals
The character seeks to reestablish the Internet connection and thus, a reason
to stay in the room.
NPC Interaction
The provided laptop comes with some links to locally hosted sites, such as therouter webadmin, where the character may try to restart the router. If
necessary, let the chat buddies suggest a restart directly.
See the Appendix for details.
Scene EndThe scene ends when the character has restarted the router. If the players
ignore the laptop or the router problem, let the scene end after a few minutes.

34

Scene 3-7: Reversal
Overview
In this last scene, the dominant persona listens to the other faculties andweighs their arguments for staying or leaving.
Description
Read the appropriate description depending on the previous play:“The re-established Internet connection lifts your mood to some degree
but you cannot be sure that this won’t happen again. Something is going onon the outside and you have to decide if you stay within the security of your
Room or explore the unfamiliar world beyond its door.”“Unsure if you can trust your senses, you become aware of your parents
talking somewhere else in the house. This realisation lifts your mood to somedegree but you cannot be sure that they won’t disappear again. You have todecide if you stay within the security of your Room or explore the unfamiliar
world beyond its door.

Scene Goals or Function
This final scene is the space for the character to decide about its future in the
Room.
Character Goals
The character wants to settle the question if remaining in the room is aworking solution.
Scene EndThe scene ends the moment the character has made a decision to stay in theroom or go outside, or after a maximum of 10 minutes (marked by playing the“scene ends” sound after which the players have another minute to conclude).

35

DEBRIEFING
1. Immediate Reactions
Do a round in which all players get to say something very short about theexperience and their immediate reactions.
2. Discussion
Then transition to letting people talk freely. Look around for the people who
obviously have something to say, but won’t scream to get heard. Make sureeverybody gets to express themselves.
3. After-Party (optional)
If you have a possibility to continue afterwards, it is our experience that people
use this to have a good time and continue reflecting about the experience.

36

CHARACTERS
These are brief outlines for possible characters in each scenario.
Characters marked with an asterisk * are the three basic roles needed for a
scenario, all the others are optional and should be added in accordance with
the number of players participating.
The genders of all characters are undetermined. Thus, “they/them” is used asa pronoun in the following descriptions.
The characters “speak to each other” across scenarios, that is, a characterfrom the first scenario will share some attributes, aspects or functions with acharacter from each of the other two scenarios. This means they are notequivalent or can be reduced to a singular archetype. Still, playing these
related characters may result in quite similar experiences. For example, theMayor, the Chairperson, and Consciousness, all can more or less directly
decide in the end what should be done (in scenario 3, this depends on thechosen play variant). The Farmer, the Doctor, and Curiosity, all share atendency to explore. For players to gain different experiences andperspectives, we suggest to rotate these related characters (so that notalways the same player must make the final judgment call, for example).
Scenario 1
The Mayor*
The Priest*
The Farmer*
The Smith
The Potter
The Watchman
The Weaver

Scenario 2
The Chairperson*
The Survivor*
The Doctor*
The Commissioner
The Youngster
The Bursar
The Architect

Scenario 3
Consciousness*
Memory*Curiosity*
ReasonHopeIntuition
Apprehension

Besides the decision-making roles in Scenarios 1 and 2, the other characterscome in oppositional pairs in the sense that one of each pair tends to support
leaving, while the other tends to vote for staying. This tendency may, ofcourse, change during the game. These pairs can be switched, keeping thesetendencies in mind (so, the Youngster can be paired with the Bursar instead of
the Commissioner if there are five players, but pairing them with the Architectshould be avoided). The oppositions are introduced as an element of conflictfor the larp.

37

In Scenario 3, the oppositions are not so much based on the tendency toleave or stay but on outlook and perspective. Reason, for example, will favour
leaving if it is provided with facts that support this direction, staying if they donot. Intuition on the other hand will go with its gut feeling no matter the facts.
Still, the right column persona probably tend more to staying then leaving,while especially Curiosity and Hope may give the world outside a chancemore easily then the other persona would.
Oppositional Pairs
The Farmer
The Potter
The Weaver

The Priest
The Smith
The Watchman

The Doctor
The Youngster
The Architect

The Survivor
The Commissioner
The Bursar

Curiosity
Intuition
Hope

MemoryReasonApprehension

Relationship Sparks
Each character of Scenario 1 and 2 have a “Relationship Spark,” a suggestion
for a relationship with one other character. These sparks are just that, small
suggestions. Players may follow them, build on them, or ignore them as theysee fit.

Note
You may print the characters as they are given here. For easy printing, findthe character sheets also online here:
www.b-ok.de/download/VSC_Larp_Characters_print_en.pdf

38

Scenario 1 Playe r Ch arac ters

The Mayor*
The Village__________________________________
Character Name

Description
You are the mayor of the village and head of a family that originally founded
the settlement. You may listen to what other elders of the village may have tosay but in the end, you have the blessing of the village’s faith and thus you are
granted the position to decide what is best for the community.
Personality and Goals
Conservative, old fashioned, a little arrogant. Likes to keep things as they are.
Relationship Spark
Pick one of the other elders: Your niece or nephew is married to this character(decide if you like this or not to define the relationship).

The Priest*
The Village__________________________________
Character Name

Description
You are the priest of the village and an outspoken defender of thecommunity’s isolation. The outside world is ruled by infidels and a dangerous
place. Your ancestors knew why they moved to this remote location.
Personality and Goals
Stern and unforgiving, you teach your faith and the merits of staying in thevillage.
Relationship SparkOn the one hand, you know the Farmer to be a pillar of the community, liked
by many and producing most of the crops. On the other hand, you believe
them to be a dangerous anarchist with no regard for tradition.

39

The Farmer*
The Village__________________________________
Character Name

Description
You own one of the biggest farmlands of the village. Your family joined thevillage after it was founded so you have always found yourself in a position ofsemi-outsider, of an upstart, even though your farm produces most of thecrops for the community.
Personality and Goals
Hard-working, you seek to become the next mayor because you think the old
one is holding the village back. You have heard of new farming technologies
outside the village and are curious to learn more.
Relationship SparkYou do not agree with the Priest on many things, you find their religious zeal
disconcerting and cannot help but speak your mind at times. Still, you willneed their support to become mayor one day.

The Smith
The Village__________________________________
Character Name

Description
You also work the land like everyone else but have inherited your family’s
expertise in metalworking, thus, creating tools and shoeing horses. Most othervillagers rely on your work and thus treat you with great respect.
Personality and Goals
You like to help others but tend to hold grudges if people do not appreciate
you as much as you think they should. Through meticulous planning andstrategising you have built a network of favours granted, and thus seek topreserve the status quo.
Relationship Spark
The Potter owes you a large favour – you made tools for them, for example,
and you are still waiting for them to deliver pots in payment. If the Potter is notpresent, it is the Weaver who owes you.

40

The Potter
The Village__________________________________
Character Name

Description
You also work the land like everyone else but you have an almost artistic
expertise in pottery, creating many if not most containers of the village. You
see great potential in selling your wares on markets instead of exchanging
them for food or other services.
Personality and Goals
You know from the rare contact with travellers or merchants that your wares
would sell well outside the village but the impossibility of doing so has madeyou grow bitter and short-tempered.
Relationship SparkYou owe the Smith a large favour – for example, for tools they made for you –and you still have not payed them back with wares of your making. If theSmith is not present, the Watchman for some reason pays too much attention
to you, if you were asked.

The Watchman
The Village__________________________________
Character Name

Description
You and your family do farm the land but mostly for the bare minimum
because taking over the village defence has gained you access to the whole
village’s shared resources. You live off the good will of the other villagers in
exchange for you keeping order and security.
Personality and Goals
Inheriting the role of the village defender and realising that there is actually notmuch to do, you seek to live the best life with the least work and always follow
your guts in this regard.
Relationship SparkYou cannot explain it but you are suspicious of the Weaver hiding something,if they are present; if not, your attention is on the Potter.

41

The Weaver
The Village__________________________________
Character Name

Description
You also work the land like everyone else but do not grow much food or keep
animals. You produce flax to weave clothes from its fibers and also hunt for
felt if the time permits. Most people take you and your work for granted,
demanding more than they pay back.
Personality and Goals
Somehow you ended up with the shortest straw, relying too much on otherpeople’s food by specialising on clothes. You would run but are too frightenedof what might happen to you if you just left and were caught.
Relationship SparkYou believe the Watchman is on to you and your desire to leave, if they arepresent; if not, you owe the Smith a favour for tools they made.

42

Scenario 1 No n-Play er Ch arac ter

A Villager (1)The Village__________________________________
Character Name

Description
You are a villager who found the first signs of the threat and later wants topush the elders in a certain direction.
NPC Task
Directly after Scene 1-2 begins, rush towards the elders and exclaim:“Elders, a terrible disease has stricken our village!”
Try to convince at least two elders to follow you to the dead animals.
You may use the map to show the elders where the animals are.
In Scene 1-6, take the opposite position of Villager (2). One will ask the elders
to stay in the village and face the threat (maybe get help from outside), while
the other implores them to leave immediately and flee.
After about 5 minutes, both of you should push the elders and the Mayor to adecision.

A Villager (2)The Village__________________________________
Character Name

Description
You are another villager who seeks to push the elders in a certain direction.
NPC Task
In Scene 1-6, take the opposite position of Villager (1). One will ask the elders
to stay in the village and face the threat (maybe get help from outside), while
the other implores them to leave immediately and flee.
After about 5 minutes, both of you should push the elders and the Mayor to adecision.

43

Scenario 2 Playe r Ch arac ters

The Chairperson*
The Shelter__________________________________
Character Name

Description
You are the elected head of the council, not so much a ruler than a steward,
guiding the path of the people in the shelter.
Personality and Goals
You are a charming smooth-talker who loves to inspire optimism but does notcare so much about actual policies. You seek general equilibrium, harmony,and admiration by others.
Relationship Spark
Pick one member of the council: You were close friends once (if age permits,
you may have grown up together) but have drifted apart – until you both foundyourselves on the council.

The Survivor*
The Shelter__________________________________
Character Name

Description
You are the oldest member of the council and still remember – if dimly – atime before the shelter, a time of hunger, fear, and desperation. For you, theshelter is the source of everything that is good and you will protect it as best
as you can.
Personality and Goals
You are solemn and a bit taciturn, already beyond the prime of your time. Only
when it comes to the past or criticism of the shelter society, you will defend thelatter loud and clearly. You seek to protect the shelter as much as it protectedyou.
Relationship SparkYou are in a mild form of love-hate relationship with the Doctor, relying on
medical expertise due to your old age but also opposing the quest forknowledge beyond the shelter.

44

The Doctor*
The Shelter__________________________________
Character Name

Description
You do not like politics but as the leading medical practitioner were elected toserve on the council. You have a keen curiosity, however, when it comes tothe question if the world outside the shelter maybe habitable again.
Personality and Goals
You are proud of your scientific rationality and love to spend hours upon hours
solving medical and biological issues. You would like nothing more than study
the effects of the catastrophe on wildlife and humans alike.
Relationship SparkYou are in a mild form of love-hate relationship with the Survivor, seeking out
knowledge about the past but also questioning the confinement of the shelter.

The Youngster
The Shelter__________________________________
Character Name

Description
You were born in the shelter but found it always too constraining, too limited.
Once you became an adult through some (unlucky?) fortune you were electedcouncil member – too much responsibility many believe.
Personality and Goals
Opportunistic but also caring a lot about what others think of you, especially
your elders, you have long been pushing for an extension of the shelter, moreroom, if not an exploration of the outside world.
Relationship SparkYou see the Commissioner for the scheming plotter they are, hating andadmiring their information resources. If they are not present, you like to doubt
the Bursar and their boring statistics.

45

The Commissioner
The Shelter__________________________________
Character Name

Description
You are the head of the defence forces of the shelter, in part military, in part
police, in part secret service. You know more or less any- and everything thatis going on and act more like an advisor to the chairman than like an actual
council member.
Personality and Goals
You are confident and resourceful. You like to stay in the background and“advise” the other council members, always casting your comments in theform of informed facts not as an opinion. You see yourself as the mostpowerful and would like to keep it that way.
Relationship SparkYou perceive the Youngster as a minor thread as they are not yet accustomed
to how you “run” things. You like to remind them of how much they still have tolearn. If they are not present, you seek to undermine the Architect’s quest fora more egalitarian society.

The Bursar
The Shelter__________________________________
Character Name

Description
You have control over a specific resource of the shelter, be it food or water, so
supervising the limited forms of agriculture possible, for example, or owning afacility to clean water. Holding a vital position such as yours, you managed toalso gain enough support to be elected council member.
Personality and Goals
By luck and intuition, you have carved yourself a spot of power out of theground of the shelter – and you want to keep it. You seek to appear charitable
and helping but you also do not want to relinquish the control you have.
Comfortable where you are, you dislike change.
Relationship Spark
As you believe in the proverb that everyone forges
their own destiny, you dislike the “socialist attitude” (you have heard thatsomewhere) of the Architect who seeks to uplift the common workers toomuch. If the Architect is not present, you like to question that the Youngster ismature enough to be on the council.

46

The Architect
The Shelter__________________________________
Character Name

Description
You have the knowledge and expertise to keep the physical infrastructure of
the shelter intact. Recently, this means not only to keep paths secure and air
conditioning working but mostly has turned into constant worries about waste
disposal. You often speak out for those hard working in the tunnels and caves,which gained you a seat on the council.
Personality and Goals
You see the plight of the common man – and you see the limited availability ofspace for waste disposal. Fearing for the future, you seek to cautiously widen
the shelter, explore its outskirts and find a way to reduce the danger that atsome point the shelter will be stuffed with garbage.
Relationship SparkYou see the Bursar as the symbol of what is wrong in society: Sitting on theirresources instead of sharing them. If the Bursar is not present, you believe theCommissioner to secretly undermining your efforts by infiltrating the common
workers and pushing them to act irresponsibly.

47

Scenario 2 No n-Play er Ch arac ters

The Thief
The Shelter__________________________________
Character Name

Description
You have stolen food and stashed it away but were found.
NPC Task
First, try to deny that you stole the food:“They are exaggerating! I just did not eat all my rations.”
When the council does not believe you, point out that the food will not beenough in the near future, try to deflect from your crime by pointing to thelarger issue of the shelter.
“Calculations by the bursar clearly show that in a few years food will not beenough for all of us. I just took precautions!”

The Vendor
The Shelter__________________________________
Character Name

Description
You are a vendor selling vegetables or other produce.
NPC Task
Interact a little with the council and offer them your produce.

The Accused Parent
The Shelter__________________________________
Character Name

Description
Despite already having a child, you disregarded community law and became
pregnant again or fathered a second child.
NPC Task
You seek to convince the council of the error to limit the number of children tojust one. You are pleading not only for the life of your unborn child but yourown because what you did is punishable by death.
“I have not done anything wrong. This is a child who will be born out of love.
Does the council criminalise love?”

48

The Officer
The Shelter__________________________________
Character Name

Description
You are the one delivering the criminals to the council’s attention.
NPC Task
Deliver the thief and later the accused parent to the council and take themaway afterwards.
Scene 2-1: “Esteemed council, during a routine maintenance, workers justdiscovered a huge amount of food hidden away under this thief’s room
flooring. S/he says s/he just saved from her rations but there is just too much.
What shall be done with him/her?”
Scene 2-4: “Somehow people learned of the thief’s case and now rumours
abound that we are soon out of food. I will return to the force and try to keep
things calm. But I ask you to address this problem.”
Scene 2-5: “Esteemed council, during our search for more people hiding food,
we encountered this inhabitant. S/he already has a child but is having anotherone. What shall be done with her/him?”
Scene 2-6: Enter after about five minutes and ask the council for a decisionbecause the people outside are becoming more and more restless. If thecouncil has questions, make up appropriate answers.
Note
If there are only two NPC players present, they can switch roles, e.g. Player A
is the Officer and Player B the Thief in the first scene, Player A is the Accused
Parent and Player B is the Officer in the fifth scene.

49Scenario 3 Playe r Ch arac ters

Consciousness*
The Room
Description
You are the person’s self-awareness and subjectivity. As the self’s core, younegotiate between the other faculties and may be the final arbiter in any
decision.
Personality and Goals
You have created for yourself the perfect place to be and thus are reluctant toleave. There is nothing familiar outside your room.

Memory*The Room
Description
You are the memory faculty of the self, indulging in the past.
Personality and Goals
You are defined by your past and see everything in its light. You dimly
remember unpleasantness outside the room, so you are extremely hesitant toleave.

50

Curiosity*
The Room
Description
You are the curious part of the self, seeking new experiences and information.
Personality and Goals
You just care about new input, new experiences, new knowledge. You want togo where you have not been before.

ReasonThe Room
Description
You are the intellectual capacity of the self, seeking facts and premises andestablishing conclusions and judgments based on these facts.
Personality and Goals
You judge only based on facts, you are as dry as bone and without
imagination. You have no facts about the world outside the room.

51

Intuition
The Room
Description
You are the self’s gut feeling, recognising and realising “truth” without any
reasoning process.
Personality and Goals
You are spontaneous, act in the spur of the moment. If you feel something to
be right, you do it, even if it might go against rational judgment.

Apprehension
The Room
Description
You are the self’s cautious, if not fearful aspect, perceiving possible dangers
and seeking to avoid them.
Personality and Goals
You might not be in constant fear but tend to be a little paranoid. The unknown
is a place you do not want to be because you cannot induce its dangers.

52

Hope
The Room
Description
You are the courageous and optimistic aspects of the self, seeing only what isgood and not minding risks.
Personality and Goals
You are full of hope, that everything will turn out well for you. If this means
stepping over an unknown threshold, so be it.

53

Scenario 3 No n-Play er Ch arac ters

The Parent
The Room__________________________________
Character Name

Description
You are either the mother or the father of the person in the room.
NPC Task
Deliver food and leave after a short exchange (do not enter the room):“I put the tray with your dinner right outside the door, pick it up while it is still
warm, okay? Oh, and your Amazon package has arrived, I will bring it up later
when I come to collect the tray.”

Chat Buddies
The Room
Description
You are one of the friends or contacts the person chats with.
NPC Task
As either “MrMister” or “Joey76” you interact with the person via the chatprogram “Super Chat.” Reply to their inquiries or ask questions yourself.
During the scene with slow internet speeds, suggest to restart the router.
See the Appendix for more on the chat program and the router.

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The Social Worker
The Room__________________________________
Character Name

Description
You are a social worker who has been coming and going.
NPC Task
After a brief exchange you suddenly leave.
“Hey. It’s me. I just wanted to check if you are ok.”Any questions concerning the parents should be deflected.
Uncharacteristically, vehemently refuse to enter the room. After a while
become agitated and leave.

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APPENDIX
Here are some sources and direct links to material you may use for runningthe larp. Feel free to design your own!
Scene and Scenario End Sounds. ZIP.
Character Sheets for easy printing: PDF.
Scenario 1: The Village•
Village Map. PDF.
Scenario 2: The Shelter•
Name/Function Table-Tags. PDF.
•
Book of Law. EPUB.
•
Produce Representations. PDF.
Scenario 3: The Room•
Script for a simple Chat Program. ZIP.
Upload all three files (index.php, log.html, post.php) onto a (local) server.
Best have two browsers installed on the laptop, one for general use (e.g.
for the router webadmin) and one with the URL of the chat program set as
startpage.
You can choose whatever usernames you want for the person in the roomand for their chat friends (at least two).
If you want to delete the content of previous chat sessions, just delete thelog.html and replace it with the empty one you originally downloaded.
•
Website for Router Administration. ZIP.
Upload all the files into a directory on a (local) server and prepare a link to
the router webadmin on the laptop’s desktop.
When opened, the router webadmin
will display the “current” status,
which says that the internet
connection is slow. On the“Preferences” tab, players can click“System Restart” and follow the
onscreen instructions to “restart” therouter.
•Food, Snack, and Drink
Representations. PDF.
•
Colour Wheel, see left side.

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