Kategoriarkiv: Blackbox

My journey through Knudepunkt 2015 – Saturday part one

You know the drill this is my personal experience of KP, what I felt and thought, just random rambling thoughts. KP seen through the eyes of a first timer.


09.00 – 11.00
– Wake up feeling ok, tired but fine.
– Same routine: breakfast then the next round of Keynotes.

IMG_1145– Keynotes theme this time is: Roles, first of is legendary Erik Fatland, whom I mostly know from his work with ritual workshops, something I want to use a lot more. His breakdown of what is a character is rather good. A role play character is never a whole person, but rather: an alternative pattern of thought, a different public identity, a different set of relationships, an alternative pattern of movement, an alternative voice and language, an unique reason and goals within the game.

IMG_1148– Next up is another person I hold in high regard: Tor Kjetil Edland have been part of creating among much other: “Just a Little lovin” His talk centered around the relationship between us and our character. Very close to the body workshop from friday. It was interesting to hear some theory connected to the very physical experience that workshop had been. It’s a brilliant aspect on how to get into character: by looking at where the character is different from you and where you are the same. That’s something I’m going to be using more, both as a designer, and as a player.

IMG_1153– The last bit was by my good friend Oliver Nøglebæk and Josefin Westborg, and this time the theme was: what is the players looking for in a game and in their characters. I think these three keynotes was the most thematic complementing. First we heard about what a character is, then the relationship between character and player and now a look at what the player wants from a game and the character.

– And taking inspiration from a U2 song, the players want us designers to: hold me, thrill me, kiss me, kill me. Hold Me: Safeness, knowing what to do, knowing responsibilities as a player. Thrill Me: excitement, hype, awesome, Oliver suggested that to get thrilled about a character he always finds a song for that character. Kiss Me: create emotions and motivations, and that these are different from the everyday you. Kill Me: something should be on the line, where is the drama?

11.00 – 15.30
01-DSC_0044 - 2015-02-14 at 16-27-54– With the keynotes over, it’s time for me to step up my game, it’s time to start prepping for running my game “Waiting for Flight GO901”
– Feeling very strange, both looking forward to it, because I get to run it with the best players in the world. But also feeling nervous, because I have to run it for the best players in the world.

– Force myself to forget that, and just go and do it. Start prepping room, can’t find the rather important glass hearts, slight panic, find them. Also slight panic when the technical equipment acts up. But all is solved bit by bit.

– Room is ready, people start showing up. A lot of people wants to play my game, end up increasing the amount of players from 15 to 20.
– It’s about to start, sit down to relax and listen to my hype song, open eyes, start!
– I won’t say much about the game, here, read this post, to get my (way too) thorough description of the game. This will mostly be my rundown of thoughts and emotions during the run.

IMG_1174– Feeling very nervous during the workshop. What do they think? Does it make sense? Are they bored? Try to hide it as best I can, and just do it.
– realise that the brainstorm with posts it at the beginning of the workshop not only gives the players a lot to work with, but also gets them in a creative mindset. Always fun to discover that your design is more clever than you thought.
– Stick too closely to the workshop script, not realising, that they are doing fine on their own. You
have opened the floodgates, should just have stepped back and let them at it.
– Become a bit better at that as the workshop goes on.
– The workshop is taking longer than normal, the game ends up taking six hours all in all, the players don’t seem to mind.

15.30 – 20.00
02-DSC_0058 - 2015-02-14 at 17-31-29– The game starts, the amount of people means that the background soundscape is not needed they create that themselfs.
– They play much more aggressive and outward than the first two runs, perhaps it’s the amount of people again, or just different play styles.
– I have to step in as NPC much more than
the first two times, they need someone to blame, someone to ask questions to. I stick to my concept of not giving any information. This creates a lot of frustration among the characters, but I think the players are loving it.
05-DSC_0069 - 2015-02-14 at 18-01-17– Not sure if this difference of play is better, badder or just different. I’m leaning towards the last.

– It’s great to have Jacob by my side to talk about things and the game. Discuss how such a simple things as them having plastic cups they can crush and crumple does a lot to the game.

– As the game moves into the tragedy the play style becomes more intense, but at the same time more quiet. The room is radiating emotions, I feel them myself.

– Haveing to, as an NPC, go and tell them: the plane has crashed is physically hard.
08-DSC_0082 - 2015-02-14 at 19-02-15– The last symbolic scene in the spotlight works beyond great and it’s very emotional to watch them.

– For the first time someone survives the crash and thats creates whole new dynamic in the group. As someone said afterwards: “I hated them, because the one they were waiting for survived. Why not mine? Why him?”
10-DSC_0092 - 2015-02-14 at 19-12-44– The game ends, waow… waow… This was a great and very powerful run. We do a runde and people keep thanking me for a well run game and workshop, except for a few minor mistakes, that I agree with. This is by far the best run of this game so far, I will not soon forget it.

– Taking of the NPC costume is a physical relief, like taking of that character. This had influenced me more than I thought.
– Doing completely improvised debrief “get out of character” excise based on all the new ideas and techniques KP have given me. Seemed to worked very well.

– Get them to move around, more and more exaggerated. Shout! Shout as loud as you can, I think we all needed that. Move your body, move it a lot, shake out the character, the experience, find yourself again, deep breaths and then over.
– Thank you a lot.
– The players hug it out with each other. Then many find me and then immerse me in a great big group hug. God I needed that.

– Start packing as the others go to dinner, we agree to sit and eat, at the same table. When I come over a bit later, one of the players finds me and brings me to that table. They want to talk to me about the game.

– Spend the next long time just talking about the game with the players, and listening to them talk about it. Very strange to really get to talk this game all the way through.
– Decide to go and change for the party that night. As I’m by myself I reflect on the game. Not sure I want to run it again. This was such an intense and special experience. I kind of feel like I’m done with this game. But promise myself to make a larp script so others can run it from now on.

And tomorrow the party, yes that get’s it’s own post, but hopefully not that long.

All little boys are dead

This was what you could call an effects game, it seemed like they wanted to make a really cool experience using all the tool of the black box, and that worked really well, it had a few weaker points but all in all it was a good game.

So we played soldiers in the trenches during world war one, but unlike Dulce et Decorum, form Fastaval 2013, this was much more symbolic.

Every character was played by two players: one was blindfolded but could talk, but only by telling memories nothing concrete like: “lets go over there.” No only: “I remember starry nights under the old oak.” The other could see but not talk. So those two had to work together, but all the players also had to work together in keeping most alive.

Each player had two memories, so each character had four, and you could only move if you had at least one memory left. These starting memories we decided beforehand and used to create the closes to a character we had, not that it was used much. These memories had to be from home.

So during the game we could lose memories and gain a few more. And the goal was to keep all alive by having at least one memory each.

We could lose memories in two ways: First there was a soundscape in the game. In it was two kinds of explosions: a small one and a big one that was preceded by a whistling sound, (like that of a bomb falling).

The small one was not dangerous just atmosphere, something to react to. The big one on the other hand would hit anyone not in the trenches, and they would have to leave a memory and stay put until someone else came out and brought them back.

The trenches was a part of the play area separated from the rest by a stage module that we had to crawl over (oh we could only crawl unless death was here, more about that in a bit.)

Whenever a big explosion happened we would also get pelted by dirt, that had no game effect it was only for effect, but it was a very strong effect. We wore helmets for this reason, a great simulation trick.

In the start of the game when we heard the ominous whistle of an incoming big explosion we would all cover for our lives, but towards the end one or two hours later we had already learnt how long the whistle was and only covered us in the last second.

I have heard that soldiers in the trenches got this ability. That they could hear by the sound on an incoming grenade if it’s going to land close and when to go for cover. But is was a very fascinating to actually experience it on your own body.


Me with one of the death gas masks after the game.

Any way why would anyone then leave the trench? Well once in awhile a war memory would appear out in the rest of the playing area, the battlefield I suppose, and a not blindfolded player could crawl out and retrieve it by going to, it giving a short monologue about it, and crawling back again. But as mentioned he would be struck down if a big explosion fell while he was out there. Also the memory would disappear if it was still there when it became time for another memory.

Finally once in a while Death would come, which was to NPC’s in raincoats and gasmask with glowing eyes. They would move slowly, but if they got hold of you they would take a memory, during this time we were allowed to stand up and move around and the non blinded could say the name of the blind to get this one to move away from danger. But in all that confusion the deaths would often get it’s memory, luckily each death would only eat one memory per visit.

So that’s the game, a symbolic slightly gamist but very physical game. An experience more than a story but still a very cool symbolic representation of life in the trenches. Could use some work but it gave a very strong experience.

Inside Myself Outside Myself – Game report

Not sure you could call this a game, not sure the designers did. It was an experiment. A group of role players, designers, artists and performers got together the day before with nothing but the intent to do something during the time slot given.

That is the background as far as I understood it, and I love that kind of mad bravery. So what was it, humm well a kind of an experience of stepping into a strange living machine, sounds strange? It was (in a good way).

No workshop, no introduction, we were just led into the room and there were the designers sitting around the place in different poses with some props scattered around the place.

We waited for some kind of introduction or just… I don’t know, a start bell. But nothing happened slowly the braver of us or them who have more experience with this kind of thing gingerly stepped in to the the room and started interacting with some of the people in there. It became clear that each of them, I wouldn’t call them designers more performers, could be activated in different ways. For example: if you gave one of them a pair of shoes from a pile he would neatly arrange them along the wall, and so on I can’t remember them all.

So slowly but with building intensity we started playing with these functions and each other. Madness took over and I at least entered a nice mindset where I just did what came to mind, something I find incredibly liberating, remind my to tell you about my one man game while walking just for me.

So we did that for awhile and suddenly strobe lights went on and the performers went to the middle and talked in codes and their behavior changed and became more complex. That happend one or more times, I can’t remember.

Afterwards we were told that they were kind of machines, and that they first only had the one function, but as the game went on they developed more and more complexity by learning from what we did.

So they would mirror our actions more and more and our actions was anyway inspired by them, so it became this kind of mad creative and chaotic feedback loop, and this only became apparent afterwards.

All in all it was quite cool game, experience whatever it was. It was cool to be part of it and see what happens when we include more people from the performance and art world in our design. Would do it again.

Good keep it short this time next time we go to some very metaphysical trenches.

Black Box Horsens – First impressions

I will (hopefully) write more about this, but wanted to get the first reactions and thoughts out of the way before returning to the two missing Black Box CPH posts.

So Black Box Horsens 2015 is officially over, and I’m still sorting out all the emotions in my tired body while listening to the soundtrack from The Boy and the Milk.

I’m really overwhelmed right now. It went well, No it went beyond all my expectations and wildest hopes. The participants were great, they went to the games with all they got. The game runners ran some really cool games, and that program just kept on giving. And my many organizers help keep it all running often with out tired and confused me having to do anything.

And the venue Komediehuset was just a perfect location. Not only is the place awesome, with four black boxes and the rest of the place just emitting crazy creativity, but the people there was just so amazingly accommodating. From the leader Jan who let us hold our mad little festival to the ever helpful Trandur who put up with all our strange demands and just kept on helping with all the technical. And that with very little sleep. The poor man had to be up until we send the last participants to bed.

Few mistakes…
Which is why the few mistakes that did happen bothers me so. Because they caused the venue more harm than us. First off they had asked us not to drink outside the venue, because they are mostly a place for children and young people. And if rumours went around the town that people were hanging around the place drinking that could cause severe damaged.

Sadly a few participants arrived early and were just finishing a smoke and beer outside before we had a chance to give this message. This caused a bit of panic from the leader of the place. But as soon as the massaged was given at the opening everyone was cool and kept to this rule. At least to my experience, so thank you for that.

The only other mishap (that I know of) was that some or the game runners fiddled with parts of the technical equipment that they shouldn’t (it was stuff you normally would handle, if you have some technical expertise, so no real blame game here.) But the people at the venue don’t use that, and therefore had it on a permanent preprogrammed setting that we were not allowed to move it from.

Think we got it all back in working order, and I managed to get the word around about this (after a friendly slap on the wrist from Jan) I don’t think it happened again. Next year I’m just gonna put big signs on all the off limits equipment saying: “DO NOT TOUCH!” 🙂

… a lot of lessons
And that brings me to: lessons learnt, of them there were many, I’ll only mention a few things here: A few other things could have been better, but I don’t think they diminished the experience that much. But I’m gonna mention them any way.

Saturday evening start
Because I wanted people to have time to socialize after the games but still not go overwhelmingly late to bed, (as the sunday runs started at 09.00 – more about that in a moment.) I set the start on saturday at 18.00. That was a mistake as it was in the middle of the time that people wanted to eat dinner. So next time start at 19.00 one hour would have meant a lot less stress.

Sunday start
So I sat the starting point on Sunday at 9.00 which is early for a role play festival. (people stayed up until 3 in the morning, some even more.) I did that so that people using the copenhagen bus could still play games and be at the station in time for the bus at 15.20.

It was hard, but most people did come and play their game. We only had to close one game, and that was the only game in the entire run that we had to close. And it was a five person game that was missing two players, (still I’m sorry about that Tore, but it sounded like you had fun with “Lets FACE it”.) So I’m not sure I would change this, as it seemed to work, and it is just a good thing that all participants can still play on Sunday.

Cold at prison
Apparently the room we rented at the prison was very cold. If we do that again we will have to get a heater or two.

We decided not to give people any food, except for breakfast and a huge amount of fruit, (last minute decision but a great one.) Charles and I talked about the risk of people forgetting to eat well and lacking energy for the games. We didn’t change anything this year (except for the fruit) but talked about doing like Black Box Copenhagen next year, where each scenario ticket includes a sandwich.

In the end it seemed to work fine, people made sure to eat and seemed to have enough energy. With the exception about Saturday evening that I have covered. So I’m not sure I’m gonna do the sandwich thing. But lets see what the participants say.

The event got a lot of praise, both the program, the venue and the organizers which is great. I can rave endlessly about that but I wont. But I want to mention two things we did, that I’m especially pround of and that i haven’t seen anywhere else.

We made actual tickets that people got for their games when they arrived. It gave you some kind of physical proof, that you could play this game, and it also had all the information you needed. But we also had a little wall where we put any unsold tickets and where people could but thickets they didn’t need for any reason. Anyone looking to play that game could then claim that ticket for free. It worked really well and received a lot of praise. It was also a way for us to keep an eye on any games starting to miss too many players.

Tell me about your t-shirt
The opening event used this little game that I came up with at the Larp Write Summer School. Bring a t-shirt or any shirt that is cool, geeky or have an interesting story. Then move around the room and you have to ask strangers about their t-shirts. It’s a fun and simple way to get to know each other. I’m very proud of this one, and it worked well and got everybody talking to each other at a very early stage.

Next year?
Yes hopefully you never know with these things, but I now have a lot of experience, some very cool people have expressed interest in arrange it with me and people seemed to want it. So yes we hope that there will be a Black Box Horsens 2016. If you want it to happen then consider signing up as an organizer, offering to run a game or just shout out and spread the word.

Waiting for Flight GO901

This wasn’t the first game I played at Black Box CPH, but because it’s my game I’m going to be selfish and start with that, I’m also running it at Knudepunkt in a very short while, so that kind of fits, then I can do another post about how that went later. (I have run this game one more time at Østerskov Efterskole with a few changes, so I will refer to that once in a while.)

It’s the story of a plane crash, but seen from the eyes of those loved ones waiting at the airport, as the plan first gets delayed, then have technical problems and finally crashes.

The idea originally came from the plane that was shot down over Ukraine this summer. I read a story about it, that said that it was a double tragedy, because there was quite a few AIDS researchers onboard on their way to a conference. And it struck me: there must have been people at the airport waiting for those, wow that must have been horrible.

But my mind expanded on that thought: that’s how it must be every time, theres always someone waiting at the airport, and they must go through the worst set of emotions, from happy anticipation to the most horrid loss. And then, because that’s how broken we nordic larpers are, I thought: that would make a good game.

The game has two main challenges: could wating be interesting play? And can you feel for a fictional character you never met?

Dealing with the second one first: we all know this problem, we play in a story where we are lovers and it’s not really working because it’s hard to simulate love. This is especially true for written characters. If it just says: “you love him very much,” then how do you play on that? No feelings must be created during game or at least in workshops.

So how do you do that with a fictional character that we never meet in game? I drew on another true thing: player ownership: they feel more strongly for things, they have created themselves rather than something written for them.

Which I just now realize is the weakness with “The Courage of Teddies” (one of my other games). Here the players have to as Teddies fight for a dying child that they only meet once in game, but if they get a say in the kind of child he/she is they might feel and fight more for him. Any way I digress.


The bags for the Copenhagen run during the first brainstorm.

So what I did was to hold a long character creation workshop starting with the person on the plane called the traveler. I drew heavily on some of the things I learnt on the Larpwriter Summer School.

We started with a bunch of bags I had gotten before the game, as different as possible. Then all the players (all four of them) were given post-its and had to go around write short thoughts and words for each bag and put the notes on them. Starting from the question: “Who would own such a bag?”

Just free association. Notice they don’t yet know which bag they will create their traveller from, they have to think about each bag. We go through a few rounds of this, where they can also look at the notes already written to get inspiration for new notes and so on.

After this they get time to look over the notes and in their head choose two bags, they want to create a traveler from. Then the sorting starts, they each pick two bags and then I sort of sort out, who plays with whom. The optimal is to have two or three sharing each bag, as they only develop relations with those. You can play alone, but that is a bit challenging and no one should be forced to it.

After this they start creating the traveler, the one they are waiting for. I spend a lot of time on this again to get the players to have just a bit of connection to this fictional character they are about to lose.

I also asked the players to create a sympathetic person, if you make an asshole you would just think well good riddance and that was not the story we were looking for. There could be conflict, but not one you would hate. Interestingly enough they ended up creating people balancing on this. Well thats nordic larpers for you.

After they have created the traveler they create their own characters by asking: “who would be waiting for this person?” In both runs the players had touched upon this during the creation of the traveler, you can’t help your self that, but now they clarified and expanded it. I switch between the player on his/her own imagining his character and then they two or three talking together getting it all to fit. As mentioned they only create relationships with the one or two other players they are waiting with, the rest are strangers who just happen to be waiting for people from the same plane. In both runs this barrier disappears as the tragedy unfolds.

With both the traveler and the characters in place the game starts. The game follows this run: first they just wait and all is good, it’s an opportunity to get into character and settle down a bit. This is the waiting part of the game, it’s ok if it’s a bit boring, thats part of the simulation. One of the things I stress during the workshop is that silence is good and not awkward in this game.

Then things start to change. As part of the game area is a screen with plane times on it, I change this during the first part of the game. As that changes the plane they are waiting for (Flight GO901 from the title) gets more and more delayed and the anticipation becomes frustration. The first part of the game ends with the plane disappearing completely from the screen turning frustration into questions and maybe a bit of nervousness.

Two things to mention here: the run of the game is completely open, the players are told how it will go from the start, but how they react and how much time there is between each change is unknown.

The other is: This game is fiction, during the design I considered contacting an airport and ask how they would handle it. I might still do that at a later point, but for this version I stuck to what gives the best story, not what is real.

I give the players a bit of time in this uncertain state and then a NPC (played by yours truly) enters the scene. I play a flustered airport personnel that ask if any one is waiting for the plane.

The players of course say “we are,” “do you know any thing,” and so on and they are told that the plane has some technical difficulties, nothing to be worried about, but they might have to wait for awhile, while they try and figure it out. And then is offered to let them wait in a meeting room. That will be more comfortable and private and also to keep them together so new information can reach them easily.

Again this has been told to the players beforehand so they know to accept this and follow along. They will ask a lot of questions and I did the mistake of starting to answer these in the Copenhagen run, but that gave the game more details than this lose fiction could handle. Such as where is the plane and what is the problem.

So for the second run I told the players during the workshop, that they were welcome to ask questions as part of their play (it’s only natural) but don’t expect any useful answers. One of the themes is uncertainty about your loved ones. And during that game I gave more vague answers such as: “its something technical, I don’t know anything more than that.” This worked better.

From this point on the players are in this meeting room, but the format is much the same, they wait for new information, just now it comes from me not a screen. The next time I appear they a told that we have lost contact with the plane and that this could just be the equipment malfunctioning, but it could also be something worse.

Next time is the worst: it’s confirmed the plane had crashed there is signs of survivors and that rescue personnel is on their way to the site and that they must now wait for news of survivors.

Finely they are told who have survived and this is where the games go into a more metaphysical mode. So they are still playing, but we break down the barrier of realism and use black box techniques.

The players gather in one part of the room, the light is low and a spotlight shines on the floor. One by one the bags they used to create their traveler from is placed in the spotlight and those belonging to that bag must go in and look for a small glass heart in the bag. If it’s there the traveler survived if not well quess.

In the first run I placed the hearts after the game had started, but it was suggested that it would work better, if they were placed beforehand, so that by choosing a bag, the fate of the traveler was already decided. So the players know that the fate or their traveler is decided, but they don’t know what it is. This is a great idea but if any one open a bag or even lifted it the heart might be discovered, (by sight or sound).

So what I did instead was to before game starts chose a random number of random numbers and they were the survivors. Only a few rules applied: the number of bags must be greater than the number of participants and the number of survivors must be very low.

In the two runs so far there have been none survives, all the hearts have been in bags that were not used. Lets see how it goes at Knudepunkt.

For the second run I changed one other thing: I got some passport photos and postcards that the players had to pick for their traveler. The passports work well in making the character feel more real, the postcard did nothing. But I need to find more passport, as one group designed a young child and I only had one photo of a boy and of a girl, so they were limited to those two. So more diversity!

Wow this become way too long hope my process and thoughts were interesting.
Next time the other gems I played.

Black Box CPH – overall

Blogposts about Black Box CPH not weeks but months late, eh better late than never. And a good warm up for Black Box Horsens this friday hopefully I will get all the posts out before that.

Until recently I thought that black box was defined by two main attributes: the facilities, that is: playing in a stage room and using stage techniques like light and sound, and the workshops before hand. Now another equally important aspect is clear to me: experimentation. That the designers use this new format to experiment wildly, but also as important: that the players also expect this and goes to the games with this knowledge and therefore, well maybe not an more open mindset, but with a different mindset. I’m not saying that this is better, it’s just different. (The high demand Fastaval puts on you makes you perform your best, the openness to experimentation at Black Box CPH makes you dare new and at times very strange things.

Like last year I took part in three scenarios, that is apparently what I can handle during a weekend. And like last year I was only a participant in two of them. But unlike last year, where I was audience in one this year I was the organizer in my own and very first black box scenario, Waiting for Flight GO901, but that will get it’s own post.

This years most powerful insight is that black box cph is a place for experimentation, as I have written about above. The organisers proudly claim this, but this year I felt it myself when I ran my own game. I lost all faith in the game the night before for many reasons, one being that I had four players for a game designed with 10 or more in mind.

But my players took this and the two, for me big, experiments in the game in stride. They went at it with remarkable open minds. It was a great feeling and I can’t wait to design for Black Box CPH again. Since this is written after the Larporatory I already have another game ready, and it’s not even the game I designed for the Larporatory. More about that later.


The new Bastard Cafe

The two other games I played was also strange and experimental in their own way and even though they had their flaws, the players went with it with full energy. It’s truly a great culture that they have built here.

This year was also marked by the opening of the Bastard Cafe, Denmarks first board game cafe. It was cool to finally visit the place and served as a nice hang out between games, although it was a bit strange to have it be full of other people that was not attending Black Box CPH, strange, but not necessarily in a bad way.

The party at the end was good and really hammered in how many new people I have gotten to know in the last year. Where last year I didn’t have that many to talk to, this year I had plenty in large thanks to my trip to Lithuania.

It is really a good community to hang out in and I do it all to little. But soon I get to do it again when we launch Black Box Horsens.

Historien om Bygholm – et black box rollespil for folkeskolen

Så fik jeg endelig spiltestet det undervisningsrollespil for folkeskolen, Komediehuset i Horsens har bedt mig udvikle til brug i den nye folkeskolereform.

Som nævnt før, så blev jeg bedt om at udvikle to, det ene Journalisterne, en omskrivning af mit Fastaval scenarie Hotel Commodore, det gik ikke ret godt, af mange grunde, som jeg også skal se at få skrevet om. (Man skal jo ikke kun fortælle succeshistorierne, men også stå ved det, når det ikke går så godt.)

Men lige nu er jeg i hopla over succesen med Historien om Bygholm, som gik over alt forventning, så derfor vil jeg skrive om det nu.

Scenariet, som jeg kalder for et fortællespil handler om Tvangsborgen Bygholm, som Erik Menved tvang bønderne til at opføre efter et forfejlet oprør i 1313. Selve historien er tiden op til oprøret, der fortæller, hvorfor bønderne i desperation valgte at gribe til våben, selvfølgelig selve slaget på Hatting Mark, hvor Erik Menved besejrer bønderne. Endelig fortæller det efterfølgerne, hvordan at Danmark stort set ophører med at eksistere indtil at Valdemar Atterdag samler det igen.

Bygholm bruges altså til, som en lille brik i et stort spil, at fortælle om en ret afgørende del af Danmarkshistorien.

Scenariet er henvendt til elever i 4. til 6. klasse og op til spiltesten i dag, var jeg ret nervøs, ville det nu virke, ville eleverne gribe det, ville de forstå, hvad man skal og rent faktisk gøre det og endelig, fordi scenariet har et stort fortælleelement: ville jeg kunne fungere som en ægte historiefortæller?

Som I nok kan fornemme gik det godt. Nu var det heldigvis også en god klasse, glade, åbne og kreative. Men stadigvæk gik det godt, de lyttede opmærksomt og deltog med energi og iver. Og bagefter roste de det ligefrem for de ting, jeg havde tænkt ind i designet. Som en sagde det meget godt:

“Det var fedt, at vi fik lov til at medvirke i historien, og ikke bare skulle sidde og lytte. Det gjorde vi koncentrerede os mere, og bedre kan huske det.”

Det er jo hele formålet med at bruge rollespil i undervisning lige der, så stor sejr!

Scenariet benytter sig af to teknikker: den første er inspireret af Drengen og mælken, hvor en fortæller beskriver, hvad der sker, og resten udfører, hvad han beskriver. Dog holdt meget mere stramt end i Drengen og Mælken.

Her er jeg den eneste fortæller og jeg beskriver, hvad der sker, og udpeger hvilke elever, der skal være med, og hjælper dem med, hvad de skal spille. Det var dette jeg var meget spændt på om ville virke.

Og jo de turde ikke så meget som erfarne rollespillere, men deres begejstring bagefter viste, at de synes det havde været fedt at få lov til at bringe historien til live og lege konger, bønder og tyske lejesoldater.

Den anden mekanik blev brugt i forbindelse med, at en central begivenhed er slaget på Hatting Mark, og det ville jeg selvfølgelig have med, men jeg turde ikke bare bede dem slås, det ville hurtigt blive kaotisk.

Så jeg har lavet en slowmotion mekanik. Det vil sige, at eleverne slås i slowmotion og skal hele tiden være opmærksom på sig selv og de andre omkring dem. På den måde kan man time udfald og blokeringer i en langsomt smuk dans.

Da jeg testede denne mekanik dagen før med mit black box hold viste det sig dog, at det stadig blev ret kaotisk, hvis begge handler samtidig og man bliver let i tvivl om, hvem der skal reagere først.

Så der lånte jeg lidt fra Summer Loving. Her er en fortælleteknik omkring at beskrive elskov, hvor to spillere sidder over for hinanden, og den ene beskriver en handling, så beskriver den anden en reaktion og derpå en handling, som den anden beskriver sin reaktion på og derefter sin handling.

Dette omsatte jeg i slowmotion kamp til, at den ene gør en handling, et udfald i slowmotion og næsten stopper, og den anden får tid til så at lave en reaktion på dette udfald og så svare igen med sin handling, som den første så reagerer på og derefter laver sin næste handling osv.

Det virkede fint, i selve scenariet fulgte de måske ikke det så præcist, men det så godt ud og de blev meget opmærksomme på hinanden. Og bagefter var der faktisk en der spurgte: “kan vi ikke tage slaget igen, det var sjovt!” og det var endda en pige, en stor sejr i min bog.

Begge mekanikker virkede fint, og jeg blev igen mindet om, at selvom det med mine trænede rollespilsøjne ikke så så fantastisk ud, som jeg ved det kunne, så havde eleverne en stor oplevelse med det, og synes det havde været helt usædvanligt og fedt. Og det er jo hele formålet.

Så nu skal det bare lige pudses af, og jeg skal tilføje lidt mere historie, da det gik hurtigere end jeg regnede med. Men ellers vil det være klart til at sælge til folkeskolernes 4. til 6. klasser fra skoleåret 14 til 15.

Sidder du og tænker, hey, det kunne da være noget for min skole eller klasse, hvad enten du er lærer, elev eller forældre, så hiv da endelig fat i mig (simonjamesp@gmail.com). Det kommer til at foregå i en af Komediehusets black box sale. Men er det for langt væk fra dig, så skriv alligevel, og det kan være vi finder ud af noget. Flere konkrete detaljer vil følge, dette var bare min lille jubel over, at det gik godt.

Black Box Horsens – Call for program

Nu hvor det officielt er meldt ud, at Black Box Horsens is a thing, skal vi til at fylde noget på den.

Jeg søger derfor efter scenarier af alle afskygninger, og selvfølgelig nogle til at sætte dem op. Det kan både være nye scenarier men også klassikere.

Det kan både være black box scenarier og blackboxificerede scenarier fra for eksempelvis Fastaval.

Vi har også rum til andre ting en black box, så talks workshops og lignende er også velkomment.

Hvis der er nogle ting du gerne vil se, så meld det ud, så skal jeg prøve at få det til at ske.

Overvejer du at hjælpe til på en anden måde, så råb endelig op. Det kan være hjælp med mad, drive en kiosk eller en lille brætspilscafe (vi skal måske bruge den slags, da der jo nok kommer overnattende i modsætning til Black Box CPH.)

Vil du gerne hjælpe til, men ikke helt ved med hvad, så sig også til, så skal jeg gerne finde på noget.

Vi starter det her fra bunden af, og jeg håber der er interesse i det og folk vil støtte op omkring det.

Henvend jer til:
omkring alt det ovenstående

Læs mere om connen her:

Black Box Horsens – Hjemmeside

Som jeg skrev for noget tid siden, så overvejer jeg en black box con i Horsens. Det er nu blevet en realitet, weekenden er fundet, stedet er booket. It’s happening people!

Det bliver den 6 til 8 februar, det er den første weekend i vinterferien.
Komediehuset i Horsens, skolegade 7, 8700

Ja det falder måske oven i Vintersol, men det håber jeg nu ikke, men det var bare den, der passede bedst på alle andre punkter.

Så sæt kryds i kalenderen og jeg håber at se mange af jer der.

Vil du løbende holdes opdateret om connen så hop ind i Facebook eventen og meld dig til. Den tæller dog ikke som tilmelding, det kommer op separat, når vi nærmer os:

Selve connen får hjemmeside her på pettitt.dk, og her vil jeg løbende lægge mere information op, find den her:

Der er selvfølgelig en masse praktisk, der stadig skal på plads, såsom overnatning og priser. Men det vil jeg over den næste tid sætte mig ned og begynde at arbejde på, (altså nok efter Fastaval).

Derfor, hvis der er nogen der har erfaring med dette, de gerne vil dele, så hiv endelig fat i mig. Evt. på Fastaval.