Larp Gospels: Into The Woods

Mother cannot guide you, Now you’re on your own.
Only me beside you. Still, you’re not alone.
No one is alone, truly. No one is alone.

Sometimes people leave you, Halfway through the wood.
Others may deceive you, You decide what’s good.
You decide alone, But no one is alone

I wish…

I know.
Mother isn’t here now.

Wrong things, right things

Who knows what she’d say?

Who can say what’s true?

Nothing’s quite so clear now.

Do things, fight things.

Feel you’ve lost your way?
But–

You decide, but… You are not alone.
Believe me, No one is alone.

You decide, but… You are not alone.
Believe me, truly.

You move just a finger, Say the slightest word.
Something’s bound to linger, Be heard.

No one acts alone.
Careful, No one is alone.

People make mistakes.
Fathers, Mothers. People make mistakes.
Holding to their own, Thinking they’re alone

Honor their mistakes. Fight for their mistakes.
Everybody makes. One another’s terrible mistakes.
Witches can be right, Giants can be good.
You decide what’s right, You decide what’s good.

Just remember.
Someone is on your side.

Our side.

Someone else is not.
While we’re seeing our side.

Our side.

Maybe we forgot.
They are not alone, No one is alone.

Hard to see the light now, Just don’t let it go.
Things will come out right now. We can make it so.
Someone is on your side, No one is alone.

Into The Woods – “No One Is Alone”

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Character Creator’s Log – Nevermind the Novel –

Some days it feels like I don’t even have the time to sneeze, much less map out a page turning back-story. Especially when, if what started out as a bit of fun… begins to feel like work, each sentence a strain.
The good news?
You don’t have to make the time, you don’t have to deal with any of it.

There are easier ways to flush out a character without going all David Copperfield
I Am Born
I Observe
I Have A Change
I Fall Into Disgrace
and all of its other tedious point-by… chin-nodding… plodding… points.

Besides, if you write it all out now, if you include every turn and twist, accolade and fault, where does the character have left to go/grow? Where is there room for someone new to enter their life or become a long-lost acquaintance, rekindled?
Or are you actually intent on playing out a mental-geriatric just waiting for Death to knock?

Better to recall how we all actually converse with and engage people.
Anecdotes. Tales to amuse, frighten and warn. Songs to belt out, lessons to learn, quirks to conceal and shy smiles that end in a rosy-blush.

Quick do me a favor… Find a copy of a play, a script, anything. Turn to the front.
What do you see? Probably something that looks like this?

Cast of Characters
George – 46- Member of the history department at NCU. Married to Martha.

Martha – 52- The daughter of the president of NCU. Married to George.

Nick – 28- A new member of the biology faculty at NCU. Married to Honey.

Honey – 26- Petite, bland wife of Nick.

This is where the play starts.
Whether you’re in the audience thumbing through the playbill, waiting for the lights to dim or reading through the script for the first time. This is what a Cast List gives.
Hardly anything.
An Name, Age, at least one ready Relationship with another character and a Profession.
A NARP, if you will… the absolute bottom barrel essentials of character-based larping.
This is the only OOC introduction I ever want.
How then, are we ever to get to know the character’s personalities, back-stories, where they came from or where they’re going? Or to put it another way, “What’s their deal?”
Simple. By observing. How they interact, how they speak. By what their body language is telling us. If they seem to always be lying or can’t keep a secret. Are they making others uncomfortable or welcome?

My secret key to strong RP is knowing how a character relates to others.
I firmly believe that having a working and most importantly, fluid, inner dialogue is more worthwhile then spending our time writing out an IC novel.

So stay tuned and join us as we tread down the well worn avenues of RP relationships and attempt to pry up the brickwork.

Character Creator’s Log – Cottleston Pie –

Today, we’re going to review our homework from last ‘week’.

No worries, you don’t have to show your work unless you want to.
Honesty’s much harder when you’re forced to share and the goal here above all else, is honesty. Because if you can’t be fully honest with yourself about your limitations…
Well… That’s going to be a trouble.

But all those pointless questions? What were they for?
If it helps, think of them like a personality litmus test.
It provides a basis for your reaction to ____conditions.
After you answered several, you might have noticed a reoccurring answer.
Or you might have noticed a severe lack of cohesion.
The latter means your reactions are more mailable and dependent/reliant on mitigating factors.

Instances of the former however, are what we’re currently looking for…
My constant: What this list tells me about myself for instance, is that I’m a talker. I talk when I’m nervous, I talk when I’m pissed, I try to trick-talk people into paying mind to the random string of words coming out of my mouth on the off chance that they find me interesting enough to keep around, or at least more amusing alive then dead.  I WILL talk until my tongue is numb, my lips sag and my head falls off.  Even then, you’d have to bury it in the sand, far away from the rest of my body…

I think you get the picture.

So. Now knowing that, we can more then assume that it would be a terrible idea for me to try and create a long standing character who is mute or non-gregarious.

There are other things of course that this list doesn’t tell us. Things like your own physical limits. But those are either already known to you or will become readily apparent as you sort out your game. Luckily, unlike ‘unrepairable’ personality constants, most of those can be worked on and improved with time.

This run down merely marks out our personality head shot.  Something that we can reference when creating a character, so that we don’t cast so far from type that the you that is always you, can be seen wiggling in irritation inside the character you’re trying to portray. Because in larp, there are no second takes.