LRP Moments: Death By Clown

Somebody recently suggested that I should try writing up some live roleplay (LRP) memories. I’m wary because what’s dramatic or funny in the moment may not always work in the retelling. But it worked when I wrote up New Pathways in Lycanthropy, so I’m going to give it a go here. Who knows, maybe this will end up as a regular thing…

* * *

It’s late at night in the market field. Overhead, an occasional star peaks through the clouds. My name is Hereward Saxum, a miner from an isolated community that recently discovered the fantastical world of Edreja. Today I’ve seen magical clowns, unliving monsters, and speeches by the most powerful people in my world.

The market field is almost empty as Father Candle and I walk across it, heading for the tavern tent. Candle is our community’s high priest, an old man with little more than a dagger to defend himself. We know there’s trouble out here in the darkness – hit squads hunting each other through the night, monsters looking for prey in civilization’s shadows. But a quick trip to the tavern should be fine, right?

Someone walks towards us through the darkness. I rest my hand on my sword hilt. I didn’t bring my armour or shield, didn’t think I’d need them. Hopefully, I won’t, but you can never be sure in this place at night.

There’s a jingling of bells. I make out the pointed shape of a jester’s hat. The stranger is one of the sinister clowns that stalk the local carnival. I’ve seen them around all day in their bright motley, laughing, prancing, and occasionally assaulting people. They aren’t mere mortal jesters. They’re magical beings who could take on a dozen heroes single-handed.

“Don’t worry,” I say. “I saw a trick earlier for how to deal with this.”

I face the clown.

“This rabbit walks into a butcher’s,” I begin.

That afternoon, I’d seen someone stop a clown in its tracks just by telling a joke. The deadly jester had burst out laughing, all thoughts of homicide forgotten. And this rabbit joke is one of my favourites.

“Hereward,” Candle says, “I don’t think that will work.”

The clown keeps striding towards me. It’s pulled out a wickedly sharp knife that glows with magic in the darkness.

Sure of myself, I keep telling the joke.

“Hereward,” Candle says. “We should run now.”

I keep going, a little less certainly than before. The other clown had started laughing by now.

The creature raises its knife.

“Hereward,” Candle says, backing away. “It’s the wrong sort of clown.”

I try to draw my sword but it’s too late. There’s a flurry of blows and I fall to the ground. The clown crouches over me and starts cracking open my skull, ready to eat my brain.

In my last dying moments, I see Candle stride up behind the clown and stab it in the back. My friend has come to my rescue!

There’s a flash of magic and Candle’s blows are turned back against him. He falls next to me, the life running from his body.

The clown giggles in the darkness.

Wrong sort of clown.

* * *

Out of character, I look up into the face of our friend Dave, who’s running this encounter. It takes ten minutes to die in game, and he has a stopwatch in his hand.

“You idiots,” he says, shaking his head.

Al and I look at each other and laugh sheepishly. This is a tough break for Hereward and Candle, and one of the dumbest things we’ve ever done, but at least it’s a memorable night.

Not Every Fiction Should Be Immersive

Not the real me.

Returning to live roleplay (LRP) has me thinking about immersion in fiction.

Immersiveness hs been a hot issue in British LRP in recent years. Profound Decisions have focused on creating rich, well-executed worlds for players to lose themselves in. The results are spectacular, beautiful, sometimes powerful. Players really get away from reality for a while. New Pathways in Lycanthropy was a fantastic smaller game in this tradition.

The contrast with the Lorien Trust, who run Britain’s long-running festival system, is striking. In and out of character elements are mixed together everywhere, from plastic tents next to in character ones through to the highly visible burger vans at the in character marketplace. The ritual magic system, intentionally or not, encourages jokes that punch through the fourth wall.

Conversations about this focus on quality and effort. Even as someone who’s chosen LT over PD, I see PD’s games as of higher quality. The thought put into them is greater, the effort better directed. This inspires the creativity of their players, creating a rich collaboration. Just the look of the game is a cut above its rivals.

But there’s a related thing that I haven’t seen discussed. These games have very different relationships with reality. PD’s leading game, Empire, isn’t just better at escaping reality. It’s a game built around doing that. The designers have gone to great lengths to create something that doesn’t directly engage with our world.*

The Gathering, the LT’s game, is very different. It’s full of deliberate references to our world, rich with in-jokes at the expense of reality and of other works of fiction. It’s a messy referential free-for-all.

Once I noticed this, I couldn’t help notice parallels with other works of fiction. Terry Pratchett’s early books are full of direct digs at our world, not to mention footnotes that pull you out of the story. Later books focus on immersion, on living within the Discworld and making the comparisons once you step back.

This isn’t an on/off thing. There’s a spectrum of engagement between fictions and reality. Levels of immersion can result from this aesthetic choice as much as from the quality of the work.

At the moment, I’m still mulling this over. In as far as I’ve drawn any conclusion, it’s this – how deeply you’re immersed in a world isn’t just down to the skill with which it’s been created. A story can be skillfully woven and still have you dropping out of its world all the time if it’s deliberately reminding you of reality, referring back to it as part of the text. Of course, this often happens by accident rather than design. There may even be a correlation between these causes of lack of immersion. I haven’t thought about it that deeply yet. But there are two different things at play here.

What do you guys think? Do you object to being pushed out of a world by the way the story’s told? Do you like your texts self-referential? Are good works always immersive? Let me know what you think.

 

 

* Of course, on some level, all art reflects upon reality. You could get a lot from thinking about parallels between Empire and our world. But that’s a conversation for another day.