After sleeping rather long, the four of us join many others at the Oslo Central Station to board the Knutepunkt bus. We were almost on time, but apparently two full busses had already left.
On the bus I read the larp scenario ”School Trip” that I and many others will have to run after the opening ceremonies. Nobody was asked about wanting to do it, I think – film director and Knutepunkt founder Erlend Eidsem Hansen simply picked twenty people with game mastering experience, and gave them the task. Eirik sitting behind me was similarly burdened.
The location turned out to be next to a beautiful mountain-rimmed half-frozen lake. Cabins, a hotel, and a big lavvo by the shore. Lots of old friends came to greet and hug us. I shared a bunk bed with my P co-owner Martin Ericsson, in a cabin with five other people.
The event was about to start with a ritual (Norwegians are crazy about rituals). Erlend told the game masters to help him out with it, as the opening ceremonies would meld seemlessly into the game. Carrying torches and accompanied by drum and flute, we twenty walk slowly to the circle of the two hundred participants. Most of the participants are wielding unlit torches, and we go through them, picking the ones that will play in our runs of the game, and lighting their torches.
For my run of The School Trip, I was joined by Lars, Jeep veteran Tobias Wrigstad, and six other people, some of whom I knew, some not. I had some problems with the game – it was a seemingly realistic game about a class reunion that will be interrupted by the teacher showing off a time machine he’s invented, and giving the class a chance to travel back to a traumatic event in their youth. That is, traumatic for like two or three people in the group. The rest weren’t really interested in the events at all, and just wanted to leave when this opportunity was introduced.
Every game master was to run the game in their own fashion (360 degree illusion, jeepform, tabletop, with theatre-like physicality, or whatever). I wanted to make mine as immersion-friendly as possible, and felt this would require me to somehow explain away the disruptive time machine and create a strong sense of group and place with practically no props, sounds, lights, costumes or anything, or time to prepare.
What I had, though, was a lot of people with slightly strange hair and clothes (them being larpers) and a shared understanding of some geek trivia. So I decided to make it a Harry Potter game with the students having gone to a school for wizards. That explained the time machine (magic) and managed to create a suitably unique atmosphere for the hour and a half. Fortunately the room I was given happened to have lots of books in it, so that helped, too. Many thanked me afterwards, so I think it was a succesful solution.
After this we all rushed into the main hall to hear my good friend Joc Koljonen hosting a live talk show with about a dozen varied Knutepunkt goers talking about the stuff they’ve been doing the year before or will do at the event. This included Martin talking about Dollplay and Marika, researcher Jaakko Stenros talking about their pervasive game studies, and a Finnish British theatre professional from Teatteri Naamio ja höyhen, Johanna MacDonald, who’d never visited Knutepunkts before but realized (quite right) that larp has quite a bit to do with performative arts.
I tried to go to sleep around two to be able to attend Johanna’s programme item at eight in the morning. Unfortunately Martin was under the influence that ours was a party cabin, inviting people there to keep partying when all other rooms had switched off the lights. But that’s just part of the magic of Knutepunkt!