Last time, I was looking forward; now it’s time to look back. So how was Consequences 2024?
(And I should say that, strictly, this was “Quintessential Consequences,” but I prefer to remember them by the year, and as this is my blog, that’s what I’ll do.)
TL;DR: Consequences 2024 was awesome and I’m looking forward to next year.
Logistics and accommodation
Consequences had a new venue for 2024, Lakeside Holiday Park near Chichester. It’s a five-hour drive from Yorkshire, so I set off early. (I’m not organised enough to take the train, and taking a car meant I could overpack.)
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| Our 6-berth static caravan. Not recommended for 6 adults. |
The accommodation is either in a lodge or a static caravan. I shared a 6-berth static caravan with James, Kath and Matt. That was extremely cheap (it worked out at about £25 per room per night) but there were compromises – the bedrooms were tiny. I wasn’t sharing my twin room, and I wouldn’t have wanted to as the gap between the narrow beds was about six inches. Kath and Matt shared the double room but had no space for their luggage, which they left in the general social area. We did have two bathrooms, although one was so small if you’re any bigger than I am you would struggle.
The static caravans feel like they’re designed for a family (the twin rooms would be fine for kids).
The lodges, on the other hand, are much more luxurious and have much more space. However, there were only a limited number of them available, and we didn’t really need the extra space.
Consequences doesn’t provide meals, but the lodges/caravans have cooking facilities, and meals are available at the bar. I brought things for breakfast and lunch, and had bar meals in the evening.
For owls, not larks
It’s worth noting that Consequences caters more for the owls than it does for us larks. (And for Americans who haven’t adjusted their body clocks yet.)
As an example, breakfast butties were only available from 9:30 – that’s practically mid-morning for me! And parties start late and carry on into the early hours.
That’s not a gripe, just an observation. If you are a lark, you just need to be wary of who you lodge with. And bring your own breakfast.
Spellbound
Written by Maria & Jeppe Bergmann Hamming and run by Mo Holkar, Mike Snowden and Quinn D.
Spellbound was the game I was most concerned about before Consequences. It seemed to be the most Nordic of the larps, and that’s not something I’ve done before. I don’t really know how Nordic it was, but there were lots of workshops and the game was conducted silently while moving to music. (Eerie non-English folk/rock/indie music. No idea of the genre. Some vocals sounded like Bjork might have sung them, but I honestly don’t know. I didn’t recognise any of it – and it was suitably weird.)
As there were no words, the workshops covered (with varying degrees of success) how to move and how to interact. Broadly we were split into two camps – humans and the immortal undergrounders (in their glorious masks). The broad arc of the story was about how the undergrounders bound humans to their will, toyed with them, and then whether the humans returned to the human world or stayed.
And did I enjoy it? I think I did, eventually. I was way outside of my comfort zone to begin with, but after 20 minutes or so, I was getting the hang of it. It could have been 30 minutes shorter – we could have had fewer scenes, and each scene could easily have been at least one song shorter.
Talking to one of the human players afterwards (I was an undergrounder), apparently, in one of the early breaks, they quickly agreed on a story and connection between themselves, which helped their game immensely. I might have enjoyed it more if the undergrounder also had more to them.
I’m glad I did it but I doubt I’d rush back to do a game like it again.
Incidentally, the original larp materials are here. And these are the Spotify playlists: Conflict, Party, Seduction, and Sentimental.
Friday
I had a terrible night’s sleep – which is usual for my first night at a games convention. At Consequences, this was compounded by the bitterly cold weather, and the caravan got very cold.
The Stars our Destination
This was my game, and the fifth in my series of first contact games. I don’t have much to say about it other than the players seemed to enjoy it. It went well from my perspective – I have a few tweaks to make here and there, but nothing major seemed to be broken.
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| Players conferring in groups: how a typical freeform looks |
Next year I plan to bring episode 6. Assuming I can figure out how to make it work.
All You Need Is Love
Written and run by Laura Wood and Ruth Trenery-Leach.
2024 has been my hear of song/band larping (and it arguably started in 2023 with That Difficult Second Album at Peaky 2023). So there’s been West End Lullaby, Backstage Business, Success2Soon, All You Need Is Love, and (later on), Do You Hear The People Sing.
Anyway, in All you Need Is Love we were a newly-formed band that went through a defined arc that included singing Beatles songs to each other.
As the arcs were predefined, it felt more like theatrical improv rather than a “game”. So one scene included something like, “F is angry that their more experimental work is not being released by the band.” So we improvised and acted that out. So, on one hand, we weren’t given any agency in choosing the direction, but we did have agency in how we played that out.
Critically, though, this also avoided the dreaded freeform compromise. F argued that he only wanted one song on the next album, just one. And it would have been so easy to compromise and say yes, we’ll give you one song. But the directions didn’t let us do that, and so we couldn’t compromise – which was a very pleasant change.
Another oddity about the game was that we had 12 players, split into two groups of six. Each group had exactly the same instructions, with the same character packs, arcs and songs. But we fleshed out the details. It sounds like it shouldn’t work – but it did. There was no crossover between the groups, and while it’s tempting to suggest that might be something to try, I think it’s fine that there was no crossover.
As for me, I played “C”, who I named Charlie, who struggled with fame and unrequited love. I had a great time playing them with my fellow band members (played by Mo, Nickey, Karim, Dave and Ben).
And of course, it’s a lot of fun singing Beatles songs together.
The Koenig Dead
Written by Tony Mitton and run by Tony and AJ Smith.
I played Captain Alix Orban and wish I’d spent longer absorbing my 20-page character pack. As I mentioned last time, I found the character sheet a bit confusing, and during play, I struggled to look anything up in the heat of the moment. But unfortunately, I got distracted and didn’t do as much homework as maybe I should have.
Anyway, the game was fine. As the captain, I was always being called upon, but of course, I didn’t know that much – even if I’d memorised my character sheet, much of the detail was known by others. I had a lovely time interacting with my crew and Steve Bassett’s sinister Armari Thrace who gave me a hard time about the last time our character’s paths had crossed.
Other than the flow of the character sheet, my minor criticisms are:
- The game space was slightly too small for our 14 players. That was a surprise as The Stars our Destination also had 14 players, but didn’t feel cramped in the same way. (Maybe the extra GM made all the difference.)
- The game has content warnings, but there are a couple of occasions where even I thought, “ew” and wondered if they were necessary. (If the game were actually about those issues, then that would be different, but I didn’t expect it in a game based loosely on Firefly.)
- For new players to the crew of the Kestrel, I think twenty minutes at the start of the game for the crew and passengers to get to know each other and understand what happened last episode would be time well spent. I’m sure the game is much smoother when those playing the continuing characters have played them previously.
Saturday
I had a slightly better night’s sleep (helped by the warmer weather), but it was still not brilliant, and I woke as usual at around 6 am.
Do You Hear The People Sing?
Written and run by Alex Helm, and subtitled “How the GM got their friends to perform Les Miserables for them”.
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| Photo by Tsijon |
I played Franky Jackson who plays Thenardier (and a few other minor roles) in Les Mis. And it was a hoot. It was chaos, with singing and wild accusations, songs tanked, and I even brought the plate of sardines on stage for Master of the House. The actors playing Cosette and Eponine switched roles halfway through, but luckily the audience didn’t notice.
Definitely the highlight of Consequences for me. If you get the chance, play it.
I’d happily play it again, and I’m also hoping it creates a new genre of farce-musical crossovers that I can play. Mamma Mia, anyone?
Batukh Hungers!
Written and run by Alex Helm.
As I suspected before the game, Batukh Hungers! is a balloon debate: someone has to sacrifice themselves to the dark god, but nobody wants it to be them.
And to my surprise, it ended up being me!
I had a lovely game, particularly the angst and philosophical discussions on the nature of love with my wife (played by Elina), but it wasn’t until the last thirty minutes that I suddenly realised that I didn’t want my wife to be destroyed by the dark god. That led to a great finale – I could see other cult members persuading Elina to sacrifice herself, so I stepped forward and offered myself, and she tried to stop me. But failed.
A lovely ending to the game – nice and dramatic.
Sunday
I had a much better night’s sleep. I got back to the caravan at about 11:30 pm and had a decent wind down before going to bed. That seemed to work.
Hillfolk
On Sunday morning, I ran Hillfolk. I gave the players (JD, Martin, Clare, Heidi and Graham) a choice of the setting, and they chose Hazelwood Abbey (Downstairs) – which is the servants' playset I created for Hazelwood Abbey. This suited me as it’s the playset I hadn't run.
Nobody had played Hillfolk before, but they soon got the hang of it, and we had a dramatic story that featured a broken mirror and the blandest of bland pies. Nobody had chosen the butler or housekeeper roles, so I told everyone the old butler had left, but that the family were looking to replace him. I later told the housemaid that they would be happy to consider her for the position of housekeeper instead of a butler, creating a bit of competition.
We ended up with three procedural scenes – trying to fix a new mirror into the old frame (fail!), making a sauce (success!), and the housemaid and valet competing for the position of housekeeper or butler.
We talked about dramatic poles at the end, but everyone found the actual mechanic for determining who gets the bennies to be far too cumbersome. So we ignored that. I think in future, I will end by asking each player what we see their character doing in five years’ time.
Interestingly, the more I run Hillfolk one-shots, the harder it is to imagine it as a longer-form game. Maybe that should be a goal for 2025.
The Roswell Incident
And finally, I ran The Roswell Incident. This is the first game in my multi-game first-contact series of freeforms, and the start of what I am calling Timeline 3. (The Stars our Destination was episode five of Timeline 2. Timeline 1 is online.)
For me, this was probably my least favourite game of Consequences. I made a couple of poor GM calls, and while I think most of the players had a good time, not all of them did. I’ve got a pile of notes to reflect on.
I think one of the problems is that I’ve published The Roswell Incident through Freeform Games, and more of the secrets come out during that (as it’s a one-shot) than is probably ideal for the start of a series of games. But maybe that doesn’t matter – I guess I find out next year when I run part 2, All Flesh is Grass.
Getting back
I think I may have figured out my problem with sleep.
At gaming cons, I think I get over-stimulated with the games and people and conversations and ideas, and I need peace and quiet before I try and sleep. I probably need more than I think – so maybe at least 30 minutes on my own. And I think I need to read a book, something unrelated to the event; reading calms my mind and tells my brain that it’s time to go to sleep. Which is what I did on Sunday night, by making sure I was back in the caravan shortly after 10 pm and having time to wind down. I will try and remember this for Shogun in 2025.
And so on Monday, after the best night’s sleep so far, I drove back, listening to the splendid Aldritch Kemp and the Rose of Pamir on BBC Sounds.
