#phonomancer

[poisonerspath]

By thoughtfully staging our “set and setting” during psychedelic experiences we can avoid bad “trips” and enhance the overall experience. In AP Psychedelics by Sean Manseau we learn that we can achieve infinitely more than that by taking our psychedelic experiences to another level. Using ritual, performance and a carefully selected playlist you can literally make magic to change your life and go on epic quests of self-discovery and empowerment. AP Psychedelics outlines the entire practice, one of the core concepts of The First Church of David Bowie, operating out of Portland, OR Manseau shares his breakthrough approach in a futuristic musical montage. Check out Sean’s YouTube channel where you can find the whole playlists and discussions with the world’s first “phonomancer.” Sean will also be presenting @botanicaobscuraconference in 2023!!!! Follow @seanwmanseau - #phonomancy #phonomancer #appsychedelics #psychedelicstudies #entheogens #botanicaobscuraconference #psychedelictherapy #psychedelicintegration https://www.instagram.com/p/CmIGQm_r2Jx/?igshid=NGJjMDIxMWI=

[graphicpolicy]

Anyone can be a phonomancer in Phonogram: The Singles Club #7

Music is magic for Everyone in Phonogram: The Singles Club #7. @MidnighterBae takes us through the final issue of the series #Comics #ComicBooks

In advance of Kieron Gillen and Caspar Wjingaard’s upcoming comic The Power Fantasy, we’re revisiting some of Gillen’s previous creator-owned work. This article was originally published in January 2021 as part of a series of essays about Phonogram: The Singles Club, but has been edited and re-presented here. “I used to have a special tape. Used to have my track. My one killer track that would…

[ilimio]

important tags!!! @unhinged-phonomancer

If it seems like I've been posting a lot about antisemitism, it's because I've seen massive amounts of it coming from every possible angle and no one seems to give a fuck except Jewish people, who are called traitors and blood-thirsty Zionists for saying anything while "allies" look the other way.

I have seen so much antisemitism on my dashboard from people I previously trusted and respected as leftists and activists. I have seen seen indigenous bloggers, including many former mutuals, say the cruelest and most vile things and act like it's totally fine.

I refuse to be complacent in this hate and violence and cruelty and I highly suggest you all also think long and hard about why antisemitism is becoming so prevalent and explicit in leftist circles and how we're all contributing to it.

This is not a matter of "yeah!! Not all Jews are Zionists!!" You CANNOT categorize people as "good Jews" vs "bad Jews" and if you feel like you need to justify antisemitism against certain groups of Jews, then you are part of the problem.

[a-yarn-of-purple-prose]

Got that regular reminder of the concept of necromancy as it works in Phonomancer

(got jumped by a song in the bus)

[phonomancer]

The Chemical Brothers - Surrender #molokoplusvinyl #phonomancer #vinyl #thechemicalbrothers #chemicalbrothers #heyboyheygirl https://www.instagram.com/p/Bzb4FmSjoz_/?igshid=p99jdapx542e

[larphouse]

Documentation for My Jam

A live-action game about music, magic, and high school drama

Designed by Jeff Dieterle and Eric Mersmann Organized by Cat Stuntebeck, Jon Cole, and Katherine Shane

Photography by l.p.lade

19 August 2018 Minneapolis, Minnesota Eight players

Original announcement

[brudiza-spudnik]

IT's AN ARG

the main guy i saw in the video must be the guy from the sidebar: "Sean Manseau writing as Pa Dammit"

shoutout to this youtube pastor who delivers a passage from the bible followed by an obscure doom track in its entirety. love that he asserts it was sung by the virgin mary

[biggoonie]

PHONOGRAM, VOL. 2: THE SINGLES CLUB TP story KIERON GILLEN art & cover JAMIE McKELVIE DECEMBER 16 160 PAGES / FC $14.99 The second series of Phonogram separates itself from the frenzied mob of adoring critics just long enough to transform into this handsome collected volume. Seven individual-yet-interconnected stories set in a single night in a single club, each staring a young phonomancer, each exploring a different mystery of music and magic. Includes a cover gallery and “Making Of” extras. We've put you on the guest list. Don't be late. This is one night you'll never forget. Collects PHONOGRAM: THE SINGLES CLUB #1 –7

[twatd]

The Truth Will Set You Free

Tim: We’re in the endgame now. With issue #43, the final plot dominoes fall into place and The Wicked + The Divine takes a major step towards its conclusion. But what do these last revelations mean, and how do they fit in with the thematic arcs the series has established. Thoughts, with accompanying spoilers, follow…

Issue #43 pulls off another subversion of our assumptions, a narrative trick that has almost become one of Kieron Gillen’s signature moves. At the end of the last arc, a question hovered over Laura – if she was no longer a god, what was she? The answer, of course, is that she never was a god, and nor were any of the Pantheon.

While I wouldn’t put it past Gillen to try and fit one last twist in, I think the remaining two issues will focus on emotional resolution, rather than plotting. Working on that assumption, we can probably accept that the series of flashbacks in the middle of the issue are the unvarnished truth. Some elements of what we’ve always been told seem to be true; there are 12 special individuals born every 90 years. But that’s about the limit of it.

They are not gods. They do not need to be awoken by Ananke. There is no need for them to die within two years.

Godhood is nothing but a story that these individuals have been convinced to live within. It provides them with access to greater power – Ananke calls it a “shortcut” – but it comes at a price. If you believe the story, and live as if it is true, it burns you out.

That initial bargain we were told about is still accurate – enormous power in return for a lifespan of two years – but there is nothing divine about it. The Pantheon are not reincarnated gods, they have simply been sold the same story as previous iterations. The names may change, but Ananke works from the same archetypes, and taps into common themes and weaknesses in order to convince the new generation that they are divine.

At the end of the day, it works on the same principles as every classic con-artist trick: it’s easy to convince people of a lie if they want it to be true. Every member of the ‘Pantheon’ wanted to be special, and along comes Ananke with a very convincing story telling them that they are. If I lived in the world of WicDiv, I’m sure I’d fall for it too.

Now that the mechanic behind the Pantheon’s power has been made clear, we can dig into what it means. Back when WicDiv was first announced, Gillen called it “a superhero comic for anyone who loves Bowie as much as Batman”. The revelation that our cast of characters have powers even without their ‘godhood’ certainly begs a comparison to things like Marvel’s mutants and Inhumans or DC’s metahuman population, a similarity that wasn’t there before. But in other, more crucial ways, WicDiv inverts the traditional pattern of superhero comics and turns metatext into text.

When writers are developing superheroic characters, they will often work from existing archetypes, ones that have developed over time as the genre has evolved. The classic hero. The dark antihero. The relatable teenager. The fish-out-of-water. The cunning rogue. While not every hero fits neatly into a simple trope, it’s worth noting that many of the more successful ones do, having been purposefully constructed to fill a role, adapted over time to work better or – for particularly successful characters – having built a new archetype around themselves that is then imitated.

This process is sometimes even acknowledged in the text – when working on the Justice League in the late 90s, Grant Morrison deliberately styled them as a ‘modern pantheon’, with Superman as a sun god, Batman as a nocturnal underworld figure, etc. However, WicDiv goes one step further and actually pulls this process into the fictional world of the book. It is only when they embrace an archetype that the characters gain their greater power. They draw their strength and ability from the cultural heft of their iconography, and lose that ‘divinity’ when they acknowledge that they are less (and more) than a symbol.

We can take this inversion even further when we consider Watchmen and other stories that examine the impact of superpowers on the human psyche. In these types of story, it’s frequently the case that having access to extraordinary power leads to characters becoming distant and detached from humanity. In WicDiv, that very act of detaching, of considering yourself apart, is what leads to the power.

It’s a theme that Gillen and McKelvie have included in their work before. In the second and third volumes of Phonogram Emily Aster details how, in order to gain power and cast off the misery of her adolescence, she had to create a new identity, one that was simpler and more archetypal. By becoming less of a person, she becomes a stronger Phonomancer. Unlike the characters in WicDiv (Ananke aside), she makes this choice knowingly and willingly – a sacrifice in return for power and success.

Of course, even though we’re quoting one of its creators, describing WicDiv purely as a commentary upon superhero comics is selling it short, and the metaphor of Ananke’s trick has more than one interpretation. WicDiv is also about art, performance and creation, and we’ve written numerous times before about how those themes relate to the identities that the Pantheon choose to inhabit. Persephone mentions that the alternative to embracing the story and ‘godhood’ is “a lifetime of work to learn what you can”, and as a metaphor for the cult of celebrity and artists buying into their own self-mythologising, it certainly works.

Every member of the Pantheon has pretended to be something they aren’t, or taken on a role they feel obligated to fill. Their divinity is just another variation of that, a story about themselves they chose to believe. Rather than simply a person who can do something that others can’t, they have separated themselves off as a different class, a higher being worthy of worship. Even Tara, who strained against her ‘divinity’, still believed she belonged up on a stage, believed that she had something that set her apart.

Go back to the very first issue of WicDiv – Laura wasn’t content to simply be in the crowd. She had to craft her own godly identity, marking herself as separate from the rest of the audience and as a peer to the ‘divine’ Amaterasu.

If we apply this lens to the world of pop music, then Ananke becomes the predatory agent, producer or record company, convincing those with talent that they are a star, molding them to fit a simpler, more marketable role. She pampers the ego of her charges, and has them compete with each other so they do not band together against her. Of course, this path leads to self-destruction, and when the talent is exhausted and gone, only Ananke remains, having secured everything she needs to carry on and search out the next wave of talent.

This final twist in the nature of the Pantheon brings together almost all of the themes that The Wicked + The Divine has examined over its run. It’s a beautifully elegant bow on the narrative, synthesising the ideas of identity, performance, humility, power, youth and more. It re-asserts the humanity of the characters over everything else, declaring that they are not just simple symbols, but complex and contradictory people.

There’s a Terry Pratchett quote about how most immoral actions can be boiled down to treating people like they aren’t people. Convincing people that they aren’t people is an even crueler trick, and seeing our cast break free from that thinking is immensely satisfying.

In issue #39, Persephone states that there’s only one way to end a story, and #43 shows it isn’t with death, or new life, or victory. It’s by deciding not to tell it anymore.

Like what we do, and want to help us make more of it? Visit patreon.com/timplusalex and pledge to gain access to exclusive blogs, ebooks, mixtapes and more.

[rppr-podcast]

Unknown Armies: The Treasure Hunt – Episode 5

Unknown Armies: The Treasure Hunt – Episode 5

The Ska Band heads to New Harmony Indiana, where an odd movie production is underway. A wealthy and eccentric filmmaker is making a movie but seems to have a secret agenda. The cabal realizes that in order to summon the river boat they need, they must find out what the director is up to, which means joining the production.

Cast: Bill as Nate a Phonomancer (a new custom adept school) David as Cici,…

[sealedinabook]

//Lord Cedric’s People

I’ve decided to upload information on the main Aaronagim clans. This information may change.

Born-of-Mother’s-Blood Clan - also known as Born-Straight-of-Great-Mother’s-Coils. A collection of families from which all other clans claim to have originated. Average life span is approx. 695 earth years. Members of this most ancient clan display “primitive” characteristics: predominantly cool colour schemes, sexual ambiguity (as opposed to sexual dimorphism), two fully-articulate mandibles, and the ability to inject venom.

Members of the BMB rule all of Žeayia Yikþ, and their function is similar to that of male lions in that they are large and incredibly fierce and competent defenders of anyone under their protection.

Members of the BMB are notorious for inconsistency. Their loyalty is to their goals, short- and long-term, and they do not mind when they apply decisions unfairly to different parties in the same or similar situations.

One of the families within this clan, the Shadow Vipers, traffic with the primary Aaronag Gods in Their darker aspects. Rumours of sacrifices of Aaronagim and hahalim abound.

Take note: During the events within W.I.T.C.H., the Shadow Vipers are the ruling family, and Her Highly Esteemed and Excellent Lady Olindoyo is the Supreme Authority.

Beauadders Clan - the clan from which Lord Cedric’s mother’s family hails. Families in this clan tend to raise clever, cunning, and savvy offspring. They take pride in being critical thinkers, and the ruling Aaronagim often employ members of this clan as ambassadors and envoys. The Beauadders became especially important after the “Escanor invasion,” since compared to other Aaronagim, they are less inclined to act impulsively against and aggressively to hahalim.

Some Beauadder families take pride in being protectors of water throughout Metamoor. Before the “Escanor invasion,” the Aaronagim were more widely distributed outside of their homeland, and certain Beauadder families were custodians of potable water sources. They were aware that if sections of Metamoor become deprived of fresh water in large quantities and/or for long periods of time, this could have potentially devastating consequences.

Beauadders have an average life span of approx. 550 earth years.

They-Who-Dazzle Clan - the clan from which Lord Cedric’s father’s family hails. Families within this clan are renowned for their high-contrast colour palettes, which appear either as a) brilliant yellow, plus brilliant green, plus cadmium red or b) teal, plus cream, plus laterite red. Irises range from blue to violet. A member’s average life span is approx. 500 earth years.

Like the Beauadders, They-Who-Dazzle are protective of potable water sources, albeit ones closer to Žeayia Yikþ.

Most families can be incredibly aggressive when disturbed.

They-Who-Dazzle are notorious for devouring enemies and rivals, although the fact must be known - they do not eat live victims. This is a Galhot fabrication, which later spread like fire when Escanors “invaded” and was even applied to all Aaronagim. They-Who-Dazzle often tear their quarry to pieces. It is too dangerous to eat live quarry. Even with durable stomachs, movement within can cause them to become violently ill and expel the quarry.

While other Aaronagim are actually not as sibilant as one might assume, They-Who-Dazzle are famous for their pronounced lisps.

Nightsky-Gazers Clan - the clan from which the half-breed phonomancer Hypnos hails. Average life span is approx. 550 earth years. Families within this clan dwell in a region of Metamoor known as ‘the Garden of Shadows,’ lands that include part of Žeayia Yikþ and a small section of the Meridian province. During the events within W.I.T.C.H., the clan’s ruler is Great Lady Heyayoye (or “Harmonia” to Escanors and Galhots), mother of the half-Escanor half-Aaronag named Hypnos, famed for the hypnotic instruments he crafted.

Along with a love of music, singing, and chanting, Nightsky-Gazers love the night, and they are often consulted because of their extensive knowledge of the stars, moons, planets, and astronomical phenomena.

Families within this clan were responsible for introducing to Žeayia Yikþ the “Midnight Children,” a possible sub-group of Galhots. Their introduction likely resulted from a) convergent interests with the Aaronagim and b) their desire for protection from the shape-shifters in exchange for serving in a variety of positions. However, Galhots have a legend concerning the Midnight Children and Lady “Sarah,” an Aaronag enchantress whose power centered around music, in particular singing.

A Galhot town begged Lady Sarah and her family to protect them and drive brigands from the area, which she and they succeeded; but the town tried to manipulate their way out of paying their debt. Rather than destroy the town as her people desired, Sarah bade them wait. During one night, Sarah and her people used powerful enchantments to keep the adults asleep, while the children woke and followed her into what became known as the Garden of Shadows. The Midnight Children are allegedly the descendants of these captives.

Tsi-Tsi-Tsa Clan - also known as Tattooed-Faced Clan or the Tattooed Ones. Their name is an onomatopoeia of the sound created during the tattooing process. The oldest members could reach up to 500 earth years, but because of risky lives they led, few members aged passed 450.

Families within the clan tended to settle as far away from the influence of the BMB as possible, for they resented the fact that the BMB and other Aaronagim didn’t go far enough in their worship of the darker aspects of the Gods and of darker entities. They were more open about sacrificing proplr than the BMB have ever been.

The Tsi-Tsi-Tsa were the first to conquer and enslave Lurdens and Passlings. Very few Midnight Children ever served this clan. Prince Phobos acquired his first Lurdens from a family belonging to this clan, and he was well-received for embracing their Neutral Evil-leaning way of life.

While Her Highly Esteemed and Excellent Lady Olindoyo refrained from taking sides during the war between Phobos and his mother, she detested the fact that numerous families within the Tsi-Tsi-Tsa had joined the Prince. She managed to kill off the matriarchs and any successors three positions down, throwing those families into in-fighting and thus causing them to withdraw from Phobos’s army.

During the events within W.I.T.C.H., only four families (or approx 250 total members) of the Tsi-Tsi-Tsa have survived. They abide more closely to the decrees of the Highly Esteemed One, fearing her and her consortium.

Annotations

Žeayia Yikþ - Realm of the Lotus. Lit. Lotus Land. Lord Cedric’s homeland.

Aaronagim - N. Aaronag. Lord Cedric’s people, a race of serpent-like shape-shifters native to Žeayia Yikþ. The name Aaronag is the name by which they publicly call themselves. They keep another endonym, the ‘true name for’ themselves, secret.

hahalim - N. hahal. Non-Aaronag people; outsiders, foreigners. The word can also be used to describe ‘strangers.’

Ožea Ayiiðæ - Great Mother. One of four supreme beings within the Aaronag pantheon. Also known as Fierce Mother, Raging Mother, Lady of Waters, Lady of Lotuses, Lady of Life, the Devouring Mother.

[graphicpolicy]

Criticism and Fandom Duel it Out in Phonogram: The Singles Club #6

Criticism and Fandom Duel it Out in Phonogram: The Singles Club #6. @MidnighterBae continues the examination of the series by @kierongillen #JamieMcKelvie @COLORnMATT #Comics #ComicBooks

From what we’ve seen in Phonogram: The Singles Club so far, Lloyd is more concerned with telling various phonomancers about his “plan” to show pop music’s dark, hypocritical subtext by combining new public domain melodies with “hyper-lewd post-spank-rock sex lyrics”. He’s more critic than an artist or even fan (Except for the Dexys Midnight Runners.) in those five issues. So it’s fitting that…

[kierongillen]

What type of Phonomancer would specialize in mash-ups? Especially the glitchy experimental kind? What would their worldview be?

If you’re thinking about Phonomancers, think less about the actual form of music and more about the approach to the music and the effects they’d use it for. 

When I was having a read of the Phonogram-inspired LARP my Jam the bit which made me smile in a “Oh, they get it” was the five vague tribes they divide their phonomancers into. Rather than doing genres, they arranged it into five *approaches*. In their case,  melancholy, hype, chill, fanatical, or aggro. The emotional ones are a “I like music that makes me feel like XYZ” sort of thing. The one which made me most smile was Fanatical - as that’s the one which is based around a belief that this form of music is objectively the best. Some other designer would have made the Fanatical one the indie elitist class, the aggro class the punks and the hype one speedmetal or whatever… but that’s not really what Phonogram is about. The metalhead who thinks metal is the only music that matters is more in common with the poptismist who believes that anything outside the mainstream may as well be evil than the metalhead who is mainly into emotional dirges.

That’s turning it into a system, which isn’t needed for Phonogram, which is primarily literary. Like, if I were to cook up someone into messy mash-up stuff, I’d be thinking of someone who likes exploring and distorting context - which leans towards a certain prankster attitude, in terms of being interested in provoking responses (if playing to someone else) or just hearing the world remixed and the semiotics of these distant things rubbing against each other, so reworking the world (if playing for self, etc). You could even move into nastier terrain and using it as an elitist who likes to signal their taste on multiple levels - as in, they like all this stuff, and can recognise it, and also know where to find an obscure mash-up. This could be benign - viewing music as a puzzle game. Conversely, you could absolutely see someone doing this performatively when DJing, etc - though that’s more likely with a less glitchy mash-up.

(Of course, I’m also showing my own philosophy here, especially when DJing. If I were to write my list of DJ tips for most situations, it’d certainly include “Don’t play a mash-up unless it is superior to both the songs it mashes up. All that happens is people wish you were playing the other songs.”)

But you find your own answer, really. My standard line is all Phonomancers are a church of one.

[djangodurango]

A few years back, I asked Kieron Gillen a question about retromancy. I don't remember specifically what that question was because I actually had many questions about retromancy and I didn't think it was cool to ask him to answer them all. Also, tumblr only gives you so many characters, so it had to have been a question designed to maximize the info gained from the response. It didn't matter though, because Gillen declined to answer it. It came too close to blowing a scene in the (then upcoming) second issue of The Immaterial Girl. Looking back over that scene, I think the question was something along the lines of, is David Kohl a big fat hypocrite of a retromancer since he came into his phonomancy during a revival? Does grounding your magic in a revival genre make you, inherently, a retromancer?

Problem is, Phonogram is never told from an objective viewpoint. It's always told from a contextual protagonist's perspective. Only two of these characters have actually stated an opinion on the matter of retromancy, and both were derisive of it. But both of those characters, David Kohl and Emily Aster, are snobs who have a lot of social capital reasons to have that opinion so it's hard to say what the reality of retromancy is.

Jesus, this is gettin' pretentious.

Look, my favorite band is the Cherry Poppin' Daddies. Rob Zombie is a close second and begs some of the same questions.

If the core of your "church" as a phonomancer is a band that largely owes its success to an outdated genre AND only because that genre was seeing a romanticized revival when they capitalized on that by putting out a timely compilation album BUT you were largely unrelated to that revival despite living through it BUT you were aware of that revival at the time BUT you only got into the band well after that revival was over AND that band is actually on the whole of an entirely different genre altogether BUT they still do a lot of vintage inspired work, including their two most recent albums consisting of vintage and not modernized covers, where does your phonomancy lie on the retromancer scale? If you're still living in the present (rather than trying to bring back the past), does that nullify the retromantic aspect of it? If it doesn't, is retromancy actually as bad as all of that?

It also makes you wonder about how much of having influences is considered retromancy. I mean, Emily Aster's entire persona is the sum of her influences. Is it not retromancy to consist entirely of 80's pop songs? I mean, granted, presumably she's been influenced by stuff since MTV became a completely trashy reality show channel, but Immaterial Girl was about her relationship to 80's music videos. Of course, it’s impossible to be pure of retromancy by that measure. Does the fact that she's trying to escape her past - rather than revisit it - make a difference?

What about Lloyd and his Dexys Midnight Runners obsession? Is it retromancy to fixate on a band that broke up before you were born and who play a genre no longer in vogue? (I think it's interesting to note that Kohl, though startled by the knowledge that Lloyd only listened to Dexys and nothing else, didn't treat it as repulsive as he did when encountered retromancers in Rue Britannia. Suggests that he would not consider this retromancy, or least not an entirely improper use of it.)

I expect no one has any objections to the vintage stylings in Penny B's phonomancy. Does it matter if the music is modern but meant to evoke an earlier time, like the Pipettes? Maybe it's like most things and you can get away with it more easily if you are hot. Or blithely unaware of where stuff comes from. The Pipettes are Penny's favorite band, but she doesn't know everything about them, which would suggest she's not exactly a deep researcher.

I expect the real answer to these questions is that phonomancers tend to be obsessive, unhealthy, and snobby about music and if you're enjoying your retromancy in moderation, like a sensible person, then retromancy is like all magic; neither good nor bad. Or that no one cares that much about negative impact of retromancy but Kohl and Aster only voiced an opinion herself about it because she was possessed by her old self and wanted to demolish him with it.

But where's the fun in that answer? Way too easy.

[phonomancer]

Clinic - Internal Wrangler #molokoplusvinyl #vinyl #phonomancer #clinic #internalersngler #britpop #garage https://www.instagram.com/phonomancer/p/BwRok0nlLrb/?utm_source=ig_tumblr_share&igshid=v07frsdf1djw

[larphouse]

Larp House Presents: My Jam

You’re all high-school phonomancers at the biggest dance of the year. During the dance you’ll be able to hang with your friends, pick arguments with your frenemies, and moon over your crush—just like any other high school dance. But when your music is playing, you’re empowered by it and become the most powerful being on the dance floor and maybe the entire gymnasium! At the end of the night, one of you will be elected Dance Monarch and enact a powerful ritual that can permanently change the world.

Some of you are here to dance, some of you are here to hang out with friends, and some of you are here because you have nothing better to do. All of you are here because music is magic.

WHAT: My Jam, a live-action game for 10–20 players

Designed by Jeff Dieterle and Eric Mersmann Organized by Cat Stuntebeck, Jon Cole, and Kathy Shane

WHEN: Sunday, 19 August 2018 from 3:00 pm to 7:00 pm

THEMES: Music, Magic, and High School Drama!

REGISTRATION: If you are interested in playing, fill out our My Jam Sign-Up Form before 11:59 pm on Sunday, August 12th. If more people sign up than we have room for, attendance will be decided by weighted lottery. You should know if you are in or out of the larp by Tuesday, August 14th. If fewer folks than the max sign up, registration will be open to stragglers after the deadline.

PLAY STYLE: Players create characters in a workshop before play, then play out a high school dance in real time. Characters have mind control powers when certain songs play that they have affinity with. Powers only work with consent and last only as long as that play is interesting to the affected players.

COSTUMING: Costuming is not required at all. If you are excited about it, you can dress up as some kind of high school student at a big dance.

WHERE: A North Minneapolis nonprofit located near Broadway and Emerson. Players will be given details after they are selected for the larp. Parking on site. Metro Transit lines 5, 14, 30, and 32 stop nearby.

We are requesting a voluntary goodwill donation $5–10 to support the work of the nonprofit in appreciation for the use of their space. No one will be turned away if they are unable to make a donation.

ACCESSIBILITY: The play venue is ADA accessible. Plenty of seating. Sugary high school dance snacks, punch, and water available. Climate controlled building. Gender neutral bathrooms available.

CONTENT ADVISORY: Dancing, talking in a room with moderately loud music, profanity in music, mind control (affected player must consent to content of commands), popularity contest. Possible: bullying dynamics, romantic pursuit/rejection. SOCIAL: If you would like to hang out after the larp, a group will go to Broadway Bar & Pizza at 2025 West River Road N., Minneapolis. Anyone is welcome to join in on this, including people who didn’t attend the larp!

Contact us with questions or concerns.

Banner graphic by K J Pargeter