Twelve women, friends and strangers, happen to get into the same elevator. Enroute to important engagements, everyone has tough decisions to make. Nobody’s plans for the day included getting stuck in an elevator, but everyone now has the chance to pause, talk to some of the people who matter the most, get advice from strangers, and grapple with what to do next.

This game is about connections, conversations, hard life decisions, conflicting expectations among people who love each other, and the many different viewpoints women have about what it means to be a good friend, spouse, mother, daughter, leader, colleague, mentor, creator or feminist. Each character starts the game with some long-standing connections and will finish the game having deepened these connections while making new ones. Being stuck in an elevator forces important conversations that might normally be private to become semi-public, and gives everyone a chance to weigh in with their opinions on other people’s problems.

(This is NOT an escape room game. The focus of play is about being in the elevator, not trying to get out of it.)

Note: this game requires all 12 players to be in a confined space (12x12 ft.).

Game will run approximately three hours, plus time for setup and debrief.

<b>Physical Restrictions</b>

Players will be confined in a 12x12 ft. space (marked with tape on the floor) representing an elevator. For a US cultural audience, this amount of space allows both separate conversations and mingling. This is more space than a typical elevator, but does not allow social distancing.

By default, players will be standing the whole time. We suggest placing 2 high height stools in the space (out of game) to assist players who may benefit from being able to sit down; this height enables sitting players to stay at the same eye level as standing players.

This game is played through verbal spoken conversations, with multiple simultaneous conversations occurring in the same confined space. Players with audio processing challenges or hearing loss may struggle. This is a talking game with no lighting effect, sound effects, or visual mechanics.

Although there is no explicit need for physical contact in this game, we expect that due to the confined space, there will be some casual and/or accidental touching as people move around. Therefore, “office touch” (e.g., accidentally bumping into someone, touching someone’s arm to get their attention, consensual handshakes, and the like) is permitted. Touching beyond that level is only permitted with consent of the players involved.

<b>Accessibility</b>

There will not be any game breaks, though players are free to go out of game for bio breaks as needed.

This game is played through verbal spoken conversations, with multiple simultaneous conversations occurring in the same space. This environment may be challenging for players with audio processing challenges or hearing loss.

There are no lighting effects, sound effects, or visual mechanics. Players will not need to read any new information during game play.

This game can work for a player who uses a wheelchair or mobility device.

<b>Content warnings</b>

One or more characters are currently experiencing: dementia, infertility, pregnancy, family members who need caretaking, familial estrangement, financial debt.

Things that have happened only in the characters’ past or to characters who are not in game include: infidelity, failed marriage, intellectual/developmental disability, abortion, bad relationships, gambling addiction, spouse’s/parent’s death.

The game does NOT include racism, ableism, transphobia, homophobia, or misogyny, and play on these themes is not allowed. (For example, no expressing the belief that transwomen ‘don’t count as women’ or don’t belong in women-only spaces; or that bisexuality isn’t real or ‘doesn’t count as queer.’)

This game DOES include

Characters who disagree about what it means to be feminist, what queer communities and activism can/should look like, how to present/perform queerness, the value of women-only spaces, what kind of relationships to have, and what it means to be a good mother, daughter, spouse, partner, friend, etc.

Characters who disagree about how to take care of elderly or intellectually/developmentally disabled family members (some of whom are present in game, others are not).

Characters whose differing opinions are informed by their cultural backgrounds.

Discussion of these differing points of view is intended to be a core element of play, and there is the potential for arguments about which way is ‘best’ and/or characters telling each other how to live their lives.

We have done our best to write all of the characters as believable human beings with strengths and flaws, whose points of view make sense to them. No one is intended to be a hero or a villain, or to have the ‘obviously right/wrong’ point of view. We have tried to portray all of the identities and viewpoints respectfully.

Because the game is structured so that all conversations are (in theory) audible by all players/characters, it will be difficult for individual players to completely avoid any specific content in the game. The casting questionnaire will give players the opportunity to ask to avoid specific content in their own sheets/as a major theme for their character.