New in Larp: June 25, 2013

The cast of Limbo poses with their eyeshades and tickets to the hereafter.

The cast of June’s Highland Park, NJ run of Tor Kjetil Edland’s Limbo poses with their eyeshades and tickets to the hereafter.

There’s been a whirlwind of activity over here at chez Stark, but I’ve still managed to cram in some larp-related activity. Since the last time I ran one of these, there’s been lots that’s new in larp. Here, in no particular order, is what I’ve been reading, running, and drooling with envy over:

Larp in the Middle East

Did you know that there’s larp happening in places like Lebanon and Palestine? Well, it’s on, my friends. And it’s got lots of Nordic support.

  • Piece on the first kids’ larp in Lebanon, from Fantasforbundet, a Norwegian larp group
  • The Palestine larp scene is heating up, thanks to local larp group Peace and Freedom Youth Forum (PFF):
    • Last fall, a dual project between the Nordicans and the Palestinians ran in Ramallah — ‘Til Death Do Us Part, a wedding game.
    • Some Finnish designers are collaborating with PFF on a two-part game called State of Siege, about living under a military regime. The first part runs in Helsinki on Nov 15-17, and is open to foreign-born but English-speaking participants. I’ve heard rumors that a second edition will run in Palestine next year.
    • I had the pleasure of meeting some folks from the PFF at Knutepunkt this year. Sounds like they’ve got a short larp going every few weeks, including the Superhero Dance Battle produced as part of this year’s Larpwriter Exchange Academy.

Talking and Writing About Larp

 

Actual Larps that Ran Or Will Run Soon

Re-runs of earlier games:

  • Panopticorp ran about a week ago in Copenhagen. It’s a larp about a cut-throat PR company doing business with morally questionable clients. The game was a re-run of an earlier Norwegian larp played about a decade ago. This time around, more than 40 larpers from at least six countries Skyped, emailed, called and walked-in to play the customers for the game’s 20+ players. I’ve heard whispers that if someone produces a script, there are organizers in at least three countries who’d be willing to run it again…
  • This weekend and next weekend, Mad About the Boy runs again in Sweden. One run is mixed-gender, the other is all-women.
  • In August, Just a Little Lovin’, about the summer AIDS came to NYC, will be re-run in Copenhagen.

New runs of new games:

My Corner of the World

  • Together with performance researcher Emma Leigh Waldron and RPG researcher Aaron Trammell, I helped run the Norwegian game Limbo, by Tor Kjetil Edland in Highland Park, NJ. We had about 25 players, including people completely new to gaming or to larp, seasoned US larpers, and a few folks who have played Nordic-style games before in the US. We did a two-hour workshop, inspired by Edland’s run of the same game at Knutepunkt this year. Our version took place in the parlor of a local church. On the same day, Limbo also ran in Croatia — you can read organizer Ivan Zalac’s play report here.
  • I’m helping edit a book of Norwegian larp scripts in English. Welcome to the Larpfactory Book Project. The project also includes a series of workshops in Norway on how to write larp scripts, as well as a website containing game materials and video demonstrations of various Nordic larp techniques. Join this Facebook group for updates on the project, including downloads when they become available. Or visit the project website!
  • Designers and US art larp veterans John Stavropoulos, Terry Romero, and Kira Scott have pledged to create a Monsterhearts larp system as a stretch goal if the Kickstarter for this game about teen monsters in love is funded. They’ll use a modified version of Ars Amandi to optionally represent the tabletop’s signature sex moves.

New Conventions and New Scenes

Dude. So much exciting stuff happening.

Whew. I know I missed something else awesome. What else did I miss?

Leaving the Larp Closet

Photo: D. Sharon Pruitt

Apologies for the pause in Monday larp posts — my site was hacked last Sunday, but now, courtesy of the awesome Daniel Quinn, everything’s back to normal.

Today we’re tackling a thorny issue: how to come out of the larp closet.

While reporting for Leaving Mundania, I encountered many gamers who kept their weekend selves separate from their work-, friend-, and family-selves, often reminding me of “the first rule of fight club” at parties where non-larpers were present. One of them, a nameless larper who wishes to leave the closet at work, asked me to ask my panel of experts for advice on how to make the leap.

Their de-closeting advice requires three easy steps: 

Step 1: Explain it in terms that non-gamers can understand, using analogy.

Avonelle Wing:

I might be lucky, in that nobody in my world has ever been dismissive of larp as a hobby and an artform. Anyway – when I’m shopping for costuming or makeup and need guidance, I tell people it’s like street theater meets flash mob meets cops and robbers for adults, and then I reference the 90’s murder mystery games.  Everybody seems to “get it,” at least a little, and sometimes people bowl me over with their enthusiasm

Michael Pucci:

Finding if the person likes fantasy books, MMORPGs, or even fantasy based TV series helps a lot.  That way when you want to broach the subject of gaming you can mention a story that relates to a similar interest with the other person.  Explaining to people that you go and live a ‘World of Warcraft‘ type environment, or that you do a more in depth version of a ren fair allows people who are not gamers to have a point of reference to your hobby.

We find that the easiest way to come out with Dystopia Rising is to say “You know Zombieland or ever play Silent Hill or Fallout?  Yeah, I spend a weekend a month living in that.  Fighting zombies and camping and the like.  What did you do this past weekend?”

Part of explaining larp is explaining the medium’s variety, J. Tuomas Harviainen advises:

I suggest mentioning some of the more cool games, in a context where they are appropriate, without taking up the word “larp” at once. There is nothing wrong with it, but it does tend to create immediate associations when non-larpers hear it. When I describe a larp, I treat it as an individual role-play work, and can then say that “Others of course like to do the same but in a different fashion, such as fantasy larp in the woods. To each their own style of play, just as there are different kinds of TV programs, but it’s the same medium.”

As Kate Beaman-Martinez points out, the corollary to this step is “know your audience.”

I suggest easing people in. First be aware of what they think of it. If it’s a sweet church lady who might think that your zombie-raising dark mage might really be a cover for devil worship, odds are you should just say that you’re playing a murder mystery dinner party and leave it at that. More times than not I describe it as “cops and robbers with rules on who shot who first.” If it’s your weekly poker buddies, talk about whats cool about it like getting to hit your friends with foam bats or getting to do wild things with your makeup.

Step 2: Once you’ve explained what the tarnation larp is, own it. Because larp is awesome. And eff the haters.

Mike Young:

Just tell them and don’t worry about being mocked.  In fact, I’ve found that you less often get mocked as you do complete ignorance.  They just can’t wrap their heads around larp no matter how much you explain, and some of my family still think that I do some sort of theater thing on the weekends. But every so often you get responses like I did from a completely mundane cousin who had seen larp on a tv show and thought it was really cool that I do that sort of thing.  That makes it all worth it. And finally, anyone who mocks you for your hobbies just isn’t worth your time.

Aaron Vanek:

Show up to work or family’s home in full costume. FLY YOUR FREAK FLAG LOUD AND PROUD!

Seriously though, it depends on who you are coming out to. Here in Los Angeles I say things like “improvisational acting” or “structured communal storytelling” and most people get excited and want to know more. My wife says larp is a “themed improvisational costume party.” I mention that the United States military uses taxpayer dollars to run a larp that trains soldiers before deployment to the Middle East. My analogy is fantasy foam combat campaigns are to larp like super-heroes are to comic books. They’re the most prevalent, the most colorful and flashy, the most recognizable, but they aren’t all of the art form of live action role playing.

Both larpers and non-larpers need to separate the content of larp (World of Darkness or NERO) from the form of larp (the bubble or magic circle of play pretend). I got that concept from page 6 of Scott McCloud’s brilliant (and highly influential) Understanding Comics.

Sarah Bowman points out that owning it helps defy the stigma’s power:

I never felt the need to stay “in the closet” in terms of my role-playing and it saddens me when I hear stories from other people who do feel that way. I understand that role-playing incurs a stigma, but I believe that the best way to dispel a stigma is to provide a good example of someone who does not fit the negative stereotype. I find that most people remember the experience of playing make-believe as a child and think fondly of those days. Also, the ability to play dress up tends to draw the interest of females, at the risk of sounding totally stereotypical. Men like dress up too!

Step 3: Some cool documentation doesn’t hurt.

Claus Raasted:

Show them the Nordic Larp book. :o)

[Lizzie's note: I hear that Leaving Mundania is now available in ebook form and makes a great gift for the non-larper in your life. ;) And also, the Nordic Larp Wiki and Nordic Larp Talks might provide some helpful material.]

But remember, you can’t win everyone over. Know when to fold ‘em.

Geoffrey Schaller:

Be warned – some people carry notions, and others will talk about your hobby to people you don’t want them to – like the CEO of your company. Just like some people don’t get rap, opera, or show tunes… some people don’t get larp.  Know when to explain it, and know when to avoid it, and that gossip travels in professional environments.

Finally, know that the geek closet isn’t as dark and deep as it used to be.

Frederik Berg Østergaard:

I think that these days it’s become less of an issue. If you look at how often old-skool Dungeons & Dragons is portrayed in TV-series and films, it has become a part of the broader cultural luggage that we all carry around these days. I mean, the founding fathers have all died, and we’re all getting older. The geek shall inherit the earth and so we have. Of course coming out of the closet as a larper can seem to be a *big thing*, but lets face it, people have a lot nerdier hobbies these days, and how often do you get a chance to say “Oh, yeah. I larp. In my last larp I came out of the closet in a dark room at a gay larp.”

 

Read more First Timers’ Guides.

____

Kate Beaman-Martinez  has been acting since she was 11 and started gaming at 17. She cut her teeth on White Wolf’s Werewolf: The Apocalypse and naturally got up when there was a heated debate on the proper uses of torture in her weekly table top group. Shortly thereafter she joined The Avatar System and hasn’t looked back. Through larping, she has found her partners, and moved to New York. Kate is currently a full time student and the Executive Assistant for Double Exposure, Inc.

Sarah Lynne Bowman received her PhD from the University of Texas at Dallas in 2008. McFarland press published her dissertation in 2010 under the title The Functions of Role-Playing Games: How Participants Create Community, Solve Problems and Explore Identity. Her current research focuses upon understanding social conflict within role-playing communities and applying Jungian theory to the phenomenon of character immersion.

J. Tuomas Harviainen comes from Finland, and is one of those pesky  professional larp researchers. In addition to studying larps, he also designs them. His mini-larps have so far been run in at least 14 countires and translated to seven languages.

Frederik Berg Østergaard is a Scandinavian game designer and jeepform evangelist. His work has mainly focused on taking the medium further and farther away from its tabletop roots into an adult oriented form,  that has more in common with performance and psychodrama. He also holds an M.A. in History of Religions from the University of Copenhagen.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America“ in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Avonelle Wing is the Senior Vice President of Double Exposure, Inc. Along with her partners and a team of friends, comrades and co-visionaries, she works to produce two full-sized gaming conventions and a variety of other gaming related productions each year.  She is a larper at her core – collaborative storytelling is her art form of choice.

Mike Young has been writing live roleplaying games for over 20 years.  His award-winning larps have been run across the world, and many of them are available for free download at his website.

Larp in NYC and September 11

While I was in Finland, I had the pleasure of participating in the Nordic Larp Talks, a yearly series of short talks on larp and larp design modeled on the TED talks and hosted by famed journalist, author and larper Johanna Koljonen. I chose to tell a story that I didn’t have room for in Leaving Mundania, a tale of how the September 11 attacks on New York City impacted the local vampire community:

Check out the other fascinating talks:

 

Why They Larp

I’ve had occasion to explain larp to a great many people at dinner parties, and one of their first questions is always, “But why do people larp? Are they compensating for otherwise dull lives?” I usually explain that people larp for many different reasons.

Today, I thought I’d let my panel of larpers speak for themselves. 

J. Tuomas Harviainen:

Cool new experiences, interesting new perspectives, and so on. Larping combines the draw of alternate roles with a definite physicality, and thus affects its players in ways most other mediums can’t.

Kate Beaman-Martinez:

I get such a swell of creativity from larp that I have yet to be able to replicate it. When I have a character talking to me, I completely (much to the ire of my partners) focus on that character. I write short stories on where they’ve been. I start journals, fuss with their costumes, obsess over the next wig purchase. I love the art form. I love creating memorable characters that people talk about years later. I like shocking people when I step out of the character and I get statements like, “oh dear god, you DON’T sound like you’re from New York!”

Claus Raasted:

You get to play. You get to experience. You get to have fun, cry or grow, depending on what type of larp you want. I’ve been a cowardly snack bar owner on a muslim space ship in 2862. I’ve been a brutal demon-worshipping general fighting orcs, elves and progress. I’ve been a doctor visiting an old friend in 1829. Instead of reading the book or watching the movie, you get to be part of the larp. It’s really that simple.

Mike Young:

I think that larp most appeals to people who like to roleplay and pretend but don’t want to act.  Being on stage can be intimidating, and many people are scared of performing in front of an audience.  Larp allows them to explore that creative side of themselves in a safe environment.I think a lot of adults still like to pretend and play make believe, but because it has become a taboo in American society, they just repress that side of themselves.  LARP gives people a creative outlet that they just can’t find anywhere else.

Frederik Berg Østergaard:

Bah. I think theres too much focus on the return of investment idea nowadays. What do you get out of this or that. The bottom line is, that as any past time activity, what you get out of it is FUN. And mind you, that fun does not equal FUNNY, so you can actually play a sad game and have fun at the same time. I think that one often overlooked thing is that it is actually pretty great to be with other people and doing stuff together while dressed up as Kermit the Frog.

Michael Pucci:

Larping allows people to take the banal and mundane world that is their job, their paying of bills, and their household chores and put these frustrations away for a night or a weekend.  Going to a larp is almost like being involved with an organized sports team or being actively involved in a musical subculture.  When you go to a larp, like these other events social oriented events, you get to step away from the frustrations that come with the responsibilities of being a part of society and step into another world that has been designed for your enjoyment.  This environment, because of its alternate world immersion, is a set place where you go to play and relax.

Geoffrey Schaller:

For me, it’s a chance to unplug from the real world for 48 hours – to not have to deal with day-to-day issues, a mini-vacation.  It’s also a way to hang out with 200 people I like to be around, with a common activity to bring us together.  It’s a chance to take risks with minimal consequences (Challenge someone to a duel?  You don’t actually die when they kick your ass).  It’s a way to indulge and exercise your imagination in ways you can’t normally do in the real world.  If anyone has ever watched a movie or TV show and though “I could do that,” or even “I could do better” – larp is a way to actually DO that.

Aaron Vanek:

 As a player, I love that larps can give me a complete physical, mental, and emotional workout. I am especially interested in the last one, emotional. I don’t know of any other art form that permits and encourages people to express emotions in a safe environment. Players can “practice” fear, sadness, love, anger, jealousy, greed, via prompting. Life unexpectedly provokes our emotions, e.g., landing a job, death of a pet, success of a rival. In larp, we can feel these emotions by letting go…or not. We can pull back, ignore the situation, temporarily leave the larp if we don’t want to release.

Sarah Lynne Bowman:

I enjoy the act of dressing up and embodying a character as a form of emotional and intellectual expression. I also enjoy watching the dynamics between other characters. Role-playing can provide a feeling of agency and excitement that some people feel the real world lacks, as well as a unique outlet for creativity and self-expression.
The panel answers more questions for the new-to-larp.
________

Kate Beaman-Martinez  has been acting since she was 11 and started gaming at 17. She cut her teeth on White Wolf’s Werewolf: The Apocalypse and naturally got up when there was a heated debate on the proper uses of torture in her weekly table top group. Shortly thereafter she joined The Avatar System and hasn’t looked back. Through larping, she has found her partners, and moved to New York. Kate is currently a full time student and the Executive Assistant for Double Exposure, Inc.

Sarah Lynne Bowman received her PhD from the University of Texas at Dallas in 2008. McFarland press published her dissertation in 2010 under the title The Functions of Role-Playing Games: How Participants Create Community, Solve Problems and Explore Identity. Her current research focuses upon understanding social conflict within role-playing communities and applying Jungian theory to the phenomenon of character immersion.

J. Tuomas Harviainen comes from Finland, and is one of those pesky  professional larp researchers. In addition to studying larps, he also designs them. His mini-larps have so far been run in at least 14 countires and translated to seven languages.

Frederik Berg Østergaard is a Scandinavian game designer and jeepform evangelist. His work has mainly focused on taking the medium further and farther away from its tabletop roots into an adult oriented form,  that has more in common with performance and psychodrama. He also holds an M.A. in History of Religions from the University of Copenhagen.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America“ in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Mike Young has been writing live roleplaying games for over 20 years.  His award-winning larps have been run across the world, and many of them are available for free download at his website.

Larp Likes and Dislikes

Welcome to the first-timers’ series, where a panel of seasoned gamers and experts from the US and beyond weigh in on topics pertinent to the larp newbie.

Part of enjoying a larp is finding a game you enjoy, but there’s huge variety when it comes to the hobby, so knowing what you don’t like can be helpful. As Claus Raasted put it,”There are plenty of larps that don’t appeal to me, just like there are plenty of books, movies and poems that aren’t really my thing. Larp is a way of creating and experiencing stories – and not everyone likes the same kind of story.” 

In other words, no one sort of larp is “the best,” but some will be more or less fun to particular people. To give a sense of the scope of games and preferences, today the experts answer the question: What sort of larp does not appeal to you, and why?

Mike Young doesn’t enjoy physical fatigue:

As I’ve gotten older, fatter, and slower, pure live-combat larps really don’t appeal to me anymore.  I’ve swung my share of padded weapons, but I have absolutely zero desire to do so all weekend long, camping out in the great outdoors.  I have become quite the fan of indoor plumbing and air conditioning/central heating.

But I’ll play any genre and any style.  I love to try new types of larp just to see what they are about.

Because Michael Pucci desires physical immersion, he loves physical fatigue but theater-larp mechanics:

Wow.  Talk about a question that could gain me some hate mail.

I personally no longer enjoy theatrical style or card pull larps.  I have played and story told for theatrical style larps for just about a decade, and as a whole, these sort of larps are designed in such a way that the system gets in the way of the immersion and enjoyment of the environment.  The breaking of character to resolve conflicts, the reliance on pure mechanics for physically oriented tasks, and the unbalanced ratio of storytellers/NPCs (non-player characters, aka, extras) to players makes for a lacking campaign game.

I want to feel and experience a full range of emotions and events when I am at a game; I don’t want to avoid conflict because the resolution of a physical contest may have me out of character throwing chops or pulling cards from 15 minutes to multiple hours.  I don’t want to wait for half an hour for a storyteller to narrate my experience walking to someplace other than the one room assigned for game, I want to walk the 2 miles to a new location in real life.  I love waking up as a character, going to sleep as a character, eating as a character, and having a full range of all my interactions from my character’s world view.  I don’t think I can get that with a theatrical style game any longer.

Sarah Lynne Bowman  wants the best of  Young‘s and Pucci‘s worlds– a rules-light game that doesn’t feature combat:

I definitely do not enjoy heavy rules-based larps or games focused on combat. Games with excessive rules, in my opinion, take away from the immersion into character and story, which are the aspects I most enjoy. In rules-heavy games, people often spend more time out-of-character contemplating or debating rules than they do actually role-playing. I understand that the gamist-type players find this sort of activity pleasurable, but excessive rules discussion makes my interest in the game instantly wane.

As for combat, I am, by nature, a pacifist, so I never feel the urge to “best” someone else in physical battle. However, many people feel a strong release from this sort of activity, both physical and emotional. Though I do not enjoy these sorts of games, I still play in games that feature these aspects and respect others who like rules and combat.

Avonelle Wing has practical, DIY concerns:

I don’t like games with a steep startup investment – of time, energy, money, materials.  Give me something I can jump right into with what I have on hand, and I’m a happy girl. Games that become a flashy show of who spent the most at the costumer’s or the weapon smith? no thanks.  A game that encourages crafting and creativity? perfect!

Frederik Berg Østergaard wants meaningful stories and creature comforts:

Two things: Any larp that confuses setting for story. That pretty much excludes most vampire larps and fantasy larps. I prefer larp that is ABOUT something. Also I play very badly when I’m cold, hungry or tired, so strike those larps as well. Oh, you can also put actual violence on that list. I don’t like getting hurt.

J. Tuomas Harviainen wants player freedom:

I dislike larps that are so obviously railroaded that they don’t leave room to actually role-play. And I have no interest in attending games where the game masters overrule player decisions in order to push their own inevitable agenda. Fates and such are fine, but telling players they can have an impact while actually blatantly preventing it is boring. Beyond that, I am open to all sorts of larps, and have written them as well.

Kate Beaman-Martinez finds unicorns and goblins boring:

I am increasingly not a fan of sword and board larps, meaning high fantasy. Larp and role playing in general really got their start there. With Dungeons & Dragons and other fantasy games, they were the ground floor and to me that feels tired. I cut my role playing teeth on Werewolf: The Apocalypse and for me going back to that just doesn’t give me the role playing jollies I get when I play a modern day supers games or CyberGen.

But in the end, I’ll try anything if I know there is a good GM team or if there is an interesting angle being used.

Geoffrey Schaller prefers noncompetitive larping:

I am personally not a fan of larps that encourage PvP (Player versus Player) activity, without it being a specific, pre-determined, and well-communicated part of the game beforehand.  The point of a larp is to enjoy having fun with other people in a communal environment – if I want to gank other players in a competitive environment, I’ll play paintball, or otherwise be involved in a competitive sport.  The only exception to this is a larp that is designed to be competitive, and makes its intent clear from the get-go, such as warring factions or such – and even then, only if it’s a one-shot.  I don’t want to invest time, money, and energy into a game and character that someone else is trying to bump off.

Aaron Vanek is omnivorous:

I learn something from every larp I participate in, even the horrid ones (learning what NOT to do is invaluable). I want to know how each designer and player approaches and deals with the art–what key are they in, how many beats per minute, what effect pedals, etc. My biggest restriction is my time, so the only larp that doesn’t appeal to me, I guess, is one that would be all weekend long, every weekend, where I play the same character in the same venue with the same game master and other PCs/NPCs (player-characters/non-player-characters). Although now that I wrote it out, maybe “Shawshank Redemption: the larp” spanning decades would be cool…

More game guides for newbies.

_______

Kate Beaman-Martinez  has been acting since she was 11 and started gaming at 17. She cut her teeth on White Wolf’s Werewolf: The Apocalypse and naturally got up when there was a heated debate on the proper uses of torture in her weekly table top group. Shortly thereafter she joined The Avatar System and hasn’t looked back. Through larping, she has found her partners, and moved to New York. Kate is currently a full time student and the Executive Assistant for Double Exposure, Inc.

Sarah Lynne Bowman received her PhD from the University of Texas at Dallas in 2008. McFarland press published her dissertation in 2010 under the title The Functions of Role-Playing Games: How Participants Create Community, Solve Problems and Explore Identity. Her current research focuses upon understanding social conflict within role-playing communities and applying Jungian theory to the phenomenon of character immersion.

J. Tuomas Harviainen comes from Finland, and is one of those pesky  professional larp researchers. In addition to studying larps, he also designs them. His mini-larps have so far been run in at least 14 countires and translated to seven languages.

Frederik Berg Østergaard is a Scandinavian game designer and jeepform evangelist. His work has mainly focused on taking the medium further and farther away from its tabletop roots into an adult oriented form,  that has more in common with performance and psychodrama. He also holds an M.A. in History of Religions from the University of Copenhagen.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America“ in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Avonelle Wing is the Senior Vice President of Double Exposure, Inc. Along with her partners and a team of friends, comrades and co-visionaries, she works to produce two full-sized gaming conventions and a variety of other gaming related productions each year.  She is a larper at her core – collaborative storytelling is her art form of choice.

Mike Young has been writing live roleplaying games for over 20 years.  His award-winning larps have been run across the world, and many of them are available for free download at his website.

One-Shot Larps v. Campaigns

 Welcome to the first-timers’ series, where a panel of seasoned gamers and experts from the US and beyond weigh in on topics pertinent to the larp newbie.

Part of having fun at a game is knowing which games are right for you. So today the experts begin exploring their own preferences, answering the question: Do you prefer one-shots or campaigns,* and why?

Their answers, not so surprisingly, were mixed. Let’s hear from Team One-Shot first.

Frederik Berg Østergaard:

I’m a one-night stand guy. I prefer my women givin’ it up on the first night. A prolonged engagement–while entertaining in its own right–doesn’t get that first-night vibe that is so titillating

.J. Tuomas Harviainen:

I prefer writing one-shots, as I see in them the chance to experiment with ideas that have a lot of short-term potential, but would be boring in the long run. I also prefer playing one-shots, as it’s much easier to book the time in advance. Campaigns have their significant advantages in character development and so on, but they are also risky ventures in that even the greatest of plots may die if one key person is not able to attend.

Claus Raasted:

I much prefer one-shots. If you’re doing a one-shot, you can make decide that all the interesting stuff happens right now. If the world is about to end, the larp happens just at that point. If the princes are getting married, thus re-uniting the kingdoms… then that’s when the larp is set. When you’re doing campaign larps (especially those of the “once-a-month-or-similar” kind) that’s a lot harder. Unless you’re willing to do enormous amounts of work, you easily get into the rhythm of having the in game calendar follow the off game calendar – and suddenly you have wild and interesting things happening to the same people once a month. In the same place often. And after a couple of years, the fiction gets strained… one-shots don’t have that problem.

Aaron Vanek:

I’ve played far more one-shots than campaigns, so my answer is biased. But, I slightly prefer one-shots over campaigns because:

  1.  The majority (though certainly not all) of larp campaigns are fantasy based, which isn’t my favorite genre.
  2. Sooner or later, I will get bored of either my character, the game, or both. I like exploring different facets of my personality; I’m more interested in a broad range of roles than deep exploration of one.
  3. A single event can try out a mechanic or rule or setting and, if it works, it can live on in the next event. If not, it’s gone after one session. A non-fatal flaw in a campaign can linger for months or years.
  4. I enjoy the intensity of one-shots. Since I don’t have to play it safe so that my character will survive to adventure again next month, I can–if the character’s personality has this trait–be reckless and foolhardy. Even if the consequence is death or removal from play, it’s not a huge loss to my ego or all the money I spent on a costume I’ve been improving or adding on to for a decade

What one-shots miss, though, is the ability to savor a slow shift to a character’s personality.

Mike Young:

For me, it all has to do with the amount of prep and work I need to do out of game.  Both one shots and campaigns require costuming and props, but I can reuse them during a campaign.  However, campaigns often require between-game actions and conversations which can take a lot of time.

I enjoy them both, but I think I prefer the flexibility of one shots; they allow for more variety of character.


Several experts were on the fence between one-shots and campaigns, preferring one or the other depending on their specific design goals or desired experience as a player:

Michael Pucci:

Depends on the world and the goal. When I am looking for an intense, action packed, immediate gratification game experience I prefer the one shot event. If I am looking for a deeper emotional investment, political machinations, and long term character growth I enjoy campaign style game.

Since a one shot game has a set time limit to its existence, players tend to play their character to the extreme with little reservation. When you have that sort of environment you can have some incredible role playing experiences with over the top moments that people will talk about for years. The downside, however, is that one-shots don’t offer the same degree of growth and emotional depth as long term campaign style games. You want to see your character grow up, develop strong emotional ties, and change and grow?  You need more than one night’s worth of interactions and events to make that happen.

Avonelle Wing:

I find one-shots more forgiving – you don’t have to live with a mistake you make in hour one for the entire rest of your character’s life, but as a player, campaign games scratch the creative itch more thoroughly for me.When it comes to writing or designing games, hands down, one-shot games feed my soul 100% more than managing a campaign. If you have a power gamer who wants to exploit the system in a one-shot, you only have to manage him for the length of the game. If you have (a) power gamer(s) in a campaign, you might discover that a twelve page rules system explodes to 36 pages to compensate for “well, what does this sentence REALLY mean…?” One-shots give me a chance to play with systems, to write edgy or risky plotlines, explore themes and generally play with the artform, and I am really enjoying that currently.

Kate Beaman-Martinez:

There is a certain feeling of ‘do whatever you want’ out of one shots. You can be as bold as you’d like, insane as you like and can explore areas of yourself that you may not necessarily get to play. The other great thing about one shots is that you can test out a GM group or a genre that you wouldn’t normally try without the commitment of a long term game. Gives me a chance to try out a new character type and to role play with people who I don’t normally get the chance to.

There is something about creating a long-running character that really appeals to me; I get to stretch my roleplaying legs when I have a character with a long term chance of surviving. I become incredibly attached to my characters and really throw quite a lot into them. Having a character change from a three line concept to a fully fleshed out person (or elf or alien or vampire, etc.) is a personal joy that I always get from a campaign.

Finally, we’ll hear from the “campaigns rule!” camp.

Geoff Schaller:

I prefer campaigns for the long-term growth and return you get, both in-game from your character, and out-of-game with the other players as the game’s community builds.  One-shots are fine and fun, but are akin to TV dinners to me – I don’t want to make a steady diet of them!  I know other people who love the thrill and variety of many different one-shots, such as those run at Intercon (where you sign up for multiple one-shot games in one weekend).  This is just not my personal style.

Sarah Lynne Bowman:

I played campaign-style most of my life, so I suppose I have a preference for long-term games. Both styles have their advantages and disadvantages. You can delve deeply into character evolution and explore complex story arcs with campaign play. Also, the connections between players and the community as a whole tend to be stronger, unless the same group also regularly plays in one-shots too.

Long-term play tends to cause heavy investment into the character and attachment to the game, which can be both pleasurable and painful. Long-term play can also put a strain on relationships, since role-playing tends to feature high intensity situations, some of which feel like “life-or-death.” In one-shots, players feel free to be more outrageous and take risks, especially if the game is at a convention where the people involved may never see one another again.

* A one-shot is a game that is completed in one meeting. A campaign game continues the story across many events, which make take place regularly over months or years.

More game guides for newbies.

__________

Kate Beaman-Martinez  has been acting since she was 11 and started gaming at 17. She cut her teeth on White Wolf’s Werewolf: The Apocalypse and naturally got up when there was a heated debate on the proper uses of torture in her weekly table top group. Shortly thereafter she joined The Avatar System and hasn’t looked back. Through larping, she has found her partners, and moved to New York. Kate is currently a full time student and the Executive Assistant for Double Exposure, Inc.

Sarah Lynne Bowman received her PhD from the University of Texas at Dallas in 2008. McFarland press published her dissertation in 2010 under the title The Functions of Role-Playing Games: How Participants Create Community, Solve Problems and Explore Identity. Her current research focuses upon understanding social conflict within role-playing communities and applying Jungian theory to the phenomenon of character immersion.

J. Tuomas Harviainen comes from Finland, and is one of those pesky  professional larp researchers. In addition to studying larps, he also designs them. His mini-larps have so far been run in at least 14 countires and translated to seven languages.

Frederik Berg Østergaard is a Scandinavian game designer and jeepform evangelist. His work has mainly focused on taking the medium further and farther away from its tabletop roots into an adult oriented form,  that has more in common with performance and psychodrama. He also holds an M.A. in History of Religions from the University of Copenhagen.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America“ in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Avonelle Wing is the Senior Vice President of Double Exposure, Inc. Along with her partners and a team of friends, comrades and co-visionaries, she works to produce two full-sized gaming conventions and a variety of other gaming related productions each year.  She is a larper at her core – collaborative storytelling is her art form of choice.

Mike Young has been writing live roleplaying games for over 20 years.  His award-winning larps have been run across the world, and many of them are available for free download at his website.

Danish Larp: Kid Edition

This week is Danish larp week over at my digital domicile. Enjoy a taste of Scandinavia all week long, as we explore the Danish scene in three installments: kid’s larp on Monday, arty larp on Wednesday, and fantasy larp on Friday.

Kid’s larp in Denmark is apparently a big thing. How big? Well, in Morten Gade’s paper “Danish Larp by the Numbers” in Dissecting Larp (2005), he cites a 2004 Gallup poll, which found that about 8 percent of Danish children age 10-14 (about 27,000 kids) said that they’d gone larping in nature during the last month.  

Today Danish larp organizers Claus Raasted and Nynne Søs Rasmussen answer a couple questions about the Danish children’s scene.

Tell me a bit about the kid’s larp scene you’re involved in.

Claus Raasted: I do several kinds of kid’s larps.

  1.  Volunteer larps for the Roleplaying Factory. I run a fantasy campaign (100-150 players), do WWII larps for kids and the occasional weird project
  2. The annual summer camp, which features 5-8 small larps (30-50 kids, 5-10 adults, 2-3 hours) in different genres
  3. The professional work. Children’s birthdays, edu-larps for schools, teaching Christianity using larp, and other sorts of stuff.

But mainly I organise a campaign that runs 20 times a year (featured in a Nordic Larp article), the WWII games, the summer camp and the pro stuff.

Nynne Søs Rasmussen: I’m most involved in the arty larp scene, but I used to do kid’s larp as well. And once a year I participate in Krigslive, which is a big one-shot war larp set in the Warhammer fantasy world and played with boffer weapons.

One great thing about the Danish larp scene is that you don’t have to choose; each scene is so small and so intertwined, that you can be an artsy larper and still fight with boffer weapons or but on you elven ears occasionally –and no one will find it weird.

 

Why should kids larp?

Nynne: Because they learn! They use their imagination and have fun, but they will also become more empathic as they try to imagine how it must be like to be someone else or how it was to live in different histocial period. And some fresh air and running around beating up your friend for fun is good for everyone!

 

Do kids really get the concept of “playing a character”? What types of characters do they typically build?

Nynne: Most kids play very stereotypical characters; they love to play either good or evil. The typical background story for their character is something along the lines “my parents were killed by orcs…and now all orcs must die”. Everything is black and white in that way. When they get a little older (around the age of 12) they usually start to build more layers and nuance into their characters.

Claus: Yes and no. Usually it’s a five-step process (I’d send you the five-step model except it’s in Danish). But simply.

Step 1 – Rules: The kid understands the rules of the larp and navigates in it from a rules standpoint (“How many HP do you have?”, “The red team is the enemy”)
Step 2 – Story: The kid immerses in the story (“We killed the dragon today”, “The priest made a ritual”)
Step 3 – Group: The kid sees herself as part of a group (“I’m an elf”, “We’re demons”)
Step 4 – Individual. The kid thinks like an individual (“I’m an elf scout”, “I’m a demon with a bad temper”)
Step 5 – Perspective. The kid sees new possibilities (“I could just as well play an elf as a demon”) Step 5 is where it really kicks in, but at 4 too… and quite a few kids age 9-10 are comfortable with step 5. Some aren’t, though.

 

How is organizing games for children different and/or the same as organizing games for adults?

Claus: Kids are easier. The don’t lie as much to themselves about what they want (though of course it happens). They also don’t try to correct wrongs. They don’t try to fix the system – they try to hack it. They want fun, action and humor. Mainly. They break more easily, though. :o)

 

 Is it possible to earn a living from running larps for children?

Nynne: Yes, a few people do that (Not me).

 

Aren’t you worried about kids hurting themselves? If not, why not? What do you do to prevent injuries?

Claus: We use latex weapons and let common sense do the rest. In almost 8 years of Rude Skov we’ve had ONE single serious accident. And that was an adult who tripped while running. In my pro career I’ve had ZERO serious accident. And I’ve done larps for a 5-digit number of kids.

Nynne: I used to be very worried about that. But doing kids larp I learned that most kids enjoy not being treated like they are made of glass. Larp creates a space for them, where it’s all right to be wild and loud and that’s a nice such a healthy thing for kids. We don’t do something extraordinary to prevent injuries, but there are a set of ground rules: don’t hit the head or the crotch and don’t hit too hard and we check that their boffer weapons are constructed in a safe way.

 

Has the Danish kids’ larp scene spread to any other countries?

Nynne: Yes, it has. Germany and Norway are among those countries.

 

How has children’s larp impacted the adult larp scene in Denmark?

Nynne: It made larping mainstream in Denmark to point where you could buy boffer weapons in grocery stores. It made everybody know about larp, which is great –but in some ways it also added further social stigma to be an adult larper. If I tell people I work or study with about larp, they will go like “Isn’t that something only kid do?” and give me a weird look. So as an adult danish larper, you will often have some explaining do about what larp also can be…but that’s all right most of the time.

__

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Nynne Søs Rasmussen, 25, is an organizer and player who has been larping since 2003. She’s currently pursuing a masters in sociology, and enjoys many styles of games. 

Advice For First-Time Larp Scholars

Welcome to the first-timers’ series, in which I ask a panel of seasoned gamers and experts from the US and beyond to advise newbies on a variety of larp-related topics.

Who cares about larping when you could be WRITING about larp? Today’s advice is for budding larp scholars.

Claus Raasted reminds us to bow before the all-knowing Finnish scholars:

Google is your best friend. Finnish roleplaying scholars are your second. But even more importantly, realizing that other people have been at this for years is something you need to accept. And while it’s definitely OK to come up with ideas that others also have come up with, it’s less welcome to claim that you invented something that it turns out that the Canadians have been doing since ’93.

Apart from that – do your research, find out what you want to write about, and make sure you don’t bore your audience to death because your university professors liked long sentences. I usually say that if you have to tell someone that what you’re doing is art to make them value it, then your message isn’t strong enough. And if you meet criticism by referring to the fact that “it’s academia”, then maybe you should find a different audience or a different writing style.

Finnish game designer Juhana Petterson says to read the books Finnish people have written/edited, dammit:

Be aware that there’s a body of scholarly literature about roleplaying already in existence. There’s ten or fifteen books you have to read so you won’t make a fool of yourself by repeating stuff that’s already been done in the US, in the Nordic countries or in other parts of the world. The joy of writing about roleplaying is that there are so many essentials still to be discovered, but things are already much more advanced than they were ten years ago.

For serious: do your research. There’s nothing lamer than not researching. Anna Westerling:

Talk to people, read books written from people inside the movement and really do your research. My experience with people writing critically about larp is that they are usually so ill-informed so their criticism falls flat.

Aaron Vanek reminds us that there are books about roleplay that aren’t written by Finnish researchers — there are other Scandinavian countries after all:

Read what others have done before you, and be sure to give these giants credit. If you are going to write critically about larp, it’s essential that you read the Knutepunkt books.

Consider the context, says Emma Wieslander:

Roleplay is a medium (or more). When you analyze literature you do Ann Rice and Herta Muller in different ways (although comparisons can be fun and fruitful). Same with movies. The Bourne films, anything by Woody Allen and Hollywood rom-com are all produced in their own contexts and should be criticized and analyzed together with context.

Writing about these medias are exactly the same. [The audience might be smaller,] as most games aren’t reproduced the way plays are and you might get a different reception as these medias have not yet achieved the status of being thought of as “art” the same ways some other mediums are perceived to be works of art to a higher or lower degree. But yay!! Go ahead and write. As the media itself is based on storytelling, all forms of text are a good thing.

Amber Eagar recommends variety:

Don’t limit yourself to one genre or style; play many styles and genres of games because each game, style and genre will teach you something different. Chat with others who study and have written about such topics and ask them their view points and debate (and I mean debate, not argue about) design theory to terminology to whatever interests you. Lastly, respect those who have knowledge and are willing to share it with you. Their view may not be exactly as you see something because larp game studies in the US is a budding field (and everyone will have their own opinions about things), but respect them for helping to pave the way for you and provide you a groundwork they may not have had.

Sarah Bowman outlines some classic pitfalls:

  • Do not make broad generalizations based on your limited experience in your region of the world. Keep in mind that all sorts of inventive and experimental forms of role-playing exist out there.
  • Try to avoid focusing on the stigmatization of role-players by mainstream society. While role-playing groups are often marginalized, emphasizing that element of the experience can color the positive elements.
  • Do not be afraid to contact other role-playing scholars. Just like in role-playing games, scholarly work is stronger when multiple voices are considered.
  • Conduct interviews with as many role-players as you can in order to get a varied range of responses. You may be surprised at the variety of perspectives and the notions you personally take for granted. Since role-playing is a first-person experience, the best way to study these moments is by talking to actual role-players, not just game designers or scholars.
  • Do not let people dissuade you from writing about ‘controversial’ material. Be proud of your work and be brave enough to share your observations with the world. .

Geoffrey Schaller, Avonelle Wing, and Michael Pucci remind you to try larp before you write about it:

Geoffrey: You cannot write about something without understanding it.  Just like a biologist cannot write about a new theory with any conviction unless they understand the subject matter, you cannot write about roleplay without some level of experience in the area.  Fortunately, dissecting dead frogs is not a requirement for RP. ;-)  Dive in, have fun, and get to know your new subject from as many different angles as possible – Player, Writer, GM, Staff, etc.

Avonelle: There’s no way to understand the catharsis that comes for a well-executed scene or an artful exchange without immersing yourself in the experience first-hand.  I’m sure it’s possible to imagine it, and to come to an intellectual understanding, but until you’ve crafted a character, executed a self-driven plot or saved the day, there’s no way to properly appreciate how it feels and why it’s so potent.

Michael: Ask Lizzie Stark.  But seriously, I would say immerse yourself in the world Gonzo journalism-style and don’t try to observe it as an outsider.  If you observe it as an outsider, you just won’t get it.  Roleplaying isn’t like an organized sport where it can be completely appreciated from the outside.  A large portion of roleplaying is about immersion, and without being a part of the world, you can’t really write about the world.

And since I wrote a book, I’ll pitch in my $0.02:

  • Make your narrative compelling — put only the most interesting stuff in there. Sometimes, that’ll mean writing from a first-person perspective.
  • Don’t be afraid of complexity — if the facts don’t fit your theory just say so.
  • In addition to playing, interviewing gamers, and reading past research, do keep your eyes open so that you can write vividly about the fascinating scenes you’re sure to witness.

And it doesn’t hurt to talk to some Finnish people.

__

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Juhana Pettersson is a Finnish journalist, tv producer and game designer. He has published three books and been translated into five languages.

Anna Westerling is a larper, larp-producer and role-player of the Scandinavian larp scene. She has organized larps as A nice Evening with the Family, and produced Knutpunkt and the book Nordic Larp.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America” in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Emma Wieslander has been a gamer and larper since the late eighties and served as a front figure for the Swedish national gamers association during the times when role-playing was still under suspicion. Emma’s more notable larps explore love, gender and how we construct these norms. In creating these games, she invented methods to enable play around these topics. Her most known contributions are the frozen moments and the Ars amandi method.

Amber Eagar is a long time larper and game organizer, who edited the academic books put out in conjunction with Wyrd Con in 2010 and 2011 (Journeys To Another World and Branches of Play). She is a former RPG.net columnist, and maintains two mailing lists, called LARP Academia and International LARP Academia, for those in the USA or those around the world who like to take a more academic look at larping.

Sarah Lynne Bowman received her PhD from the University of Texas at Dallas in 2008. McFarland press published her dissertation in 2010 under the title The Functions of Role-Playing Games: How Participants Create Community, Solve Problems and Explore Identity. Her current research focuses upon understanding social conflict within role-playing communities and applying Jungian theory to the phenomenon of character immersion.

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Avonelle Wing is the Senior Vice President of Double Exposure, Inc. Along with her partners and a team of friends, comrades and co-visionaries, she works to produce two full-sized gaming conventions and a variety of other gaming related productions each year.  She is a larper at her core – collaborative storytelling is her art form of choice.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Lizzie Stark is the author of Leaving Mundania, a narrative nonfiction book about larp aimed at a mainstream audience and due out from Chicago Review Press in May 2012. But you probably knew that.

Got a hot tip? Is there a first-timer’s guide you’d like to see? Leave it in the comments!

Other First-Time Guides

How To Make Larp A Day Job

Welcome to the first-timers’ series, in which I ask a panel of seasoned gamers and experts from the US and beyond to advise newbies on a variety of larp-related topics, from running a first game to organizing a convention.

Today’s advice is for gamers who want to live the dream, and make larp their day-jobs.

Mike Young provides a reality check:

Are you in a Scandinavian country?  Great!  Are you in the USA?  OK, larp is a niche market of a niche market of a niche market (larp is a niche of the RPG [roleplaying games] market which is a niche of the hobby game market).  The numbers just aren’t there.  Good luck!  You’ll need it.

 

Claus Raasted’s super-secret advice:

Don’t. Unless this is your dream and you’re prepared to do what it takes. Then send me a mail at claus.raasted@gmail.com. I’ll be happy to let you pick my brain, but since a lot of it will be unpleasant truths that need to be addressed (or ignored), I won’t write about it here. After all, your friends might be reading this too. :o)

Rather than run your own game, Anna Westerling recommends applying larp to the real world:

There are plenty of larp-like activities done for profit; you can do team building and development for companies, you can do educational games for schools or you can do PR and event like games for the entertainment industry. Of course, you can make huge larps and keep productions cost low enough to live on what your participants pay you, as done in Denmark with some children’s larp. But all of these options mean you will have to think slightly different about your hobby.  The last option would be to get money from grants, but that will be difficult to live on in the long run.

Other options include becoming a researcher,  working in a store that sells larp and roleplaying gear, or writing and publishing scenarios.

Boil it down to your core mission, suggests Emma Wieslander:

Be aware of what you really are trying to achieve. Is it a commercial game? Make a financial plan. What do people expect when they pay and how much are they willing to? Is it the games or a “community center” that will be the day job?

Is it educational games? If it’s really what you want to do then make sure that it’s the gamist version of education that you aim for and not just a way to do games and make money or you will give people a strange image of roleplaying and you’ll probably get fed up pretty soon.

Also consider  that when you get pay, others will want pay. You can’t expect them to work for free and money has a way of changing dynamics. Be absolutely sure that everyone is game – first.

Forget running it like a commune, according to Avonelle Wing:

Anticipate upheaval and don’t build the success of your organization on anybody’s shoulders but your own.  This is an industry rife with personalities, and the visionary MUST maintain the deciding vote. Do not rule by committee.  A committee of more than two is death to an organization of that sort.  You can have advisors. You can even share the success, but do not fall into the trap of trying to be a socialist organization; communes are a nice idea, but they don’t work.

Don’t lose track of your audience. Listen to criticism and sort it carefully. If you hear the same thing over and over, you’ve either got a vision flaw or a PR problem.  Either way, fix it.

Remember that running a business isn’t always fun, Geoffrey Schaller says:

Not only will you have to deal with the banality of the business putting a constant drain on your will to run the business that used to be fun, you will be dealing with legions of players, who are now customers, trying to pull you in multiple (and often opposing) directions in their attempt to influence your game / product / business.  Unless you can maintain your ideals, visions, and integrity, you are bound to fail.  People skills are essential to success.

Attend to the unsexy back-end of running a business, Michael Pucci recommends:

Take classes in regards to setting up business status, taxes, liability, and growth.  Most people don’t consider how much they can put themselves at risk by making a business out of their hobby without understanding the business side of things.  If you already run a game you at least understand the basics of gaming… however making it a business requires a little more effort.

Aaron Vanek suggests alternative revenue streams:

Consider going the non-profit corporate route, and applying for art grants. Learn how to use Kickstarter. If you design larps, consider boxing them and selling the scenario online. If you make props or costumes, keep the molds or patterns and consider selling those, too.

Amber Eagar says to cater to more than just larpers:

Here in the US running a larp as a viable, full-time job that will provide you with a stable enough income to live on is very, very rare. The hobby has yet to grow and mature like the table-top hobby has to a point where people can make a solid living off of it. At this time, its the support industries that have the larp job opportunities: costuming and prop suppliers and rental locations/facilities; and they all have one key thing in common: they’re able to cater to a wider audience than just larpers.

Approach it like a vocation, says Jeramy Merritt:

Running a larp is a lifestyle, like becoming a priest.  And as with the priesthood you are expected to maintain a public face, to always support your endeavors, even if all you want to do is sleep for a week. Also, most jobs pay better. There are maybe 20 people in this whole country that make a living running a larp, and maybe another 50 (and that is being generous) who sell enough product (weapons, costuming, etc.) to support themselves. The fact is, unless your game is bringing in 100+ people an event, you are probably not making a living off of it.

Here are all the things you have to do to just start up a larp: Create rules, set up a web-site, collect a giant wad of cash, become a business, find a campsite, get insurance, write a plot, convince people that there is a reason for them to pay you to entertain them for a weekend and make certain they have incentive to keep coming back.

____

Mike Young has been writing live roleplaying games for over 20 years.  His award-winning larps have been run across the world, and many of them are available for free download at his website.

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Anna Westerling is a larper, larp-producer and role-player of the Scandinavian larp scene. She has organized larps as A nice Evening with the Family, and produced Knutpunkt and the book Nordic Larp.

Emma Wieslander has been a gamer and larper since the late eighties and served as a front figure for the Swedish national gamers association during the times when role-playing was still under suspicion. Emma’s more notable larps explore love, gender and how we construct these norms. In creating these games, she invented methods to enable play around these topics. Her most known contributions are the frozen moments and the Ars amandi method.

Avonelle Wing is the Senior Vice President of Double Exposure, Inc. Along with her partners and a team of friends, comrades and co-visionaries, she works to produce two full-sized gaming conventions and a variety of other gaming related productions each year.  She is a larper at her core – collaborative storytelling is her art form of choice.

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America” in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Amber Eagar is a long time larper and game organizer, who edited the academic books put out in conjunction with Wyrd Con in 2010 and 2011 (Journeys To Another World and Branches of Play). She is a former RPG.net columnist, and maintains two mailing lists, called LARP Academia and International LARP Academia, for those in the USA or those around the world who like to take a more academic look at larping.

Jeramy Merritt is a long-time larper, first-time caller. He is the creator of Doomsday, a sci-fi larp.

Got a hot tip? Is there a first-timer’s guide you’d like to see? Leave it in the comments!

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Advice for First-Time Game Designers

Welcome to the first-timers’ series, in which I ask a panel of seasoned gamers and experts from the US and beyond to advise newbies on a variety of larp-related topics, from running a first game to organizing a convention. It’s not easy to try something new, but with the right advice, maybe it’ll be a little easier.

Today’s advice is for first-time game designers and larp organizers.

Geoffrey Schaller reminds us that there’s nothing new under the sun. And that’s OK:

New ideas are rare.  Don’t fool yourself to think you’ve got something no one else has thought of before – rather, do it better than everyone else.  There’s a dozen CCGs [collectible card games] out there, and hundreds of fantasy RPGs [roleplaying games].  The measure of success is not how original your idea is, but how good the finished product is.  The car has been around for 100+ years – but new, and better – ones are still being made.

 

Anna Westerling advocates working smarter, not harder:

Do what you want. You have a vision and work to fulfill it.  But don’t make it too complicated. If you want a larp set in a castle, it might be enough to find a nice room and a nice table setting to help everyone pretend. Use a video before the game begin to show the castle if that is very important to your story. Minimize your labor — think about what story you want to tell and cut away the extras.

 

Emma Wieslander has a hundred-point method:

Ask yourself: What’s most important. Clothes/Props, Drama/Story, Fun/Mood. Divide a 100 points between them and then use that as a guideline for procentages when it comes to all strategic decisions (what demands on costume, how “correct” the setting should be, how much effort to make characters, comfort, methods etc).

Don’t forget that cold, hungry players that haven’t been able to go to the toilet, generally are uncreative, grumpy and less likely to comply with your great vision of what the game should be.

 

It doesn’t have to be Shakespeare, says Claus Raasted:

Lower your ambitions enough so that you’ll actually produce something. I don’t care if your first larp is a five-person game that lasts 30 minutes and is about five mercenaries eating a meal. I don’t care if it’s just you and four of your friends eating a pizza in your living room while pretending to be characters discussing something from a fictional game world. As long as you DO it. The reason we don’t have more organizers in this hobby is because people usually let their ambitions run wild, while their time/energy/dedication/skill/experience stays put.

“Mona Lisa” wasn’t Leonardo’s first piece. Every time you DO something, you get better at it. Even if it sucks. Don’t be dazzled by organizers who’ve done two cool larps and then called it quits. Be inspired by those who’ve had the courage to keep on trying, even though they fail from time to time.

So my advice is simple:
Lower your ambitions.
Actually do it instead of talking about it.
And learn something that you’ll use next time.
But most importantly. Make sure there’s always a next time.

And remember that the easiest way to avoid failing is just to do nothing.

 

Think critically about other games, says Amber Eagar:

Play, a lot. There’s nothing that beats experiencing a game first hand. Get out and nab as many rule books from different larps as you can (many larps offer them as free downloads). Read them. Make note of what you like and what you don’t like about them and then ask yourself why and what you would do differently. Chat with others who design games and ask them their view points and debate (and I mean debate, not argue about) design theory. Lastly, respect those who have knowledge and are willing to share it with you. Their view may not be exactly as you see something because larp design here in the US is a budding field (and everyone will have their own opinions about things), but respect them for helping to pave the way for you and provide you a groundwork they may not have had.

 

Play-test outside your group of friends, Avonelle Wing suggests:

Actually, my advise for game designers is much the same as my advice for GMs.  Prepare, research, explore, playtest.  play to your strengths – if you’re lousy at graphic design, engage a graphic designer. If your sense of color brings you around to Avocado, Harvest Gold and Pumpkin EVERY TIME, get an artist involved.  And remember that somebody who says “that’s isn’t how it’s done” really means “my imagination can’t stretch to conceive of your idea.” Never hear it as “your idea is no good.”

Always go outside your social group for playtesting. My experience is that shared experiences lead to shared assumptions when rules are executed.  You want to make sure that a wide variety of folks read–and execute–your rules similarly and without frustration.

 

Michael Pucci recommends planning for the long-term, and learning to love criticism:

If you aim for where the ball is now, it will be gone by the time you get up to speed.  Aim for something that will be big a few years down the line and you will reap the benefit of being ready to strike while the iron is hot.  Also, understand you will not be able to do this project all by yourself.  Choose your co-workers carefully and by product instead of familiarity.

Understand that the baby you are making is going to be turned over to other people, and in your best interests, they are going to rip that baby apart.  Thicken your skin, accept not everything you do is perfect, and consider all feedback… even if you don’t use all of it.

 

Check out your competition, Aaron Vanek advises:

Research! Know the games market, and the strengths and weaknesses of each part of it: video games, board games, card games, role-playing games, larp games, ARGs, and hybrid combinations between them.
Study every game you can. Not just the ones you love, but the ones you hate. Why is it a bad game? What are they doing wrong?

 

And if you’ve done your research, you can follow Juhana Pettersson’s advice:

For tabletop, I like to stress simple, clear concepts and the importance of making things that nobody else is making.
____

Geoffrey Schaller is a gaming gypsy, having wandered into and out of tabletop RPGs, Collectable Card Games, Miniatures, larp (WoD, boffer, and other), Board Games, MMOs, and countless other forms of gaming, as a player, play tester, demo-runner, author, and staff member.  He still dabbles in all of them when he gets the chance. He is the Technical Director of Double Exposure, Inc.

Anna Westerling is a larper, larp-producer and role-player of the Scandinavian larp scene. She has organized larps as A nice Evening with the Family, and produced Knutpunkt and the book Nordic Larp.

Emma Wieslander has been a gamer and larper since the late eighties and served as a front figure for the Swedish national gamers association during the times when role-playing was still under suspicion. Emma’s more notable larps explore love, gender and how we construct these norms. In creating these games, she invented methods to enable play around these topics. Her most known contributions are the frozen moments and the Ars amandi method.

Claus Raasted (32) claims to be the world’s leading expert on children’s larps, and so far nobody has challenged that claim in earnest. He’s the author of six books on larp, is the editor-in-chief of Denmark’s roleplaying magazine ROLLE|SPIL and has been a professional larper for nearly a decade. He also has a past in reality TV. But these days, who hasn’t?

Amber Eagar is a long time larper and game organizer, who edited the academic books put out in conjunction with Wyrd Con in 2010 and 2011 (Journeys To Another World and Branches of Play). She is a former RPG.net columnist, and maintains two mailing lists, called LARP Academia and International LARP Academia, for those in the USA or those around the world who like to take a more academic look at larping.

Avonelle Wing is the Senior Vice President of Double Exposure, Inc. Along with her partners and a team of friends, comrades and co-visionaries, she works to produce two full-sized gaming conventions and a variety of other gaming related productions each year.  She is a larper at her core – collaborative storytelling is her art form of choice.

Michael Pucci is the CEO of Eschaton Media and the creator of multiple larps, tabletop books, scripts and gaming-related media.  He has more than twenty years experience storytelling for larps, tabletops, and convention games, and spent five years in the business side of the gaming industry. He proudly holds the title of ‘Zombie Lord‘ while looking for more inventive approaches to modernize gaming.

Aaron Vanek has been playing, designing, running, and thinking about larps for 25 years. His larp publications include the illustrated essay “Cooler Than You Think: Understanding Live Action Role Playing“; “The Non-United Larp States of America” in the Talk Knutepunkt 2011 book, “Predictions for Larp” in Journeys to Another World, the Wyrd Con book, and the blueprint for “Rock Band Murder Mystery” in the Do Knutepunkt 2011 book. He hopes for at least another 25 years of larp.

Juhana Pettersson is a Finnish journalist, tv producer and game designer. He has published three books and been translated into five languages.

Got a hot tip? Is there a first-timer’s guide you’d like to see? Leave it in the comments!

Other First-Time Guides