Month: August 2017

  • Road Trip Report

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    Road Trip Report

    By

    Sharon Underberg

    Road Trip was like no other larp I’ve ever done. I felt like I’d fallen down the rabbit hole, with a constant interweaving of fiction and reality.

    Road Trip, a joint production of Dzobiak Larp Studios and Imagine Nation Collective, was a 7-day Nordic larp held in July 2017 in which a rock band and its entourage went on a road trip on Route 66 from Chicago to Santa Monica. In most larps, a group of people decide to mutually support each other in creating a fantasy world, isolated from the real world as much as possible. But for Road Trip, we were larp characters existing in the real world and interfacing with people who didn’t know we were larping. The characters were assumed, but the interactions were all honest and real. We weren’t pretending to be a band — we were a band. In particular, we were The Runaway Sound and its entourage on our first US tour. Our band was little known in the US, but had made a radio hit that went viral in Romania and Bulgaria. This trip was in preparation for our US tour. (And helped explain why so many in our entourage were European).

    The band and entourage of Road Trip on the first day. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    But we were a band that was to play in real venues, without the audience knowing we were anything other than a real band. This led to an unusual amount of insecurity for me in the lead up to Road Trip. I’ve played a variety of characters in larps and enjoy playing against type. My larp friends might not even know what I am like in real life — a (gulp) middle-aged single mom of two amazing and challenging young adult children. I am a pediatric radiologist who has held leadership positions in my practice, a choir director, and performer in community theater. Responsible, caregiver — these are the kinds of descriptions I get in real life. Oh, and physically I am just under 5 feet tall with the energy of someone much larger. When I do theater, the roles I am cast in are determined by how I look and sound — usually a comic or quirky character. I am never the ingenue, never the evil witch queen, never the leading lady. Which is why I love larp. I get to take a vacation from my life and become someone different of my own choosing, not governed by my age, stature, or real life skills. Younger or older, different strengths or weaknesses, often capable of things I wouldn’t feel capable of in real life. And the magic of larp is that my fellow players honor my choices and treat me as my character would be treated.

    But in this case, my character was to be a singer in a rock band, performing in real venues in front of audiences who were not part of the mutual contract of larp. I knew I could handle the singing and the performing — but it was the real life physical stuff that scared me: going against type on stage.

    Valentina, the author’s character’s stage persona. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    I incorporated these fears and how to respond to them into my character design. Valerie Saunders was the daughter of an unwed teen mother from Bridgeport, CT who had a difficult childhood, often pushed into being the responsible one. She was drawn to rock music from an early age, but was hampered by her insecurities. At the age of 20, she went to an open mic night but was unable to overcome her stage fright. That’s when she created an alternate persona for herself — Valentina Sunder. Valentina was uninhibited and fearless, a creature of impulse and energy. Valentina had no problems performing on stage, and soon began to build a reputation as a singer. While initially an intentional construct, over time, Valentina became more of an alterego who fought with Valerie for control: a form of dissociative identity disorder. Valerie was the responsible one, all superego. Never having gone to college, she worked as a receptionist and was the one who paid the bills. In her spare time, she dreamed and wrote songs. Valentina was pure id; offstage, she was equally uninhibited, drinking, drugging, sexually promiscuous. She often ended up in trouble with which Valerie had to deal.

    A woman smiling by old highway signs and a coke machine
    Valerie, the author’s character’s primary persona. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    My intention in playing this character was to give myself permission to use the Valentina persona as a way to overcome my fears of being seen as an impostor. She was a goth through and through, wearing black or purple wigs, heavy makeup, black leather, fishnet stockings, and platform boots. Wearing these clothes gave me the courage to BE Valentina. But I didn’t want to be forced to dress and act like this for the entire trip. That’s where Valerie came in. I could wear my real hair and more comfortable clothes a good deal of the time. At first, Valerie was more like me in real life, but I intentionally found ways for her to be different. More insecure, less educated, never left the northeast. And she dressed like a hippie, wearing bright colors.

    I intended lots of drama between the 2 personas. Valentina throwing tantrums before shows, major dysfunction, a breakdown that might lead to the integration of the two personas into one.

    And then the larp started and it all changed. The 4 members of the band in the US had rehearsed twice prior to the start, and we hoped to rehearse with our European based lead guitar player on the Sunday, but it never happened. I was Valerie the first day while traveling, and then changed into Valentina once we hit St. Louis. So far so good. But then Monday night, we ended up onstage in an amazing venue in St. Louis — and let’s just say it didn’t go well. I remember all the details why, believe me, but don’t need to belabor them.

    Four musicians play in a venue with multicolored lights
    The band’s first performance. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    The band members talked the next morning at breakfast — mostly out-of-character — and asked to speak with the organizers before we started on the day’s plans. We told them they had two choices. It was clear to us that, if we were to succeed as a performing band, we needed some things. We needed significant dedicated rehearsal time in one of the vans, with no band members driving. We also needed real support from our entourage. Everyone had “jobs” as part of the role-play, but with a few exceptions, it felt like that first night it was the band members doing all the (literal) heavy lifting while everyone else was just having fun. That would have to change.

    Several people sit in the audience of a club listening
    Audience members for the first gig. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    Or, if they didn’t feel that could happen, we wouldn’t perform live again. We would play and sing at times we were just with the other larpers, could do some video footage, and spend our energy being our larp characters rather than being musicians.

    The organizers agreed to try option one — in fact, we had a long rehearsal in the van that day and followed that by recording footage for a rock video. But something happened with my intentions for the character along the way. You see, I’ve been a singer and musician far longer than I’ve been a larper. And the music took priority for me.

    The entourage enjoys an outdoor performance on the first night. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    While I didn’t stop playing Valerie/Valentina, a lot of the intensity got dialed back. Neither of them had both the discipline and assertiveness to aid in helping a group of musicians in become a band. And it was more important to me to rehearse and give/get honest feedback about the music and performances than to create drama. And truthfully, for me that was the drama. Were we going to be able to pull off a successful gig? Make the video we wanted to have made? Make our potential fans into real fans?

    Meanwhile, the band members bonded. Kelsey, our guitar player/lead singer, with a voice like an angel and an attitude of making the best of tragedy in his past. Tony, our lead guitar player, who led impromptu jam sessions in the van. Lily, our singer who realized partway through the tour that she loved the journey, but didn’t want to perform — and then got an unexpected inheritance allowing her to sponsor the band’s further journeys. And Cholly “Thunderlizard” Skolnik, our larger-than-life drummer. The Thunderlizard’s original heavy metal band, Vermithrax Pejorative, was still a legend. His hobby was joining cults. He regaled us with endless stories of his adventures on the road, making every van ride with him a treat. I still intend to write a song entitled “The Legend of the Thunderlizard,” lyrics completely comprised of quotations.

    Four band members play in front of a seated audience
    The band performs their second gig. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

     

    A group of audience members seated and standing
    Audience members. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    The other thing that led me to dial back the drama was that there was plenty of potential conflict in what we were doing already. Moving 22 people plus luggage plus band equipment in 3 vans, driving 4-6 hours a day, getting unpacked each night, sharing hotel rooms with various other characters. Hotels varied from pretty nice to very sketchy. One night we stayed in an Airbnb, which had its own private pool. However, it also had one bathroom for all of the guests, who slept in rooms with up to 14 bunk beds. None of this sounds exciting, but it needed doing — and throwing a tantrum as Valentina during the process didn’t seem like a good idea.

    A member of the entourage in a cowboy hat and American flag shirt enters a door
    Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    And there were the exciting parts too. One part, about which I can’t overstate the amazingness, was exploring a whole chunk of America, and even better with a bunch of Europeans who had never been here before. Seeing the country and landscape through their eyes. In Missouri, there was a gun shop, which was the first time many of them had ever seen a real gun. Several players took the opportunity to use one at the shooting range, sparking a whole range of reactions. Noting how many churches we passed. Noting how many cows we passed. Their amazement at the landscape especially as we got into Texas and further west.

    a woman walking through a surrealist museum
    Sightseeing. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    All of our conversations with locals. And many, many conversations in the vans about politics, religion, economics, and philosophy. This was another place I found myself modifying how I was playing Valerie. As originally designed, she had a limited fund of knowledge or experience, and I found I wanted to dive deeper into the conversations. Stories about my kids in real life morphed into stories about my niece and nephew.

    There was also the pleasure of interacting with the other characters as we traveled. Keith, our spiritual adviser, really ended up as a therapist and guide for many of us. Sarah, a fundamentalist Christian widow, got on the wrong tour by accident — she meant to travel with a Christian band — and was transformed into Cadillac, the best drum tech ever. Dickie, another religious type, was our roadie and gofer, entangled in a crazy relationship with the sister of a band member. Nico and Eliza, our videographers, fell in love during the trip.

    The entourage at a venue on the second night of the trip. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    More about Nico and Eliza. The real life players of these characters are a couple from Poland who are videographers that are part of Dziobak. On Thursday, during our gig in Albuquerque, Nico got on the stage and asked Eliza to marry him. Eliza said yes — if they could be married in Las Vegas.

    Talk about the blur between real life and fantasy… The organizers looked at each other and said “I guess we need to change plans and head to Vegas.” Of course, in real life, this was planned ahead of time, but none but a few knew that, and it -felt- spontaneous. After a stop in Winslow, Arizona (of course), we made it to Las Vegas. The characters AND the players were married by Elvis at the Graceland Wedding Chapel. The ceremony used their real names — yes, they were really married. Wow.

    The Road Trip entourage standing on a corner in Winslow, Arizona, a pilgrimage made famous by “Take It Easy” by the Eagles. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    The organizers also did a great job of planning stops. The Uranus Fudge factory, where we filmed a segment of our video, was a glorious hodgepodge of western memes. Aside from the General Store that sold fudge and souvenirs, there was saloon, a gun store, shooting range, a tattoo parlor, a giant rocket ship, a double decker bus, and a dinosaur. We shot our video on the porch of one of the buildings. I was on the roof in blistering heat, plus the wig and all. What we sacrifice for our art!

    There was also the Route 66 museum in Oklahoma, which helped provide a historical backdrop to our trip. As usual, we struck up conversations with people there, including a photographer for Playboy and Penthouse who was taking a vacation from his job, traveling Route 66 with his wife and son and photographing families on the way. He photographed our whole group, and he and his family made it to our gig in Amarillo that night. But an impromptu stop for a picnic lunch in a neighborhood of cookie cutter tan brick ranch houses made an impact as well. So bleak and colorless…

    A woman places a stuffed animal inside an old, rusty car
    Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    Our stop at the Blue Whale of Catoosa in Oklahoma was surprisingly spiritual for a monument to kitsch. Keith, our spiritual adviser, explained about the legend of Jonah and the Whale and encouraged us to come out of the belly of the whale open to change in our lives.

    The band had video shoots and photo ops, and I got to experience in a very small way what it’s like being a celebrity. There were curious glances from passers-by as I strode out into the Texas desert in my black platform boots and fishnets for our video shoot at Cadillac ranch. Having a group of 20-somethings in Amarillo ask to have a photo taken with me once they knew I was in the band. And being part of a podcast for The Future is Virtual on Altspace VR, half in- and half out-of-character.

    two people dance while others lounge at a Route 66 stop
    The entourage dancing on the second day. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    Our next gig — open mic night in Amarillo — went much better. In fact, a couple of the locals came back to the hotel and partied with us. Which presented me with a conundrum — they had met Valentina, but I really wanted to get out of her whole getup. And the dual personality part… at the spur of the moment, Val decided to explain herself as twins. I ran up to my room and changed, and came down and asked everyone how the show had gone. We talked one of the local guys into coming with us the next morning to Cadillac Ranch to be part of our video. He walked up to me as Valentina prior to the video shoot and asked whether my purple hair was a wig. I grudgingly agreed that it was, but that it allowed me to change my hair color whenever I wanted. He came to the shoot and played the tambourine. And as far as we could tell, he never knew that I, or the rest of us, were anything but what we claimed to be.

    But so much of the experience was the ordinary stuff. Conversations with locals, conversations with each other, jamming and singing in the vans. A beautiful desert rainstorm. Watching the scenery change.

    The entourage relaxing during the trip. Members of The Runaway Sound, the in-character band for the larp Road Trip. Image has been cropped. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    The fact that it was a larp meant that glitches along the way were seen as opportunities for role-play rather than annoyances. And there were glitches. One major event was that Tony, our lead guitar player and his two friends decided to leave the tour while we were in Texas. In real life, we respected their decision and wished them well. Meanwhile, the band members were fuming and panicky, and Thunderlizard was plotting to have his biker gang friends abduct Tony and bring him back. Also, the gig in Albuquerque was in a real venue, but there was a misunderstanding between the booker, the venue and us. We thought that the venue was publicizing and selling tickets for our performance, the venue thought we were doing that. So beautiful venue, no audience. Rick, our film director, solved that. He instructed the group to head out into the streets and recruit an audience for a rock video that we were filming. Twenty minutes later, there was a respectable crowd for our show.

    Guitarist and singer of the band playing live on stage
    The band’s gig on the fourth day. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

     

    Audience members watch and clap
    The audience for the gig on the 4th day. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    Vegas was and always is surreal. It was 114 degrees F/45 C. We left there and drove through the Mojave desert — the most barren place I’ve ever been to. We passed the Ivanpah Solar Power plant — the largest in the world — which looked for all the world like an alien installation from another planet. We drove through the mountains and then we arrived at our ultimate destination, the Santa Monica pier.

    We all walked down to the Pacific Ocean. Keith, our spiritual adviser, told us that this journey had changed us, and that it was up to us to decide how the changes would look in the future. He took us each of us into the water for a private conversation and baptism, and brought us back, introducing us to the group by our real names. This was the most beautiful and effective de-roling process I’ve ever been through.

    Keith, the band’s spiritual advisor, baptizing Thunderlizard. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    I’m sure the organizers are evaluating how it went and how they might change things in the future. There is video footage for a rock video as well as documentary footage to process. They discussed the idea of getting a pre-existing band for a future tour, but to me, the coolest thing was creating a band on the fly. However, if I were designing future runs, I would carefully audition potential band members and schedule a couple of extra days at the beginning for rehearsal. That way the band could hit the ground running in performance. Would I like to do the European tour as Valerie/Valentina? Tell me where I can sign up!

    The author at the conclusion of Road Trip. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

    Cover Photo: Members of The Runaway Sound, the in-character band for the larp Road Trip. Image has been cropped. Photo by Nadina Dobrowolska from Dziobak Larp Studios.

  • Dragon Thrones – High Immersion in a Larp MegaGame

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    Dragon Thrones – High Immersion in a Larp MegaGame

    By

    Tara M. Clapper

    Entertainment. Escape room. Larp. Map-based MegaGame. Boasting so many features, Dragon Thrones was an ambitious and collaborative production.

    Produced by The Game Theatre and fully funded on Kickstarter in January of 2017, this game came onto the U.S. larp scene as ambiguous and expensive, and its presence and success were not necessarily anticipated by members of the larp community.

    Even on day one, players were nervous about its success.

    How did this three-day game turn most dubious ticket holders into loyal fans ready to buy another ticket?

    Dragon Thrones provided a surprising amount of immersion and engagement, especially for a game involving so many other elements not always present in a larp.

    I participated in Dragon Thrones as a game master (GM), assisting House Ardmore, one of ten houses (teams) in the game. Going into Dragon Thrones, I wasn’t entirely sure what to expect or whether the game would suit my roleplay style (I enjoy intensely exploring themes of loyalty, conflict, grief, and romance in larp so long as there are rules for engaging in consensual roleplay).

    Also contributing to some apprehension on my part: I was one of two women on the GM team, the other being a more experienced GM than me. Being not so great with numbers, I was worried that I wouldn’t be able to advocate for my house or even manage the MegaGame (see below section) properly. However, The Game Theatre worked closely with all the GMs so that they were able to learn, collaborate, support each other as well as the players.

    Regarding group leadership and supporting our player character (PC) group leader, I felt more confident, having experience in American fantasy boffer games such as Seventh Kingdom IGE and in the Nordic-inspired New World Magischola. In Dragon Thrones, GMs assumed responsibility for MegaGame management, resource distribution, and supporting their assigned house through roleplay.

    Like the players expressed in post-game comments on Facebook, immersion carried my GM experience to a high degree, and from the beginning, I was encouraged to be an embedded character within my assigned house. The level of immersion I experienced makes me enthusiastic about the prospect of returning to Dragon Thrones.

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    In addition to immersion creating fantastic game play, assuming the role of a character beloved by her house allowed me to handle the otherwise overwhelming or unknown aspects of the game more confidently than I would have otherwise.

    What is a MegaGame?

    Most MegaGames involve strategy, problem solving, negotiation, and diplomacy. There are typically set rules, rounds, and resource trading involved, as well as light roleplaying.

    While I didn’t define it as a MegaGame at the time, the first MegaGame I participated in was in the 1990s. It was a UN-type roleplaying scenario run at my high school. I took on the role of a diplomat of Israel. Though I was a theatrical person, I was new to improvisation, shy, and talked over by the other students. I was impressed with the game, but ineffective.

    I have always enjoyed strategic elements in the games I play. When I play games like Risk or Civilization V, involving troop movements and resources, I tend to internalize the role of the leader more than others who play the game, sometimes as a deliberate, immersive way to explore decisiveness and to employ strategies that I as the player might not normally choose.

    Since the high school game, Dragon Thrones was my first MegaGame. Due to the technical elements, I predicted a low level immersion and had some serious concerns about how the MegaGame element would integrate with immersive larp – in addition to doubts about my own abilities in GMing a MegaGame.

    The Game Theatre included the MegaGame element to resolve character versus character (CvC) actions without the type of combat (and even more rules) typically found in American fantasy boffer combat larps. Due to the magic of the setting (see “Castle as a Character” below), characters were safe at Bryn Mawr. The MegaGame allowed them to make moves against other groups, which in turn escalated tensions, highly positioned the importance of diplomacy, and created high immersion in the roleplay following the MegaGame rounds.

    Neither my doubts about the game nor the integrated structure of gaming variety prevented immersion to a high degree.

    Game Structure and Schedule

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    Dragon Thrones had an ambitious schedule, and it seemed that most players were never bored. The schedule included:

    • Scheduled meals (most in cafeteria, one in great hall – most of my house chose to eat primarily in character and with our house).
    • Mead and beer tastings and Catered Meal Cocktail Hour (also served during the dinner).
    • High council meetings (two representatives from each house vote on global issues).
    • Escape room (sign up for a time slot).
    • Side Quests (can complete at any time).
    • MegaGame (scheduled rounds).
    • Entertainment in the main hall, including music and dance.
    • Scripted entertainment (modules, including a finale scene).
    • Night missions (at GM discretion when there were 45+ minutes of time).

    As in many games (especially in the first run), the schedule changed as needed, but there was always something to do.

    Introduction and Group Exercises

    The first run of Dragon Thrones did not feature any exercises relating to the introduction of larp, bleed, or how to communicate things in game versus out of game. This was handled by each GM at their own discretion. (With the help of the larp community, I expect this will be added in following runs.)

    There was time for the GMs to meet with their individual houses, so I put together a quick workshop based on what I discuss in my salon larps and what I have seen used successfully in other games such as New World Magischola. I introduced the players – to addressing concerns in game versus out of game (to each other, game staff, and me as the GM) and warned them about the potential emotional intensity involved in an intentionally competitive game. I was assigned to a roleplay-oriented group of players with varying amounts of larp experience.

    I also allowed each player time to introduce themselves and talk about their characters as well as form some quick relationship history between their characters and others.

    Lastly, I did a quick ‘lines of play’ exercise, asking players to line up based on how their characters feel about certain world events and issues and what attitudes they have. By the end of this exercise, players were suggesting items to scale on, and I was pleased to see this level of engagement.

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    I could have provided a bit more detail about bleed. I also heard that other GMs focused on instruction about the MegaGame component. Instead of focusing on the MegaGame, I opted to ensure that a few of the house members would attend the workshop on the MegaGame with me.

    Each house initially convened in its war room, which served as home base for the house. The war room location promoted a sense of fellowship.

    University Workshops

    Prior to game, the organizers ran “university,” during which players could learn about an area of interest to them. The classes were out of character and the options included:

    • MegaGame
    • Draconian lore and magic
    • Diplomacy and Espionage

    Houses were encouraged to split up to cover each class. These workshops were pretty efficient and there was plenty of time for the staff to address questions about game mechanics.

    Immersion and GM Role

    As the GM, I understood that much of my role would be out of game. (I consider this to also be the case when holding leadership positions in other larps traditionally billed as more immersive.)

    With the MegaGame elements, I had to wrangle a computer (and sometimes my cell phone) and GM chat, all while handling the needs of my house and the in-game concerns of other houses’ diplomats and spies – they had functions requiring GM approval for use of game mechanics.

    As expected:

    • The mechanical elements of the MegaGame did break immersion, though this was largely limited to MegaGame rounds.
    • The MegaGame got easier with practice.

    While the attention to out-out-of-game mechanics required a lot of immersion breaking for myself and most of the players in the war room, there were also gains in the level of immersion.

    The MegaGame prompted diplomacy and spying (which also engaged characters not otherwise interested in the MegaGame) and resulted in rapidly escalating tension and camaraderie between kingdoms.

    Multiple MegaGame rounds were played over the course of three days. Length of round decreased with player experience as the weekend continued, which caused a bit of a thrill as things began moving fast towards the climactic ending.

    Players also interacted with the MegaGame, dumping resources into purchasing and enhancing forces using clear game mechanics provided on printed worksheets: it wasn’t clear to me as the GM how immersion-breaking or immersion-enhancing this activity was for them.

    Immersive Setting: Castle as Character

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    As is the case with many blockbuster larps, the setting is integral to the immersion of the game. In the case of Castle Bryn Mawr, the castle felt like its own character and played a specific role in the story. To create further immersion and realism, Castle Bryn Mawr was “The Citadel of Mirrors,” establishing peaceful dialogue between houses and kingdoms, the ability to travel through magical mirrors on covert missions, and providing characters a reason to have wounds healed or for assassinations to fail.

    The magic of the Citadel of Mirrors prevented (or warned of the danger of) attacking players in-game. The lore states that “those who attack others while under the magic of the Citadel (of Mirrors) attack only themselves. As if you’re attacking your own reflection.”

    This preemptively addressed issues like griefing (unrelenting kills) and grave camping (standing by a deceased character, waiting for a respawn so that the character can be killed repeatedly) sometimes encountered in rules-heavy American boffer combat larp settings.

    Immersive Entertainment

    Prior to arriving at Dragon Thrones, I saw many posts in the Facebook group about all the dancers, knights, professional actors, and alcohol distributors who would be at the event. I became concerned that it was going to be more like spectator theater or at best a renaissance faire than a game with larp elements.

    In this respect, I was delightfully wrong. Every entertainer I saw interacted with the player in-game which helped enhance the immersion rather than reduce it. This included the bard who ate with my team on Saturday night and the dancers who added story elements through their art and interactions.

    The most amusing example of this level of immersion involved a champion (knight) who represented our house. This actor who portrayed the knight, along with his group, was hired to perform a choreographed fight. Following the fight, each champion came to meet with his house in game.

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    As a GM integrated with my house in a roleplay sense, my character’s king pointed out that he was interested in marrying her to their house’s champion. I consented to this attempt (and let him know that I was okay with it on an out of game level), but obviously this was not a scene we had prepared with our champion. When the knight came in to greet us, the king introduced my character as his ‘future wife.’

    I did an out of game check-in with the actor to make sure he was comfortable with it – it turns out he was, and that he was an actor with roleplay experience. He rolled with the scene, his character being quite kind and receptive to mine, and within five minutes, the high priest character had wed the pair.

    Consent Negotiation

    The consent negotiation I initiated, as well as the scene itself, was every bit as immersive as it might have been in a Nordic-inspired larp setting and it created a bonding moment for our entire house.

    With more workshopping related to consent negotiation, it is possible that players will take more risks and initiate such interactions rather than limiting access to veteran roleplayers and actors.

    Agile Gameplay versus Scripted Plot

    From a GM perspective, I was impressed at how many details of the scripted plot were up for alteration.

    For example, when the aforementioned Ardmore champion arrived, we were informed that he was a hero from our citadel who had become draconian as the result of another house’s actions in game (House Ardmore is a human house). Not only did this affect house and personal plot, but it was a reason for his victories as a champion. These details mattered and increased our level of immersion.

    Large displays and the need for a conclusion did provide the feeling of being steered from time to time, but I appreciated how the details changed significantly depending on in-game actions.

    Some of these actions were up to GM discretion, particularly the night missions. The Game Theatre team made story changes in an agile fashion, based upon player character choices in roleplay in multiple aspects of the game. Whether a player made a roleplay decision affecting another player character or non-player character or a large-scale action like troop movement affecting the game world, behind-the-scenes adjustments were often made to the story.

    Night Missions: Surprisingly Immersive

    Night missions consisted of a narrative session. During the session, the GM allowed the players to embark on an adventure, exactly like the story-oriented part of most tabletop games.

    Whenever the players had to make a huge choice or attempt something risky, the GM asked them to pull a Jenga block. This represented the elements of risk in the game, and they’d receive certain rewards (or consequences) based on their result. In my adventures, I let the players select a location on the game map and used that as a starting point. The players chose to:

    • Explore a temple
    • Retrieve golems from a volcanic area
    • Poison an enemy’s water supply

    The player feedback indicated that night missions were one of their most beloved parts of the game. What really surprised me is how immersive these missions were, even for me as the storyteller. I imagine this is due to multiple reasons:

    • The storytelling and narration came naturally to the players, already immersed in roleplaying these characters in a larp sense. There were no awkward ‘new group meets in a tavern’ scenes; the adventurers know each other before the missions begin.
    • Night missions were supposed to be an hour or less. There were no long, boring stretches, and we sometimes squeezed these in between other scheduled events.
    • The MegaGame and some of the larp elements were extremely serious in tone, and night missions allowed for a bit of levity based on storytelling style and the potentially late hour of the mission.
    • The MegaGame allowed for tangible rewards in the form of gems (player resources) or additional army strength. MacGuffins and roleplay items could be represented by props. Having a goal that can make a difference in army strength, for example, caused the players to remain focused and invested in night missions.
    • The Night Mission’s rule set was extremely streamlined and other than pulling a block from Jenga, all of the roleplaying and storytelling was up to the GM and the players. This was a contrast to the structured MegaGame rules and allowed for more player interaction and character development.
    • GMs were permitted to exercise a high level of discretion regarding Night Missions. This is overall the case for all of Dragon Thrones, which is part of what allowed for a game with multiple different rulesets to feel so immersive and rewarding.

    Overall, the night missions created immersion due to pre-established character relationships, brevity, and tangible goals.

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    I was initially skeptical of night missions (and my ability to run them), but found them to be one of the more immersive parts of the game. As a larper preferring WYSIWYG (what you see is what you get) interactions even in a magical world, I was pleasantly surprised.

    I was also asked to provide summaries of night missions to the event organizers. In two instances concerning my house, the night missions affected armies in the MegaGame. This was to be recorded in the lexicon of Dragon Thrones to be used for future story elements per the discretion of The Game Theatre.

    Final Scene: Narration

    The closing scene of the game also involved a great deal of narration. After a tense MegaGame round, the divided kingdoms and houses had to face an elder dragon together. The high king (played by the game’s co-creator, Chris Batarlis of The Game Theatre) set the scene via narration and then called each GM forth to narrate the actions of their house.

    I found the storytelling opportunity immersive and I think most players felt that this scene provided us with a great deal of closure (not always – or often – found at Nordic and Nordic inspired-larps). This type of closure may be more conducive to softening negative bleed, and it’s something that may work better for a more competitive game and larp culture.

    Evidence of Immersion, Transformative Roleplay and Larp Drop

    As an experienced larper, I’m typically aware of what immersion is and when it affects me. As a GM, I was particularly aware of this because I prefer to maintain more out-of-game awareness than I would as a player because I am responsible for providing certain elements and guidance.

    Photo courtesy of The Game Theatre, LLC.
    Photo courtesy of The Game Theatre, LLC.

    While I had to focus in an out-of-game context during MegaGame rounds, there were long periods of roleplay-only activities. I disliked breaking immersion, but also found that I wandered back into an immersive state relatively naturally due to several reasons:

    • It was clearly that my in-game friendships with other characters were heralding out of game friendships. In the MegaGame, we had to work together out-of-game to a degree, and we fortunately discovered that most of us got along well in character, too.
    • There were long portions of time without the MegaGame, and I was matched with a group who wanted to focus on roleplay.
    • Mead. There was a lot of mead, and we consumed it responsibly.
    • Dining together helped us immerse and come together as a group.

    My character’s role as a trusted advisor to the King of Ardmore guided me into an immersive state. In and out of game, king players and characters knew that the GMs and their characters were there to help them, and would not be traitors.

    The writers had given me a character who had been fostered with the king and his family. Aside from making my job as a GM easier, the unquestioning loyalty my character felt towards the king created an endless amount of roleplay opportunities and encouraged other characters to further explore themes of loyalty and betrayal. How far would these characters follow their king when his decisions deviated from their desires? My character would speak her mind, but would follow him to victory or ruin.

    Throughout the event, my character consulted a deck of archetype cards (similar to tarot in purpose) for help in advising their king. As a prop, it also helped me play an outgoing and flirtatious character who could easily converse with others and facilitate connections.

    In a tender scene, walking from war room to the great hall, my character advised the king on an important matter, then told him, “That counsel is not from my cards…it is how I feel.” He responded that such advice meant the most, and that he trusted it.

    That’s when the transformative nature of the immersive roleplay occurred.

    Having lost my job less than a month prior to the event, my real life was filled with stress and pressure. I wasn’t entirely sure whether I could pull off the MegaGame aspect of GMing, but I had found that the GM team worked well together and that I was paired with a really compatible group in the game.

    How many times have I given in to imposter syndrome or second guessed my own intuition? Far too often – but not nearly as often as other people have brushed it off.

    As GM and Karinna, I worked hard to provide the best advice – to guide the king as player and character, but to leave the choices up to him. To find this rewarded with an acceptance of my own intuition was a very powerful takeaway from this game, and not one that would have sunk in without the roleplay.

    This also resulted in lasting friendships with many of the players on my team. We’ve already made plans to play and run games together in the future, at Dragon Thrones and beyond. I’ve heard that this experience is not unique to my team.

    The most compelling piece of evidence of immersion and enjoyment is the larp drop experienced by many of the players involved. This refers to feelings of loneliness upon returning to the real world. For me, larp drop manifests most intensely not after playing specific relationship types with individuals, but with the type of team dynamic present at Dragon Thrones. I feel this type of larp drop pretty strongly, and weeks after the game I am still experiencing it.

    Above all, it felt fulfilling to work with a house that valued me and my intuition and judgment in and out of game, and that feeling also extends to the organizers, GMs, writers, and full player base. That sort of self-development is not something I achieve without immersive and transformative roleplay.

    Unique Selling Proposition (USP) as Related to Immersion

    Dragon Thrones (DT1): Highlight Reel from Game Theatre on Vimeo.

    Every larp needs its own hook. What makes it different from every other game?

    For Dragon Thrones, it’s clearly a combination of setting, entertainment, MegaGame, and immersive larp. Describing the setting (Bryn Mawr College, outside of Philadelphia, Pennsylvania) is the easiest way to convey the immersive nature of the game format, though the latest trailer solves Dragon Thrones’ pre-game issue about expectations and game identity (it was so many different things in one) and also emphasizes the avenues towards immersion a player can experience in the game:

    • Setting and discovery (“an entire castle for you to explore”)
    • War game strategy (“masterfully control the MegaGame”)
    • Agency, decision making and collaborative storytelling (“choose your own path; your actions shape the story”)
    • Bonds of loyalty and duty to kingdom (“be the hero for your kingdom”)
    • Conflict and competition (“crush your enemies”)
    • Leadership and the hero’s call (“lead your kingdom to victory”)
    • Destiny and influence (“the fate of the realm is in your hands”)
    • Social decisions and choices (“what decisions will you make?”)

    Dragon Thrones 2 and Beyond

    The notes and feedback surrounding Dragon Thrones were significant, particularly concerning the MegaGame rules. A second run of the game certainly needs to address these issues (I understand this is in progress) and this will enhance immersion to an even greater degree.

    The other necessary improvement involves workshopping and debrief. Now that there is a clearer sense of what Dragon Thrones is and the type of immersion players were able to accomplish, I imagine the next run will be even more spectacular and hope to remain involved.

    Following the first run, I would define Dragon Thrones as a larp with strategic elements and fully integrated professional entertainment. A new or experienced larper aiming for immersion has the potential to meet their goals at this larp.

    To sign up for future updates about Dragon Thrones, submit your email address here.


    Cover photo: Before the Dragon Throne (courtesy of The Game Theatre, LLC). Picture has been cropped.

  • Larp Counselors: An Additional Safety Net

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    Larp Counselors: An Additional Safety Net

    By

    Sarah Lynne Bowman

    Many contemporary larps are adopting structures to bolster their players’ feelings of emotional safety, including Codes of Conduct, safety teams, Sanctuary Spaces, special mechanics for signaling discomfort, and consent negotiations. This article advocates for the inclusion in certain larps of the unique role of a counselor, who is part of the safety team and a member of the overall organizing body of the event.

    photo of Alex Rowland and Brodie Atwater embracing
    Alex Rowland and Brodie Atwater as counselors Watson and Whipple, New World Magischola 7.

    The counselor role is considered both diegetic and non-diegetic. In other words, a safety team member is embedded in the fiction as a character. Depending on the type of fiction, this role may be called a “counselor” — as in New World Magischola, Event Horizon, — or may be renamed something else appropriate to the fiction, such as “bartender” or “goddess.” Similar to a Storyteller or non-player character (NPC), while these individuals are immersed in the story, the counselor can also step out of their role in order to tend to the emotional needs of players in distress and help with calibration of play styles. They can help overwhelmed players find the off-game room, Sanctuary Space, or other members of the safety team on staff. Therefore, the counselor role requires a strong degree of sensitivity to the needs of others, flexibility to switch in- and out-of-character with ease, deescalation skills, and willingness to perform emotional labor for the player base and other organizers.

    Counselors are especially useful at bigger larps that are spread over a large area. While the role is present in other larps, such as Lindängen International Boarding School, we are describing the counseling role that we first developed for Run 1 of New World Magischola (2016), where 160+ players were spread over 100+ acres. Since then, Magischola has featured embedded counselors for all eight runs, as well as two Yule episodes. Event Horizon (2016) adopted the role, as has the U.S. run of Just a Little Lovin (2017). Ideally, the counselor job is compensated if the larp budget allows, e.g. expenses, lodging, food, and/or stipends for travel.

    Optimally, counselors serve other roles on the safety team such as leading workshops, de-roling, and debriefing sessions. The staff should introduce costumed counselors at the opening of the game if possible. That way, players can easily identify them as trained safety team members in play. Embedded counselors make safety both visible and pervasive in a larp culture. However, counselors are only one part of the safety culture of the larp. Ultimately, we hope to encourage a community of care, where other players feel motivated to provide support for one another, rather than relying on staff to handle all problems that arise.

    Distinctions from Traditional Therapy

    While we use the generic term “counselor,” we would like to make clear several core distinctions between this member of the safety team and a traditional therapist. While counselors may provide advice for players in- or out-of-character, they do not perform therapy as a psychologist would in an office setting. The counselor’s job is more akin to crisis management than therapy. In a therapeutic setting, a client enters into a relationship with their psychologist in which trust is built over time and personal information is revealed in order to produce meaningful change in the client’s life. In a larp, that relationship has not been established, and neither the space nor time needed for traditional therapy are present. Indeed, such intensive analysis of a player’s psychology could work against the goals of individuals in this role.

    Instead, a larp counselor’s role is to provide players and organizers in need with the following:

    • Immediate support when distressed, triggered, alienated, or overwhelmed
    • Help in re-establishing a feeling of safety
    • Problem solving for emotional difficulties arising from the larp itself, such as plot-related issues and social conflicts
    • Assistance in processing bleed if it occurs
    • Calibrating play in order to help players adjust to one another’s comfort levels
    • Snacks, water, a quiet place to relax, and any other basic comforts
    • In extreme cases, crisis management for abuse, harassment, mental illness episodes, and other serious issues.
    photo of a larp counselor in glasses
    Thomas Whipple (Harrison Greene) in New World Magischola 1.

    Thus, the counselor’s primary goal is to help establish a sense of emotional well-being in the hopes that the participant can re-engage with the larp and social environment with minimal disruption to their experience. Unlike a therapeutic session, where upsetting or traumatizing personal information is often unearthed, the larp counselor only engages with such content if the player spontaneously discloses personal information.

    In this regard, while having trained psychologists on staff is desirable in larp settings, we recognize that emotional distress and even crisis can arise in any social situation. Larp can be particularly intense and place emotional demands upon players in terms of focused attention and intensity. In some cases, larpers experience physical strain, lack of sleep, or insufficient food or water, whether by personal choice or the event’s design. These demands can lead to powerful larp experiences, but can also add psychological strain. These issues can arise even in larps with presumably light-hearted content. In our experience, having a system in place to aid in these situations is important, as other players may not be able to provide care and organizers may be overwhelmed. The counselor serves as a safety net to help player’s process this strain and receive immediate help.

    Thus, while we advocate for counselors to obtain professional development around emotional safety, crisis treatment certifications, and psychological training, we recognize that these requirements are not always practical. We believe the primary skills needed for a larp counselor are empathy, active listening, patience, and the willingness to help others through immediate emotional issues. Counselors should also work well in a team with other safety committee members and organizers, reporting often about the events occurring in the larp and any emotional difficulties that arise in the player base.

    While counselors should strive toward confidentiality, they may need to report serious issues that arise to the larger team, especially if action needs to be taken to stop problematic behaviors such as harassment. Counselors are not subject to the same strict rules of confidentiality that a licensed professional may be, as they are working in service to the larp organizers. However, ethically, restricting who is exposed to sensitive information is extremely important. In issues of alleged harassment, legal repercussions could ensue if counselors reveal the details of a claim. Retaliation against reporters is also a possibility, which reinforces the need for discretion. Counselors should make clear to participants who they will inform about safety issues, particularly in the case of violations, before participants reveal personal details. Counselors can also disclose potential actions the safety team might take. Ideally, such information is contained in their Code of Conduct, Internal Procedures, or other design documents. If your larp needs help developing these procedures, we encourage you to borrow with attribution from the Living Games Conference safety documentation, which also includes professional development exercises for crisis management and empathy training.

    Psychic twin sister counselors Winnie (Alex Rowland) and Raindrinker (Sarah Lynne Bowman) in Event Horizon. Photo courtesy of Event Horizon.

    Ultimately, counselors work to try to resolve issues that happen during the larp, as well as keeping their fingers on the proverbial pulse of the events unfolding, often reporting back to the rest of the staff. We believe that dedicated counselors whose only role in the larp is to provide in-character and out-of-character assistance can not only assist players in need, but can relieve some of the pressure from other organizers, who are often overtaxed by logistical concerns. Thus, safety members in this role should also offer support to other members of staff in need, including each other, in the case of a larp with multiple embedded counselors. While counselors can double as physical safety staff trained in CPR and first aid, the skills required for these two jobs are often different and should not be conflated. Unless a larp is seriously understaffed, we suggest another organizer handle physical safety issues.

    Advantages to Embedded Counselors

    Having a member of the safety team embedded in the larp has several advantages. They are involved in the fiction and can better understand the references made by the characters and players. Counselors may even be present for key scenes and know which events have unfolded. This practice makes it less alienating for the counselor when hearing about larp events, as they understand the context.

    Counselor Whipple (Brodie Atwater) with the Dean (Maury Brown) in New World Magischola 7.

    For example, in New World Magischola, counselors are part of the staff of the school. They have in-character reasons to run administrative events, connect with faculty, and be available for students to express their career or personal issues. In the fiction of Event Horizon, counselors were hired by the corporation hosting the event. These counselors were telepathic twins with empathy powers. In both cases, magic can enhance the in-game counseling role, e.g. by providing flashbacks or future sequences, as one would in a black box, to help process character emotions. Embedded counselors can also work in a socially realistic setting. In the 2017 run of Just a Little Lovin’ in the United States, Joani, a New Age self-help guru character, was adapted to have counseling training.

    The fiction influences the way counseling is portrayed, but provides a convenient reason for players to steer toward emotional processing or a satisfying resolution without breaking immersion. We term these strategies diegetic interventions, or ways to solve in-game problems through magic, psychic powers, role-played therapy sessions, or other creative solutions. Diegetic interventions are powerful because they redirect players to the fiction and that resolution becomes canonical, not just imagined. Players feel like they are getting a special scene, which can raise spirits and help them reconnect with the larp.

    Additionally, embedded counselors can:

    • Monitor the emotional well-being of a person, e.g. with the Okay Check-in System. For example, if a character is crying alone, the counselor can clandestinely check-in and help if needed.
    • Remove a distressed person from play and take them to a safer space, e.g. another in-game location or an off-game room. Ideally, a larger larp has a Sanctuary Space for such a purpose, while small games may have an off-game room.
    • Model checking-in for other players in order to encourage a community of care, such as using the Okay Check-In System, Lookdown, Pronoun Corrections, Largo/Break, Cut, and any other safety mechanics. While players can bring distressed participants to a counselor as needed, we want to encourage participants to care for one another.
    • Serve as the eyes and ears on the ground to help the lead organizers calibrate the game.
    • Coordinate with the team when dispersed over a large play area.
    • Make story adjustments as embedded NPCs with in-character reasons for doing so.
    • Guide players back into character when needed.
    • Help players solve larp-related issues while in play when possible, such as overstimulation, difficulties engaging with plot, uncertainty how to move forward with a storyline, boredom, etc.
    • Offer emotional care while in the fiction, which may allow enough of a release valve that the player need not break in order to regroup.
    • Allows player alibi to seek help, particularly in play cultures where breaking immersion is discouraged.

    Ideally, each larp has at least two counselors, which enables them to tap out if necessary, as well as to emotionally process with one another. Sometimes, counselors may need to check with one another to figure out a course of action. If a participant feels comfortable, having both counselors present to address an issue can be helpful, although some players prefer one-on-one private interactions.

    In the most recent runs of New World Magischola, all counselors were coordinated through the use of walkie talkies, so that they could communicate regardless of their location in play. The Sanctuary Space also had a walkie talkie, which allowed players to page a counselor if needed. Counselors listed their schedule on the door of the Sanctuary Space to identify their approximate location. Sanctuary Spaces also feature water, snacks, blankets, soft music, and coloring books when possible. Ideally, Sanctuary Spaces have a door that can close for privacy. These logistics allow embedded counselors to slip smoothly in and out of play to address issues as they arise.

    Drawbacks to Embedded Counselors

    Embedding counselors into the fiction does have some drawbacks, which we will address in turn. They are:Active counselors in the play space are not always easy to find.

    1. Active counselors in the play space are not always easy to find.
      • Walkie talkies and other forms of communication such as text may help, assuming the technology is working and counselors regularly monitor these devices.
      • Counselors can serve in shifts, where some are in-character while others remain in the Sanctuary Space or off-game room. Downtime may be necessary when performing emotional care, although boredom and alienation may arise if off-game shifts are too long.
    2. Counselors can become involved in major stories or plots through emergent play as part of the fiction.
      • Counselors can become central figures to the play of others due to the emotional bonds formed through the act of sharing, which can lend to player comfort.
      • This engagement can also become negative, if players associate the counselor with a particular plot, player, or social clique that they find undesirable or alienating.
      • Counselors should strive to maintain neutrality and objectivity in plots and social groups when possible as a best practice. Non-embedded members of safety teams are less biased in general, so counselors may direct players to these individuals in specific situations.
    3. When immersed, counselors may show a range of emotions outside of their “professional” role.
      • Counselors should strive to play characters who have a pleasant, welcoming, and empathic demeanor. Preferably, the characters’ default personalities are both engaging and emotionally available. However, these traits are not always possible to maintain when engaged in intense stories or moments.
      • Players should not be afraid to show other ranges of emotions during role-play, but when interactions focus on counseling, this default personality should predominate.
    Counselors Raynar and Traquility Whipple explore a mystery with a Divination professor in Magischola 4. Photo courtesy of Learn Larp LLC.

    Counseling and Self-Care

    Counselors are not superheroes. They cannot help every player or be emotionally available at all times. Just like any member of the safety team, counselors should maintain boundaries with regard to their time and energy. A good rule of thumb is to help a person for a maximum of one hour. Players should not feel that they have unrestricted access to the emotional labor of counselors, so good boundary and expectation setting are necessary. Ideally, these boundaries are mentioned in workshops and enforced by the organizer team.

    Counselors must be extremely vigilant about their own self-care regimen, including getting enough sleep and food. If necessary, a co-counselor, another member of the safety team, or another organizer can relieve them of their duties if self-care is needed. Counselors should feel enabled to self-advocate. For example, they can say,

    • “I feel that I have addressed your issue as best I can. I’m not sure how to proceed from here. Can we figure out a way to help you get back into play together?”
    • “I wish I could help right now, but I am going to need to get something to eat. Do you mind if I introduce you to our other counselor, who may be able to help?”

    Note that while two counselors may decide to help the same player at once, they should avoid enabling players to monopolize their emotional resources by coming to different counselors with the same issue.

    photo of a Divination and Ethics professor
    Divination Professor Ziegler (Kat Jones) and Ethics Professor Hassinger (Evan Torner) also served as counselors at Magischola Yule.

    Additionally, counselors should also remain vigilant of their own emotional capabilities throughout play. Some counselors have their own mental health challenges or trauma triggers. They should make sure that they feel sufficiently rested and comfortable addressing certain issues before engaging. They should also be upfront about their own limitations. For example, a counselor can say,

    • “I don’t deal well with angry people. Do you mind handling this situation? I don’t think I can be of help.”
    • “I just helped six people in a row and am emotionally depleted. Can you take over while I take a nap?”
    • “I am having anxiety today. I should probably avoid crowded rooms. Do you mind covering for me while I eat outside of the main play space?”

    Counselors should not feel responsible for players during off-duty hours. Therefore, it is preferable to set boundaries around when counseling shifts are, e.g. 8am-1am, with breaks in between. The exception to this guideline is in cases of harassment or other serious mental health issues, where counselors may be needed when off-duty.

    Finally, counselors may wish to make themselves available before and after the larp over social media and personal message. Sharing links about bleed, post-larp depression/blues/drop, debriefing, and other resources is helpful, especially the during 72 hours after the larp, or the bleed window, where players are often still transitioning back to their default lives. However, counselors should not feel required to perform additional emotional labor above and beyond their role in the larp unless they wish to do so. Again, boundary setting is necessary. Counselors are not community managers. They should decide upon how much post-larp emotional labor they are willing to provide. Some suggestions:

    • Allowing a player the opportunity to share a bleed issue, but limiting communication to one conversation.
    • Only discussing issues during the bleed window and declining overtures for conversation that occur more than 72 hours after the larp.
    • Redirecting participants to Facebook groups or their co-players for assistance, further reinforcing a culture of care.

    Common Counseling Issues

    Counselors Tullamore and Tranquility Whipple attempt to guide a student away from a dark path in New World Magischola 5.

    In our experience, these problems arise in larp settings, although some are far more common than others:

    • A player needs help figuring out what to do next in-game, due to boredom, frustration, or a character dilemma.
    • A player has anxiety about their own play ability, their own plots, whether they are doing it right, or being good enough.
    • A player feels overwhelmed by the amount of plots or emotional content happening and has trouble deciding which thread to pursue.
    • A player feels shut out of play from other groups due to an exclusive plot, a social clique, or another participant refusing to play upon an established connection. The important thing here is to listen, empathize, and figure out solutions. Embedded counselors can provide play for the person if needed, or introduce them to other possible social groups/plots.
    • A player feels emotionally overwhelmed due to the intensity of a particular scene, be it romantic, violent, embarrassing, etc. The important thing is for the player to be able to express their feelings without feeling judged. Embedded counselors may have been present for the scene and/or able to offer some additional context, advice, etc. Reframing the event together through a more favorable perspective can sometimes be helpful. Note that, later, players might view these scenes as the best parts of their larp when properly reframed and put into context.
    • A player feels uncomfortable with another person’s playstyle, attention toward them, or level of aggression. Focusing on how to help the player feel most comfortable is optimal here. The counselors may want to suggest ways to remove the two people from proximity if possible and suggest in-game reasons for such a change.
    • A player is experiencing bleed due to the fiction connecting to real-life emotions or events. Allowing the person to express themselves without judgment is key. Sometimes, the bleed can be used for positive growth, but a player should not feel obligated to continue to play on a theme or relationship that they find distressing. Give options.
    • A player feels personally harassed by another player or staff member. These issues should be handled on a case-by-case basis according to the Code of Conduct and Internal Safety Procedures. If a larp does not have these resources, the counselor should follow the guidelines established informally in their local larp culture, although we highly suggest establishing a Code of Conduct and set of Internal Procedures. Confidentiality is extremely important in these situations. The player may not want to report the harasser officially and their comfort should be respected as tantamount. Ask questions and offer options, but do not pressure them to make a decision or take action.
    • A player is unable to fulfill personal goals, gain closure, or steer toward their desired trajectory. This problem does not usually led to an agitated state, but rather a deep sense of disappointment or loss. In this case, the goal is not to deescalate, but rather deflate the issue by doing solution-based counseling or introducing a diegetic intervention.

    Diegetic Interventions

    The structure of New World Magischola, with its player-driven scene requests and consent-based play, meant that counselors could take the tools available to players and use them with proficiency. Diegetic interventions allowed players not only to return to the larp, but to resolve their issues through play. Counselors could cancel scenes, make new ones, plan for plot events, or encourage negotiation with other players about closing or opening up storylines. They could use freeform scenes to create canonical content that could have happened in a story in order to justify a new character direction. While anyone can create this content, an embedded counselor can demonstrate proficiency in how a player might use it to transform their play.

    Alex Rowland as Winnie posing
    Counselor Winnie at Event Horizon

    Some example diegetic interventions are:

    Scene requests

    Player: “I had a lot of ambitions for this storyline about my family, but the person playing my sibling brought a bunch of people to the scene and took most of the spotlight.”

    Counselor: “Well, what if we put in a scene request for your character to meet one of their family members again, but on their own this time?”

    Player: “Can I do that?”

    Counselor: “Of course, and you can also talk to that other player to see what they’re trying to get from the plotline, so you can discuss expectations of where the play should lead.”

    Freeform

    Player: “I was really hoping that my character would get arrested before the ball so they could break out of prison to see their date. But there won’t be much play after dinner.”

    Counselor: “What if we checked with the NPCs to see if we can make that scene? If not, we can take some time to act out the scene together, with us playing the marshals who arrested them.”

    Plot Knowledge

    Player: “I’m feeling exhausted by being around so many people.”

    Counselor: “There’s going to be a big scene that draws everyone out into the forest in about an hour. What if you just focused on being in the common room or resting, then looked for other quiet people who weren’t out at the scene, and tried to play with them? There will be someone drawing people to your character’s common room about an hour after they get back, so you can make plans to be gone by then.”

    Future Steps

    While not all larps may require a counselor, we believe that they provide communities with a distinct advantage. For this reason, Brodie Atwater and Alex Rowland — experienced larp counselors, academics, and therapists-in-training — are developing a guide for counselors. This manual will serve as a touchstone for people who want to begin contracting and training counselor roles for their game. Starting from a standardized crisis counseling model, this work will also examine ACA Compliance in order to start synthesizing larp communal wisdom with wider psychological standards. Ultimately, we hope that this work will serve as a foundation for increased professional development and more nuanced safety team design in larps.

    Bibliography

    Bowman, Sarah Lynne. “A Matter of Trust — Larp and Consent Culture.” Nordiclarp.org, February 3, 2017.

    Bowman, Sarah Lynne. “Bleed: The Spillover Between Player and Character.” Nordiclarp.org, March 2, 2015.

    Bowman, Sarah Lynne. “Returning to the Real World: Debriefing After Role-playing Games.” Nordiclarp.org, Dec. 8, 2014.

    Bowman, Sarah Lynne. “Social Conflict in Role-Playing Communities: An Exploratory Qualitative Study.” International Journal of Role-playing 4: 4-25.

    Bowman, Sarah Lynne and Evan Torner. “Post-Larp Depression.” Analog Game Studies 1, no. 1.

    Brown, Maury. “19 Truths about Harassment, Missing Stairs, and Safety in Larp Communities,” Nordiclarp.org, March 14, 2017.

    Brown, Maury. “The Consent and Community Manifesto,” Nordiclarp.org, last modified March 17, 2017. https://nordiclarp.org/2017/03/24/the-consent-and-community-safety-manifesto/

    Brown, Maury. “Creating a Culture of Trust through Safety and Calibration Larp Mechanics,” Nordiclarp.org, last modified September 9, 2016. https://nordiclarp.org/2016/09/09/creating-culture-trust-safety-calibration-larp-mechanics/

    Brown, Maury. “Player-Centered Design,” Keynote at Living Games Conference 2016, YouTube, last accessed June 10, 2016, https://youtu.be/oZY9wLUMCPY

    Brown, Maury. “Pulling the Trigger on Player Agency: How Psychological Intrusions in Larps Affect Game Play,” Wyrd Con Companion Book 2014 (Los Angeles, CA: Wyrd Con), https://www.dropbox.com/s/3yq12w0ygfhj5h9/2014%20Wyrd%20Academic%20Book.pdf?dl=0

    Brown, Maury and Benjamin A. Morrow, “Breaking the Alibi: Fostering Empathy by Reuniting Player and Character,” Wyrd Con Companion Book 2015 (Los Angeles, CA: Wyrd Con), https://www.dropbox.com/s/xslwh0uxa544029/WCCB15-Final.pdf?dl=0

    Brown, Maury and Benjamin A. Morrow, “Playing for Empathy Workshop,” Living Games Conference, August 18, 2016.

    Dalstål, Elin. “Self Care Comes First: A Larp and Convention Policy,” Nordiclarp.org, August 17, 2016.

    Game to Grow. “Game to Grow Webisode Project Episode 2: Emotionally Intense Play, Calibration, and Community Safety.” With Maury Brown, Johanna Koljonen, Lizzie Stark, John Stavropoulos. Moderated by Sarah Lynne Bowman. YouTube, September 1, 2016.

    Game to Grow. “Game to Grow Webisode Project Episode 6: Consent Based Play.” With Maury Brown, Johanna Koljonen, Lizzie Stark, John Stavropoulos, and Azzurra Crispino. Moderated by Sarah Lynne Bowman. YouTube, March 26, 2017.

    Koljonen, Johanna. “Opt In/Opt Out Safety System.” Keynote at Living Games Conference 2016. YouTube, June 10, 2016,

    Koljonen, Johanna. “Toolkit: Let’s Name this Baby! (Bow-Out Mechanics).” Safety in Larp: Understanding Participation and Designing for Trust, May 30, 2016.

    Koljonen, Johanna. “Toolkit: The Okay Check-In.” Safety in Larp: Understanding Participation and Designing for Trust, September 18, 2019.

    Living Games. “Living Games Safety Documentation.” Living Games Conference, July 18, 2016.

    Living Games. “Sanctuary Space, Safety Team, and Crisis Management Programming.” Living Games Conference, April 15, 2016.

    Montola, Markus, Jaakko Stenros, and Eleanor Saitta. “The Art of Steering: Bringing the Player and the Character Back Together.” Nordiclarp,org, April 29, 2015.

    Pedersen, Troels Ken. “Your Larp’s Only as Safe as its Safety Culture,” Leaving Mundania, August 4, 2015.

    Stark, Lizzie. “Building Larp Communities: Social Engineering for Good.” Leaving Mundania: Inside the World of Larp, March 18, 2014.

    Stark, Lizzie. “Player Safety in Nordic Games.” Leaving Mundania: Inside the World of Larp. April 26, 2012.

    Stavropoulos, John, Samara Hayley Steele, Sarah Lynne Bowman, and Sara Hart. “Crisis Management Workshop: Bleed, Harassment, Trauma Workshop.” Living Games Conference, July 18, 2016.


    Cover photo: Catching the Light by Chi Tranter on Flickr. (CC BY 2.0). Photo has been cropped.

  • Knutpunkt 2018 Companion – Call for Content

    Published on

    in

    Knutpunkt 2018 Companion – Call for Content

    By

    Johannes Axner

    Knutpunkt 2018 goes online!

    The companion publication for the Knutpunkt 2018 international larp conference wants your contribution! We are now accepting submissions for all kinds of digital content. In this announcement you can find details on what kinds of content we are looking for, what the themes are for the 2018 companion, and how to learn more about contributing to the Companion publication.

    Concept

    The Companion will first and foremost be a digital publication, including all kinds of media. We have no limits on what kind of content we accept, as long as it’s technically possible to be published online. A text, a video, a podcast, a computer game, a piece of music…? Send us your suggestions! We cannot promise to publish all submitted content, but we will consider everything.

    Content will be published on Nordiclarp.org, on a weekly basis over the months leading up to Knutpunkt 2018. The idea is to let the community digest and discuss the companion content even before Knutpunkt. We hope this can inspire the conference participants, as well as create interesting conversations and exchanges in other spaces before, during and after the conference.

    There will also be a print on demand book available with a selection of articles. We aim to have this ready so that it can be ordered around the time that content is beginning to come out online. Only magazine style texts will be considered for the printed book, you can read more about this format further down.

    Themes

    The theme of the Knutpunkt 2018 conference is “Shuffling the Deck”. We have chosen to interpret that as highlighting the diverse nature of larp, wanting to showcase a multitude of themes in a variety of formats. We especially want to lift the scenes that have been less visible in previous Knutpunkt publications.

    The publication will have five main themes, roughly mirroring the five tracks of the conference. We encourage you to use them as starting points for your contributions and be as creative as possible!

    ♠️ Spades

    Larp analysis, discussion and reflection.

    ♦️ Diamonds

    Larp design tools, tips and tricks.

    ♣️ Clubs

    The practicalities of organizing larp.

    ♥️ Hearts

    Participant stories and designers’ post-mortems.

    🃏 Joker

    Discussion and reflections on issues within and opportunities for the (Nordic) larp community.

    Contributing

    To contribute to the publication, please read the full Call for Content on the Knutpunkt 2018 website.

    The Team

    The Companion is a collaboration between the editorial staff of Nordiclarp.org and the Knutpunkt 2018 organizers.

    Editors in Chief

    Johannes Axner is the founder and Editor in Chief of Nordiclarp.org, an online magazine and knowledge portal about larp.

    Annika Waern is a professor in the field of Human–computer interaction at the department of Informatics and Media at Uppsala University, Sweden. She is an established and seasoned researcher and author on the topic of games in general and larp specifically.

    Editing Team

    Besides the main editors, the talented editors of Nordiclarp.org will help edit the content.

    Contact

    Any questions, ideas or feedback can be sent by email to:

    book@knutpunkt.se


    You can read more about the Knutpunkt 2018 conference and the Companion publication on the Knutpunkt 2018 website:
    https://knutpunkt.se/