Nordic Larp

Tag: Psychology

  • Larp Counselor Code of Ethics

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    Larp Counselor Code of Ethics

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    Larp counseling is a unique personal / professional relationship that empowers diverse individuals and groups to pursue their own conceptions of mental health, wellness, exploration, and fun through play. Larp counseling is the practice of dedicating a staff member to overseeing participant well-being at a live-action role-play (larp) event. We defend the title as evocative of a camp counselor: a supervisory role meant to connect the player with the intended fun of an event, rather than suggesting therapeutic intent. Ideally, the event should financially support individuals in these roles, who operate outside of the logistical organizational staff.

    Larp counselors have a unique definition of and relationship to professionalism. Firstly, play is usually not the intended mode of player interaction and most conceptions of professionalism do not account for it as setting or mode. Conceptions of professionalism shared across various helping professions do not account for scenarios in which, within the lifetime of the player-counselor relationship, multiple personas / realities exist, and diegetic role reversal is expected. Classic conceptions of professionalism also fail us by assuming the nature of the counselor / player relationship is purely professional and not of a different foundation that is more likely to be fostered in organized play. Due to the privilege and authority inherent to the larp counselor role, there are still strict standards to which to adhere and lines which never should be crossed.

    Standardized values are an important way of living out an ethical commitment. The following are core values of larp counseling:

    1. enhancing human development;

    2. honoring diversity and embracing a multicultural approach in support of the worth, dignity, potential, and uniqueness of people within their social and cultural contexts;

    3. promoting social justice;

    4. safeguarding the integrity of the counselor–player relationship; and

    5. practicing in a competent and ethical manner.

    These values provide a conceptual basis for the ethical principles enumerated below. These principles are the foundation for ethical behavior and decision making. The fundamental principles of ethical behavior are:

    • autonomy, or fostering the right to control the direction of one’s life;

    • nonmaleficence, or avoiding actions that cause harm;

    • beneficence, or working for the good of the individual and society by promoting mental health and well-being;

    • justice, or treating individuals equitably and fostering fairness and equality;

    • fidelity, or honoring commitments and keeping promises, including fulfilling one’s responsibilities of trust in our ethical relationships; and

    • veracity, or dealing truthfully with individuals with whom counselors come into professional contact.

    A scrabble tile holder with tiles spelling ethics
    “Ethics” by
    Nick Youngson CC BY-SA 3.0 Alpha Stock Images.

    Larp Counselor Code of Ethics Purpose

    1. The Code sets forth the ethical obligations of larp counselors and provides guidance intended to inform the ethical practice of larp counselors.

    2. The Code identifies ethical considerations relevant to larp counselors and larp counselors-in-training.

    3. The Code enables the community to clarify for current and prospective counselors, and for those served by the community, the nature of the ethical responsibilities held in common by its members.

    4. The Code serves as an ethical guide designed to assist the larp counselors in constructing a course of action that best serves those utilizing counseling services and establishes expectations of conduct with a primary emphasis on the role of the larp counselor.

    5. The Code helps to support the mission of fighting for social justice and fostering safe play.

    I. Professional Conduct

    a. It is always necessary to act in good faith, and without coercion or misrepresentation. Larp counselors must know and stay within the laws of the country in which they are practicing.

    b. It is good, ethical practice for larp counselors to be clear with players about their professional status and training.

    c. Larp counselors must be aware at all times that they are not mental health professionals and should NEVER to attempt to perform psychotherapeutic interventions beyond valuable micro-skills.

    d. Larp counselors use their professional work to benefit players and not primarily to satisfy their own needs.

    e. Larp counselors seek ways of increasing their personal and professional awareness and development.

    f. Larp counselors must maintain standards of practice by monitoring and reviewing their work alone, with peers, and by seeking supervision when necessary.

    g. Larp counselors must openly and clearly explain the possible presence of observers, recorders, and auxiliary-ego co-therapists. They must make any limits of confidentially aware to the players being helped.

    h. It is not the decision of a larp counselor to decide if players are (i) fit to play and (ii) fit for the specific group in which it is proposed to place them. If they are perceived as not fit, the counselor must indicate that to the player and may suggest alternative courses of action, but they must not prevent someone from engaging in play for this reason.

    i. In order to be fit to practice, larp counselors should maintain an adequate balance of emotional and physical health. This standard should be maintained as a model for other colleagues and trainees. They should not knowingly practice if their mental or physical poor health is liable to have a detrimental effect on their players. This includes the misuse of substances that may be detrimental to professional practice. Notions of health are both personal and cultural, and such connotations should be heavily weighted in this assessment.

    j. Larp counselors should be aware of and respect the cultural expectations of the community in which they work.

    k. Larp counselors should be aware of and respect the cultural mores of their players, trainees, and colleagues.

    A typewriter with Counselling Services written on a page
    “Counselling Services” by
    Nick Youngson CC BY-SA 3.0 ImageCreator

    II. Relationship with the Player

    a. Counselors’ guarantees on confidentially extend as far as themselves. While counselors should always be expected to maintain confidentiality in almost all cases, if other players, organizers, or bystanders are present for counseling, there can be no guarantee of privacy. It is a larp counselor’s duty to inform all parties of any limitations to confidentiality. Diegetic encounters between counselor and player character-selves are assumed to be part of play and thus have no promise of confidentiality or privacy.

    b. Larp counselors shall treat as private all information received from the player whether this is during a session or during other situations when they might be communicating delicate non-diegetic information; unless the player specifically agrees that this information is generally communicable. Comment: For best practices please see the Reporting chapter.

    c. Larp counselors must not use information received in the course of their relationship with players or trainees for personal gain.

    d. Larp counselors undertake to set out clearly and without prejudice a verbal contract with players before play begins and to reiterate relevant facets (i.e., confidentiality or the limits thereof) during play. They must almost remember that consent is an ongoing process.

    e. Larp counselors will give attention to the physical environment in which they work with players in order to provide a safe and secure space for play.

    f. Larp counselors should be aware of the professional boundaries with players and trainees. Larp counselors should be aware of the possibilities of role confusion, which can damage the interpersonal and/or training relationship. It is the duty of the counselor to maintain an understanding of the power dynamic, from their own point of view, as well as the players, both diegetically and out-of-character.

    g. At no time should a larp counselor enter into a sexual and or romantic relationship with a player or organizer during the course of play. Pre-existing relationships of this kind between counselors and players/ organizers should be bracketed. If possible, counselors should avoid moderating conflicts or engaging in sessions with these individuals, but not at the expense of anyone’s safety. Comment: For best practices, please see the Dual Relationships/Conflicts of Interest Section in our forthcoming guide book.

    h. Larp counselors should inform players of the use of videotape or other recording systems, where it is possible such a factor could upset the nature of the confidential relationship. At all times, the counselor is obliged to obtain clear, informed consent from all participants involved in any recording and to inform them that they have a right to withdraw their consent at any time.

    Scrabble tiles spelling support
    “Support” by Wokandapix on Pixabay.

    III. Relationship with Society

    a. When dealing with sensitive intimate issues that arise in play, larp counselors should treat them with appropriate caution. The use of diegetic techniques should be carefully considered in order to minimize the possibility of compounding the abuse.

    b. When approached by organizers for work or consultation, larp counselors should present a clear unambiguous statement of intention of the services they offer.

    c. Larp counselors have the responsibility to acknowledge research undertaken during an event and, where appropriate, initiate, assist, or participate in the process of informing and seeking the consent of players when they are involved. Players used as research subjects should give informed consent to participating in the nature of the research being undertaken.

    d. Larp counselors have an educative role in the larp community as well as a helping one and should seek to continue their own education. Larp counselors have the responsibility to continue their own development by being an active member of the larp safety community.

    e. Larp counselors subscribe to the principles of anti-discriminatory practice, freedom of speech, and human rights; they should take positive steps to promote them.

    IV. Relationship with Play

    a. Character immersion should never be prioritized over the counselor’s vigilance. Counselors acknowledge that their embedded role is explicitly for the benefit of players and always follow the Prime Directive. Counselors forgo intensive immersion in favor of a perspective that prioritizes their ability to vigilantly perform their duties. Comment: The Prime Directive refers to the counselor’s responsibility to the well-being of players, and the limitations of their involvement within the diegesis: No intentional interference with the development of plot. No protracted relationship with a player-character.

    b. A larp counselor’s character self should exhibit characteristics and behavior becoming of a counselor. Players should always feel comfortable engaging with counselor characters.

    c. Larp counselors only disrupt another’s immersion for the express purpose of resolving issues relevant to their position.

    d. Larp counselors always consider the culture of play in which they exist before acting. However, such considerations should never jeopardize the well-being of players. Counselors are always assessing and reassessing their notions of “well-being” in the context of the players and environment.

    e. Larp counselors should always reserve the ability to stop/ start and relocate play as well as declare in-game areas as temporarily out-of-game to facilitate their duties. Caution should be used when exercising these abilities; counselors should consider the impact upon player experience as well as the urgency of the situation.

    f. If organizers have agreed to allow counselors the authority to use diegetic devices, counselors may do so within the context of the Prime Directive (i.e., directive abilities should never affect the plot beyond a single or small group of characters).

    g. Diegetic devices are to be used only when the counselor believes they will have a positive impact on the player’s experience and well-being.

    h. If a larp counselor’s character-self is a psychotherapist or an adjacent position, they may role-play psychological interventions. Caution should be taken to ensure these interactions stay within the realm of fiction and fulfill the needs of play.

    i. Counselors should take care to explicitly articulate when play ends and begins.

    References

    Atwater, Brodie, and Alex Rowland. “Developing a Framework of Larp Counseling.” International Journal of Role-Playing 9: 16-23.

    Bowman, Sarah Lynne, Maury Brown, Brodie Atwater, and Alex Rowland. “Larp Counselors: An Additional Safety Net.” Nordiclarp.org. Last modified August 7, 2017.

    Cover photo: “Ethics” by Nick Youngson CC BY-SA 3.0 ImageCreator.

    This article was originally published as an Appendix in the International Journal of Role-Playing 9.

  • Six Levels of Substitution

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    Six Levels of Substitution

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    The Behaviour Substitution Model

    You are gliding over the parquet, in a constant battle over who’s in charge. You lock eyes and tighten your grip pulling your partner just a bit closer. Your posture and precise footwork radiate confidence. Other players are holding their breath to see which one gives up the battle first. Actually, there is much more at stake: the dance is a metaphor for a duel. The game In Fair Verona, held in Stockholm in 2012, used dancing to simulate aggression and passion.

    There are many things that cannot be acted out in a game – and for this reason the behaviours acted out by the player cannot be identical to the behaviour of their character in the game world.

    Firstly, the behaviours may be illicit, unethical or dangerous to perform.

    Secondly, the behaviour of the character can be simply impossible: sadly, we do not actually have superpowers or control magic.

    Thirdly, the player may not have the skills or the knowledge to perform as their character.

    Fourth, the player may find it difficult to act out as their character due to a significant discrepancy between the personality, traits and demeanour of the player and the character, or lacking skills or confidence as an actor.
    Whatever the reason for the distinction between the actions, we strive to understand them. We have a constant, automatic tendency to seek meaning in other people’s behaviour, and we attempt to attribute a cause for it. This requires us to make interpretations about each other.

    In order for these interpretations to be valid, we must understand how big a difference there is between the behaviour we observe and that of the character. This article proposes a model of behaviour substitution by which the diff erence between the behaviours in- and outside of the game can be described hierarchically.

    In other words, the model can be used to assess whether a behaviour is simulated, and in what way. The model proposes six categories whose implications are discussed. Finally, it is suggested that this model can also be applied to other genres in which there is a fictional reality.

    The Behaviour Substitution Model

    The Behavior Substitution Model describes to what extent the actions of the player physically resemble those their character takes. When there is a high similarity between actions, the behaviour of the player is easily and unambiguously interpreted by other people from close and afar. When the behaviours are not similar, they do not physically resemble each other, and they require prior knowledge to interpret.

    The model proposes there is a continuum, divided into six categories, between the two extremes (Table 1). On one end, the actions the player and the character take are identical: there is no substitution.

    On the other end, the behavior is unrecognizable, impossible to understand and interpret without prior knowledge, or there is no behavior at all.

    LevelDescriptionAn Example
    No SubstitutionThe behaviour is nearly equal in the game world and outside of itFighting is real
    AdaptationThe behaviour is slightly adapted, yet it clearly resembles the one intendedFighting slowly using safe techniques
    GrotesqueThe behaviour is changed moderately, it requires effort to be interpretedFighting with grossly exaggerated movements
    SymbolicalThe behaviour is considerably changed, and does not resemble the original behaviourFighting is symbolized by dancing
    MechanicalThe behaviour is replaced by agreed upon game mechanics, and acted out by the playerFighting is resolved by a game of rock-paper-scissors or a computer game
    AbstractThe behaviour is not acted out, but communicated through other meansThe results of a fight are written down on a paper
    Table 1: The Behaviour Substitution Model

    Dual Process Theory

    To understand the model proposed more thoroughly, it is analysed through dual process theory. According to this theory, we have two complementary information processing systems: an implicit and an explicit one. The first system is very fast, automatic, nonverbal and unconscious. For example, consider your friend pushes a bottle from a table at a party. You instinctively try to catch it mid-air, without any conscious thought.

    Your reactions were guided by the implicit system that steered your attention to the object, and your hand to grab it. The explicit system operates in a very different way. It is slower, linked to language, logical, and often involves conscious reasoning. This type of processing happens for instance when we strive to learn something new, or try to figure out how to assemble an Ikea chair.

    These two systems work constantly together. When we are writing a letter on a computer, or driving a car, we do not have to pay attention to the individual movements of our hands or feet. Rather, the movements are automatic, guided by our implicit system. At the same time, our explicit system focuses on planning the outline of the text or route.

    Not surprisingly, these two systems are active also while during role-playing, and they tie closely to the proposed model: there is a correlation between the two systems. When there is no substitution, the more the implicit system can be used. The further we go toward the abstract end of the model, the more the explicit system comes in to play (Picture 1). This argument is elaborated below by each category.

    Picture 1: The Behaviour Substitution Model and the Dual Process Theory

    The Six Levels of Substitution

    #1: No Substitution

    On this level, the behaviour of the player is nearly identical to that of their characters’ in the game world. No substitution is required because the player is able and wants to physically, emotionally and socially act the behaviour out. Importantly, the player receives immediate, visceral feedback within themselves while acting. This strengthens the immersion: the player feels what their character is feeling.

    The behaviours, however, have to occur inside the magic circle of the game. This means that the player views themselves rather as a character in a game world than outside of it. At the same time, other players understand the player has transgressed the line to the game world. This can be communicated through the tone of one’s voice, clothing or the physical game space. When this distinction is clear, the behaviour itself is easily, intuitively and swiftly interpreted by the other players.

    #2: Adaptation

    On this level, the behaviour is slightly adapted to the situation, without compromising its communicative function to the player themselves and others. The player feels as if they are acting out behaviour, and other players often unambiguously understand what the player is doing within the reality of the game.

    #3: Grotesque

    The behaviour is moderately changed to suit the situation. In comparison to the levels above, the behaviour is clearly a compromise: it is acted out, but it does no longer clearly resemble the action portrayed. Therefore, it can be difficult to interpret, and in the worst cases it is unintentionally comical or embarrassing.

    The behaviour may be seen as true within the game reality, yet it seems somehow out of place, unnatural, acted, or false.
    The grotesqueness is exaggerated due to the discrepant information received through the two systems. The explicit system is telling the player they are doing one thing, but the information they receive through the implicit system does not support this. For instance, the player may walk but within the game they are running.

    Yet, they are not sweating or out of breath. At the same time, the other players struggle to interpret the behaviour. They have to remind themselves about the previously agreed upon rules, forbidding running, to understand the behaviour. Everyone has to invest conscious effort to correct the information received and possibly suppress conflicting physical reactions. This conflict between two levels of information may break or weaken the immersion of the game. Compare this to T-1000 from the Terminator 2, or zombies: they are both alive and dead at the same time, a key conflict behind their unnaturalness.

    #4: Symbolical Substitution

    On the symbolical level, the behaviour is given new meanings or it is substituted by another, similar behaviour. In the above mentioned example, tango was used to simulate interaction between two people. The relationship between the behavior and its meaning is no longer completely transparent. Observers oblivious to substitution may see the act as merely intensive dancing, while the players understand a fierce fight is occurring.

    This level can be used to give the player skills they do not have or cannot employ.

    Further, it can be used to simulate things blatantly impossible using the skills the player already has. The range of behaviours is no longer bound by the player’s skills or the physical world. It is important the players receive sufficient practice in the substitution before the game. The more the method is practiced, the easier it is for the players to interpret in the game. Also, the substituting behavior should be something that is not often acted out in the game. For instance, if knocking on the door means casting a spell, some awkward situations may arise.

    Even if one behaviour can be substituted by nearly anything, it is not irrelevant at all by which it is replaced – the choice of substitution greatly affects all the players. For example, social interaction can be simulated by a game of tennis, tug of war, or dancing. Each of these communicates differently to the player themselves and to others. Some behaviours can more easily and clearly convey emotions than others. Basically, the more you have options to move about, use your voice and gestures, the better your emotions will be conveyed.

    The substitutive behaviour also crucially affects the players acting it out. The more the behavior physically resembles the original, the clearer the implicit connection is. Substituting bull-riding by dancing or pulling a rope does not give the same sort of visceral feedback. When the two behaviours are intuitively connected, they are easy to compare and interpret. Consider again the example of dancing: the tone of the dance, which person leads, and how they hold their hands, is indicative of the relationship to the viewers, the partner, and the player themselves.

    The symbolical behavior can also be more allegorical, an extended metaphor. The game I love Ana used group exercises, support and writing rules to reinforce the players’ dedication to the cause.

    The whole game could be a metaphor in itself. A game could be about walking, a common metaphor for leading one’s life. The feeling of walking would give players visceral feedback they could explicitly interpret, making the core of the game. The road would add another layer to the game: the surface, inclination, views and other travelers would be given new meanings.

    To sum up, on this level the behavior is interpreted through prior knowledge. When the substituting behavior is physical, and intuitively connected to the behaviour portrayed, it can be used to convey a wide enough range of emotions.

    #5: Mechanical Substitution

    Playing poker in the game world is not a mechanical substitution, but a case of no substitution, while playing poker to determine the winner of a gun fight would be a mechanical substitution. This sort of substitution happens clearly outside the game’s reality, and requires rules and explicit explanation. As the name implies, the substitution often includes rolling dice, drawing cards, or comparing values.

    This is a fast and clear way to resolve anything from brief interactions to world- changing events, but it can feel light. The substitution underscores that everything within the game world is merely agreed upon, make-believe. This may break the immersion by reminding the player about the rules, which can be a welcome break from intense action.

    #6: Abstract Substitution

    On this level behaviour is no longer required, as it is implied by the consequences. For example, there may be a sheet of paper declaring there is a hovering sphere within the hallway.

    This level can be used to introduce players to elements of mystery, or to avoid mechanical substitution. At times, the behavior cannot objectively be deduced from the signifiers, but educated guesses can be thrown around. This lets the players use their imagination and storytelling skills which can result in more vivid and elaborate description than any above. This is especially true for such hard to simulate events such as magic, gross changes in the environment, or communicating events to players not present.

    Implications and Conclusions

    The six levels described above are already widely used in live action role-playing games. The model can be used to describe individual occurrences of substitutions, the range and the primary level used. It can also be extended beyond games, to genres of arts where there is a fictional world. No substitution is used as a primary level in 360 degree live action role-playing games, historical enactment, and many theatre productions. Adaptation is employed by many live action games, digital music games, and theatre performances. Grotesque level is generally not used as main level, but it is often briefly and unintentionally visited. The symbolic level is used in modern dance, and jeepform or freeform games. Table-top and digital role-playing games often mostly use the mechanical level. The abstract level is used, for instance, in the description of games.

    The level of substitution should be chosen based on its overall suitability for the game experience. The designer should carefully choose the techniques and levels of substitution to fit the message of the game, the theme, and the atmosphere. An ill- chosen level may break immersion, while a harmonious one can keep it up for hours. The culture affects the level of substitution. In some countries or subcultures hugging may be a convention, while in other places

    it may be frowned upon. The norms of the culture shape not only which behaviours should be substituted and simulated, but also how they are substituted. The more unconventional something is, the more abstract the level of substitution should be. For instance, sex can be such a taboo in some cultures that it can only be indicated indirectly; but in other parts of the world it could be presented symbolically. The level of substitution can often become silent information: new players are unaware of the conventions of the group. Therefore, substitutions should be clearly stated, preferably written down, to assure a pleasant and safe game experience for new and old players alike.

    In Summary

    The Behaviour Substitution Model describes the degree by which the actions of the player correspond to those their character takes within the game world. At times, the behaviour of the player and the character is identical: there is no substitution. In cases when the player is unable to act as their character due to their attributes, limitations of the physical world, or for ethical reasons, the behaviour may be substituted: simulated by something representing it. This can resemble the intended behaviour closely, symbolically or very remotely.

    How the behaviour is substituted should be assessed in the light of several factors. Optimally, the behaviour should convey the intended message clearly and richly, it should be physical, and it should be intuitively comparable to the activity portrayed. The result of the behaviour is easily understood by all the participants. In the best cases, the substituted behaviour adds to the game and gives it new depth. The way that something is substituted should be explicitly stated before the game, to ensure it is understood by all the participants.

    This article was initially published in The Knudepunkt 2015 Companion Book which was edited by Charles Bo Nielsen & Claus Raasted, published by Rollespilsakademiet and released as part of documentation for the Knudepunkt 2015 conference.