Larp Design : Creating Role-Play Experiences

LARP DESIGN KNUDEPUNKT 2019 LARP DESIGN CREATING ROLE-PLAY EXPERIENCES Edi ed by Johanna Koljonen, Jaakko S en os, Anne Se up G o e, Aina D. Skjøns jell, and Elin Nilsen LARP DESIGN CREATING ROLE-PLAY EXPERIENCES Edi ed by Johanna Koljonen, Jaakko S en os, Anne Se up G o e, Aina D. Skjøns jell, and Elin Nilsen PAY IT FORWARD La p Design: C ea ing Role-Play Expe iences is a non p o i p ojec , and so o a g ea ex en is No dic la p i sel . While he con ibu ions o indi idual designe s and heo is s a e in aluable, hei knowledge g ows ou o hei local and in e na ional play communi ies. We he au ho s and edi o s o his book ha e ecei ed no compensa ion o ou wo k. I you a e inding i use ul o in e es ing, we would encou age you o make a dona ion owa ds helping mo e people play mo e la ps. La p und helps la pmake s o e subsidized icke s o playe s who need hem. Subsidized icke s a e a c ucial ool in allowing playe s o di e en ages and backg ounds o play and c ea e oge he . The sugges ed dona ion o a copy o his book is €45 – o wha e e you can a o d, e e y li le helps. You gi will enable a pe son in need o pa icipa e in c ea ing and expe iencing some hing beau i ul. h p://la p und.o g/ La p Design - C ea ing Role-Play Expe iences Copy igh © 2019 by he Au ho s. Fi s ha dco e edi ion, 2019. Co ec ed second ha dco e edi ion, 2020. This ebook is eleased unde a CC-BY-NC-ND 4.0 in e na ional license. This pd is he Decembe 2021 online elease o he second edi ion and con ains a small numbe o u he co ec ions. I is eleased unde a CC-BY-NC-ND license. I you would like o p oduce a ansla ion, epublish a selec ion, o make o he de i a i e wo ks, please con ac he au ho s o he speci ic ex s o pe missions. Edi o s: Johanna Koljonen, Jaakko S en os, Anne Se up G o e, Aina D. Skjøns jell, and Elin Nilsen. G aphic design: Anne Se up G o e. Au ho s: Jespe Heebøll A bjø n, T oels Ba khol -Spangsbo, Ma co Bielli, Mau y Elizabe h B own, Simon B ind, S e an Deu sch, Ande s Lyng Ebbehøj, Sø en Ebbehøj, Ka in Edman, Alma Elo sson, Alessand o Gio annucci, And ea Gio annucci, Anne Se up G o e, Tuomas Hakka ainen, Kaspe F iis Hansen, Ka ijn an de Heij, Signe Løndahl He el, Ka eřina Holendo á, Mo Holka , Ande s Hul man, F ede ikke So ie Bech Høye , Ka Jones, Me li Juus ila, Simo Jä elä, Kaisa Kangas, Jonaya Kempe , Johanna Koljonen, Lau a K öge , Ka i Lassila, J Li, F ida Lindeg en, Tina Leipold , James Ló ien MacDonald, I e e Melakoski, Ma kus Mon ola, Susan Mu sae s, Ma in Nielsen, Elin Nilsen, Oli e Nøglebæk, Klaus Meie Olsen, Bja ke Pede sen, Juhana Pe e sson, Joanna Piancas elli, Eleano Sai a, E icka Paige Ski pan, Aina D. Skjøns jell, Lizzie S a k, Jaakko S en os, G e he So ie Bul e ud S and, Edin Janko ić Šuma , Ma ine S ane ik, Sebas ian F. K. S egaa d, Simon Lindman S ensson, Chia a Ti abasso, Anni Tol anen, E an To ne , Hen y Towsne , Jonas T ie -Knudsen, I a Vá o á, Annika Wae n, Jose in Wes bo g, Anna Wes e ling, Danny Wilson, Lau a Wood, and Ke s in Ö be g. Co e : Anne Se up G o e. P oo eading: Alexande Bakkensen, Lau a Boylan, Monica G ibouski, Mo Holka , Jason Cox, B uno Munk K is ensen, Ke y Lambe h, Lise Rasmussen, and Julian Schau . Addi ional edi ing: Ma kus Mon ola and Simon B ind. Special hanks: Au elie De Cognac, Bjø n-Mo en Vang Gunde sen, Koma he Ca , Jespe K is iansen, Magna G øn ik Mülle , Kalle Pa anen, Bja ke Pede sen, Mike Pohjola, and he pe son who sa nex o Aina on he ain, o no mu de ing he when she spilled sauce on hem, as hey clea ly saw she was i ed and s essed when edi ing. This book has been published in conjunc ion wi h he Knudepunk 2019 la p con e ence. Sec e ly his book is panclou #10. The making o his book has been pa ially suppo ed by he Academy o Finland unded Cen e o Excellence in Game Cul u e S udies (CoE-GameCul , 312395). Lands o eningen Bi os Es omgade 15. 2,2 2200 Københa n N www.lands o eningenbi os .dk P in ed in Denma k. ISBN 978-87-971140-0-1 ISBN 978-952-03-2260-1 (pd ) h p://u n. i/URN:ISBN:978-952-03-2260-1 TABLE OF CONTENTS FOREWORD 9 1// THE FOUNDATIONS OF LARP DESIGN 15 Basic Concep s In La p Design Jaakko S en os & Ma kus Mon ola 16 How Real is La p? Simo Jä elä 22 An In oduc ion o Bespoke La p design Johanna Koljonen 25 Jaakko S en os How o Pick You La p Idea Bja ke Pede sen 31 Lea n Design by Re unning La ps Oli e Skjød Nøglebæk 35 2// DESIGNING WHAT HAPPENS BEFORE RUTIME 2:1 HOW TO DESIGN THE PRE-LARP PROCESS 41 Designing he P e-La p P ocess Ma ine Helene S ane ik & Johanna Koljonen 43 Designing ahead o pa icipan needs Ka in Edman 54 Desc ibing wha ac ually happens du ing he la p Hen y Pie s Towsne & J Li 61 Cos umes o Real Bodies Ke s in Ö be g, Anne Se up G o e 68 2:2 ON SITE BEFORE THE RUNTIME 75 How o Schedule he Pa icipan ’s Time on Si e Alma Elo sson 77 How o Design a Wo kshop Lizzie S a k 82 How o Run You Wo kshop Ma kus Mon ola 88 3// DESIGNING THE RUNTIME 3:1 HOW TO MAKE LARPS WHERE STORIES HAPPEN 91 How o S uc u e a La p Kaisa Kangas 93 T anspa ency in La p E an To ne 98 Bol ae k: Su p ise Ho o Sø en Ebbehøj & Kaspe F iis Hansen 106 C ea ing Sha ed Recollec ions in a Blackbox Ma co Bielli & Chia a Ti abasso 108 Na a i e Design Simon B ind 110 Eme gen S o ies and Di ec ed Na a i es T oels Ba khol -Spangsbo & Jespe Heebøll A bjø n 121 How o Make you Sandbox a Playg ound Mo Holka 130 Amusemen Pa k Design Johanna Koljonen 135 The Beginning and he End Kaisa Kangas 136 3:2 HOW TO DESIGN A PLAYABLE FICTION 141 Func ional Design Kaisa Kangas 143 C ea ing o Con eying Cul u es Ma in Nielsen & G e he So ie Bul e ud S and 151 Building a Laye ed Communi y Alessand o Gio annucci & And ea Gio annucci 159 This is No an Edula p! Tina Leipold 162 Designing o Equali y F ede ikke So ie Bech Høye 164 Designing o In e sec ional Iden i ies Ka Jones, Mo Holka & Jonaya Kempe 167 Accessibili y as Playabili yEleano Sai a & Sebas ian F. K. S egaa d 174 Designing o Quee and T ans Playe s Eleano Sai a & Sebas ian F. K. S egaa d 175 Designing La p o Child en Me li Juus ila 184 3:3 HOW TO DESIGN PLAYABLE CHARACTERS 191 Basics o Cha ac e Design Juhana Pe e sson 193 Who C ea es he Cha ac e s Ka ijn an de Heij 205 Co-C ea i e Design wi h Playe s Mo Holka 211 Designing a Cha ac e Desc ip ion E an To ne 216 E icien Cha ac e W i ing o Big Teams Edin Janko ić Šuma 220 Homewo k as Playe P epa a ion Lau a K öge 222 Collabo a i e Cha ac e C ea ion Joanna Piancas elli 225 W i ing Realis ic, Non-Exploi a i e Cha ac e s Lau a Wood 228 3:4 HOW TO DESIGN MECHANICS AND RULES 233 Op -ou and Plays yle Calib a ion Mechanics Johanna Koljonen 235 Designing he mechanics you need Danny Wilson 238 Pu ing I All Toge he : House o C a nig Danny Wilson 250 Designing Playable Acid T ips T oels Ba khol -Spangsbo, Jonas T ie -Knudsen, Sø en Ebbehøj, Ande s Lyng Ebbehøj & Klaus Meie Olsen 252 The No ebook Mechanic Bja ke Pede sen 254 Class P i ilege and Con lic Escala ion Kaisa Kangas 257 La ping he Blues I a Vá o á & Ka eřina Holendo á 259 Me a- echniques Anna Wes e ling & Ande s Hul man 262 Po aying Sexual Con en in La p F ida Lindeg en 269 The Language o Consen Susan Mu sae s 278 Po aying Violence in La ps Ma ine Helene S ane ik 281 Meaning ul Cha ac e Dea h S e an Deu sch 287 3:5 HOW TO DESIGN A PLAYABLE ENVIRONMENT 291 Spa ial Design o La ps Sø en Ebbehøj, Signe Løndahl He el & Jonas T ie -Knudsen 293 Geome y o Con e sa ions J Li 306 The Bus S op Mechanic Simon Lindman S ensson 311 The Piss Room Juhana Pe e sson 314 The Fundamen als o Sound Design o La p Anni Tol anen & I e e Melakoski 316 Da kness as Scenog aphy Tuomas Hakka ainen & Ka i Elisabe Lassila 329 3:6 HOW TO RUNTIME GAMEMASTER 333 Simula ing an Ou side Wo ld Simon Lindman S ensson 335 Using Disco d in A Cybe punk Se ing E icka Paige Ski pan 340 Using Run ime Di ec o s Anna Wes e ling & Ande s Hul man 342 The Exp ession Wall Mau y Elizabe h B own 347 How o Run F ee o m E an To ne 350 How o Run Edula p Jose in Wes bo g 355 4// AFTER RUNTIME 361 Pos -Play Ac i i ies Mau y Elizabe h B own 363 How o Ga he Feedback om Playe s Annika Wae n 373 5// NORDIC LARP FOR OTHER CONTEXTS 389 No dic S yle La ps in O he T adi ions Mau y Elizabe h B own & E icka Paige Ski pan 391 Collabo a ing wi h Thea e and o he A s James Ló ien MacDonald 398 GLOSSARY 411 BIOGRAPHIES 421 INDEX 429 IN MEMORY OF Elge La sson (1944–2016) / 9 FOREWORD // Johanna Koljonen // Jaakko S en os // Anne Se up G o e // Aina D. Skjøns jell // Elin K. Nilsen Today, he e is a h i ing in e na ional ne wo k o la p design- e s who a e in e es ed in c ea ing collabo a i e, ambi ious, and meaning ul co-c ea i e expe iences. F om Denma k o Pales ine and om Finland o Spain, and beyond, la p designe s a e wo k- ing o explo e hemes like desi e, communi y, and pos -human subjec s. They a e a emp ing o c ea e spaces o poli ical e- lec ion and wild enjoymen . They wish o ansla e a a ou i e ele ision se ies o a book in o a collec i e i s pe son expe ience. These people a e wo king a he o e on o a o m o exp es- sion, la p, and pushing bounda ies. New ideas, e ms, heo ies, and inno a ions a el in he ne wo k, bu no-one can know e - e y hing ha is going on. Co-c ea ing and expe iencing he wo ks a e la ge g oups o people, playe s, who ollow he designe ’s ca ee s and pa icipa e in hei wo ks, some imes a elling long dis ances o ake pa . The designe s, o cou se, also play in each o he ’s la ps, and many playe s in u n ake he s ep o become designe s. This book is p ima ily aimed a all o hese la p designe s, and people who wan o design la ps, om beginne s o p os. In his book, we ha e a emp ed o cap u e a sli e o he knowledge ha is ound in his adi ion. This is a p ac ical book on la p de- sign. Seconda ily, he book is o all la pe s who wish o be e unde s and how la p design unc ions. Finally, his book will be use ul o expe ience designe s wo king in o he ields and aca- demics a emp ing o make sense o his wo ld. This book has been a long ime coming. I e lec s he collec i e expe ise o a design adi ion and a la p communi y engaged in sys ema ic design wo k and documen a ion o mo e han wo decades. La p design has his o ically been e y ocused on wha / 16 BASIC CONCEPTS IN LARP DESIGN // Jaakko S en os // Ma kus Mon ola A he ou se o his book we need o es ablish some basic e minology. Some o hese e ms may appea sel -explana o y, bu hei speci ic meaning may a y be ween di e en la p design adi ions, while o he e ms a e mo e echnical, ha ing eme ged as pa o he discou se a ound No dic s yle la ps. WHAT IS A LARP Wha , in p ac ice, is a la p? The ques ion is su p isingly complica ed, depending on i i is iewed om he poin o iew o he playe , he designe , o he com- muni y. Fi s , he e a e he la p designe s, some imes called la pw igh s, who c ea e he amewo k o playing. They decide on he c ea i e con en o he la p: wha i is abou and how i should be execu ed. To do his, hey c a necessa y backg ound ma e ial o he wo ld, ske ch social ne wo ks o cha ac e s, pu oge he ules and mechanics, design he cha ac e c ea ion, plo s, schedules, in e io s, p ops, scenog aphy, wo kshops, and deb ie s. O cou se, hey also do many hings ha a e less ob iously abou he con en , bu s ill a ec he la p di ec ly: hey ad e - ise he e en , co espond wi h he playe s, nego ia e cha ac e s, acili a e wo ks- hops be o e playing s a s, and decide wha pa icipan s will ea and whe e hey should sleep. Playe s can pa icipa e in his c ea ion as well, bu e en he mos egali a ian co-c ea ion p ocess needs o be coo dina ed by someone. Howe e , wha he designe s c ea e is only he s a ing-poin – he sco e – o play. All he w i en ma e ial needed o s age and play a la p is called a la p sc ip . This is he i s me- aning o la p. The second meaning o la p is he un ime o playing. Once play begins, he playe s embody he cha ac e s and enac he wo ld in o being – some imes in ways ha a e su p ising o he designe s. The playe s c ea e he expe ience o play, and o ce ain ex en he ac ual piece, in (and some imes agains ) he a- mewo k he designe s c ea ed. The la pw igh s can s ill guide play du ing un i- me, bu hey canno emo e he in luence o he playe s. The people who un he la p a e called ( un ime) gamemas e s. This is he la p as played, and i is epheme al, los he momen he la p ends. The same la p (as w i en) can be e-s aged and played again, bu he di e en uns will be di e en . PART SECTION CHAPTER 1:1:1 / 17 A la p is usually ollowed by s uc u ed ac i i ies – deb ie , de oling, and decom- p ession. He e playe s and o ganize s come oge he o an ou -o -cha ac e coo- ling-o pe iod, when e e yone bids a ewell o he ic ion. Pa icipan s discuss wha happened du ing he la p, and in his discussion a sha ed and communal meaning o he expe ience s a s o eme ge. This is he hi d la p: he la p as emembe ed, in e p e ed, and documen ed. La e , as he la p is emembe ed, deba ed, discussed and c i iqued, i s meanings con inue o shi . While we can simpli y his and say ha a la p is c ea ed by he designe s, b ough o li e and in e p e ed by he playe , and nego ia ed and na a i ized by he pa icipan communi y, he designe is p esen in e e y s age. A poo ly designed la p can be ele a ed by i uoso un ime gamemas e s. The wo k o a designe does no end when he game has un i s cou se: Jus as well-designed wo kshops con ibu e owa d a play expe ience, designing he deb ie also o e s possibili ies o e ame and enhance he o e all expe ience. Some designe s also w i e epo s abou hei la ps o sha e o he documen a ion, in pa o y o con ol he na a i e abou hei la p in hei communi y. In common pa lance “la p” usually only e e s o he un ime, when cha a- c e s a e being played. This book will ollow he eme ging nomencla u e whe e he “la p” includes all on-si e ac i i ies, such as he wo kshops p eceding he un- ime, whe e playe s acquain hemsel es wi h o he playe s, hei cha ac e s, and ehea se la p mechanics. The cooldown pe iod a e un ime, whe e he playe s bid a ewell o he ic ion, is also included. “La p design” e e s o he design o all aspec s o he pa icipan ’s in e ac ions wi h he wo k, no jus he pa s ha occu on loca ion. La p has an uneasy ela ionship wi h s o y elling, and he e minology con- nec ed o i . In his book we ollow Simon B ind’s example – see his chap e la e in he book – and use plo in he sense o plo ing ( he p e-planned pa s o he la p and backs o y c ea ed by he designe s), s o y in he sense o s o y elling (wha happens momen o momen in he la p), and na a i e as an accoun ( he na a i ized ale old a e wa ds o he sequence o e en s ha happened in he la p). These e lec he la p as w i en, he la p as played, and he la p as emem- be ed. The e a e a numbe o e ms ha help di e en ia e be ween hings ha hap- pen wi hin he un ime o he la p, and hings ha happen ou side i . The e m o he bounda y be ween la p and e e yday li e is magic ci cle. This is a me apho o he sepa a e na u e o play. La ping, and play in gene al, a e a s ep apa om quo idian li e. Meaning is ans o med on he bounda y (a oam swo d becomes a eal swo d, a playe becomes a cha ac e ) and epe cussion also change. Who we a e ou side o la p should no impac on how we a e in e p e ed in la p, and he cha ac e s we play should no e lec on ou e e yday sel es. Indeed, his is he social con ac known as he ole-play ag eemen . In p ac ice, howe e , he line be ween he e e yday li e and he la p is po ous. Cha ac e eelings always bleed in o he playe , and ice e sa. Ye , o be able o play, we need o p e end ha / 18 he la p is clea ly sepa a e om he quo idian, as ha gi es us alibi o ac in ways ha would be s ange o e en un hinkable o us ou side la p. The mos common e ms o hings ha a e happening wi hin he la p is ingame, while hings ha a e no pa o he la p a e o game. The e ms in cha ac- e and ou o cha ac e a e some imes used o di e en ia e speci ically be ween cha ac e and playe ac ions. A mo e speci ic e m in his a ea is diege ic, which e e s o hings ha a e ue wi hin he ic ion o he la p. The opposi e o his in non-diege ic. To pu i simply, music in he play a ea is diege ic i cha ac e s can hea i , and no i hey canno . PLAYING TOGETHER La ps a e cons uc ed h ough a ious implici and explici ag eemen s abou how o play oge he . Mos undamen ally, he e a e ules; implici and explici ag eemen s o wha is being done and how. Some ules a e explici (“ he la p ends when he bell ings”) and o he s a e implici in he cul u e (“ eam membe s walking in he play space in hei mode n clo hes a e no p esen in he medie al ic ion”). Va ious mechanics a e o en used o ocus he na a i e o o ep esen ac s ha would be impossible, dange ous, o excessi ely in ima e, such as magic, iolence, o sex. Rules called me a echniques, ypical o many No dic la ps, a e ges u es and o he ep esen a ions ha b eak he bounda y be ween he cha ac e and he playe , allowing playe s o communica e pas he mask o he cha ac e du ing un ime. Fo ins ance, a me a echnique migh be used o indica e ha a playe is b eaking he ou h wall and speaking he cha ac e ’s hough s o he o he play- e s in a way ha he o he cha ac e s canno diege ically hea . The un ime o la p is a join e o o he un ime gamemas e s and play- e s. They c ea e he la p oge he , using he ules, mechanics, and me a echniqu- es. This p o ides an en i onmen o in e -imme sion, whe e e e yone is playing no jus hei own cha ac e s, bu suppo ing e e yone else’s play: you canno play a king unless o he s play you subjec s. Because o how social eali y is collec i- ely cons uc ed, he playe s can be said o be “imme sed” in no jus hei own cha ac e , bu e e y cha ac e . This is he magic ick ha makes he ic ion come ali e: when e e yone p e ends ha i is eal, i s a s o eel eal. While on he one hand la p is communal and sha ed, and canno eally wo k i a playe is ully alone, i is on he o he hand pe sonal and subjec i e. Each and e e y playe sees a di e en pa o he la p: he playe li e ally only sees wha hei cha ac e sees. They a e bo h he playe s on s age and he audience o he playing. This is called i s -pe son audience. Fu he mo e, he e is hidden in e nal play ha may no be isible o any o he pa icipan , bu ha colou s he playe ’s expe ience. Any ea , desi e, su p ise, anxie y, o joy a cha ac e eels is pa o he show enjoyed by he i s -pe son audience. The designe canno see he la p as he playe s see i , i is only a ailable o he expe ience . / 19 Consen is an essen ial concep and an impo an p ac ice o his play ul co-c ea ion. As one can ne e know in ad ance exac ly wha he ensemble o playe s and o ganise s will do du ing a la p, i is no possible o gi e in o med ca e blanche consen . The e o e i mus be possible o enego ia e and wi hd aw consen a any ime. Nume ous ules and mechanics exis o nego ia ing di e en limi s; i is one hing o nego ia e consen o physical bounda ies o playe s, ano he o nego ia e s o y consen , i.e. wha one cha ac e can do o ano he . Consen mechanics and me a echniques a e wo examples o how designe s nego ia e he ac ha la p is bo h eal and ic ional a he same ime. The e a e nume ous concep s o unde s anding he ans o ma ion o meaning ha hap- pens on he edge o he magic ci cle. Fo example, playe s can s ee hei cha ac- e s o ac in a ious ways o gene a e in e es ing play o o expe ience in e es ing hings (“I wan o be a he ga den a midnigh s since he e is going o be a cool scene he e, so I need o a ionalize why my cha ac e should go he e”). Some la ps a e designed o be in en ionally anspa en , le ing all he pa ici- pan s know oughly wha is going o happen, o allow s ee ing owa ds in e e- s ing s o y ou comes o si ua ions. Fu he mo e, anspa ency need no be ull in he sense ha playe s know he plo , bu i can ha e a anspa ency o s a ing poin , o example o cha ac e mo i a ion. Allowing all playe s o ead each o he ’s cha ac e desc ip ions means hey will be able o unde s and why ano he cha- ac e would do some hing, and play i up o d ama, e en i hei cha ac e s do no . FORMS OF LARP La p akes many, many o ms. This book concen a es b oadly on a speci ic a- di ion o No dic la p, o No dic s yle la p. I is collabo a i e, which means he pa icipan s a e no each o he ’s ad e sa ies e en hough cha ac e s migh be – hey a e playing o c ea e some hing oge he , no agains each o he o win. I app oaches la pmaking h ough bespoke design: ins ead o aiming o design one ules sys em o s o y wo ld o enable he elling o all s o ies a playe base migh be in e es ed in, i designs he sys em anew o each e en as needed o enable he mos sui able hemes and ac ions o ha piece. This means No dic la p ends o be, by in e na ional s anda ds, ules-ligh – a playe will no be asked o memo ise ens o hund eds o pages o mechanics. La ps in his adi ion can be b oken down in o u he ca ego ies, al hough he bounda ies be ween (and he e ms o ) each keep shi ing. La ps ha las a ull day o se e al days, possibly wi h ac b eaks be ween di e en pa s, wi h ull scenog aphy and playe s in ull cos umes, do no eally ha e an es ablished e m. These ha e been he de aul se ing and hus no single wo d exis s o hem. In his book hese la ps a e called long o m la ps. Long o m la ps a e cumbe some o se up, and mos o hem a e only played once, al hough e- uns and desig- / 20 ning o mul iple uns om he ge -go a e inc easingly common. A la p played only once by a ela i ely small amoun o people can s ill ha e an impac on he discou se, as he wide ange o long o m la ps e e enced in his book exempli- ies. Blockbus e la p is a speci ic o m o long o m la p; o en a la p a ge ing an in e na ional audience, ea u ing an expensi e enue, high pa icipa ion ee, and a high concep idea. Blockbus e la ps a e o en based on exis ing in ellec ual p ope y, and end o ge hyped in he communi y – be o e and a e he un. La ps ha ha e a wide, unclea , o e en unlimi ed play a ea a e called pe asi e la ps. These e en s ake place on he s ee o a ci y, amongs unsuspec ing by- s ande s. Pe asi e la ps in u ban en i onmen s a e also called ci y la ps. Sho e la ps, wi h hei leng h measu ed in hou s ins ead o days, a e called chambe la ps. These o en also ake place in a smalle enue and wi h ewe play- e s. The demands on scenog aphy and cos uming a e some imes lowe . Chambe la ps a e easie o package and es age. La ps ha a e played in a minimalis ic se , wi h p ecise con ol o e ligh , sound, and p ops, a e called blackbox la ps. The e m comes om hea e black boxes which a e one place whe e s aging blackbox la ps is handy. This is e y much an aes he icized o m, whe e cla i y and elegance a e o en design goals and e e y hing ha is inciden al is emo ed. Finally, he e a e ee o m scena ios. In he No dic coun ies, hese used o be conside ed hal way be ween able op ole-playing and la ps, while in o ins ance he US hey we e conside ed a kind o chambe la p. In he in e na ional discou se a ound No dic la p in he las decade, ee o m became lumped in wi h long- o m; a he same ime a ui ul exchange o design p ac ices ook place be ween he wo disciplines, b inging hem close oge he . In his book we con o m o he in e na ional s anda d o using la p as he op ca ego y, e en hough some o he e e enced ee o m scena ios would ha e jus as na u al a place in a book abou able op ole-playing. F ee o m scena ios, so called because hey ha e no s anda d o m, a e o his same eason di icul o p ecisely desc ibe. They y- pically las a ew hou s, a e usually played wi hou cos umes, p ops, o special ligh ing in wha e e space is a ailable, o en ea u e hea y use o in en i e be- spoke mechanics and me a echniques, and a e some imes hea ily gamemas e ed. ON TERMINOLOGY The e minology p esen ed he e has e ol ed o e he yea s. Many o hem a e me apho ic and a leas seemingly sel -explana o y ( anspa ency, un ime), al hough hey ha e speci ic meaning. Some o he language has been adap ed om o he ields (diege ic comes om ilm heo y), some come om academic s udy o la p (such as pe asi e la p), while o he s ha e g own wi hin he in e - na ional la p design communi y (blockbus e , bleed). / 21 Many e ms ha e mig a ed om able op ole-playing games and con inue o be used e en i hey seem nonsensical. Non-playe cha ac e (NPC) is such a e m: Non-playe cha ac e s ob iously ha e playe s in la ps – hey a e jus usually co- o dina ed by un ime gamemas e s and hey ha e less agency. New e ms also appea egula ly and a use ul e m can sp ead like wild i e. This means ha i is no always clea who came up wi h a e m. O en he e ms a e a ibu ed o he communi y o he adi ion, bu each e m was coined by someone. Fo example, a ew yea s ago he e m he d compe ence sp ead h oughou he communi y. I pu s in o wo ds he idea ha unning a la p o a g oup o pa icipan s whe e a leas some ha e p io expe ience o la ping is much easie han unning a la p o a g oup wi h only beginne s. I he e is enough he d compe ence – i he e is enough expe ience in he oom – beginne s can easily pick up how o la p by ollowing he example o he o he s. This was quickly ollowed by he d cos uming: when e e yone pu s a li le e o in hei cos umes in a g ea en i onmen , e e yone will look abulous. Few people know ha “he d compe ence” was coined by la p designe Te esa Axne , and in his book he e a e nume ous e ms ha ha e simila ly become seemingly o phan. The meaning o e ms can also shi o e ime. The e m blockbus e la p was o iginally used c i ically o la ps a ge ing he bigges possible audiences wi h high p oduc ion alues (and, implici ly, pe haps a weake game design). Since hen i has been emb aced by he c ea o s o many big-budge la ps, and no im- plica ions abou quali y emain a ached o he e m. Only e ms ha a e use ul su i e in design p ac ice. Concep s desc ibed as e ms a e men al ools, hings o hink wi h. I hey do no make he design p ac ice smoo he , new ools a e needed and will eme ge FURTHER READING: Ei ik Fa land & Ma kus Mon ola: “The Blockbus e Fo mula: B u e Fo ce Design in The Moni o Celes a and College o Wiza d y” in Nielsen & Raas ed (eds.): The Knudepunk 2015 Companion Book (2015) Johanna Koljonen: “The D agon Was he Leas o I : D agonbane and La p as Epheme a and Ruin” in Mon ola & S en os (eds.): Playg ound Wo lds (2008) Ma kus Mon ola: On he Edge o he Magic Ci cle. Unde s anding Role-Playing and Pe asi e Games. (2012) Jaakko S en os & Ma kus Mon ola (eds.): No dic La p (2010) / 22 HOW REAL IS LARP? // Simo Jä elä Designing a la p is abou cons uc ing an a i icial si ua ion ha is comple ely eal. The playe s ea i as ic ional – which i is – bu i is also some hing ully embodied by he playe s. The la p designe needs o g asp his undamen al dua- li y. La p akes place in a speci ic social si ua ion, wi hin a social ame, ha has social ules o i s own wi hin i . I is o en called he magic ci cle. Besides game-like ules, i also applies o social ules – playe s can do many hings in la p ha would be owned upon ou side i . Howe e , all he eelings, pe cep ions, ac ions e c. ha ake place du ing a la p a e ully eal. They ha e di e en meaning wi hin he magic ci cle o he social ame o play, and consequen ly we can, o example, lie and chea o be agg essi e du ing a la p – ha is, ac in a manne ha would ha e hea y social consequences ou side i . In ou la p communi ies we build ha alibi h ough di e en la p design ea u es, and h ough a selec ion o ag eemen s and excuses ha enable he non-s anda d beha iou . O hese he mos classic is p obably “i isn’ me bu my cha ac e ”; “ he eelings a en’ eal” and “i ’s only ic ion” a e also in common use. This is a con enien sho hand o nego ia e he consequences o ac ions wi hin he ame o he ic ion, bu aken oo li e ally, i c ea es a whole lo o con usion. The social aming and he alibi a e ied o he concep o imme sion, he sub- jec i e eeling o becoming one’s cha ac e and empo a ily o ge ing onesel . A e la p ends, when he playe s ill eel pa s o “wha hei cha ac e el ” du- ing he game, i is called bleed, and alked abou i as hough some eelings bleed om he cha ac e o he playe , o ice e sa. In he o iginal esea ch pape desc ibing he bleed dynamic i was ne e me- an o be psychologically accu a e, bu mo e like a me apho , a desc ip ion o wha bleed subjec i ely eels like. Mo e s ic ly speaking, he e is no au onomous cha ac e ; a la p cha ac e is a concep ual s uc u e in he playe ’s (and co-playe s, e c.) minds. So, while bleed and imme sion ce ainly a e eal in he sense ha so- me hing clea ly happens ha gi es us hose expe iences and you and he playe s can build you a a ound hem, hey a e no eal in he sense ha he e would be a p ocess o li e ally becoming he cha ac e and he playe s’ iden i ies changing o ha o a ic i e pe son, o ha he cha ac e would eally ha e eelings o hough s, o ha hey would bleed in o he playe . All he eelings, hough s, and ac ions a e he playe s’. PART SECTION CHAPTER 1:1:2 / 23 Cogni i ely, imme sion is p ima ily an a en ion p ocess whe e he playe s ongly ocuses on he ic i e concep ual ame, i s social ules and dynamics, and impo an ly, he cha ac e concep . A en ion is a cogni i e unc ion ha selec s wha he pe son’s cu en ocus is. Focusing on some hing alloca es mo e p ocessing powe o i in he b ain and selec i e a en ion inhibi s o he in luen- ces om in e e ing. A en ion also modula es wha eaches consciousness and wha ills i ; ha is, a en ion can b ing con en o a pe son’s consciousness ha hey would o he wise be unawa e o , and comple ely block ou o he elemen s no ele an o hei cu en in e es s. Tha selec i e quali y is essen ial when a playe ocuses on he ic i e ame and ies o igno e e e y hing else, ypically elemen s no consis en wi h he ic i e ame, such as he g een eme gency exi ligh s in medie al cas les o he challenging wo k mee ing nex week. Consequen ly, deep imme sion akes place when he playe is ocused s ongly enough on he la p so ha i ills hei con- sciousness, and e e y hing a ound hem ha is no pa o he ic i e ame is blocked om hei consciousness by a en ion p ocesses. Howe e , all ha which hey a e no ocusing on – including hei e e yday sel es – does no disappea anywhe e, i is he e, e en when he playe is no momen a ily awa e o i . Tha c ea es he illusion o imme sion. Di e en playe s seem o be imme sing hem- sel es in sligh ly di e en aspec s o he ic i e ame – om cha ac e imme sion o na a i e imme sion – bu e en when he a ge a ies, i is undamen ally he same a en ion-based b ain p ocess ha cogni i ely explains he phenomenon. En e ing and e u ning om he social ame o la p is no necessa ily easy o au oma ic, no is i a oolp oo sys em; hings a e o en messy a ound he edges. Howe e , his is ue o all social ames, no jus la ps. Tha ’s why a e he la p pa icipan s need o p ocess hei expe iences and he emo ions hey el du ing he la p, in a di e en social ame and meaning s uc u es: “i was all eal, i was me, i was you, and we did and el all hose hings”. All o ha jus does no mean he same hing as hey would in e e yday li e. This is wha deb ie s a e o , and a common p ac ice is o i s swi ch ames and sepa a e he cha ac e om he playe . Indeed, how o s eng hen he empo a y social ame o la p, how o en e i e icien ly, how o uphold i du ing he la p, and how o e u n om i and lea e i behind in a pu pose ul manne , a e a he co e o la p design. These ansi ions a e undamen al o la p as an a o m. Designing hem is essen ial, and he e al eady a e a selec ion o ools, such as di e en echniques o wo kshopping, deb ie ing and decomp essing ha help in c ea ing, upholding, en e ing, and e- u ning om he social ame. Viewing la p as a empo a y social ame – while a he a heo e ical app oach – will help you o ie all hese di e en echniques in o a single amewo k, and suppo s you decision-making on wha ools o use o achie e he desi ed ou come. Also, la p design is no only o designe s; playe s u ilize simila hinking when hey o ins ance a e p epa ing o a la p, o pos -p ocessing hei expe iences. Fo playe s, unde s anding he na u e o em- / 24 po a y social ames and wha happens when hey ail, p o ides aluable insigh in o why hey a e eeling in a ce ain way and suppo s sel -ca e and empa hy owa ds ellow playe s. In conclusion, while i is essen ial o uphold and s eng hen he social ame ha undamen ally enables us o la p a all, and pe haps can be necessa y o keep using excuses like “i wasn’ me, bu my cha ac e ” o uphold cha ac e alibi, i is coun e p oduc i e and con using o ake hose oo li e ally when p ocessing hem a e wa ds, o when designing a la p. Hea y expe iences, li e al e ing ans- o ma i e expe iences, con using bleedy expe iences, o unsuccess ul expe ien- ces ha lea e us eeling like an ou cas , all c a e alida ion and o be handled as eal – which hey a e. As a designe , you need e icien concep ual amewo ks o suppo you hinking, and while me apho ic hinking can be inc edibly powe - ul, i can also lead you as ay. So, le ’s suppo he ame by design, and acknow- ledge when i bene i s om alking abou cha ac e s as au onomous iden i ies and la ps as al e na e eali ies, and when such me apho ic alk is jus con using and coun e p oduc i e. FURTHER READING: J. Tuomas Ha iainen: “The mul i- ie game imme sion heo y” in Gade, Tho up & Sande (eds) As La p G ows Up (2003) Simo Jä elä & Ka e e Jacobsen Meland: “Beyond Play: unc ions and design o deb ie s” in S ane ik, And eassen, B ind, Nilsen & S and (eds) Once Upon in No dic La p…: Twen y Yea s o Playing S o ies (2017) Lau i Lukka: “The psychology o imme sion” in Back (ed) The Cu ing Edge o No dic La p (2014) Ma kus Mon ola: “The posi i e nega i e expe ience in ex eme ole-playing” in Sai a, Holm-Ande sen & Back (eds) The Founda ion S one o No dic La p (2014, o iginally published in 2010) / 25 AN INTRODUCTION TO BESPOKE LARP DESIGN // Johanna Koljonen La p design in he No dic adi ion is cen ed on collabo a i e play and on la p as a design discipline. I is in e es ed in new wo k, which means ha e en hough la p campaigns (se ies o la ps wi h many sequels) do igu e in he discou se, i s ocus is on one-sho s – la ps ha a e s andalone wo ks. In his adi ion, o ea- sons ela ing o i s p oduc ion con ex s, one-sho la ps a e a ely designed wi h p e-exis ing ule sys ems. By de ini ion hen, he Knu epunk adi ion o No - dic-s yle la p has become ocused on bespoke design. Bespoke design means ha e e y ime you make a la p, you will app oach i as a new wo k and design i om sc a ch. You will decide wha you wish o achie e, o ins ance wha you la p is abou and wha you would like you pa icipan s o expe ience o eel. Then hink h ough wha you design pa ame e s and a ai- lable esou ces a e; o ins ance, how much ime you ha e, wha pa icipan s a e willing o pay, and how hei cul u al assump ions abou play ope a e. Wi hin his ame, you will make among he a ailable design choices – hose ha bes se e you design goals. A handbook in bespoke la p design, hen, will include e y ew answe s and qui e a lo o ques ions, oge he wi h explana ions o he design p inciples ha should guide you when you make you choices. Ano he aspec ha sepa a es his ype o la p design om o he s is i s ana- lysis o how he un ime expe ience is shaped by he whole pa icipan p ocess, he su ounding cul u e, and e en e en s and discussions aking place long a e he la p has been played. DESIGNING THE TOTAL LARP O e he yea s, la p designe s would occasionally bump in o p oblems whose solu ion did no seem o lie en i ely wi hin he ield o game design. A No dic example om way back in he 1990s was he so-called ishwi e p oblem. Sol ing i ook a long ime – a guably i is s ill no ully achie ed. The p ocess can illus a e how mos o he concep ual ools o No dic la p de eloped o e he yea s: no because he designe s el a bu ning need o w i e heo y, bu because a mo e nu- anced unde s anding and mo e speci ic language was equi ed o sol e p ac ical design p oblems. PART SECTION CHAPTER 1:1:3 / 32 la p. A g ea hing abou ha ing a simila idea o a p e ious la p is ha you can ge access o people wi h expe ience o making and execu ing ha idea. Find ou as much as you can abou hei implemen a ion. Always seek ou expe ience ha can help you become be e . This will sa e you ime and sa e you om a lo o pi alls and mis akes. I he idea has been done be o e, he ollow-up ques ion is: can you do i be - e ? La p heo y and p ac ice mo e as and i you a e up o da e wi h he la es ends and me hods he idea will be execu ed in a new and esh way. You s ill ha e o be able o explain in de ail why you e sion o he idea will be be e . I you canno , you idea is no clea enough. WHAT IS UNIQUE ABOUT YOUR IDEA? I you wan you idea o be ele an , especially in an a is ic con ex , you idea will need some hing esh ha con ibu es o he con e sa ion in he design com- muni ies you belong o. You need o be able o a icula e which elemen s o you idea a e unique and why. This is supe ha d, as he e a e housands o la ps made be o e you s ha you know no hing abou . (This is also he eason you should be e y cau ious o saying ha you la p is doing some hing “ o he i s ime e e ”. I is p obably no ). WHAT THEMES AND ACTIONS ARE EMBEDDED IN YOUR IDEA? S ong hemes will make you la p be e . F om w i ing and design o p oduc ion and communica ion, hey will guide all o you decisions: whene e you need o make a design choice, you should pick one ha suppo s you hemes wi hou weighing down he o e all design. The ocus ha a heme gi es you idea is in- aluable in ex ac ing wha ac ions a e a ailable o you pa icipan s. Meaning ul ac ions – ha speak o he pa icipan s and di ec ly connec he cha ac e s o he co e hemes – a e wha c ea es a good la p. The mo e ime you spend locking down you hemes, he easie he es o he design p ocess will be. The gen e o he la p is no he same as i s hemes. Fo example, S a Wa s and Blade Runne a e bo h sci- i, bu e y di e en in hei majo hemes. S a Wa s i s he subgen e o space ope a and among i s main hemes a e esis ance and o e coming y anny. Blade Runne can be posi ioned in he subgen e o u u- e-noi , and i s heme is he ques ion o wha is i o be human. The di e ence in hemes adically a ec wha s o ies you can ell and wha ac ions a e a ailable o he cha ac e s. A good example o a clea se o hemes can be ound in he la p Jus a Li le Lo in’ (No way, 2011). The h ee main hemes o he la p a e lo e, desi e and ea o dea h. F om hese hemes, and he se ing o gay Ame ica a he beginning o he AIDS epidemic in he ea ly 80s, all he ac ions ha he cha ac e s engage wi h / 33 we e ex apola ed. Sexuali y, in imacy, ulne abili y, iendship and dea h would ame almos all ac ions h ough he la p. HOW MANY LAYERS DOES YOUR IDEA HAVE? Fo an idea o ha e wide appeal, i should be laye ed wi h many le els. I you only ha e one laye o you idea, you la p may come ou as shallow and he e will no be enough o you pa icipan s o explo e. As you ine- une and i e a e you idea, y o expand i by adding laye s ha adhe e o he hemes o he la p. T y o make all he laye s mo e in he same di ec ion and in e sec wi h each o he luidly in o de o a oid in e e ence and con usion. An example o se e al laye s wo king in unison is om he la p Inside Hamle (Denma k, 2015) based on he play by Shakespea e. One o he main hemes is indecision: P ince Hamle canno make up his mind abou whe he he should kill King Claudius o no . Because o his indecision he and his amily a e des oyed. All cha ac e s in he la p ha e he same inhe en ension. In he w i en ex o each cha ac e , he e a e sugges ions o wha ac ions o pe o m du ing he la p. The e a e some posi i e ac ions (“ o be”) and some nega i e ac ions (“no o be”), and pa icipan s a e ecommended o s ee back and o h be ween hese sugges ions, enac ing indecision in hei play. Ano he le el is ha all noble amilies a e based on o he wo ks o ic ion ha a e in u n based on Shakespea e’s Hamle . House Bela is based on he TV se ies Sons o Ana chy, House Co nelius on Michael Moo cock’s book The E e nal Champion and House Vol emand on House Ha konnen om F ank He be ’s no el Dune. These a e only some o he le els ha in e wine and gi e he pa i- cipan s he possibili y o app oach he la p om a mul i ude o angles. WHO DO YOU EXCLUDE WITH YOUR IDEA? The e is no way a ound i – all ideas will in some way exclude someone om pa - icipa ing. You need o know who you a e excluding and be able o explain why ha is he case, and why you ha e chosen o exclude hem. Because you ha e. You should always own you design choices. Exclusion could happen because o many ac o s. I you la p idea is a pos -apocalyp ic la p whe e e e ybody d i es ca s, you will exclude people who canno d i e. I he pa icipan s ha e o b ing hei own icked-ou ca s, you will exclude people who do no ha e he unds o skillse o make a ca look like some hing ou o Mad Max: Fu y Road. As excluding people is ine i able, i is no necessa ily a p oblem, bu i you do no ac i ely hink abou who you a e exclu- ding, you a e likely o keep excluding he same g oups e e y ime – o excluding some simply ou o laziness. I you idea has elemen s ha explo e o example acism, sexism, homo- phobia, ansphobia, ableism o a -phobia, you will also need o be able o / 34 explain in wha manne hese hemes a e handled and why hei p esence is im- po an o you idea. E en i you succeed in c ea ing a espec ul ea men ha no one has objec ions o on p inciple (which is e y ha d o achie e), you should expec ha some pa icipan s who whose li es a e a ec ed by hese s uc u es will s ill no be able o pa icipa e, and will he e o e be e ec i ely excluded. This can happen e en i you you sel belong o he same g oup. This is no o say you should no make he a o emen ioned la p. You can make la ps abou any hing, including he abo e hemes, as long as you a e able o s and by you wo k and explain why i is impo an o do so. CAN YOU MAKE YOUR IDEA UNDERSTANDABLE TO YOUR PEERS? When you idea has gone h ough se e al i e a ions, i is ime o subjec i o a sani y check. This means showing you idea o expe ienced la p designe s and a ew po en ial pa icipan s o see i hey unde s and you ision and i hey can imagine i wo king as a ully de eloped la p. The pa icipan s and designe s you consul can ha e di e en a is ic p e e ences and p ac ices, and you should be able o explain o hem why you app oach o he speci ic idea is be e o wha you wan o achie e. I you pee s do no unde s and you idea, you need o go back and i e a e some mo e o sha pen i . E e y ime you pi ch you idea, you will unde s and i be e and see whe e he weak poin s a e. DOES YOUR EGO GET IN THE WAY OF THE POTENTIAL OF YOUR IDEA? Finally, you need ake a c i ical look a you idea and emo e all he elemen s ha a e in he e only o s oke you own ego. Many po en ially g ea la ps ha e been uined by unchecked egos. You need o emo e, o example, any pa o you idea whe e he op eason o include i would be ha you hink i is cool, badass, o edgy o he sake o being edgy. I one o you design goals is o make he bes la p e e so ha o he s will know you ha e, you should e hink. Especially i you a e no ge ing paid o you wo k, being ewa ded in ame can seem e y appealing. You ego will dis o he ocus o you la p and dilu e he end esul o you pa icipan s. Sepa a ing you sel om you wo k will make he end esul be e . / 35 Le me make wo guesses: you wish you had he skills o make big la ps? And you you wish mo e people could expe ience ha eally cool one you wen o? I can ell you how o ge s a ed on bo h: why no e un ha la p you lo ed as a me hod o boo s ap you own lea ning? The e a e a on o be- ne i s. Fi s , you know he la p will be awesome, you’ll p obably ge o wo k wi h he expe ienced designe s who made i in he i s place, and you ge o see wha makes a g ea la p ick. Mos la pw igh s a e la e ed and exci ed o ha e hei la ps un again and usually wan o be in ol ed in he e uns. Se- cond, you don’ ha e o wo y abou impos o synd ome o he la p ac ual- ly wo king, bu will know i is a solid p oduc om day one. And you can ap in o he b and alue o he o iginal la p and no ha e o ely on you own cha isma o lu e playe s in. Mads Ha shøj, Mads Delholm Hols and I s a ed ou wan ing mo e people o ha e he in ense expe ience we had had a he No wegian un o B udp is (Sweden, 2013, Eng. B idal P ice), a Swedish mul i-day la p abou a pa ia chal illage socie y. We as- sembled ou sel es in o an o ganizing g oup, decided on ou co e p inciples o he p oduc ion – openness, a en- ion o playe s, and a spacious schedule and budge – and laid ou a plan. Then we ne ously asked o pe mission om he designe s, and hank ully go a yes. Fo ou i s un o B udp is in Denma k in 2016 ou ocus was on lea ning playe communica ion and p ac ical p oduc ion. We had a s yle o combining collec i e decision ma- king wi h indi idual assignmen s ha wo ked well wi h he di e en skill se s we b ough in. Mos decisions we e made du ing bi-weekly con e- ence calls, whe e we b ough up he ele an asks and made su e one o us was esponsible o doing each job. F om he o iginal designe s we go a lo o knowledge and design imp o e- men ideas, bu also leeway o ake he la p in ou own di ec ion. In he end we kep he inal p oduc close o wha we had ied as playe s. The esul was a lo o happy playe s and a couple o mis akes o lea n om. We s udied he eedback emails we eques ed om he playe s and compa ed hem o wha we saw ail du ing un ime. F om ha we ound solu ions o ec i y he issues, and ealized we needed o un ano- he big la p in o de o implemen ou ixes and see i hey we e iable. We chose o do a e un again, bu o y a di e en la p. LEARN DESIGN BY RERUNNING LARPS // Oli e Skjød Nøglebæk / 36 Fo ou second e un we picked up Lindängens Riksin e na (2013, Sweden, Eng. S a e Boa ding School o Lindän- gen), la e un by he same eams as as Lindängen In e na ional Boa ding School, which we would b ing o Denma k in 2017. Loca ion ac o s equi ed us o add 50% mo e cha ac e s, and ha ing go en p ac ical ma e s down o a ou ine ga e us he ime we needed o lea n how o ac ually design and w i e he cha ac e s. The o iginal designe s we e skilled cha ac e w i e s, and we lea ned a lo when we asked hem o collabo a e wi h us on w i ing he new cha ac e s and in eg a ing hem in o he exis ing cas . We we e s ill no en i ely sa is ied ha we had lea ned all we wan ed, and chose o go back o B udp is. Fo B ud- p is – a ew yea s la e (2018, Denma k, Eng. B idal P ice – a Few Yea s La e ) we only kep he s o y amewo k, w o e up a whole new cas o cha ac e s and weaked he se ing a bi . We added a ou h eam membe , Li Lykke Schu- be , and ebuil he wo kshop and deb ie om he g ound up, o y a no el app oach. I wo ked ou p e y close o pe ec ly, and he only easo- nable s ep om he e would be doing a comple ely o iginal la p. We lea ned a lo h ough his p o- cess, g ew and honed ou pe sonal skill se s. While we may no indi idually ha e lea ned each and e e y skill o a la pw igh , we now know enough o collabo a e wi h o lead o he s in doing he hings we ha en’ done ou sel es. We’ e made all he beginne ’s mis akes a a pace ha ga e us ime enough o sol e hem igh , a he han being o - ced o mo e on. When picking a la p o e un, make su e ha you can ans e he co e o he design o you own local condi ions and eam wi hou losing he pa s ha makes playing i special. The design should be solid enough ha he ew beginne ’s mis akes you’ e likely o make won’ de ail i . You should also pick a la p ha mos o you eam membe s ha e ac ually played, so you ha e conc e e elemen s o edesign, a he han ague ideas. How you s uc u e you o gani- zing g oup is a e y indi idual choice. We sugges a la collec i e s uc u e whe e choices a e discussed and e e y- one will ha e a chance o b ing ideas and lea n om each o he . Make su e e e yone eels okay wi h handing o assignmen s i hey g ow oo big o handle o li e ge s in he way. Inc ea- se he challenge om la p o la p, s a wi h he p ac ical basis o logis ics and playe - acing in e ac ions be o e ope- ning up o co e design elemen s. We also ound i well wo h ou ime and money o pay people o doing he jobs we didn’ wan o do. We co e ed anspo o all ou ki - chen helpe s, paid a musician, a pho- og aphe and he cleane s. All o i well wo h i o no bu ning ou he eam. Make su e o iden i y he places whe e you can make he p ocess easie on you sel – he playe s will app e- cia e a smoo h p oduc ion and calm s a mo e han a li le discoun . We also made a e y conse a i e budge , so we could a o d o sol e las minu e p oblems easily and as . In e ac ing wi h playe s was a con- s an , labo ious ask. We se ou wi h p inciples abou openness and hone- / 37 s y, which u ned ou o be qui e he challenge o uphold. Especially ha ing o ell people hey couldn’ come o ou la p was ha d, as we e cancella i- ons. We lea ned quickly ha a leas a hi d o he people who accep cha ac- e s he i s ime a ound will d op ou be o e un ime, so we made su e la e ese es go cheape o ee icke s. I is also i ally impo an o make su e communica ion is cen alized. I e e y o ganize ies o answe all he emails o Facebook pos s, you’ll end up wi h a con used mess. And hink ahead abou how you’ll handle playe p oblems and d ama. Fo us, he playe sa e y wo k s a s he momen he playe s see ou ease s. We go e e y hing we wan ed ou o ou p ocess and hen some, and made g ea la ps li e a new li e o wo. On a pe sonal le el i ’s been an abso- lu e pleasu e being able o gi e he de- signe s o g ea la ps a chance o come o ou e uns o play hei own wo ks. We all w i e la ps we wan o play. I eels good o gi e o he designe s he expe ience in e u n. FURTHER READING: no dicla p.o g/wiki/B udp is no dicla p.o g/wiki/B udp is_A_Few_ Yea s_La e no dicla p.o g/wiki/Lindängens_Riks- in e na NAILED IT! / 38 PART 2 / 41 SECTION 2:1 HOW TO DESIGN THE PRE-LARP PROCESS Mos o wha happens du ing he un ime o you la p is shaped o de e mined by he decisions, choices, and expe iences o you pa icipan s be o e i s a s – o en e en be o e hey a i e a he enue. F om he momen you announce, a wo-way p ocess o playe selec ion begins, in which you y o a ac he playe s who would be he bes i o you la p, and he playe s a e weig- hing hei in e es in he p omised expe ience and you abili y o ac ually deli e i . Many la ps equi e pa icipan s o ead, memo ise, plan, co-c ea e s o y (o en wi h s ange s), unde s and you aes he ics and p epa e a cos ume, and s ay on op o la ge amoun s o lo- gis ical, play- ela ed, and diege ic in o ma ion. You a e asking a lo , and hei wo k is mission c i ical o you la p: he s o ywo ld can only come ali e i i al eady li es in he minds o he playe s. Showing espec o he pa icipan s’ in es men o ime, e o , and c ea i i y will help you ea n hei espec in u n. All in e ac ions wi h you p ojec a his s age will a ec no only he us he pa icipan s ha e in you, bu also he mind- se wi h which hey app oach playing wi h each o he . Design you pa icipan cul u e wi h in en ion. I you encou age a wa m, cu ious, and espec ul one, e en pa icipan s who do no know / 48 a he Cou o Claudius.” Taken oge he , he on page shows you no only ha co up ion is a cen al heme o he la p, and ha you will be playing ow- a ds dea h and madness, bu also ha his adap a ion is no se in he same e a as he o iginal play. The websi e goes on o elabo a e on he expe ience and play s yle, including a basic explana ion o wha la p is. The subpage “Is his la p o me” discusses con en , plays yle, and p inciples o plays yle calib a ion, as well as ques ions o access and abili y. Inside Hamle has been un six imes a he ime o his w i - ing, bu he communica ion is s ill being i e a ed. The p oduc ion a ac s many non-la pe s (academics, Shakespea e supe ans, pe o mance p o essionals, imme si e hea e en husias s) whose a ying backg ounds and expec a ions all need o be esponded o. A he same ime, as mo e playe s ha e expe ienced he la p, he mo e i s epu a ion in es ablished la p communi ies changes, and communica ion needs o adap in esponse o his as well. Since Inside Hamle is based on a well-known play, i s hemes a e easie o communica e clea ly and swi ly han i migh be o an e en se in an o iginal uni e se. Each ime he same la p uns, he mo e playe s can be ambassado s and ell new po en ial playe s wha o expec . E en so, eaching playe s how i is ac ually played s ill equi es ca e ul communica ion and on-si e wo kshopping. Remembe ha you s a cu a ing he expe ience om he momen you announ- ce he la p. E e y hing on you websi e, you ease pos s, and you communica- ion wi h playe s should pull in he same di ec ion. La ps wi h a high p ice poin and ambi ious p oduc ion alues a e cu en ly made by a ew p o essional companies, a apidly g owing numbe o semi-p o- essional o ganisa ions, and a ew non-p o i s. This means ha i he websi- e looks e y p o essional and he p ice is high, pa icipan s a e likely o ha e expec a ions on deli e y, consis ency, and p o essionali y ha he o ganisa ion hen needs o mee , ega dless o whe he anyone is ge ing paid. By c ea ing a p o essional-looking websi e and booking a spec acula enue, you will signal o you po en ial playe base ha his is a semi-p o essional o e en p o essional p oduc ion. I he p ice poin is high as well, you playe s will ha e a qui e easo- nable claim no jus on p oduc ion alue, bu also on you a en ion, since la p is pa icipa o y and hey a e co-c ea o s o you e en . Fo mo e de ailed discussions on how o communica e wha he ac ual expe- ience o you la p will be like, see he chap e s by Edman and Li & Townsne in his olume. WHAT DO YOU NEED TO KNOW FROM THE PLAYER La ps a e physical, embodied expe iences, in a iably shaped by he playe s you b ing o he e en . Thei expec a ions, hei in e p e a ions and hei ac ions a e / 49 wha d i es he e en once i ’s unning. Knowing who hey a e, wha hey need, and wha hey a e a e , will help you manage expec a ions (and sol e p oduc ion challenges ea ly, which i is usually easie and cheape han eac ing o p oblems du ing un ime). In o de o design he bes expe iences o he playe s you ha e, you will need o know a ew hings abou hem. Fi s o , hink abou he p ac ical in o ma ion you need. A minimum, you a e likely o collec pa icipan names and con ac in o. Be mind ul o only ask o in o ma ion you need. Do you need legal names o insu ance easons? O do you only need i o be able o ecognise who’s coming? No e e yone uses hei legal names online, and migh no be com o - able wi h you holding o sha ing hei legal name. Accessibili y issues migh impac he layou o he play space o he design o meals, spaces o e en s, so you will need o discuss wi h you playe s bo h wha hey equi e and wha i is possible o you o esol e (which will no be e e y hing o e e yone). I you a e se ing ood du ing he la p, you need o know playe s’ alle gies and die a y equi emen s. You migh need con ac in o - ma ion o nex o kin in case o eme gencies. You need o know when hey can be on si e and how long hey can s ay, and you migh need o know how much hey can con ibu e and wha hey can b ing. Fo in e na ional la ps, you migh ha e o ad ice hem on a el, o e en a ange i o hem. You migh also need o know a bi abou wha kind o play expe ience he pa icipan is a e . Do hey wish o play hei ou o cha ac e gende ? A e hey willing o play on hemes o o ins ance omance? Al hough you la p will ha e a heme and a di ec ion, you will some imes wan playe s o ailo hei expe ience o hei p e e ences. I would also be good o you o know abou he play cul u e hey a e om and wha ha implies o hei limi s and expec a ions. Think h ough all he p ac ical in o you need o know abou you playe s and make su e you ask o i as e icien ly as possible, ideally in one o m only. The mo e imes you ask people o in o ma ion, he mo e odo asks you s ess you pa icipan s wi h, and he mo e o an adminis a i e mess you will c ea e o you- sel . I you use a web o m, make su e o make all he ele an ields in he o m manda o y, o a oid ha ing o chase people who’ e illed ou nea ly e e y hing. PLAY CULTURE DESIGN Designing a cul u e o play – he collec i e no ms, alues and de aul beha iou s o you pa icipan g oup – is challenging, bu impo an . Playe g oups a e di- e se and come wi h di e en se s o expec a ions, and you a e unlikely o un a game o he same g oup o people wice. I you do no spend he ime deciding wha kind o play cul u e you wan a you la p, he loudes g oup o playe s will end up designing i o you. / 50 Many di e en hings in luence playe cul u e. The di e en communi ies you playe s a e om, he s yle hey a e used o, he s yle you a e used o, and he gen e o la p you a e making will in luence wha kind o play cul u e people expec om you la p. Fo ins ance, No dic la p adi ionally has had a collabo a i e play s yle, bu his s yle is designed and g own h ough he communi y: i is no na u ally inhe- en in la p as an a o m. The e a e many collabo a i e-s yle la ps made ou side he No dic coun ies ha adhe e o some bu no all o he assump ions a ound play s yle and pa icipan cul u e ha a e no ma i e a he No dic end o in e - na ional la ping. I you design collabo a i e la ps, you may assume hey’ e much he same e e ywhe e, bu his is no he case and you do need o each playe s how i wo ks. [See B own & Ski pan o one example o wha ha can look like. –Eds] People come wi h a se o expec a ions. You in luence hese expec a ions di- ec ly, h ough bo h one, sub le cues, and explici ins uc ion. The mo e di e se you audience, he clea e you need o be in you communica ion o play s yle. The upcoming la p Tale o he No h Wind (2019, Sweden) does his wi h a dedica ed lis o Dos and Don’ s. “Ou la p is a place o collabo a i e s o y- elling. Ra he han ying o bes ou co-playe s, we aim o engage in mu ually ul illing play” he websi e eads. “Do: ask be o e you ouch someone. Do: s a e you bounda ies. Don’ : s eal o he people’s belongings.” The explici langua- ge lea es li le oom o in e p e a ion, which should make he play s yle mo e homogenous. You s yle o communica ion will in luence he playe s oo. You can each some o he social ules o you la p h ough online communica ion be o e he la p. Ano he e ec i e and engaging way o build playe cul u e is h ough acili- a ed p e-play. PRE-PLAY AS A DESIGN CHOICE Fo some la ps, whe e playe s a e going o co-c ea e he plo o a pa o he s o y o he la p, i migh be wo h conside ing o in i e playe s o y ou hei cha ac e s be o e he un ime o he la p. P e-play is in-cha ac e in e ac ions be o e a i ing on loca ion, ypically in w i ing using ex based ole-play in o ins ance sha ed documen s, Facebook g oups o e en handw i en le e s. You migh e en p o ide an in-cha ac e social pla o m online, like o ins ance in he la ps A alon, Bunke 101 (I aly, 2018) and College o Wiza d y (Poland, 2014). This o m o p e-play allows playe s o p o o ype hei cha ac e s and c ea e a sha ed backs o y be o e he la p begins. I c ea es a sha ed unde s anding o he se ing and he hemes o he la p, and c ea es ela ions ha can eel mo e eal due o he he collabo a i e way hey ha e been buil be ween he playe s. I pu s mo e o he s o y c ea ion in he hands o he people who a e going o play i , and all o his allows playe s o s a he la p a a sp in a he han a slow o . P e-play can p o ide a eally powe ul expe ience. I allows pa icipan s o y / 51 ou beha iou s and ela ions be o e he la p begins. I cou s bleed – emo ional spillo e be ween cha ac e s and playe s – in an in e es ing way. Bu p e-play is labou in ensi e o playe s and, i you moni o i , o you as well. I equi es hou s online, which pu s bo h social and economic p essu es on pa icipan s. Al hough acili a ed p e-play le s you seed plo be o e he la p begins, i is a lo o wo k ha may only bene i a subse o you playe g oup; hose who can a o d he ime and ha e he language skills o be a pa o i . This will end o skew owa ds younge playe s, o hose who a e no wo king ull ime o pa en- ing, and who a e com o able w i ing he language you la p is in. Tha leads us o he nex p oblem: as usually only a pa o he playe g oup will engage wi h p e-play, any la p ha opens up o p e-play ends o ha e a wo- ie ed la p expe ience. Some will engage wi h he p e-play and build eally in ense ela ions and plo s. O he s won’ ouch i a all and will eel like hey a e less connec ed o he la p. This inhe en powe di e ence be ween hose who p e-play and hose who don’ migh lea e a signi ican pa o you playe base eeling sho -changed. P e-play can also allow expe ienced o pa icula ly commi ed playe s o b ing enough con en o obscu e p oblems wi h you co e design. I enough pa icipan s pa icipa e, in essence w i ing hei own la p o play, hey will ell you a e wa ds you la p was g ea – because o hem i was. This migh d own ou he oices o pa icipan s who belie ed you when you said he p e-play was op ional, and hen did no end up ha ing much meaning ul play. I you plan o use p e-play as pa o you la p, be anspa en abou i du- ing sign-up. Tha way, he playe s who sign up o you la p a e awa e ha hey will need o se aside ime and spend e o building hei cha ac e ela ions and playing ou scenes in he mon hs leading up o he e en . P e-play will wo k bes o la ps whe e you a e handing o e con ol o he s o y o playe s (such as sandbox la ps, la ps wi hou se plo s, o collec i ely o ganised la ps whe e he pa icipan s build he whole expe ience oge he ). In la ps whe e he designe s ha e a clea sense o whe e he s o y is headed and wha will happen du ing un- ime i migh be coun e p oduc i e, as playe s will ei he play he s o ylines hey ha e buil oge he , a he han he one you designed, o be us a ed ha hei p epa a ion was was ed. Fo campaigns, you will need o decide whe he o no o pe mi ole-playing be ween he la ps. Na a i e inequali y p oblems based on which o he pa - icipan s ha e ime o play con inuously will accumula e o e ime, po en ially shu ing some pa icipan s ou o long- unning plo lines. This alone is su icien eason o many campaigns o discou age o ou igh ban online play be ween sessions. In addi ion, con inuous play may – depending on you design – se you up o eno mously ime consuming addi ional gamemas e ing o a bi a ion. I you pa icipan s do no know each o he ou o cha ac e , play be ween sessions can also weaken he magic ci cle and he eby he cha ac e alibi. Encou a- ging pa icipan s o in e ac as hemsel es ins ead will c ea e us and a clea / 52 sepa a ion be ween he eal ela ionship and he un ime in e ac ions, and helps keep opp essi e o hu ul social dynamics inside he ic ion as hey a e clea ly dema ca ed om eal li e. MANDATORY CO-CREATION I is o cou se a alid design choice o make p e-play manda o y, jus like you migh choose o make o he kinds o co-c ea ion manda o y. Many la p designs ely on playe s o p epa e no jus a cos ume bu pa s o hei cha ac e back- g ound o e en he s o ywo ld oge he be o e a i ing on loca ion. [Fo cool examples o acili a ed co-c ea ion, check ou Piancas elli and Gio annucci in his olume. –Eds.] In such designs, you will p obably need o se deadlines o he co-c ea i- e wo k, and communica e clea ly in ad ance how much ime he pa icipan s should se aside in he weeks o mon hs be o e he la p. Howe e , equi ing pa icipan s o do some hing on a deadline doesn’ sol e he pa icipan s’ li e logis ics. The mo e ime consuming he p epa a ion is, he mo e i will exclude some pa icipan s om a good play expe ience, o indeed om he whole la p. E en highly mo i a ed playe s who ully in end a signup o do he wo k p omp ly will some imes ind li e ge ing in he way. This means you need ime o chase hem down, a sys em in place ei he o exclude hem om he la p (a g ea social cos o you sel ), o o p oduce he con en in some o he way (a some cos o emo ional in es men om he pa icipan s in ques ion, and o ime o you eam). You will p obably ind ha di e en pa icipan s ind di e en pa s o any manda o y p epa a ion di icul . Tex hea y collabo a i e wo k is especially la- bou in ensi e o playe s who a e no playing in hei i s language. Cha o ideo calls a speci ic imes a e complica ed o plan ac oss ime zones and a bu - den on pa icipan s wi h long hou s and amilies. I you design equi es people o c ea e ela ionships o in e es ing sha ed backs o ies o hei cha ac e i can easily begin o eel like a popula i y con es , ma ginalising playe s who do no know he o he s o who migh jus be shy. Any design decision you make will ha e consequences no jus on he la p, bu on he playe s – who a e always he co-c ea o s o you la p. Keep in mind as you plan he jou ney h ough you la p ha hei wo k on he p ojec s a s a signup. Be espec ul o hei ime and emembe ha in o ma ion ha may be e y clea in you mind canno be accessed elepa hically. / 53 BEFORE YOU LAUNCH Be o e you launch you la p, you should usually ha e a leas he ollowing: • Ha e you eam se up, wi h clea oles and esponsibili ies. • Co e la p design, including any unusual mechanics o ools o plays yle calib a ion, as needed – playe s need o know wha kind o hing hey a e signing up o , and his means you need o ha e decided i in ad an- ce. • A clea p ocess o cha ac e c ea ion, ela ion building, o any o he pa o you la p design ha playe s will need o in e ac wi h be o e he un ime. • Enough de ailed in o ma ion abou you enue o be able o make and communica e design decisions based on ac ual playabili y on si e. This will also help you gi e clea in o ma ion abou accessibili y o he enue and you design. • A plan o you ou going communica ions. Ideally his is a sp eadshee scheduling any ease s o ma ke ing, any p ojec upda es, and how all he ma e ials equi ed o unde s and and play he la p will be sha ed wi h he people who ac ually sign up. • A plan o you incoming da a. Collec as much as you can al eady a signup. I you ask o i la e , schedule eminde s so people ac ually ill i ou . Plan o and communica e wha will happen i people do no ( o ins ance, ha you canno hen p o ide ood o special die s). • A p elimina y plan o how he logis ics will wo k: se up, akedown, un- ime. Use his o p oduce a p elimina y schedule o he pa icipan s’ onsi e expe ience. • E en sa e y plan – as wi h any e en , you need o show you ha e a a ional plan in place o handling eme gencies o p oblems. I he spe- ci ics o you la p equi e addi ional suppo s uc u es o you playe s, his oo should be in place as you launch. FURTHER READING: Cha lo e Ashby: “Playing A ound he E en ”, in S ane ik e . al (eds): Once Upon a No dic La p… Twen y Yea s o Playing S o ies, (2017) Alma Elo sson & Mimmi Lundk is , “P e-la p communica ion”, in S ane ik e . al (eds): Once Upon a No dic La p… Twen y Yea s o Playing S o ies, (2017) Johanna Koljonen: “Wha I Think Abou When I Think Abou La p Design, Pa I: The To al La p”, in Sa e y in La ps, pa icipa ionsa e y.com (19.5. 2016) Ma ine S ane ik and Simon B ind, “P e-Bleed is To ally a Thing”, in Sä kijä i, Loponen Kangas (eds): La p Realia. Analysis, Design, and Discussions o No dic La p (2016) / 54 DESIGNING AHEAD OF PARTICIPANT NEEDS // Ka in Edman A sys ema ic app oach o p e-la p communica ion on accessibili y can make you la p smoo he o pa icipan s wi h ch onic o empo a y pain, exhaus ion and/o mobili y issues. I you ollow hese ou s eps you will p obably ind ha i bene i s all you pa icipan s. Remembe ha no all needs can be me , no ma e how well you design and adap . Some needs a e in con lic wi h each o he , and you will some imes ha e o make ha d decisions. Finding he bes solu ions will be abou building a ela- ionship o us . I he pa icipan belie es you a e wo king o unde s and hem and in es ed in enabling hem o play, hey will be mo e inclined o ask you o help. • Make an in en o y o you la p design and enue • In o m abou design and enue limi a ions • Map indi idual playe needs • Re isi he design i possible and desi ed MAKING AN INVENTORY - LARP DESIGN AND VENUE The pa icipan s will need ele an in o ma ion be o e he la p o be able o make he needed decisions abou hei pa icipa ion. The only way o make ha in o ma ion a ailable is i you you sel know he answe s i s . The ques ions below will di ide his in o wo main g oups: basic needs and playabili y needs. Basic needs a e hose o he physical body, o i o in e e e as li le as possible wi h pa icipa ing in he la p. The playabili y needs, on he o he hand, could be ca ego ized as ‘wan s’, bu as you a e likely o wan all pa icipan s o enjoy and explo e he la p, you should hink o hese wan s as needs as well. You canno be an expe on all physical a ia ions and condi ions, no can you p edic all needs. The only easonable s a egy is assuming pa icipan s know PART SECTION CHAPTER 2:1:2 / 55 hei own body he bes , and o ell hem wha he expe ience will be like – no deciding o hem whe he o no hey can pa icipa e. Tha said, pa icipan s a e only human and do no know e e y hing abou hei own bodies. New issues migh a ise jus p io o a la p, o du ing. A symp- om ha “should no mani es ” can do so qui e suddenly. Tha does no mean ha he pa icipan is no he expe on hei own limi s. I you ha e p o ided hem wi h good in o ma ion in ad ance, i will also help hem unde s and how o deal wi h an unexpec ed si ua ion du ing he la p. I hey us you ha e aken hei needs se iously om he s a , hey will also be mo e unde s anding i addi- ional accommoda ions du ing un ime a e a e no possible. BASIC NEEDS Sleep • Is he e en so long he pa icipan s will ha e o sleep away om home? • Will he la p pu hem on ano he sleeping schedule han hey a e used o? • Will hey sha e hei sleeping qua e s wi h o he s? • Is any o he sleeping done in cha ac e and does i mean di e en kinds o bedding han hey a e used o? • I he sleeping is done in cha ac e , can some pa icipan s s ill sleep in an ou -o -cha ac e a ea, o is he e a dedica ed space ha allows o ou -o -cha ac e medica ion and de ices being swi ched ou / aken o applied? • Do you encou age pa icipan s o nego ia e wha ules will apply o hei do m/ en /bed oom wi h he people hey co-sleep wi h, o in- s ance whe he o no he sleeping a ea will be ou o cha ac e ? Food and Wa e • Is he ood a he la p di e en om wha pa icipan s egula ly ea ? The hings ha migh be di e en include be as e, smell, ex u e, ood cul- u e o o igin and/o unusual spices. (I you ha e in e na ional pa ici- pan s, he answe is usually yes) • Does he la p’s design include a loss o con ol o e ood in ake? Does he la p es ic ene gy in ake in some way? (Vegan, no ca eine, no al- cohol, bland ood, mos ly ca bs/ mos ly p o ein/ e y high a oods). Will playe s be able o b ing, s o e and p epa e hei own ood? • Wha kind o liquids a e a ailable o hyd a ion, wha al e na i es a e a ailable? • Has he inclusion o exclusion o alcohol been conside ed and commu- nica ed? E en i i is a non-alcoholic e en , hink abou wha migh be used as a eplacemen o ingame alcohol? • A e he e si ua ions whe e ood o d ink migh be ampe ed wi h by o he / 56 pa icipan s o diege ic easons ( o ins ance he esis ance s ealing he ood o he occupan s), o si ua ions whe e a pa icipan migh be icked in o inges ing some hing unknowingly ( o ins ance o simu- la e a poisoning)? I so, a e hese isks limi ed o ce ain subs ances? Lis hem – pa icipan s can ha e in ole ances o alle gies you did no know exis . Shel e om he Elemen s • Does he la p d as ically change how he pa icipan s no mally d ess, do he clo hes eel, look o wo k di e en ly? A e he clo hes ha d o ge in o ou o ? Will some need assis ance o ge d essed? • Will e e yone be able o d ess acco ding o he clima e? Wha a e he seasonal ex emes o he local clima e? I he la p is indoo s, will he e be a need o go o s ay ou side du ing play? • Nudi y – a e he e ingame momen s whe e some cha ac e s migh be naked? This nakedness can bo h a ec pa icipan s sensi i e o cold bu also hose who ha e eason o no wish o make hei body isible o o he s. Reasons can include ha he cha ac e body and playe body do no ma ch (mode n de ices, geni als, p os he ics, sca s, a oos). • Wha will he wea he be like? Will i be ex eme wea he ? Will i be ho o cold? Do you ha e esou ces o wa m o cool people? Some ha e di - icul y egula ing hei own co e empe a u e and his can become a p oblem. Hygiene and Medica ion • Will i be challenging o he pa icipan s o uphold hei usual le el o hygiene? • Will i be easy o ake medica ion on a schedule? Can medicine be bo h s o ed cold and lexibly accessed? • How ha e you designed sani a ion? Ha ing quick and easy access o a oile makes e e y e en mo e pleasan o e e yone. • A e pa icipan s expec ed o ake ca e o hei hygiene in cha ac e ? I so, wha a e he s anda ds? Wha is he le el o p i acy? A e he e any al e na i es? The e is gain in no ha ing o lose p ecious cha ac e play ime e en when you hygiene ou ine akes a while, bu i can also be mo e elaxing o ake ca e o you sel in a way mo e simila o you e- gula li e (especially i you se ing equi es complex hai s yling, makeup o p os he ics). You migh no mens ua e, bu abou hal o playe s do. Some o hem will use mens ual cups and expec o be able o wash hese wi h unning wa e in some p i acy. Remembe ha no e e yone who mens ua es has ull mobili y o p e- sen s emale. Tha said, all o you playe s will use oile s, and good hand hygiene / 57 is essen ial o e e yone. Hand sani ize is no a unc ional eplacemen o soap and wa e . Talking abou ba h ooms, ano he aspec a ises: Alle gies and scen sensi- i i y. I pa icipan s can be made o a oid pe umed p oduc s his will bene i playe s wi h alle gies, as hma, scen sensi i e mig aines, e c. • Will ba h ooms be in- o o game? • Does i ake a while o ge o he ba h ooms om he la p a ea? • Is he e unning wa e ? Is he e ho wa e ? • A e he ba h ooms physically accessible? How is he ligh ing? • Is i easy o pa icipan s o know wha ime i is? • A e he ba h ooms accommoda ing o non-bina y pa icipan s? I he pa icipan s’ basic needs a e me , hey can exis a he la p wi hou oo high a cos o hemsel physically o men ally. I you ha e a good g asp o po en ial needs, and wha he consequences can be o whe he o no hey a e being me , you plan will be will be easie o communica e o he pa icipan s. As a esul , pa icipan s will eel sa e . Access • Is you enue physically accessible? Pay special a en ion o s ai s, amps, ba h ooms, doo wid hs. Conside whe he he e a e condi ions (poo ligh ing, cons an backg ound noise) ha may a ec o ins ance he pa ially sigh ed o he ha d o hea ing? • Is you w i en in o ma ion accessible? Is you websi e legible o sc een eade s? I you a e pos ing pd iles, will op ical cha ac e ecogni ion (OCR) wo k? Su p isingly many pa icipan s who migh be able o play you la p ha e oub- le eading o pa sing big amoun s o w i en in o ma ion, o easons anging om dyslexia o being pa ially sigh ed o blind. I you playe s a e in e na- ional, no e e yone’s i s alphabe is necessa ily he same as you s, which is an ex a bu den on he dyslexic. These playe s migh be using ools such as sc een eade s; make su e you websi e is s uc u ed so ha i is legible o hose. PLAYABILITY NEEDS Wha will i ake o eally in e ac wi h play and enjoy you la p? Exe cise and mobili y Wha kind o demands does he la p make on he physical i ness o he indi i- dual pa icipan ? / 64 Wha dynamics migh happen ha may no be ob ious and ha playe s should be okay wi h? Wha expec a ions should playe s no ha e? Answe s o hese ques ions migh o e lap o be combined wi h an ing edien s lis , bu include mo e abs ac ideas like pacing, s ylis ic elemen s, and “an i-in- g edien s” - hings de ini ely no included - ha migh no be included in a ypical ing edien s lis . You can expec a slow s a , wi h a s o y ha slowly builds pace and clues o ollow and un a el. Ma e Incogni um is no a s aigh up ail oaded la p, bu will be guided a imes, y o oll wi h i . Ma e Incogni um (Sweden, 2014) A e you in e es ed in EU policy? The cha ac e s in he la p will discuss EU policy on he le el o ac ual, eal issues. As a playe you don’ ha e o be a po- li ician o a lawye , and we will do ou bes o make he issues app oachable. Howe e , you will end up eading EU policy documen s and deba ing how hey a ec he in e es s o you mas e s. Pa liamen o Shadows (Belgium, 2017) Keep you eyes peeled and in e ac wi h as many people as possible, do no wai o ‘mons e s’ o a ack o o you named NPC o a i e. I you do his you will be disappoin ed. Tenemen 67 (UK, 2017, ongoing) Wha ypes o c ea i i y should playe s ha e easily, cons an ly, o spon a- neously? Mo e gene ally, wha ypes o e o a e in ol ed? When he playing has s a ed and we a e inside he ic ion, you will be po - aying a cha ac e a all imes. You will mo e, speak, ac and o en eel like you cha ac e would… When you choose you playing s yle, keep in mind ha he expe ience is e y long… Pe haps you cha ac e is une ingly poli e. Pe haps hey always need o ell someone else how hey a e eeling. Jus one quali y like ha can help you pe o m he cha ac e consis en ly… You cha- ac e ’s inne jou ney migh be e lec ed in how hey ac . Inside Hamle (Denma k, 2015) Playe s mus be up o ull, con inuous emo ional imme sion and con inui y. I will no ‘b eak’ i you spend you en i e ime sub ly emo ing wi h o he people. Bu i will ’b eak’ i you epea edly b eak emo ional imme sion o be oo goal-o ien ed. Me maid (USA, 2018) / 65 I will be a success ul expe ience i you low wi h wha happens o you cha ac e and li he play o you coplaye s. The e a e no objec i es ha will cause you o win o lose. The only hing we ask o you is o be in you cha ac- e ’s shoes, o connec wi h wha hey eel, o hink he way hey would hink, and beha e in he way hey would beha e, all he while allowing you cha- ac e o make hei own decisions. Tha ’s wha we call ‘ low’ o ‘le ing go.’ Conscience (Spain, 2018) Some playe s pe o m ’me a songs’ du ing he la p. These a e songs selec- ed by he playe s, ha e lec he cha ac e ’s d ama ic dilemma. Playe s can ec ui iends o join in o hese scenes o c ea e small musical numbe s. All oles can be played wi h o wi hou pe o ming a me a-numbe . Caba e (Sweden, 2017) Playe s should be com o able pe o ming hei cha ac e and imp o ising dialogue in on o o he pa icipan s. [hypo he ical example] I playe s eel disconnec ed, wha a e ac ions hey can engage in o ge in ol ed again? I you eel like no hing has changed o a while, i can o en be because you ha e spen a long ime in he same e sion o eali y. Re eal a majo con lic- ing ac abou you pas o ano he cha ac e ’s, o pull one om he op ions on he wall. Fi es o Emsi (USA, 2017) I you’ e wo ied abou you cha ac e becoming socially isola ed, ell you closes co-playe s be o e play s a s. This will gi e hem he oppo uni y o include you in hei plans e en i you cha ac e is no always demanding hei a en ion. Inside Hamle (Denma k, 2015) We will ha e wo so called “consul ing” o ganize s: NPC-like cha ac e s ma - ching oge he wi h he playe s… go o hem… when you wan o do a majo decision o ake a s ep e y di e en om wha you ha e in you dia y and you a e pe haps unsu e abou he impac s on o he playe s o iming; when you eel ha ano he playe has been igno ing you o unde playing you; when you eel bo ed and don’ know wha o do; when you eel down abou you game. Legie: Sibiřský příběh (Czech Republic, 2014, Eng. Legion - Sibe ian S o y) / 66 You a e encou aged o lash ou in hough less ac ion, physical o social, as ac s o sel -exp ession. Be spon aneous, don’ wo y abou consequences… Me maid (USA, 2018) Wha ac ions can playe s ake o en ich he game o o he s? All cha ac e s a e unhappy, and all cha ac e s a e complici in each o he ’s pain, usually because o he way ha hey handle hei unhappiness… You a e no he e o make iends. Ac om you own wounds, and be casually mean o o he s. C ea e p oblema ic ci cums ances eely: his will in u n c ea e plo o o he s and allow hem o pass on hei own unhappiness. Me maid (USA, 2018) Each playe ac i ely eac s o he o he playe s’ cha ac e s in he way hey wan hei cha ac e s o be po ayed. Fo example, i I wan o play an in i- mida ing and mys e ious See , he cha ac e s o he o he playe s will “li my play” in hei in e ac ions wi h me, being ea ul and espec ul owa ds my cha ac e and belie ing in he p ophecies. (Gouliou, Elina. Playing o Li : Making Cha ac e s Shine. 2018: Pelg ane P ess) Ins ead o ba ging a ound, blindly pu suing you own s o y, always ake an in e es in wha jou neys you co-playe s seem o be on. Thei cha ac e s migh in i e you s in, making he expe ience iche o you bo h. Inside Hamle (Denma k, 2015) Help un he pa y while playing you cha ac e . Fo example, you migh pe o m in a alen show, snap pho og aphs o gues s, lead a wo kshop, e c. Jus A Li le Lo in’, (USA, 2011) Mo e b oadly, a good way o go abou hinking o he answe s is by asking you - sel , “Wha ype o playe s would no enjoy my game? Wha ypes o ac ions migh playe s a emp ha would b ing hem away om he hea o he expe ience?” Fo example, he in o ma ional ma e ials o Pa liamen o Shadows (Belgi- um, 2017) ci ed abo e p o ide an especially b oad and clea desc ip ion o wha he conc e e expe ience o gameplay is likely o be. La p designe Juha- na Pe e sson, he c ea o o hese ma e ials, desc ibes his hinking as ollows: We knew ha we we e making an unusual la p in a se ing ha al eady had a ich la p adi ion… We knew ha ou [Vampi e: The Masque ade] la p would be di e en . I would be se in he same wo ld and ea u e many o he same / 67 hemes bu a playe who expec ed a amilia expe ience would be disappoin- ed… We decided ha we mus be ex emely clea in e ms o wha kind o ac i i ies happen in he la p, who you play, wha kind o hemes a e p e a- len , e c. We had an in e na ional playe base so i would ha e been a bad idea o assume ha people au oma ically unde s ood some hing, since common assump ions abou la p a y so much be ween di e en la p scenes. Re ospec i ely, I hink all he wo ying we did abou being co ec ly unde - s ood made us do a pi ch o pa icipan s ha was clea e han in any o he la p I’ e e e done. I hink I also need o ake a lesson om i !” How can you help playe s selec hemsel es in o o ou o a gi en game- play s yle? Designe s some imes shy away om gi ing clea desc ip ions abou wha ’s com- mon in gameplay, o ea ha he audience will ake example op ions as manda e and he eby cu o possibili ies. Howe e , by elling playe s wha ac i i ies he la p bes suppo s, you empowe new pa icipan s o join on a mo e le el playing ield and o consen in ad ance o he ac i i ies mos commonly necessa y o be ully included. When you communica e wha ’s easies , and wha ac i i ies a e he ocus o he design, you a e also elling people wha o all back on when hey’ e los , unsu e, o jus i ed. / 68 COSTUMES FOR REAL BODIES // Ke s in Ö be g // Anne Se up G o e I is common in la p o le he pa icipan s p epa e hei own cos umes acco ding o guidelines p o ided by he design eam. Bu in some la ps, i makes mo e sen- se o you o p o ide cos umes o ce ain cos ume i ems o you pa icipan s, whe he o main ain a speci ic aes he ic s anda d o because you need cos umes o be isually consis en – o example o make su e soldie cha ac e s a e in ma ching uni o ms. Some high p oduc ion- alue la ps p o ide la ge numbe s o indi idually designed and sized cos umes, like you would o a hea ical p oduc ion. This equi es p o essional s a who a e likely o al eady know how o bes o ganise hei wo k. In he ollowing we will discuss how o app oach he mo e common op ion: pu chasing cos uming o you pa icipan s o use. To you, he designe , cos uming is a p ac ical ma e ; o he pa icipan an emo- ional one. Realising his di e ence will help you make you cos ume ision a eali y while keeping you la p open o playe s o all shapes and sizes. I you happen o i a s anda d size, you migh ne e ha e ealized he e a e many playe s who will ne e sign up o a la p ha p omises o p o ide cos umes o playe s; o who will sign up only wi h epida ion. A ew playe s who upon a i ing on loca ion canno ind any hing easonable o wea will also no be op o mind o you when you la p is s a ing, bu o hose playe s i migh qui e p ac ically make he la p a e ible o e en unplayable expe ience. This is why you need o hink ahead. Pa icula ly anxie y-p o oking aspec s be o e signup include ha ing o ake me- asu emen s, maybe wi h he help om someone else; being con on ed wi h he numbe s and seeing wha le e is assigned o i ; and sha ing hose esul s wi h o he s. Any hing ha makes hese hings easie will be help ul o you playe s. PARTICIPANT CENTRED ASPECTS Size s anda disa ions in he 1940s and 50s c ea ed new no ms a ound he mos common body ypes. A he same ime a space ou side o hese was indi ec ly delinea ed as “no no mal”. As li ing s anda ds g ew so did ou bodies, bu he s anda d sizes did no . Ins ead, as manu ac u e s unde s ood he emo ional di- PART SECTION CHAPTER 2:1:4 / 69 s ess i is c ea ed o hei cus ome s o be placed ou side he no m, hey s a ed adjus ing sizing independen ly. This phenomenon is called ani y sizing (size in- la ion) and each manu ac u e did his di e en ly. This p ocess, in combina ion wi h he ac ha s anda d sizes in di e en coun ies we e di e en o begin wi h, le us wi h a con using ma ke place whe e he same sizing can mean e y di e en hings. In addi ion, any hing ouching on he opic o size and measu e- men s is emo ionally augh o many people. WHEN WE TALK ABOUT BODIES The wo ds you use ha e an impac on you pa icipan s. When discussing bodies, you should aim o be neu al in you language and s ick o he ac s. In e ms o size you should use measu emen s ins ead o s anda d sizes whene e you can. Common pi alls, o be a oided, a e e ms such as no mal, ypical, big, bigge , la ge, small. These a e ela i e o he s anda dised scales and indi ec ly d aw a en ion o wha is conside ed laws. In he a emp o be inclusi e some p oduc ion eams a emp o ans e e minology om o he a eas, bu a use ul e m in o he con- ex s may no necessa ily be use ul he e. An example o his is able bodied; in he con ex o body size all sizes a e able. HOW TO BUILD TRUST I will be calming o po en ial pa icipan s o unde s and no only ha you will p o ide he cos umes, bu ha you a e awa e o wha his migh mean o hem. I will be bene icial o you bo h i you a e also able o make isible you ull plan o he cos uming p ocess. Should you no ha e had he ime o ga he all he in o ma ion you need a he ou se , be hones abou whe e you a e. I he e a e in o ma ion gaps, i ’s eassu ing o know ha hey will be illed in la e . In o ma ion o co e : • Vision o he cos umes • Design choices and consequences • You in en ions o be inclusi e and he knowledge o you limi a ions • Wha you will p o ide and wha he pa icipan should ake ca e o • Measu emen s lis s (don’ gi e sizes) • How you will guide he pa icipan o ind he igh i • You plan o deal wi h non s anda d sizes • How and when he pa icipan should con ac you wi h ques ions When he pa icipan s s a con ac ing you, emembe hey a e no ying o us a e you. Answe as u h ully as you can abou you p ocess, you plans and how you will help hem. Upda e he in o ma ion on you websi e o e lec ques ions you ha e ecei ed. This will sa e you emails om o he s and help pa - icipan s who migh be oo emba assed o e en ask whe he hei size can be accommoda ed. / 70 PRACTICAL ASPECTS TO CONSIDER I a all possible you should o de samples o he sizes in ad ance o sani y check he p o ide ’s size cha s and whe he he ma e ials and quali y li e up o wha is p omised. You don’ wan o spend he nigh s in he week be o e he la p ea - aching bu ons. This will also gi e you a sense o whe he he p o ide is eliable and easy o communica e wi h. Once you ha e he cos ume samples, you can also use hem o p omo ional pho os o you la p. When i comes o s anda d sizing you migh encoun e hese issues: • Male i is ixed on wo poin s (ches , hip). Common issues wi h he i in men’s sizes include leng h o a ms, o so and legs, size o neck, shoul- de s and s omach. • Female i is ixed o h ee poin (ches , wais , hip) esul ing in mo e a ia- ions. In addi ion o all o hose men ioned o male sizes you migh encoun e issues ega ding a ios be ween ches , wais and hip. Some women migh also be p egnan , adding o he wais measu emen . • Unisex i is usually almos i no comple ely like male i , wi h o in- s ance wide shoulde s. A body wi h wide hips and a na ow wais (many emale bodies) will no i in ypical male/unisex pan s e en i he wais measu emen is co ec . • Will I look di e en : E en i you p omise o ca e o all sizes, pa icipan s ou side he S-M-L scale can wo y ha hei cos umes will look di e en han hose wi hin. And indeed his ends o happen i you ha e o buy hei cos umes in a di e en place: hose ga men s migh be in o he sha- des and ha e o he de ails. T ea his wo y wi h espec . Conside whe he i is possible o add some isual a ia ion o he s anda d sizes o make he ou lie s less appa en . MEASUREMENTS LISTS A size may di e in measu emen s depending on wha b and, gende , coun y and ga men ype i e e s o. You can o ins ance expec a F ench size o be wo sizes smalle han he Ge man size o he same le e . Fo his eason alone, ge ing a sizing cha based on measu emen s is i al. The e a e wo ypes o measu emen cha s. The wo ypes a e body (measu e- men s aken on he body) and ga men (measu emen s o he inished ga men ). Be igilan o no e wha ype o cha you a e looking a when doing esea ch. The i s is mos common and will be easies o unde s and. I you a e buying clo hes online, ind a b and ha has a wide se o sizes and ca e s o bo h male and emale i . P o ide you pa icipan s wi h he measu e- / 71 men cha s di ec ly. Make su e he sizes a ailable ange om hin o a and sho o all. Can you help he pa i- cipan s wi h adjus men s on loca ion o ca e o heigh and i di e ences? Tell hem so in ad ance. When asking he pa - icipan s o measu e hem- sel es you need o be e y speci ic abou HOW and WHERE. Should hey mea- su e on op o hei clo hes o unde wea ? On he ba e skin? Show he speci ic pla- ces o measu e wi h bo h pic u es, no jus wo ds. Mos people will o examp- le place he wais no a na- u al wais , bu much lowe . Is i possible o make (o ind online) a sho ideo u o ial on measu ing he body? Can you use a di e - si y o body ypes o you ”how o” measu emen pho os? I pa icipan s a e be ween sizes you need o help hem choose. I bus size is one size and wais ano he , ask hem o pick he la ge size. ORDER ONLINE When o de ing clo hing o pa icipan s online make su e you know he deli e y imes and add a ew weeks as a bu e . Whe e does i ship om? Can i be s uck in cus oms? Will he e be ex a su p ise VAT i o de ed om ab oad? Is i wo h paying o exp ess deli e y? I some hing is delayed o w ong: con ac he suppli- e and ell hem o ix i o ask o economic compensa ion. Don’ be shy abou making demands when you place a la ge o de . COSTUME DESIGN PROCESS S a Launch Sign Up Pa icipan s A i e La p S a s La p Ends Decide on cos umes. Decide on how you cos umes will in luence pa icipan s p ac ically and emo- ionally. Resea ch op ions & measu emen lis s Resea ch local possibili ies O de sample clo hing in ad ance Make plan o he p ocess P oduce isual measu ing guide P epa e pa icipan eedback o m P esen he cos uming ision o he pa icipan s Communica e and answe ques ions Ask o pa icipan s’ measu emen s Help pa icipan s o decide on sizes O de clo hing Rese e bu e ime o deli e y Plan B, C & D Las minu e shopping Adjus men s on si e Eme gency adjus men s du ing un ime Re u n le o e ga men s o money back Collec pa icipan s’ eedback / 72 PLAN B (AND C, AND D) Things will go w ong. P epa e. Pa icipan s may ha e gi en you w ong sizing, o misjudged measu emen s, o mon hs ha e passed and hei size has changed. Do you ha e enough clo hes o be able o swi ch sizes a ound? A good ule is o o de 5-10 % ex a ga men s o each size. Tha way you ha e space o adjus men s. I is be e o p o ide pa icipan s wi h sligh ly oo la ge clo hes han oo small, so conside whe he you should o de sligh ly mo e in he la ge sizes. Ex a unused clo hes can some imes be e u ned a e he la p and gi e money back. Make space in you budge o panic shopping a he las minu e and esea ch he a ea a ound he la p loca ion o sui able shops so you know whe e o go o supplies and addi ions. Will you ha e he possibili y o clo hing adjus men on si e? Conside b inging a sewing machine and/o se ge (and a esponsible pe son) o he si e o small adjus men s du ing he p e-la p ime. I you ealise all you plans a e ailing, ask you playe s o help. Pe haps hey a e willing and able o b ing backup i ems i you app oach hem wi h hu- mili y and espec . I you canno deli e wha you ha e p omised, o e hem a pa ial e und because hey a e helping you sol e a p oblem, o as a las eso a ull e und i hey’d a he no play. Remembe ha while you p oblem migh be wi h a pai o ouse s, hey migh ha e aken ou aca ion ime and paid o non- e undable ai a e. Be wo hy o ha us , and wo k oge he o ind a so- lu ion ha espec s hei in es men and does no hu hei eelings. / 73 / 80 since you don’ wan o o ge s u . You don’ wan o ha e assumed someone else will say some hing eally impo an only o ealise no one planned o i o emembe ed, and you do no wan o in e up each o he , because i looks un- p o essional. Rehea sing wha o say also allows you o ix hings like he o de o he in o ma ion o ind na u al ways o lead om one opic o exe cise in o ano he . I is no common o es a wo kshop o b ie ing on ac ual humans, bu i you a e communica ing some hing complex, i is a good idea. While you’ e b ie ing o unning a wo kshop you playe s will ge con used and wan o ask ques ions on e e y opic imaginable. This is no a ailu e on you pa , i is jus some hing ha happens. Decide be o ehand how o handle he ques ions. Can anyone ask ques ions a any ime? Will you ake ques ions a ce ain imes o a he end o he wo kshop only? Will you di ec all ques ions o speci ic eam membe s du ing he b eaks? I you pa icipan s all ha e access o he in e ne and cha ged de ices, you can di ec any wo kshop- ime ques ions o, o ins ance, a speci ic h ead on you la p’s Facebook page. (Remembe o schedule a ime o all pa icipan s o e iew he answe s, in case some hing e y impo an comes up). Mos ques ions pa icipan s ha e du ing he wo kshop will likely be answe- ed by wha you ha e planned o say la e du ing he wo kshop; o his eason le ing he playe s in e up a any ime is no ecommended. As you plan you b ie ing o wo kshop schedule, conside how he amoun o ques ions is connec- ed o you amoun o pa icipan s. Mo e people could mean mo e ques ions, bu also possibly a highe h eshold o asking ce ain ypes o ques ions. Conside whe he some in o ma ion could be handled in smalle g oups ins ead. T y o an icipa e you pa icipan s’ needs be o e hey become ques ions. A he beginning o you b ie ing o wo kshop, i no ea lie , you should ell hem how long will hey be wo kshopping, when hey will ge o ea , when hey should change in o hei la p clo hes, when will hey ha e ime o mo e hei ca s o mo e hei s u o hei ooms o en s, and when o ix hei hai and makeup. Imagine wha you would wan o know as a pa icipan . WORKSHOP PRACTICALITIES The nex chap e will discuss how o plan he con en o you wo kshop. Re- ga dless o ac i i ies, some hings a e gene ally ue o e e y pa icipan g oup. THEY WILL NEED TO EAT Unless he wo kshop is e y sho , aking b eaks o ood (o e en snacks!) is impo an . You pa icipan s’ b ains a e diges ing huge amoun s o in o ma ion, and hey will ge hung y. I you p o ide he ood o e e yone, an hou ’s b eak o ea migh be enough, unless you ha e a huge amoun o playe s, in which case hey will need longe . I you le you playe s ou o he play a ea o buy hei own ood, one and a hal hou s is he absolu e minimum o ime you can gi e hem, assuming he e a e mul iple es au an s and shops nea by. A single es au an / 81 ki chen can be comple ely o e whelmed by e en as ew as 15 cus ome s a i ing a he same ime. I you b eak is oo sho , some o you pa icipan s will no ha e been able o ea on ime and will be la e and c anky. I you ha e an in e na ional playe base, communica e de ails abou ood and schedule e y clea ly in ad ance ( his also applies o ood a he la p i - sel ). To Finns and Swedes, “lunch” is a ho meal; o Danes and No wegians i ’s sandwiches. Mos No he n Eu opeans canno unc ion on swee s o b eak as , and hink a 9pm dinne is hou s oo la e. Communica ing you local no ms in ad ance allows hem o ake ca e o hemsel es by b inging ex a snacks and so on. Some hings i makes mo e sense o you o sol e o hem. I you ha e pa icipan s om he No dic coun ies, you should plan o hem needing co ee e e y h ee o ou hou s ( his is no a joke!). THEY WILL NEED TO MOVE AROUND You pa icipan s no being able o ocus o mo e han abou 30 minu es jus s anding o si ing s ill and lis ening. The pa icipan s will also ha e e y di e en lea ning s yles and ways in which hey a e able o ake in in o ma ion. A hea y emphasis on lec u e s yle b ie ings isn’ ecommended, e en i i migh be emp- ing and eel like less wo k o you and you eam. Al e na e be ween ac i i ies. I you need o alk o a while, make su e he nex pa will le you pa icipan s use hei bodies, a leas a li le. This could be hings like doing s a us line exe cises, ying ou he igh ing mechanics, o aking a walk h ough you play a ea o show i o he playe s. THEY WILL NEED TO PEE O smoke. O ea a quick snack. I some o you ac i i ies a e loosely s uc u ed and playe s unde s and hey can mo e a ound when hey’ e done, you migh no need o schedule planned b eaks o his, bu hey will need a bio b eak a leas once e e y wo hou s. Plan o a leas en minu es i he e a e plen y o oile s and he smoking a ea is nea by. I he e a e ew oile s, a lo o pa icipan s, o a bi o a walk o he smoking a ea, he b eak needs o be longe . THEY WILL NEED TO SLEEP Pas hei no mal bed ime, mos people will no be able o ocus as well on wha you’ e saying o wha hey’ e doing. I people a el o you la p, many o hem will ha e go en up ea ly, and p obably s ayed up la e he p e ious e ening. You should no b ie o wo kshop la e han 10pm o so, and p obably no mo e han eigh ac i e and ocused hou s in a ull day. FURTHER READING: Simon James Pe i : “Wai ing Be o e he Beginning”, No dicla p.o g (26.2.2018) / 82 HOW TO DESIGN A WORKSHOP // Lizzie S a k The e exis s no oolp oo me hod o p ocedu e one can ollow o gene a e a la- wless wo kshop because a good wo kshop is ailo ed o bo h i s la p and he pa - icipan g oup o ha un. Mos designe s de elop a eel o wo kshop design in he same way hey de elop a eel o la p design – by ying, ailing, i e a ing, playing, and asking ellow designe s o help and ad ice. B oadly speaking, he o e a ching goal o a wo kshop is o p epa e pa - icipan s o he la p o , o pu i ano he way, o make he pa icipan s be e pa icipan s o you pa icula la p. In o de o achie e his goal, you ha e o hink h ough (a) wha skills and knowledge you la p equi es and (b) wha skills and knowledge you pa icipan s ha e. Then you design exe cises ha add ess he gap be ween (a) and (b). Fo example, i you la p p ominen ly ea u es ba- ske wea ing and you pa icipan s a e expe ienced la pe s wi h poo hand-eye coo dina ion, you will ha e o spend a la ge swa h o ime eaching hem how o wea e baske s. On he o he hand, i you a e unning you la p o a local baske wea ing guild who a e new o ole-playing, you won’ need o each hem o we- a e baske s. Bu you migh need o each hem how o use wea ing baske s as a mode o cha ac e exp ession, and you will de ini ely need o each hem how o small- alk in cha ac e , a skill mos new la pe s s uggle wi h. O cou se, mos g oups o la p pa icipan s a en’ uni o m. In his age o in e na ional a el, you pa icipan s will likely include some new la pe s, some expe ienced la pe s, and some la pe s who a e expe ienced bu s eeped in a com- ple ely di e en adi ion. This equi es you o design you wo kshop o se e al di e en audiences simul aneously. You can’ assume ha e e yone knows how o wea e baske s; you equally can’ assume e e yone knows how o alk in cha a- c e , so i ’s bes o p ac ice bo h. No ma e wha you’ e unning, i ’s wise o s a by co e ing he basics o how you wan he pa icipan s o la p. This helps ne ous new la pe s while also p o iding an oppo uni y o make you desi ed no ms o play explici o la pe s om o he adi ions, as well as anyone – local o o he wise – who s uggles o unde s and unspoken social no ms. These opening pi ches o he playe s o en include ips such as he ollowing: PART SECTION CHAPTER 2:2:2 / 83 • “Say ‘yes and’ o build he ic ion oge he ” • “You don’ ha e o be eloquen . When in doub , be ob ious. You ob- iousness is di e en om mine and he e o e i is inhe en ly in e e- s ing.” • “Some imes i ’s you momen in he spo ligh ; some imes i ’s you mo- men o e lec he ligh back on o o he pa icipan s.” Depending on you play adi ion, you opening pi ch on how o la p migh be di e en . Iden i ying he gap be ween he pa icipan s’ skills and wha skills he la p equi es akes p ac ice. I ’s also easie o iden i y gaps i you ma shall you com- muni y esou ces: ask you communi y o help as a esh se o eyes on you wo kshop con en . I you know someone who has un a game wi h simila de- sign o con en , each ou and see whe he hey a e willing o sha e hei expe i- ences. The aim o a wo kshop is o equip pa icipan s wi h he skills hey need o ha e a good expe ience in he la p, bu ha doesn’ mean you will ain hem equ- ally. Ra he , i ’s okay o ely on he d compe ence (p. TK). I mos o he g oup has he equi ed skill, hey can ca y hose who don’ o who lea n mo e slowly. You should aim o playabili y, no pe ec ion – you needn’ d ill he g oup in ba- ske wea ing un il hey can p oduce a p o essional p oduc – some hing aguely baske -shaped is likely se iceable enough o mos expe iences. La p g oups handle mixed le els o pa icipan compe ence di e en ly. Fo example, some US campaign bo e games simply sepa a e he new pa icipan s ou om he he d and gi e hem special “new pa icipan ” aining. The end in mul i-day one-sho s is o keep all pa ies oge he , since no one has special know- ledge o a b and-new expe ience, and wo kshopping e e yone oge he can help b eak up p e-exis ing social s uc u es. Upending p e-exis ing social s uc u es can bene i play o e e yone a he la p. I a clique o iends only alks o one ano he du ing he la p, hen he es o he pa icipan s migh eel excluded; by he same oken, he clique would miss ou on he unique ideas and expe iences o e ed by he es o he pa icipan base. WHAT A WORKSHOP DOES Designe s can use wo kshops o accomplish many use ul goals. Fo ins ance, a wo kshop may: • Ge pa icipan s com o able wi h one ano he • Gene a e alibi o pa icipan s o play and c ea e wi hou ea o being judged • Teach and p ac ice game mechanics o o he ools • Teach and p ac ice sa e y ules and calib a ion mechanics / 84 • Gene a e ic ion o ein o ce mood/ one • C ea e cha ac e s, ela ionships, o ac ions • Elabo a e on p e-w i en cha ac e s, ac ions, and ela ionships • Teach and p ac ice a skill needed in he la p • Communica e in o ma ion abou he la p, si e, e c. in a s aigh o wa d way Tha ’s a lis o goals ha di e s p e y widely. So do he means o accomplis- hing hem. Jus ge ing pa icipan s com o able wi h one ano he migh in ol e e e y hing om social iceb eake s, o name games, o sha ing pe sonal s o ies o e en hugging wo kshops. The lis o speci ic ac i i ies ha la p designe s ha e used in wo kshops would p oduce a nea in ini e sc oll. A good wo kshop does no usually accomplish all o he abo e goals. Ra he , designe s ha e o be ac ical abou which unc ions a e mos i al in p epa ing pa icipan s o his la p. Pe haps, in he pe ec wo ld, you’d be able o hone each and e e y pa icipan skill equi ed o you la p, bu in he ac ual wo ld you will un up agains wo majo cons ain s: ime and he limi s o human cogni- ion. The wo kshop – and hus he design o you la p – mus ake hese in o accoun . Le ’s ake ime i s . La p expe iences, om wo kshop o deb ie , ha e a speci ic du a ion. Maybe i ’s a i e-hou slo a a con en ion, o he imespan o you si e en al. Le ’s say ha you’ e ese ed he baske -wea ing ac o y o wo and a hal days. Teaching you pa icipan s complex baske wea ing equi es wo days, lea ing only a hal day o play. As a designe , you ha e o decide whe he ha is he bes a io. Pe haps you adjus he design o he la p o equi e only simple baske wea ing ha can be augh in hal a day o ex end he play ime. Due o ime limi s, you mus also p io i ise he in o ma ion he wo kshop con eys. Some in o ma ion is mo e impo an . Communica ing he hemes and play s yle o he la p is mo e i al han eaching pa icipan s o emembe he names o obscu e ading pos s in Middle Ea h, and you in o ma ional design should e lec ha . Top p io i y should go o any hing ha is di ec ly necessa y o he pa icipan s’ in e ac ion wi h he ic ion, o ins ance wha hei amily membe s look like. You can, o cou se, sa e ime by con eying in o ma ion in w i ing o pa i- cipan s be o e he e en begins. Whe he his wo ks will depend hea ily on you pa icipan s’ skill a eading and emembe ing w i en in o ma ion. Simila ly, he- e a e ha d limi s on how much pa icipan s can lea n and e ain on he day o you la p jus h ough lis ening. When you design you wo kshop, di ide he in o ma ion you’ e communi- ca ing in o “mus know,” “should know,” and “nice o know.” T y o igu e ou he minimum iable in o ma ion ha pa icipan s equi e o enjoy he la p. You should highligh and epea he mos impo an in o ma ion. Focus on i i s , when pa icipan minds a e esh, and emind hem o i e bally a he end o / 85 he wo kshop o jus be o e play begins. Remembe : you’ e designing a wo kshop o humans and humans ha e cog- ni i e limi s. You wo kshop is only as success ul as he skills and in o ma ion you pa icipan s e ain, so p io i ising wha you wan o con ey is i al. Likewise, i i ’s possible o shoeho n meaning ul in o ma ion in o he p ac ical exe cises, do i ! Pa icipan s ha p ac ice using in o ma ion in an embodied ashion o en e ain i be e , and doing so can help ca e o di e ing cogni i e capaci ies and lea ning s yles among pa icipan s. In any case, i he playe s a e only passi ely lis ening, i ’s no a wo kshop, bu a b ie ing. • G oups ha e an easie ime emembe ing s u hey did, a he han he s u hey hea d o ead. Plus, i ’s less wo k o you! • All wo kshops include some amoun o alking, bu y o b eak up speeches wi h ac i i ies o keep people awake and he in o ma ion snackable. • Include uns uc u ed b eaks, no jus o ob ious easons o human bio- logy, bu also so he pa icipan s can speak o each o he be o e he game. As No wegian designe T ine Lise Lindahl pu i , “make su e hey eel like ha is hei ime o do wha hey need o do o be able o play he la p in an hou , hal a day, o howe e long he e is le .” • S a wi h simple asks and escala e o mo e complex ones. Simple asks build pa icipan con idence and emo ional buy-in. Fo example, you migh like you pa icipan s o ge com o able wi h physical con- ac . Ha e hem do a low-s akes ask like shaking hands be o e asking hem o nego ia e a hugging mechanic. • Always look o oppo uni ies o make one exe cise do double o iple du y. I you wan pa icipan s o p ac ice a pa icula echnique, ha e hem do i as hei cha ac e s du ing a scene ha builds backs o y. The pa icipan s ge o p ac ice he echnique in si u, and you’ e building backs o y a he same ime. WORKSHOP CONSIDERED AS REHEARSAL Upon lea ning abou la p wo kshops, a p o esso o hea e once exclaimed, “Ah! You mean a ehea sal. You ehea se be o e he inal pe o mance”. In some sense, she’s igh . A wo kshop is a ehea sal, whe e he ac o s (pa icipan s) p ac- ice wha hey will do du ing he la p. Conside Nina Rune Essend op’s blackbox la p Uskyld (Denma k, 2014, Eng. Innocence), a non e bal expe ience o 15 pa icipan s abou naï e c ea u- es called clowns who a e wai ing o he ci cus o e u n. In his la p, he clowns communica e wi h clown noises, mo e je kily, wea ed noses, ie s ing o each o he o make ela ionships, ake pe iodic naps o lullaby music, sell aspec s o hei pe sonali y o a salesman, and ha e he oppo uni y o egain hose aspec s / 86 in u n. E e y expe ience o he la p – e en he pa icipan s’ expe ience o hei own body language – is di e en om ou o game li e; pa icipan s can’ assume any knowledge o he ic ional wo ld. The gap be ween pa icipan knowledge and wha he la p equi es is la ge. Essend op’s ehea sal-o ien ed wo kshop design is ingenious. Du ing he wo hou wo kshop, he pa icipan s p ac ice each elemen – many o hem wi h ligh ing and sound cues – oughly in he o de hey will encoun e hem in he la p. A e he wo kshop du ing one un, a pa icipan exclaimed, “I eel like I jus played he whole la p”. She el qui e p epa ed and deligh ed o play i now, o eal – he ehea sal had gi en he a o e as e o he eas o come. E en i you don’ ake i as a as Essend op, conside ing he wo kshop h ough he lens o ehea sal can help ocus on which ac ions and ac i i ies equi e p ac ice, and on me hods o deli e ing ha p ac ice ha mimic he eal- ime play condi ions. A WORD ON CO-CREATION Some la p unne s use wo kshop ime o help pa icipan s c ea e elemen s o he ic ion, including cha ac e s, ela ionships, cul u es, ac ions, and mo e. La p is, by i s na u e, a co-c ea i e a o m. Using wo kshops o co-c ea e la ge swa hs o ic ion has bene i s and d awbacks. Pa icipan s buy in o he la p because hey’ e pu c ea i e swea equi y in o i . I ’s also easie o emembe he h ee pe- ople a pa icipan has in e ac ed wi h du ing he wo kshop han i is o emembe a ew pages o p e-w i en ela ionships. On he lip side, co-c ea ion equi es ime, and o en in signi ican amoun s. La p designe s canno con ol co-c ea ion as igh ly as hey can, say, w i en ma e ials, and hey ha e o be com o able wi h ha . And co-c ea ion doesn’ necessa ily sa e designe s all ha much ime. E en i you a en’ w i ing, say, cha ac e s o cul u e, you s ill ha e o design he p ocess by which pa icipan s will a i e hose elemen s. Designing he p ocess o co-c ea ion is i al i you wan o a oid some com- mon pi alls. On an ou -o -game le el, designing co-c ea ion is designing social in e ac ions ha os e c ea i i y. Tha is complica ed! You should igu e ou how o ge people in o and ou o g oups quickly, and in such a way ha all pa ici- pan s eel included. O he wise, you isk some nas ie o ms o social Da winism, wi h olks who know each o he clumping oge he and lea ing newe olks ou . Likewise, i you design equi es la ge g oups o pa icipan s speaking o one ano he , you may wish o in oduce some con e sa ional mechanics o ensu e ha he p ocess emains one o co-c ea ion, and no o a single pe son domi- na ing he con e sa ion. I he pa icipan s will design h ough physicali y, pu some g ound ules o physical con ac on he able i s . On he le el o he ic ion, you mus design he blank spaces in which he pa icipan s will inse hei own ision – le ’s call hose “bucke s.” The la ge a bucke is, he mo e challenging i is o design – a blank page is ha de o ill han a sen ence wi h a ew key wo ds missing. Small speci ic bucke s a e easie o playe s o ill, and you also ha e mo e con ol o e hem. Tha con ol is impo - / 87 an , because pa icipan s ca y hei own cul u al na a i es wi h hem in o play. In en ing hings on he spo is ha d, and he easies way o ill a bucke is wi h low-hanging ui – s e eo ypes and common opes. This migh wo k o some la ps, bu i can easily go aw y, especially when dealing wi h ma e ial ela ed o ma ginalisa ion. I ’s e y easy o all he 1950s housewi es o end up as passi e damsels, o he gay men as ligh -in- he-loa e s s e eo ypes (o wo se!). Gi ing pa icipan s s uc u ed choices (“A e you a nuclea physicis , adical eminis , o sma woman apped in a dumb ma iage?”) can help hem each beyond and sub e he mos common na a i es. P o iding s uc u e is also impo an because hese pa icipan s ha e no ye played you la p. I will no be ob ious o hem wha kinds o s o ies will be meaning ully playable – especially i hey ha e no ye seen he play a ea – and hey may no ha e he design skills o spon aneously in en , o ins ance, cul u al adi ions ha esona e meaning ully wi h he heme o la p. You need o ell hem wha he me apho ical bucke s will be used o so hey can know wha s o y elemen s and social dynamics o ca y wi h hem in o he la p. You may also need a mechanism o limi he in oduc ion o ce ain ypes o con en , o o calib a e s o y du ing and a e co-c ea ion. You migh , o ins ance, decide ha inces o sexual iolence canno be in oduced in o cha- ac e backs o ies. Pe haps i will be dissonan wi h he la p’s hemes; pe haps such con en is likely o become he emo ional ocus o he cha ac e s’ jou neys, blocking he playe s om expe iencing o he kinds o s o ies, s o ies ha hey do no ye know he la p can o e . In addi ion, being acciden ally con on ed wi h such con en in a la p whe e i was no communica ed in ad ance migh be e y igge ing o o he pa icipan s. Fo all o hese easons, ca e ully design he ame you a e asking pa icipan s o co-c ea e wi hin. Remembe : i all you wan o do is make pa icipan s eel like hey ha e some skin in he game, e en a small amoun o choice o co-c ea ion can go a long way. A WORD ON REALTIME ADAPTATIONS Expe wo kshop designe s equen ly weak hei wo kshops on he ly. Many c ea e a de ailed bulle ed lis o ac i i ies, along wi h app oxima e imes o each one, bu can adjus o indi idual g oups o pa icipan s spon aneously. I his g oup al eady knows each o he eally well, maybe you can cu an in oduc o y game. I pa icipan s seem i ed, pe haps you mo e up he b eak a li le bi . I pa icipan s igu e ou how o c ea e in e - amily con lic mo e quickly han you an icipa ed, pe haps you cu an ac i i y and spend mo e ime on mo ing as you cha ac e . Calib a ing as you go is no mal, and i helps you ailo you wo kshop o his pa icula audience. FURTHER READING: Lizzie S a k: “How o Plan a basic P e-la p Wo kshop”, Lea ingmundania.com The Wo kshop Handbook h ps://wo kshophandbook.wo dp ess.com/ / 88 HOW TO RUN YOUR WORKSHOP // Ma kus Mon ola In o de o p omo e g ea play, you wo kshop has o be ocused and sa e. This equi es he people acili a ing he wo kshop o be ocused, elaxed, in con ol, and demons a ing good, sa e, and egali a ian communi y leade ship. • Ha e a solid plan, wi h backup plans o ine i able scheduling e o s. I o - ganise s ha e o nego ia e in on o he wo kshop audience, hey will ail o main ain ocus. Wo kshop ime is a e y sca ce and p ecious esou ce o a la p o ganise . • S a by ehea sing he ollowing echnique: when he wo kshop o ganise aises hei hand up all he way, e e yone needs look a hem, aise hei hand, and s op alking. I is much easie o main ain ocus i pa icipan s shu up o- lun a ily, compa ed o a si ua ion whe e he o ganise needs o aise hei oice o p oceed wi h he wo kshop. • Running a wo kshop is a pe o mance, and in all pe o mances you should mus e all he cha isma you can. Many la p eams in i e a pe son speci ically o un hei wo kshops o ensu e ideal esul s. This is pa icula ly use ul i co e eam membe s a e likely o be busy wi h las minu e p oduc ion asks as he la p is beginning. (I you a e no e y expe ienced, you should p obably expec his o be he case). • P io i ise he needs o he wo kshop o e he needs o an indi idual. I you ha e unhappy o con used indi iduals in you wo kshop, make su e hey unde - s and ha you will a end o hei needs a e he wo kshop. I you can, assign a pe son o be p esen in he oom o a end o hei needs as he o e all wo kshop p og esses. • Wo kshops a e o en mo e uncom o able han he la p i sel . Make su e you acknowledge his o he pa icipan s: “In his wo kshop we a e doing less com- o able hings now in o de o eel com o able when we la p.” You can li e ally say “I his eels awkwa d, you a e doing i igh .” • Make su e all you pa icipan s unde s and ha hey can op ou o any exe - cise wi hou needing o jus i y he decision. Playe com o is mo e impo an o you la p han any indi idual wo kshop exe cise. PART 3 / 96 gangs, and inside he gangs, he e was a con lic be ween he mo e agg essi e cha ac e s and hose who wan ed peace. Mo eo e , some cha ac e s expe ienced in e nal con lic when hey had o decide whe he o lee dishonou ably o isk hei li es in he igh . The Mesopo amia la p Jo a ah a ei so aisi heikkoa had many cha ac e -based design elemen s. An adop ed son wan ed o ind a clay able whe e his deceased a he had decla ed him his hei (goal). He was in lo e wi h a sla e and had a plan o buy he eedom and ma y he once he would ge he inhe i ance. Mo eo e , one o he judges wan ed o in es iga e his cases in g ea e de ail han was usual in ancien Mesopo amia (mo i a ion). The la p also had sc ip ed e en s and a es. Fo example, one cha ac e was sc ip ed o accuse his wi e o adul e y; she was sc ip ed o con ess; and he jud- ges we e ins uc ed no o pa don he . The adul e ous wi e and he lo e we e sen enced o dea h. A e he las cou hea ing, he e was a sc ip ed scene whe e hey we e d owned in he i e . You can e en include pas e en s in he schedule. A e he s uden dies in Hala hisa , he un ime gamemas e akes he iends o he blackbox o play lashback scenes. A la p does no ha e o p oceed in ch onological o de . Deli ium (Denma k, 2010) was se in a men al ins i u ion. The idea was o make he playe s expe ience aspec s o wha insani y migh eel like, ins ead o asking hem o p e end o be insane. Since he cha ac e s had disjoin ed pe cep- ions o ime, he la p was played ach onologically. Fo example, he pa ien s migh ha e dinne a e ha ing slep , he same dinne again a he nex meal and b eak as a nigh ; o hey had o clean up he mess a e he psychologis ’s bi h- day pa y be o e he pa y had been played. To keep hings on ack, he playe s we e old he e y b oades s okes o he la p’s plo in ad ance (bu no wha would happen a he scene le el), and he un ime eam ollowed a p oduc ion imeline scheduled in 15 minu e inc emen s o ensu e he igh p ops, NPCs, ood and mess we e in he igh space a he igh ime. FOCUS A key unc ion o s uc u e is o a oid aimlessness and bo edom by b inging ocus. People end o ha e a sense o pu pose i hey ha e a clea plan o goal and he means o mo e o wa d (“I wan o ind he clay able and ge my sha e o he inhe i ance”) o i hey a e ac ing wi hin a ime ame (“The e is abou an hou be o e he d ag show s a s”). A ule o humb is ha he less goals and con lic s he cha ac e s ha e, he mo e he la p needs a schedule. In KoiKoi (No way, 2014), playe s spen i e days a a hun e -ga he e es i al. The cha ac e ex s consis ed o no hing bu a couple o a ibu es (e.g. “good a d umming”, “acciden ally sca es he animals away when hun ing”), and no / 97 con lic s we e buil in o he se ing. The ocus was on he communi y, no he in- di idual. I he la p had no been ca e ully s uc u ed wi h i uals, playe s would p obably ha e go bo ed. Howe e , a ious i es o passage paced he play and made o in e es ing con en . Ha ing a ulle schedule and/o mo e sc ip ed e en s gi es he designe mo e con ol o e he la p and makes i easie o manage. Howe e , i you base he design oo hea ily on sc ip ed e en s, he e is a dange ha he la p will eel like a olle coas e ide whe e playe s ha e no say in wha will happen. Mos peo- ple ind i mo e in e es ing o play a la p whe e hei ac ions and choices ha e consequences. Sc ip ed e en s a e no he only ool o con ol a la p. In ac , i is easie o a ec he playe s and hei mood du ing a b eak. Many la ps ha e calib a ion b eaks o discuss whe he play is going o a di ec ion ha playe s and/o gamemas e s ind meaning ul. In la ps wi h an ac s uc u e, he e is o en a b eak be ween ac s. I makes sense especially in la ps wi h signi ican ime jumps be ween he ac s. Whe he you base you design on sc ip ed e en s o playe ac ions, you need o balance be ween ha ing oo li le and oo much con en . You do no wan he playe s o ge bo ed, bu i hey ha e oo many hings o do, he e migh no be enough oom o exp ess he cha ac e ’s pe sonali y h ough play on hei ela- ionships, pe sonal business o eme gen s o ies. Es ima ing he igh amoun o ac i i ies can be di icul , and you will de elop a “ eeling” o i wi h expe ience. I is also la gely a ma e o as e. Some playe s wan o ha e clea goals and packed schedules, o he s p e e a mo e elaxed la p whe e hey can c ea e con en o hemsel es – and luckily di e en cha ac e s can ha e a ying paces. Whe e you la p will lie on his con inuum is a design choice, which you ha e o communica e o you po en ial playe s. / 98 TRANSPARENCY IN LARP // E an To ne In o ma ion dis ibu ion bo h abou a la p and in a la p a e c i ical design consi- de a ions. As a designe , you mus conside wha playe s know, wha cha ac e s “know,” and how ha knowledge il e s in o he la p. To complica e ma e s, cha ac e knowledge does no ma ch playe knowledge. Some imes a playe will know mo e han a cha ac e , bu will p e end o no know ha in o ma ion. O he imes, a cha ac e will know mo e han a playe , and he la e mus be b ough up o speed wi h he o me . In hei Mixing Desk o La p model, Ma - in And esen and Ma in Nielsen dedica e an en i e ade o “Openness.” This jux aposes anspa ency – o making known as much in o ma ion abou he expe- ience, he cha ac e s, and he wo ld as possible – wi h sec ecy, o he concealmen o said in o ma ion. The e is much con en ion o e he ole o e ealing and concealing playe and cha ac e in o ma ion in la p design. Hidden in o ma ion, acco ding o G eg Cos ikyan, ” os e s a desi e o explo a ion … and expe imen a ion” in games. Ye o e a decade ago, he c ea o s o jeep o m and o he s ejec ed he p e alen la p design p ac ice o dispe sing sec e s among he ga he ed playe s. Jeep o m designe Tobias W igs ad’s ecommenda ion was as ollows: ”S a ou wi h he game being comple ely anspa en , and only hide hings i you hink i will be an imp o emen .” Bo h anspa ency and sec ecy, w i e he au ho s o he Mixing Desk pape , “ equi e us . T anspa ency equi es ha he la p designe s us he playe s o no abuse he powe gi en o hem o e he o e all design. … Sec ecy equi es ha he playe s us he la p designe s’ judgmen ha hey do no do any hing oo d as ic o ill i ing by su p ise.” A PRIMER ON TRANSPARENCY AND SECRETS Mos la ps a e mul i-laye ed da abases o in e laced con en , hick wi h p esump- ions o playe knowledge. How much diege ic and non-diege ic in o ma ion should you make known, and a wha imes? Choosing which in o ma ion o gi e o playe s and which o lea e ou a ec s no only he basic design bu he e y gen e o he la p. You mys e y la p con ains many sec e s and equi es playe s o spend ime ac -ga he ing and co obo a ing basic de ails abou e e yone; i will likely mean playe s will ha e e y li le diege ic in o ma ion a he s a o he PART SECTION CHAPTER 3:1:2 / 99 la p. You collabo a i e sandbox la p, on he con a y, may emphasise eme gen plo lines a he han p e-planned ails o clues, and you will likely y o gi e ou as much in o ma ion o he playe s as possible so hey can ac immedia ely on wha hey al eady know and s ee owa ds he esul s and challenges hey wan o expe ience. Limi ing playe in o ma ion le s playe s ge in o a la p quickly and e ec i ely, bu sec e s also es ic wha a playe can expec o accomplish. Some sec e s a e ne e e ealed in a la p. I a sa is ying esolu ion o he plo o he la p equi es all sec e s o ha e en e ed play, you will need o design mul iple ways o playe s o ind and e eal hem, since playe s will ne e do exac ly wha you, he desig- ne , expec s. G an ing playe s open access o in o ma ion gi es hem con ol o e how ha in o ma ion a ec s hei cha ac e s’ a cs – bu la ge amoun s o da a can also be o e whelming o bo ing, making i en i ely unp edic able which in o ma ion will ac ually en e play. La ps ha ha e li le cha ac e , plo , and ules in o ma ion p esen ed up on a e, due o he ligh cogni i e load, o en accessible o beginning playe s. On he o he hand, hey un he isk o sp inging expe iences on playe s o which hey a e no p epa ed. Playe s may be con on ed wi h hemes o which hey ha e no consen ed, o no ha e enough cues o play he la p acco ding o designe expec- a ion. In his model, e e an playe s equen ly eso o hei cul u ally es ablis- hed ways o dealing wi h in o ma ion sca ci y, and he he d compe ence ends o ca y no ice playe s along. Fo example, i you gi e playe s hei cha ac e s and s ick hem in a oom ull o objec s wi h li le o e sigh , playe s will ollow he e e ans who begin sea ching h ough d awe s, aking down pain ings, e c. To ensu e a sa is ying na a i e a c o all playe s, you will need o ensu e ha he p og ession o play and un ime e en s a e paced o e eal in o ma ion a a s eady a e. I inding ou in o ma ion is a he hea o he la p expe ience, you will also need o make su e all cha ac e g oups a e able o engage wi h his p ocess. La ps ha ha e a lo o in o ma ion p esen ed, in s a ic ma e ials on he websi e and dynamic ma e ials in he wo kshops, can be o e whelming unless he playe s a e gi en ools o so his in o ma ion – p io i ising based on hei unde s anding o how he in o ma ion will be used in play. I may help you o hink o i as wo b oad ca ego ies: 1. diege ic knowledge ha he cha ac e s would know bu he playe s migh no ha e he bandwid h o (e.g., all o he ing edien s and p epa a ions o you he balis ’s healing emedy; he ancien and deadly Se en Ho o s swo d echnique ha only you wa io knows, e c.) 2. me a-le el knowledge ha playe s would wan o need o know, bu he cha ac e s would no (e.g., a da k sec e held dea ly by ano he cha ac e ; he ime un il an ac b eak occu s, e c.) / 100 You la p design implici ly di ec s playe s owa d a ious o ms o hese wo kinds o in o ma ion. Being o ally anspa en and gi ing playe s e e y bi o in o ma ion possible means ha he designe expec s p o-ac i e playe s o gene a e in e es ing s o yli- nes, elying on he pa icipan s’ sense o me a-le el knowledge o make su e ha wha he playe knows enhances wha he cha ac e knows, bu does no comp o- mise i . Keep in mind ha making all in o ma ion a ailable does no necessa ily mean playe s will be less con used; some imes ha ing oo much o e all know- ledge abou he la p and he s o ywo ld may p omp e en e e an playe s o ask you eam e en mo e ques ions, as e e y line o he la p is po en ially impo an bu can also be subjec o ambigui y and in e p e a ion. In low- anspa ency la ps, playe s some imes end up eac ing, mo e han ac- ing; a “su p ise and shock” design p omo es his eeling. High- anspa ency la ps p esume p o-ac i e playe s, and also make i possible o s ee owa ds a g ea e ange o emo ions, assuming playe s know how o use hei me a-le el knowledge o d i e hei in-cha ac e expe iences. Bu i a playe al eady knows wha is coming up ahead, hei na a i e expec a ions can g ea ly diminish. In he able op ole-playing communi y, his is called he Czege P inciple: “C ea ing you own ad e si y and i s esolu ion is bo ing.” Subdi iding be ween anspa ency o expec a ions and anspa ency o in o ma ion is use ul in a leas calib a ing one’s la p design wi h espec o playe cul u e. TRANSPARENCY OF EXPECTATIONS T anspa ency o expec a ions abou a la p is clea aming o wha can and canno be in oduced in o play. I is he ho izon o expec a ions o a la p, leaning hea ily on e e yone’s collec i e knowledge o a speci ic gen e. S uc u ing his well will equi e a ce ain me a-le el e lec ion abou he ange o ac i i ies one can expec wi hin a la p [See Li and Towse ! –Eds], as well as he kind o hidden in o ma ion ha migh be expec ed as well. Playe s will be able o pe o m well in you la p i hey eel sa e and unde s and whe e he la p is heading, which o en elies on sha ed unde s andings o a gi en gen e. Fan asy la ps will o en con ain some so o opposing supe na u al h ea ha is de ea able. I i is no de ea able, hen he la p is, in ac , likely a ho o la p. I playe s know in ad ance ha he h ea is no de ea able, hey can choose s o ylines ha g apple wi h dea h and a e. I hey do no know, hey will likely op o s o ylines a ound he oism o ambi ion, and may be disappoin ed ha hei cha ac e ’s plans could no pan ou . Science- ic ion la ps se on a “ on ie ” plane likely in ol e explo a ion and en i onmen al s o y elling, o in e ing plo om sugges i e bi s o scene y, p ops, and/o ligh ing. Science- ic ion la ps se in a dys opian ci y a e mo e likely o in ol e poli ical in igue o social jus ice ques ions. Cha ac e s on he “ on- / 101 ie ” plane will seek sec e s in he spaces a ound hem; cha ac e s in he dys o- pian ci y om he ci y’s o he denizens a ound hem. I he o me g oup ound a oom caked in blood, hey would in e iolence caused by a plane a y inhabi an ha may do hem u he ha m. I he la e g oup ound he same oom, hey would in e iolence caused by some powe ul lone ac o o g oup, and would ask a ound o see who knows mo e. Pe iod his o ical d amas p omise social ela ions ha esemble ep esen a- ions o he ime pe iod ha playe s a e accus omed o consuming. Playe s will expec he e ela ion o sec e s and plo lines akin o he no els and d amas se in he pe iod wi h which hey a e amilia . I you include a cybo g alien among he possible cha ac e s, he la p’s gen e dissol es. O cou se designe s can and do expe imen wi h his ho izon o expec a ions ega ding gen e, bu only hanks o hei playe s’ gene osi y and pa ience. Playe s na u ally wan o play he la p well, and andom cybo g aliens migh e y well upend hei e o s. T anspa ency o expec a ion modula es anspa ency o in o ma ion. The en i e in- o ma ion economy o a la p depends on hi ing he basics o he gen e and he playe s’ unde s andings he eo . Clea ly delinea ing wha he la p will and won’ be means ha playe s can al eady begin o imagine he cha ac e a cs hey migh expe ience, and hus he ic ion hey’ll be collabo a i ely elling. TRANSPARENCY OF INFORMATION T anspa ency o in o ma ion in a la p is he le el o which ac ual diege ic plo and cha ac e in o ma ion is a ailable o playe s. I is he “ ac s” o he scena io, p e e ably w i en somewhe e in ma e ials ha e en ually each ce ain playe s. S uc u ing his well means con on ing he p edic ed eme gence o a la p: wha sec e s will come ou in which o de ? Which ac s will d ama ically al e he cha- ac e expe iences o o he playe s? The so-called Sec e s & Powe s s yle o la p has made an a o m ou o his, wi h Na Budin a guing ha “sec e s a e ypi- cally he coin o he ealm in such a la p. Mos cha ac e s’ goals a e un-achie able wi hou in o ma ion he cha ac e does no s a he la p knowing, so wo king wi hin he in o ma ion economy o ade sec e s is a majo pa o [such la ps.]” When one c ea es any diege ic sec e ha a speci ic playe o gamemas e mus conceal, one is c ea ing a kind o cu ency. A sec e has alue i (A) he la p is s ill in session and (B) hose who would be mos damaged by i s e ela ion (including he playe hemsel es) ha e no ye hea d abou i and/o ha e no ye el he consequences o i being eleased. A i ma ional sec e s, such as he ac ha a cha ac e has a ich uncle who le hem a o une, e c., a e possible bu a e. Nega i e sec e s, such as he ac a cha ac e has had an a ai wi h he w ong nymph, e c., a e much mo e common. You con ol anspa ency o in o ma ion by di iding be ween playe know- ledge (ex a-diege ic o me a-le el knowledge) and cha ac e knowledge (diege- / 102 ic knowledge). Then he whole expe ience o he la p om beginning o end should be conside ed wi h espec o a ying le els o playe in o ma ion. Ide- ally, a playe will ecei e only he necessa y in o ma ion hey need o eel agency o e he la p, bu will eel by he end like hey’ e lea ned new diege ic ac s and ha e wa ched hei cha ac e ’s a c shi in a ious hema ically app op ia e, ye unexpec ed ways. One e ec i e model o designing o sec e s in a la p is o c ea e a h ee-lay- e ed diegesis. The i s laye is he knowledge ha he playe s ecei e abou hei cha ac e and he o he cha ac e s and/o wo ld a he beginning o he la p. The second laye is he knowledge ha he playe s will unco e o e he cou se o he la p, some o i con using and/o misleading. The inal laye is he “ ue” s o y unde lying all o ha in o ma ion, pu in as simple e ms as possible. This ipa i e s uc u e allows la pw igh s o es ablish ce ain “ u hs” o playe - cha ac e s a he s a o a la p, complica e ha pic u e o e he cou se o he la p, and ne e heless lead hem o a comp ehensible plo line hey can ake wi h hem a he end o he la p. Lea ing ce ain laye s open allows playe s o ha e inc eased agency o e s o y con en and de ia e om an o e a ching designe concep ion o he la p. On he o he hand, he designe keeping ini ial knowledge ague will lead he playe s o be cau ious abou hei decisions. Cau ion and agueness mean ha he playe s may o may no e e a i e a he inal laye , he hidden “ ue” s o y o a la p. I he la p expe ience is cen ed on engaging wi h you imposed plo - lines, his is un o una e. Bu i he hea o he expec ed play in ol es engaging mo e wi h hema ic ques ions posed by he la p – such as “A e you passions o you li e mo e impo an ?” o “How a e you esponsible o all o he e il o he wo ld?” – i could be a good hing. Tha said, o misin o ma ion o con usion o be playable and enjoyable, playe s like o know ha some diege ic way exis ed o he cha ac e s o ind ou wha was eal – whe he hey ha e chosen o pu sue hose answe s o no . Mos impo an ly, you need o know wha is ue, e en when you choose no o gi e he playe s ha in o ma ion. [Mo e on his unde “Me aphysics” in B ind. –Eds] PUT IT ALL TOGETHER I one conside s anspa ency o expec a ion and anspa ency o in o ma ion as wo poles o a g aph, hen one migh ind some hing like his: A la p high on bo h anspa ency o expec a ion and in o ma ion is “collabo a i e eme gence”. Playe s ha e almos absolu e knowledge o e he plo line o he game and he o he cha ac e s, which means ha hey can s ee hei play and s o y qui e consciously om e y ea ly in he la p. “Su p ises” in eme gen play come p ima ily om he collision o each o hese playe s’ consciously s ee ed la ps. You se cha ac e s on hei consciously chosen ajec o ies, and us / 103 ha he playe s will su p ise hemsel es wi h wha hey come up wi h. I you a e designing o con lic , you will be se ing mul iple cha ac e s and g oups on pa hs in which one o mo e pa ies will no each hei goals. This means designing o ways o playe s o g ace ully play o lose and o be encou aged o s ee owa d he nega i e (bu na a i ely and emo ionally in e es ing) consequences o ce - ain in o ma ion coming o ligh o ce ain e en s coming o pass. Na a i e a cs come om he collision o cha ac e s’ goals wi h he di icul ies and consequen- ces ha come wi h hose goals. A la p low on anspa ency o in o ma ion bu high on anspa ency o expec a ion is conside ed in he Ame ican con ex S anda d Sec e s & Powe s o Thea e-S yle. Bu- din desc ibes his in his a icle “Decoding he De aul ” as p io i ising “cha ac e goals and in e -cha ac e ela ionships” wi hou gi ing oo much away on ei he on , so as o gi e he playe s some hing o disco e o e he cou se o he la p. This is p obably he mos common o m o la p design a ound he wo ld. You clea ly b oadcas he kind o la p you will o e , bu you also do no gi e away all o he plo and cha ac e in o ma ion in ad ance. The designe e ains he igh es con ol o e he playe s’ agency and wha migh come ou o he play session. Ne e heless, he playe s also know he kind o s o y a cs hey can expe- c om he gen e, and will likely play wi h all o he wis s as hey come. A la p low on anspa ency o expec a ion bu high on anspa ency o in o ma ion equa es wi h basic imp o hea e : silly, in- he-momen , and su eal. In his case, he playe s would ha e a lo o in o ma ion abou he plo and cha ac e s, bu li le abou wha o expec o he expe ience. The mos p ominen mani es a ion o his o m o anspa ency is Ma hijs Hol e and Emily Ca e Boss’ Play Wi h In en amewo k, a me a-le el design oolki ha conceals li le while also no being en i ely clea as o whe e he expe ience is likely o head. Imp o is usually he ou come o such design. A la p low on anspa ency o expec a ion and in o ma ion is a Gen e Plo Twis la p, o one in which no only cha ac e u hs bu also playe expec a ions will likely be upended du ing play. These a e he la ps ha s a o as ilms noi s bu a e ac ually se on a spaceship (see he ilm Da k Ci y), he summe ou is la p ha is ac ually High S anda d Sec e s & Powe s o Thea e-S yle ( anspa ency o expec a ion) Collabo a i e Eme gence Low ( anspa ency o in o ma ion) Gen e Plo Twis Low High ( anspa ency o in o ma ion) Expe imen al Su ealism ( anspa ency o expec a ion) / 104 abou occul possession, o he ampi e poli icking la p ha is ac ually abou la e 19 h-Cen u y oop placemen . Playe s no only ha e li le in o ma ion abou o he cha ac e s o he plo line, bu also in o ma ion as e ealed will comple ely change hei play expe ience and wha hey can u he expec om he es o he la p. Failing o design a compe en gen e swi ch can c ea e majo b eaches o us . You mus ead ligh ly wi h his o m o anspa ency. [See Ebbehøj & F iis Hansen o how his can ail. –Eds.] FINAL THOUGHTS P e-w i en o playe -gene a ed sec e s a e a wonde ul way o encou age playe s o engage wi h he in o ma ion economy o a la p – he who-knows-wha -abou - whom-a -which- imes. Many la pw igh s conside his he mos undamen al pa o a gi en la p’s design. Indeed, e en ideo game designe s equen ly in e p e he wo d “design” o mean hiding a ious hings a a ious in e als. Conside ins ead why ce ain in o ma ion is wi hheld. I anspa ency o in- o ma ion is no dominan , hen how much do playe s know? I anspa ency o expec a ion is no dominan , hen how can playe s s ee hei play co ec ly? Wha happens o he low o any gi en la p i a sec e comes ou oo ea ly, o ne e comes ou a all? All o hese basics mus be conside ed. As o he ime o his w i ing, many No dic la ps such as Inside Hamle (Den- ma k, 2015) o Jus a Li le Lo in’ (No way, 2011) gi e he playe s he choice o eading all o he cha ac e desc ip ions, bu ew playe s ead mo e han hei own and hose o hei closes con ac s. College o Wiza d y (Poland, 2014) o De- me e (Ge many, 2015) by con as conceal much o he o e all playe -cha ac e in o ma ion so ha pa icipan s – beginning and expe ienced – can be deligh - ully su p ised by he asymme ical e ela ion o a ious bi s o in o ma ion h oughou he la p. I is assumed ha no one will e e know he “ ull s o y” o wha happened in hose la ps, and expec a ions a e se a ound ha . No uni ied design philosophy a ound anspa ency o in o ma ion is o be ound, because he design philosophy a ound anspa ency o expec a ions in he No dic la p communi y is so absolu e. No dic la p design mus be in en ional, explici , insigh ul, and a li le ambi ious. You mus b oadcas his e hos in playe - acing ma e ials, om websi es o logis ics b ie ings o cha ac e shee s. No b oadca- s ing i isks no elici ing he bes play om you playe s, o e en d i ing some away. Designing la ps well means ha nessing he powe o he sec e , on he one hand, while being wa y o wha beha io s i migh c ea e. Jus gi ing away in o - ma ion o you playe s, on he o he hand, can ha ness o he unexpec ed o ces. Su p ise you sel . / 105 FURTHER READING Emily Ca e Boss and Ma hijs Hol e . “Play wi h In en .” (2015) Na Budin: “Decoding he De aul : Sec e s and Powe s La p.” Bowman (ed): 2015 Wy d ConCompanion Book. (2015) G eg Cos ikyan: Unce ain y in Games (2013). Jaakko S en os, Ma in And esen, and Ma in Nielsen: “The Mixing Desk o La p: His o y and Cu en S a e o a Design Theo y” in Analog Game S udies III (2016) To ne , E an. ”T anspa ency and Sa e y in Role-Playing Games.” in Bowman & Vanek (eds): Wy dCon Companion Book 2013 (2013) Tobias W igs ad: “The Nu s and Bol s o Jeep o m” in Mon ola & S en os (eds): Playg ound Wo lds (2008) / 112 WORLDBUILDING In Nina Essend op’s No Island Is an Island (Denma k, 2017), he s o ywo ld only exis s inside he heads o he indi idual playe s. They c ea e soundscapes o- ge he and hen explo e hem – blind olded – using ouch and hea ing only. A no poin do hey discuss o ag ee on a single in e p e a ion o he s o ywo ld. The playe s know he cha ac e s a e a pa o a ibe a elling o di e en is- lands, and hey know ha being alone and ou o physical con ac wi h o he s is igh ening: e e y hing else in he s o y is hei indi idual eali y. This is enough o build a sha ed space in which s o ies can un old. Mos la ps p o ide much mo e de ail. A ich and complex his o y can add a g ea deal o a campaign se ing, and some playe s seem o lo e o ead and assimila e as swa hes o in o ma ion. Howe e , i should be p esen ed like a py amid. Only he opmos laye o in o ma ion should be equi ed o he s o- ywo ld o be unde s ood; o he wise you isk p i ileging playe s who a e able and willing o assimila e he de ails, and by ex ension making you la p less accessible o hose who canno . A py amid app oach means p o iding he necessa y de ail i s , a he op o he py amid. Playe s can s op eading a any poin , and s ill ha e he in o ma ion hey need o play he la p. Those who wan he ex a le els o de ail can hen con inue eading. Fo example in Tenemen 67 (UK, 2017, ongoing), designe Rob Williams adop ed a “ske ch-based-design” app oach, wi h he desc ip ions o he wo ld eleased ia a se ial o e y sho ic ional snippe s. This app oach means ha playe s do no ha e o emembe all he de ails o a wo ld, bu a e in oduced o he shape o i in manageable chunks and can ex apola e he es . The e is jus enough backs o y o he wo ld o be de ined, and he esul is an immedia ely accessible ic ion in which o play. Wi h any o hese app oaches, you need o ensu e ha he kinds o imp o i- sa ions playe s a e likely o need do no c ea e incohe ence o i esol able diege- ic con lic s. You will need a high esolu ion o de ail in he a eas whe e cha ac- e s will be pe o ming ac ions ha ha e consequences o o he cha ac e s. In a non- e bal la p, playe s canno es ablish de ailed and con lic ing his o ies, and i does no ma e in play ha hei akes on he wo ld a e di e en . In a la p abou poli ical s a egy, i is help ul i e e yone b oadly ag ees on how he economy o he na ion is s uc u ed. BACKSTORY Backs o y b idges he gap be ween he s o ywo ld and he cha ac e s in i . Fo many la ps i akes he o m o pieces o sha ed his o y ha help he playe un- de s and hei cha ac e ’s s a ing si ua ion and di ec ion in he la p. I can also be used as a means o seeding plo e en s. In a no el, backs o y ends o be o he pu pose o exposi ion, o because he au ho wishes o do in e es ing hings wi h / 113 ime. Backs o y in la p pe o ms much he same unc ion, bu i should come wi h an inhe en o e o ac ion, o esolu ion. O he wise i will no en e play, o ha e meaning only o a mosphe ic easons. METAPHYSICS The me aphysics is he inhe en logic o he s o ywo ld c ea ed by he la p desig- ne s. Me aphysics a e he diege ic ules o he s o ywo ld; hey can encompass as philosophical concep s like being, knowing, iden i y, ime, and magic. The key di e ence be ween wo ldbuilding and me aphysics is isibili y. Fo example, A alon was a la p o mally se in he College o Wiza d y uni- e se, a adi ionally sandbox space whe e no hing is canon, as he la p ejec s a cohe en wo ld design in a ou o le ing playe s ell hei own s o ies. This is an ex eme example, and a guably i ends up causing mo e con lic s ha i sol- es. Bu he na a i e design speci ically o A alon de ined wha magic ac ually was, how i wo ked, and wha he cons ain s and limi s o ha magic we e. This was necessa y o he w i e s o he la p o unde s and he ue na u e o he s o ywo ld. The in o ma ion was ne e published o playe s, bu was used by he gamemas e s o in o m and cons ain hei ac i i y du ing he la p. In a no el, he me aphysics in o m and cons ain he au ho ; in la p i has a simila ly di ec e ec upon wha can happen in he s o y, bu i cons ains playe s, NPCs, and gamemas e s equally. In an online con e sa ion in 2017, la p designe Juhana Pe e sson a gued ha “using la p as a s o y elling ool p i ileges he po- si ion o he o ganise in e ms o he pa icipan , o he de imen o he ac ual la p expe ience.” One solu ion o his challenge is o ensu e ha o ganise s play by he same ules as pa icipan s. Cohe en me aphysics enables his. You na a i e design should always s i e o diege ic consis ency. You NPCs (i you use hem) should ope a e wi hin he same cons ain s as e e yone else, and you plo s should a oid Deus ex machina solu ions (whe e a plo p oblem is esol ed by an unexpec ed ex e nal occu ence). I you chose o include NPCs, ac i e un ime gamemas e s, o o ganise in e en ion, do his in a way ha p i- ileges co-c ea ion wi h he playe s; you do no own he s o y. SITUATION This is whe e you ame he la p and desc ibe wha has gone be o e in o de o p elude wha is o come, and o gi e he playe s a s a ing poin o he s o y. Whe he you sha e he si ua ion wi h he playe s in ad ance, de elop i collec- i ely in wo kshops, o ead an in oduc ion be o e an ac begins, is up o you. / 114 TO WHAT EXTENT IS PLOT A PART OF THE LARP? WHAT STRUCTURE WILL IT HAVE? HOW MUCH AGENCY WILL THE PLAYERS HAVE? The e is a p oblem wi h ha ing one cen al “big plo ,” pa icula ly a la ps ha un a scale; building a la p a ound access o a single plo isks excluding he playe s who do no ha e ha access. Some designe s y o ge a ound his by unning many plo s in pa allel, bu his app oach can lead o con usion as playe s some imes y o ie mul iple un ela ed plo s oge he in o a cohe en whole. I he e is plo which appea s o be on ails, playe s may ind his us a ing: ail o- ading is o en seen as a pejo a i e e m, a he han a s uc u al insis ence ha he la p a i es a i s des ina ion; no one is going o complain i a mu de mys e y la p ends up wi h a big e eal. The solu ion he e is o make i clea o he playe s ha hei cha ac e s’ a es a e p e-de e mined. Plo S uc u e. I you do wan o ha e a balance be ween plo and agency, he design challenge is o p oduce plo ha is cohe en , a ec able, and accessible, whils designing a na a i e space whe e playe s a e s ill ee o ell hei cha ac- e ’s s o y. Linea Plo . Many ea ly la ps we e based on able op RPGs. An ad en u e pa y would p og ess h ough a ‘dungeon’ and ha e a numbe o ‘encoun e s.’ This s uc u e – a po al-ques an asy – in ol ed a jou ney h ough a s ange and pe ilous wo ld. This is wha Ben Ma s calls a “sequen ial plo line.” Linea plo also encompasses la ps which ely hea ily on a e-play o ins uc- ed play, and hose wi h a p e-de e mined ending. Fo example, ce ain aspec s o he plo o Inside Hamle (Denma k, 2015) a e on ails; mos o he cha ac e s a e going o die, and some o he cha ac e s om he o iginal play a e a ed o do so a speci ic poin s du ing he la p. Whils he playe s a e awa e o he es ic- ed na u e o hei agency, om he cha ac e ’s pe spec i e, howe e , he e is an illusion o hope. Linea plo should no be aken o imply a lack o complexi y o inesse. The s o ies o he cha ac e s in he la p – wi hin ha linea s uc u e – a e emendously powe ul and complex. Bu when he la p has a sequen ial s uc u e, and whe e he e is no agency o he playe s o a ec he s o y o he la p (no a equi emen o he o ganise s o in e ene excep o keep i on he ails), hen i is linea . B anching Plo . B anching plo design has much in common wi h he choose- you -own ad en u e s o ies. I acknowledges some agency on he pa o he playe s o selec a di ec ion o he s o y o ake a speci ic nodal poin s du ing he la p. These may be se piece encoun e s, signi ican con lic s, poli ical deci- sions, o poin s a which he playe s’ esolu ion o plo e en s u ns he s o y in a speci ic di ec ion. An example o his is Black F iday (I aly, 2014), in which he playe s ook on he oles o mine s, scien is s, law en o cemen o ice s, and special o ces soldie s du ing he ou b eak o a i ulen plague. The epilogue o / 115 he la p depended on he ou come o a hand ul o key e en s and led o one o h ee di e en p ede e mined endings. Responsi e Plo . A la p wi h a esponsi e plo is a sys em o oppo uni ies and e en s which may o may no happen depending en i ely upon playe ac ion and inac ion. This app oach o plo design – hinking o i as a sys em a he han a se ies – builds playe agency in o he design as he w i e s ha e no in en ion as o how he s o y will un old. Responsi e plo is isky – playe s migh uin e e y hing – and ends o be esou ce hea y, ei he equi ing NPCs o un i- me gamemas e ing. A alon was a esponsi e la p. Whils a ew speci ic e en s we e p ede e mined and had es ic ed playe agency, in mos cases he s o y ha eme ged was c ea ed in di ec eac ion o playe ac ion. The la p con ained wo sepa a e NPC ac ions who he playe s we e able o mee and in e ac wi h. These ac ions had hei own cul u es, objec i es, and cha ac e s. When hey we e in play, hey we e playe cha ac e s, as he design eam elinquished ex a- diege ic con ol o e NPC s o ylines. Sandbox and playg ound la ps also i in o his ca ego y o a deg ee. They ypically mi iga e he isk o playe agency ha ing un o eseen and a - eaching impac s by designing away he possibili y and/o se e i y o such consequences. In his 2018 a icle in The Peck o on Pape s, Ha y Ha old asks wha le e s a playe mus pull so ha hei decision has consequences. Fo bo h b anching and esponsi e plo s, hese le e s could be poin s o in e ac ion o momen s o decision. Unde s anding wha hese le e s a e, and deciding how o make hem a ailable o he playe s, a e key pa s o he na a i e design p ocess. Do no as- sume ha you playe s know how o pull hese le e s, make i clea in he design documen and in he wo kshops. TEMPORAL DESIGN One app oach o he s uc u al design o plo is o make a imeline. You can decide ha a speci ic e en will ake place a a speci ic ime, pa icula ly i i is an e en o e which he cha ac e s ha e no plausible in luence, o which equi es a signi ican logis ical e o om you side. Bu emembe ha hese ime spe- ci ic plans a e p one o ailu e, pa icula ly a scale. A imeline ha makes sense on pape be o e a la p can quickly all apa du ing un ime as he playe s make choices, o pe o m ac ions, ha mean you planned plo e en s make no na a- i e sense. Design wi h app oxima ion and edundancy in mind, wi h a lexibili y ha allows plo e en s o be igge ed a he mos app op ia e ime. This could be a wounded messenge s umbling in o camp (Washing o Th ee Tides, UK, 2001) o phone calls coming in o a besieged cas le (Inside Hamle ). You also need o conside how he passage o ime will wo k in you la p. Will i be 1:1 ( eal ime) o will you manipula e i du ing he la p so ha i passes di e en ly? Mo ing ime du ing ac b eaks is an elegan way o absol e he play- e s o ha ing o eac o se backs, and p o ides plausible wo ka ounds o he / 116 e ec s o any calib a ions decided in he b eak. I you plo is linea , an ac b eak can also allow o e ocusing plo owa ds one o you p ede e mined ou comes. By aking hem as an oppo uni y o ail oad he plo i you need o, i emo es some o he ic ion whe e playe s eel hei agency has been supp essed by he gamemas e . Wha you should do wi h na a i e design du ing an ac b eak is a he dependen on he amoun o ime ha has passed. I you wan o make a change o in e pe sonal ela ionships, big changes can happen in h ee hou s o h ee days as he na a i e consequences a e immedia e. Fo poli ical conse- quences o any kind o sys ems change o powe o e any hing no immedia ely p esen , a longe ime scale allows o he ul ima e consequences o un old in play. EVENTS, NPCS, AND ITEMS These a e he hings ha he na a i e designe w i es ha ei he will happen, o migh happen, du ing he cou se o he la p, o which a e cha ac e s o objec s ha a e a pa o he plo (li e ally hings ha exis ). These could be e en s ha happen du ing he un ime o he la p, like he a i al o an NPC, an assassi- na ion a emp , o he deli e y o a le e . O hey could be e en s ha happen ou side o he un ime – o example du ing ac b eaks whe e ime has mo ed o wa ds, and you ell he playe s ha “ he ha es his yea has ailed and e e yo- ne is s a ing.” Some plo -hea y la ps will ha e a lo o e en s. This is pa icula ly common whe e he na a i e design uses NPCs as he p ima y an agonis s. (In collabo a i e-s yle la ps, whe e ha ing un does no equi e you cha ac e o win, i is mo e common o design o con lic be ween playe cha ac e s, and o in e es ing si ua ions be ween hem o a ise o ganically in play). Remembe , NPCs a e cha ac e s oo, and whils hei unc ion may be mo e limi ed han ha o a playe ’s cha ac e , hey a e o equal impo ance when i comes o hei plo . Fo example, he NPC cha ac e o he younge sibling who dies in he snow in he opening ac o a la p is designed o ha e an impac on he es o he plo . You may also wan o hink abou any speci ic i ems ha o m a pa o he plo , o example s a ue e o he Mal ese Falcon in a noi la p based on he ilm. I you plo hinges on a speci ic i em, conside how he playe s will acqui e i , wha will happen i hey do no , o wha will happen i i is no used, s olen, o aded away. I an NPC o an i em has a plo ed pu pose, gi e hem a backs o y, a his o y, and plo hooks in o he cha ac e s so ha hey do no a i e as a clumsy su p ise. Conside also he inal e en o he la p, he conclusion. Think abou possi- ble closing scenes and decide how he la p will end, and how he ending will be communica ed o he playe s. / 117 EXPOSITION Exposi ion is gi ing a eade (o a playe ) in o ma ion abou he plo . How will you playe s ind ou abou plo e en s du ing he la p? Wi h la p pa icipan s inc easingly hailing om di e en coun ies and play cul u es, a homogenous plays yle can ne e be assumed. Some la pe s a e augh o keep sec e s, o he s o ensu e ha hey come o ligh in he mos d ama ic way. The same is ue o o he in o ma ion pe aining o he la p’s plo ; some play cul u es ewa d people who hoa d in o ma ion. Unless you design discou ages his beha iou , impo - an exposi ion may end up in he possession o only a ew playe s. How o ensu e ha key ingame in o ma ion eaches he playe s is a de- sign ques ion ha can be esol ed on di e en le els o you la p, om spe- ci ically ins uc ing playe s no o hoa d in o ma ion, o making gossip a die- ge ic social cu ency, o making su e impo an plo in o ma ion only has alue i i eaches speci ic s akeholde s inside he ic ion. Howe e you esol- e i , you design should in ol e a ce ain amoun o edundancy: ne e p o- ide exposi ion ia a single channel i he in o ma ion i con ains is impo an . WHO ARE THE CHARACTERS IN THE LARP? WHAT WILL THEY BE DOING? WHY? Cha ac e w i ing is co e ed a leng h in he sec ion o his book called “How o W i e Playable Cha ac e s,” bu you need o unde s and who he cha ac e s a e, wha hey a e doing, and why hey a e doing i . A e all, la - pe s ell hei s o ies h ough he embodied ac ions o hei cha ac e s. Who Who is his cha ac e and whe e do hey come om? Func ion Wha is he pu pose o he cha ac e wi hin he plo and s o y o he la p? Desi e Wha o who does he cha ac e desi e? A cha ac e who does no wan any hing is mal o med. Ac ion/Ac i i y Wha will he cha ac e do du ing he la p? Lack Wha does he cha ac e lack? This is no necessa ily he same as a desi e; a lack may be some hing hey a e unawa e o , o some hing ex e nal. T ajec o y Wha is he plo ajec o y o he cha ac e a he s a o he la p? A cha ac e who does no change, o who is no o e ed he oppo uni y o be changed by he e en s o a la p, is a de ac o NPC. / 118 When oubleshoo ing plo , you should be looking o issues wi h he in e ac ion dynamics be ween cha ac e s, o example whe he he cha ac e s who a e w i - en o be an agonis s ha e so much in common ha i seems possible peace may b eak ou be ween hem. You should also check ha cha ac e s a e w i en in a way so ha hey ha e an in e es in (some o ) he plo s, and access o hem – a plo in ol ing le e s sen be ween ba ons is no accessible o an illi e a e se an in a eudal household. The designe also needs o conside whe he he e a e oppo uni ies o con- nec cha ac e s in such a way as o seed a s o y. A e he e e en s om he cha- ac e ’s backs o y ha can be made a pa o he la p ha is o be played? You should conside Chekho ’s gun – i in he i s ac you ha e hung a pis ol on he wall, hen in he ollowing one i should be i ed – i he e is a signi ican e en in a cha ac e ’s backs o y, i should en e play du ing he la p o ha e meaning. You also need o hink abou he s o y ha would eme ge om you plo i he playe s we e no in ol ed – as i you we e w i ing i as a ele ision show o no el. This o ms he baseline. This baseline s o y should be sa is ying. This is a subjec i e measu e, bu i he baseline is con using, o no in e es ing, hen you plo needs wo k. Depending on you design o agency (see below), he ou come o he s o y will be ei he sligh ly di e en o en i ely di e en om his base- line. The baseline is use ul when you come o es he na a i e design, because i enables you o iden i y how playe ac ion can in luence he s o y. AGENCY: HOW MUCH WILL THERE BE? You need o decide how much con ol, i any, you wan o gi e o playe s o de e mine he s o y ou comes o he la p. A e you planning a sandbox whe e hey can do wha e e hey like, bu in he end can only impac hei own s o- ies? O some hing whe e he ac ions o he playe s will ha e an impac on he s o y? Fo plo d i en la ps, wi h lo s o e en s, playe agency o a - ec hese e en s is impo an . Fo la ps ha e ol e mo e a ound he in- e ac ions be ween playe cha ac e s, he playe s p obably need agency o a - ec hese ela ionships. As wi h all o hese design ques ions, i is also okay o es ic he playe agency, as long as you know why you a e es ic ing i . Fu he mo e, i you choose o ha e NPCs, one o he design decisions you need o make is how much agency you wan o gi e hem. Do you wan o include hem as use ul cannon odde , as jus an agonis s o mons e s, o allow hem he same p i ilege o con ibu e o he s o y as playe cha ac e s ha e. HOW TO TEST YOUR WORK In p ac ice, a la p has a lo o mo ing pieces, and ine i ably hings will hap- pen ha will ha e an impac on he design. These ou es s will help o iden i y s uc u al weaknesses in he na a i e design. I will no iden i- y all o hem, and in some cases hose weaknesses will enable d ama and / 119 c ea e s o y, and can be le alone. S i ing o pe ec ion he e is p ob- lema ic, because you a e no he au ho o he s o y ha will be old. Agency es . Fo la ps whe e you design p i ileges playe agency, conside wha choices he playe s can make. A e hey able o a ec he plo you ha e w i - en and hus change cou se o he s o y in a meaning ul way, o is hei agency ocussed solely on hei cha ac e ’s in e nal choices? NPC es . Fo any plo in e ac ion ha in ol es mo e han one NPC, check o make su e ha you ha e no acciden ally w i en a cu scene: wo o mo e NPCs alking o each o he is a play, no a la p. I you come ac oss an e en ha ails his es , conside edesigning i o allow playe s back in o he scene. Plays yle es s. As la ping becomes mo e in e na ional and in e cul u al, i be- comes mo e impo an o conside a ange o di e en play s yles and how hey migh a ec you design. Di e en ca ego isa ions o playe ypes may be use ul in his hough expe imen . A amilia example is GNS, which sugges s ha he e a e h ee playe goals in ole-playing games. These co espond o he playe ’s p ima y mo i a ion, and a e gamism, na a i ism, and simula ion. Fo example, i you conside how a play- o-win (gamis ) playe migh in e ac wi h you plo , you may ind s uc u al weaknesses ha would no be he e i you we e designing o playe s who a e less in e es ed in coming ou on op. Da k Lo d es . This is a a o i e plays yle es om UK la p design discou se. The beha iou o la pe s is di icul o p edic . The e is a ype o playe who will always es he limi s o you na a i e design. This is a play ul ac a he han a malicious one, bu i can ha e ca as ophic implica ions o na a i e design. Fo example, in he UK campaign la p Odyssey (UK, 2010-2016), an NPC who was designed o be p esen h oughou all o he e en s o e se en yea s was killed when a playe ’s cha ac e w o e his name in o he Book o he Dead in he Unde wo ld. This mean a g ea deal o plo in ol ing ha NPC was suddenly made obsole e. A solu ion o his could ha e been o diege ically limi access o he Book o he Dead. No such es ic ion was in place. The NPC died. The Da k Lo d es would be his: o e e y a ailable plo in e ac ion, consi- de wha a ic ional supe - illain would do? The pu pose o he es is o conside he edge cases and o unde s and wha kind o s o y you plo s will gene a e when hey encoun e ex eme beha iou om he cha ac e s and playe s wi hin he la p. WHAT TO DO WHEN IT GOES WRONG? The e is a uism ha says “a plo ne e su i es i s con ac wi h he playe s,” bu no should i , because once he plo o a la p mee s he playe s, i ans o ms in o s o y. This is he poin a which you playe s will do some hing unexpec ed. You plans will lie in uins, and he ca e ully scheduled e en s ha you had lined / 120 up and eady o go will be obsole e. The e is some imes a emp a ion o ‘ e con’ ( om he e m e ospec i e con inui y), which in la p is elling playe s ha ac- ions hey ha e played ‘did no happen.’ This b eaks he implici con ac be - ween gamemas e and playe s when i comes o agency, and should be a oided a all cos s. I is ela i ely easy as an o ganise o diege ically nudge he s o y back on o he ails, and i may be ha he bes hing you can do o he la p is o gen ly ind a way o do ha . Ideally, you should no need o; a well designed na a i e sys em accep s damage as diege ic and can assimila e i . S o y ends o adhe e o known cul u al s uc u es – playe s will c ea e cohe en al e na i es o wha you may ha e en isioned. In mos cases you can ge away wi h olling wi h he e en s and le ing he la p deal wi h hem. I you do eel you need o ge in- ol ed, emembe ha un ime gamemas e ing is a o m o au ho ial in e en i- on, bu as you a e bound by he same me aphysical and s o y making ules as he playe s, i is also a way o you as he designe o play he la p. T us you design, eac diege ically, and le he s o y ha wan s o be old, ge old. I will be ine. FURTHER READING: Ron Edwa ds: “GNS and O he Ma e s o Role-playing Theo y” (2001) Ei ik Fa land: “Incen i es as Tools o La p D ama u gy” in Fedosee , Ha iainen & Vo obye a: No dic-Russian La p Dialog (2015) Ha y Ha old: “Imme si e, in e ac i e, in-cha ac e : la p edges in o he main- s eam”, in B ind e al (eds): The Peck o on Pape s – Essays om ou decades o li e ac ion oleplaying in he UK (2018) Ben Ma s, 2017, ”Don’ le he ampi e ge away – designing linea games and mis akes I’ e made when doing so”. In B ind e al (eds) The Peck o on Pape s – Essays om ou decades o li e ac ion oleplaying in he UK / 121 EMERGENT STORIES AND DIRECTED NARRATIVES // T oels Ba khol -Spangsbo // Jespe Heebøll A bjø n Many s o ies happen simul aneously wi hin a la p when cha ac e s in e ac wi h each o he and he ic ional wo ld. S o ies eme ge om he in e ac ions and a e only expe ienced by he in ol ed playe s – bo h h ough hei cha ac e s and as playe s. E e y playe is he i s -pe son audience o hei cha ac e ’s jou ney. The la ge and mo e decen alised he la p is, he mo e he expe iences o he playe s can di e om each o he ’s. Bu i hey po ay cha ac e s ha exis in he same ic ional wo ld, hey s ill ela e o each o he and in luence each o he ’s expe iences. La ps a e old collec i ely, bu expe ienced indi idually. T adi ional s o y elling in books and ilm is based on he na a i e a c, whe e he e is a beginning, middle, and an end: a amilia p og ession om exposi ion, o con lic , o ising ac ion, and o he climax, ollowed by alling ac ion and, inally, a esolu ion. Almos all e en s in he s o y a e causal and ele an o he u he de elopmen o he s o y. In la p, playe s will o en use, delibe a ely o unconsciously, his cul u ally amilia na a i e s uc u e as a guideline – and so migh you in you design. This can easily lead o a collision o se e al climaxes, and dissa is ied playe s, as he climax o hei cha ac e ’s s o yline is suddenly side acked by he climax o o he s o ylines. Imagine a long-planned wedding in e up ed by a ho de o in ading demons. S o ies a e expe ienced as sa is ying when hey seem cohe en , causal, and he cha ac e s’ ac ions s ay wi hin he expec ed amewo k and gen es. The s o y o a oman ic comedy s ops eeling sa is ying i one o he compe ing oman ic in e es s suddenly mu de s he o he in cold blood. You need o conside how you design you la p o le playe s expe ience cohe en s o ies and enable he play- e s o collec i ely ell he same s o ies. Na a i e can be iewed h ough di e en lenses, and wha hey enable us o ocus on depends on how he opic is app oached. The bulk o his chap e concen a es on wo pa icula app oaches, seeing s o ies as eme gen and ap- p oaching na a i es as di ec ed. PART SECTION CHAPTER 3:1:4 / 128 An example o a mo e complex di ec ed na a i e sys em is a eplay. A a e in his con ex is a sho ins uc ion o an ac ion ha he cha ac e shall ca y ou a a speci ic ime o wi hin a limi ed ime ame. Compa ed o cha ac e goals, a es desc ibe speci ic ac ions ha mus be aken. Typically, hey a e linked oge he in complica ed a e webs, whe e one playe ’s ac ion igge s ano he ’s a e. A pa allel o he ins uc ions used in a eplay is gamemas e ins uc ion du- ing un ime. A playe may ecei e sugges ions, o e en commands, om a di- ec o , NPC, o ins uc ed playe . The wo ds “you should go and show he le e o you sis e ” may unlock complica ed and ewa ding d ama ha would no eme ge i he ins uc ion is no ollowed. Depending on local aes he ic no ms, and in pa icula how embedded he ins uc ion is in he diegesis, such ou igh ins uc ions can be expe ienced by he playe s as e y in usi e. Ano he me hod o hea ily di ec ed na a i es is ac ual di ec ed plo s on he cha ac e le el. The co e o his me hod is simply ha plo lines o some o all cha ac e s ha e been planned be o e he la p, and usually o ganised in o a se o sc ip ed scenes o equi ed s o y bea s ha he playe s mus pe o m du ing he la p. This me hod has been applied in la ps in many di e en ways. In Age lund (Denma k, 2009), he playe s we e ins uc ed a a p e-la p wo ks- hop o concoc a s o y inspi ed om Ame ican olklo e wi h a leas i e scenes ha hey would hen play ou du ing he la p. In En s illa middag med amiljen (Sweden, 2007, Eng. A Nice E ening wi h he Family), he playe s we e equi ed o play ou he plo s o well known No dic s age plays abou bou geois amilies alling apa . The playe s had o hi speci ic, p ede e mined u ning poin s, bu a ound hem hey we e ee o in e p e he s o ies and play hem ou as hey chose. In Hell on Wheels (Czech Republic, 2015), he playe s we e gi en bookle s wi h ins uc ions o sc ip ed scenes and goals o ollow in each ac . COMBINING FORCES Bo h o hese app oaches, eme gen s o ies and di ec ed na a i es, can be used o c ea e cohe en and collec i e s o ies wi hin a la p. Nei he o he app oaches should eel pa icula ly alien o an expe ienced la pe . The wo app oaches can be combined and, indeed, mos la ps use bo h. Fo some la ps you will wan o ocus mos on he eme gen s o ies; in o he la ps you need hem o be mo e di ec ed. Fo some la ps you wan you playe s o no hink abou s o ies a all, e en while hey hemsel es a e making in e - es ing hings happen. Fo o he la ps you wan o pull you playe s s aigh h ough a gu -w enching s o y, wi h hem ha ing no choice in he ma e . All a e iable design choices, and making ha choice in o med is wha makes i design. A he end o he day, whe he he s o y po en ial eme ges o ganically du- ing un ime om wi hin a ca e ully designed sandbox, o om a web o plo s pains akingly wo en by he design eam mon hs in ad ance, he s o ies will be / 129 made by he playe s. How do you as a designe ge he playe s o be he d i e s o na a i es? The answe is by gi ing hem owne ship and us . When you ha e inally designed he na a i e sys em o you la p and a e eady o p esen i all o you playe s, wha e e o m i akes, you mus accep ha you will lose some – o e en all – con ol o e you wo k. I you wan you playe s o d i e he na a i e, hey mus be gi en owne ship o hei s o ies – wi hin he pa ame e s o you design. FURTHER READING: Ei ik Fa land: “Incen i es as ools o la p d ama u gy”, in Bøckman & Hu chison (eds): Dissec ing La p (2005) Ei ik Fa land: “In e ac ion Codes – Unde s anding and Es ablishing Pa e ns in Playe Imp o isa ion” in F i zon & W igs ad (eds): Role, Play, A . Collec ed Expe iences o Role-Playing (2006) T oels Ba khol -Spangsbo: “Le elling he Playing Field and Designing In e ac i- on” in S en os & Mon ola (eds): Playg ound Wo lds (2008) Jespe Heebøll A bjø n: “The Na a i e Expe ience”, in Wae n & Axne (eds): Shu ling he Deck (2018) Jaakko S en os, Ma in Eckho And esen, and Ma in Nielsen: “The Mixing Desk o La p: His o y and Cu en S a e o a Design Theo y.” Analog Game S udies. (2016) / 130 HOW TO MAKE YOUR SANDBOX A PLAYGROUND //Mo Holka Many la ps a e desc ibed by hei o ganize s as ha ing a sandbox design. Al - hough his is an imp ecise e m which can be in e p e ed in a numbe o di - e en ways, he concep gene ally in ol es a playspace in which playe s a e ee o c ea e hei own s o ies, a he han ha ing plo imposed upon hem by he la p design. The e will usually s ill be some e en s p o ided o ake pa in o wi ness, op ional ac i i ies o unde ake, people o in e ac wi h; bu he gene al pa e n is ha he designe s and o ganize s p o ide a wo ld, and he playe s make s o y wi hin i . This does no always p o ide a sa is ying expe ience o playe s. They may become bo ed; hey may all back on playing wi h people whom hey al eady know; hey may spend much o he ime e ec i ely ou o cha ac e ; hey may eel unsuppo ed, as hough oo much o he bu den o s o y-c ea ion has been placed upon hem. Pe haps hey eel hey ha e o p epa e la ge chunks o s o- y in ad ance o b ing in o he la p and enac . As he sandbox o e s a lo o eedom, i also equi es a lo o playe ini ia i e, amilia i y wi h his ype o la p, and skill. A a he mo e s uc u ed ake on he sandbox is he playg ound. Whe e a sandbox p o ides aw ma e ials o playe s o c ea e s o y wi h, a playg ound p o ides in e ac i e ools ha hey can use di ec ly o explo e and build on s o y as hey go. I can allow playe s o de elop ich and deep s o ylines du ing play, o e which hey can eel hey ha e owne ship. Designing-in s o y-c ea ion ools, sui ed o he la p’s s uc u e, heme, and se ing – whe he diege ic o no – gi es you playe s explici pe mission o ake con ol o la ge o small aspec s o hei s o y, wi hou ea om ei he side ha i will ‘b eak’ he la p. PART SECTION CHAPTER 3:1:5 / 131 This is no an exhaus i e lis , bu a help o ca ego ise he ools discussed. S o ymaking Diege ic La ge-scale Small-scale Non-diege ic Sel O he playe s Gamemas e s Ac i i ies Tasks Scheduled Flexible ‘Things o do’ Solo In g oups Figu e 1 Types o playg ound equipmen STORYMAKING AND STEERING The concep o ‘s ee ing’ e e s o “ he p ocess in which a playe in luences he beha io o he cha ac e o non-diege ic easons”, o ins ance o maximize hei un o o be able o in e ac wi h speci ic playe s. The a icle in which he e m was o iginally in oduced discussed design o s ee ing in a ‘mac o’ sense such as playe s whose cha ac e s ha e many in- ic ion esponsibili ies being expec ed o s ee so as o p o ide play o hei junio s. S o ymaking in play is when playe s use hei ou -o -cha ac e ideas, p e e- ences, and unde s anding o na a i e s uc u e o in luence hei in-cha ac e decisions; i can be seen as ano he goal which playe s na iga e owa ds using s ee ing. I ha ing playe s ac i ely s ee in his pa icula way is desi able in you la p, how can i be designed so as o encou age and acili a e his? In he playg ound me apho , his would be abou designing playg ound equipmen and oys. The designe can p o ide play elemen s empowe ing play- e s o ake con ol o and shape hei cha ac e s’ s o ies as hey go, and so o co-c ea e he o e all shape and s o y o he la p wi hou ha ing o s ep ou o cha ac e . When a playe decides o s ee , he ac ual decision necessa ily akes place ou side he ame o he ic ion. Bu he ac ha he playe pe o ms in o de o s ee can be ei he diege ic o no , as p e e ed by he design. Gamemas e s a e commonly used as a non-diege ic s ee ing aid. Fo exam- ple, in A Nice E ening wi h he Family (Sweden, 2007), each g oup o playe s has an ou -o -cha ac e un ime gamemas e o di ec o [See Hul man and Wes e ling on / 132 di ec o s. –Eds]. This gamemas e is deeply amilia wi h he de ails o hose cha - ac e s and a ailable on demand o o game discussion and help. This can include ad ice abou s ee ing, pacing, and o he aspec s o he cha ac e ’s s o y a c. A i s simples and mos abs ac , a me a oom – a blackbox inse ed in o ano he ype o la p – is a non-diege ic s o ymaking ool. In A Nice E ening wi h he Family, playe s can a any poin d op ou o he diegesis and go o he me a oom: o i s discuss ou o cha ac e , hen play a scene om a cha ac e ’s pas o in a po en ial u u e. These new s o y elemen s will hen in o m and shape hei u he play when hey e u n o he diegesis. Fo example, suppose a playe is seeking mo i a ion o hei cha ac e ’s dange ous isk- aking beha iou . They migh use he me a oom o play ou a lashback o childhood, in which i be- comes appa en ha he beha iou pa e n a ose in esponse o s i ling pa en ing. They can hen ake his new unde s anding back in o he la p and di ec hei cha ac e ’s s o y acco dingly. A Nice E ening wi h he Family also has a me a hou , in ecen uns called Hou o Scenes; i is a calib a ion b eak be ween ac s du ing which playe s check in wi h hei g oups and play me a scenes wi h hei dedica ed gamemas e as needed. In On Loca ion (UK, 2017) he hal way ac b eak includes a s ee ing wo kshop – a e he i s hal is comple e, playe s can consul wi h a specialis gamemas e and wi h each o he , o e how o shape he di ec ion o hei play du ing he em- ainde o he la p. A Inside Hamle (Denma k, 2015), such consul ancy is a ailable h oughou he la p, in he ou -o -cha ac e oom. Fellow-playe s can o ganize hei own ac -b eak calib a ion as well. Playe s may ge oge he o decide how o mo e o wa d wi h a pa icula plo h ead ha conce ns hei cha ac e s oge he ; o simply o help each o he wi h ideas and ad ice. And hey don’ ha e o wai o an ac b eak: a B udp is (Sweden, 2013, Eng. B idal P ice), o example, playe s can a any poin du ing he la p ask o calib a e using he code ph ase “a walk in he woods”, and b ie ly mo e away om he o he s, s ep ou o cha ac e , and discuss he di ec ion o he s o y (and, as needed, he in ensi y o play). The con e se solu ion is a design elemen ha can be used while s aying in cha ac e , wi h he s ee ing aking place in isibly. An example is he “g een d ink” in Jus a Li le Lo in’ (No way, 2011). This is an unspeci ied d ug which is b ewed up nigh ly by some o he cha ac e s. Any cha ac e can d ink i , and ha playe decides he e ec s: i migh in ensi y an exis ing eeling; o i migh e e se i ; o i migh ha e no e ec . So, o example, a playe migh decide o use he g een d ink o ha e hei cha ac e suddenly all ou o lo e wi h hei pa ne ; o o de o e hemsel es ana ically o hei c ea i e wo k; o o enounce capi alism and become an ac i is . I ’s an unques ioned oppo uni y o eshape he cha ac e ’s s o y, wi hou ha ing o d op ou o cha ac e o do so. A simila ool is he Wa e s Di ine, in La Si ena Va ada (Spain, 2015, Eng. The S anded Me maid). A cha ac e can a any ime choose o imme se hem- sel es in he wa e o he A abic hammam, wi h o wi hou he help o o he / 133 playe s, i ual, e c. This is a diege ic ac o ‘ ebi h’ – he impac and de ails o which can be in e p e ed and enac ed as he playe wishes. The ebi h migh gi e cla i y o pu pose; i migh gi e a dis inc change in pe sonali y o di ec ion; in he ex eme, i migh be eplacing he cha ac e al oge he wi h a comple ely new one. Smalle -scale s o y ools can also be e ec i e. In On Loca ion, se in Eu ope in 1932, playe s had he oppo uni y du ing play o s ep ou o cha ac e o c ea e news e en s om he wo ld ou side he la p se ing, which we e hen eleased in o he gamespace by he gamemas e s. So, o example, he playe o a Jewish cha ac e migh c ea e an a icle abou pe secu ions occu ing in hei home a ea. When his a icle appea s in he ingame newspape , he o he cha ac e s – hei iends and enemies – can eac acco dingly, and ake one pa o he s o y in a new di ec ion. Simila ly in Wing and a P aye (UK, 2018), se du ing he WWII Bli z, playe s could in en o example de ails o iends o ela i es killed in ai - aids du ing he cou se o play, o add an ex a dimension o pa hos o poignan- cy o hei s o ies. ACTIVITIES Ano he impo an ype o playg ound equipmen ha designe s can p o ide is he oppo uni y o playe s o pa icipa e in ac i i ies. These can be b oken down in o wo ypes. TASKS These migh be o mally scheduled, and implemen ed by gamemas e s o NPCs (“You will go o a Nec omancy lesson a 1100 on Sa u day”), o le mo e loose (“The cha ac e s a e expec ed o w i e and ehea se a play, which hey can pe - o m on F iday e ening i hey wish”). Planned ask ac i i ies a e a g ea oppo uni y o co-c ea ion, in wo di e en ways: 1. Play can eme ge spon aneously om he ac i i y i sel : pe haps some cha- ac e s u n ou o be he naugh y pupils, and bond oge he ; pe haps a social inciden will be igge ed by someone shoo ing a clay-pigeon ha was in en- ded o someone else; pe haps a hea ical pe o mance ha he cha ac e s c ea e migh include an exposé causing a scandal when pe o med; and so on. 2. The designe can include ac i e igge s o u he s o y. Fo ins ance, he eache migh ins uc pupils o ind and b ing back ce ain ing edien s o he nex class: i ob aining hem is no s aigh o wa d, playe s may ha e o eam up and in en plans, which will ha e knock-on e ec s. O he e / 134 migh be a dance, which means ha people ha e o ind pa ne s: playe s can build a new omance h ead o such a equi emen . No e ha jus including ‘ asks’ like his won’ necessa ily encou age co-c ea ion. The designe has o hink abou wha he playe s migh ac ually be able o do while ca ying ou he ask; i.e. wha a e he a o dances o he physical se ing, he la p’s o e all schedule, he dominan play cul u e, and he cha ac e s inside he ic ion? ‘THINGS TO DO’ When a la p is se in an inhabi ed space, designe s don’ always emembe ha such spaces in eal li e usually ha e a ai ly wide selec ion o ‘ hings o do’ – i ems o asks wi h which he occupan s can occupy hemsel es, indi idually o in g oups, whene e hey migh wish o. Fo example, an 18 h-cen u y Eu op- ean house migh include musical ins umen s, books, sewing ma e ials, ga dening equipmen , child en’s oys, playing-ca ds, scien i ic cu iosi ies, and any amoun o o he bi s and pieces. E en i he co e in e ac ion be ween he cha ac e s is designed o be “con e sa ion”, jus si ing a ound alking o each o he can eel s il ed and quickly become bo ing. O e a ask, alk will low mo e na u ally, and he expe ience o sol ing p oblems, playing games, o making some hing oge he will de elop he cha ac e ela ionships in sub le ways. These po en ial di e sions gi e u he oppo uni ies o playe s o c ea e ma e ial sepa a ely o oge he , in he same so o way ha hey can om plan- ned ac i i ies; bu wi h he ex a con ol ha playe s can choose o engage wi h hem when i i s hei la p. So o example, any ime hey wish o in oduce a new s o y elemen in o hei play, one cha ac e migh in i e ano he o a game o c oque , o o hun goblins oge he , o o cook a meal, o o esea ch summ- oning spells in he sec e lib a y. The ac i i y may hen allow c ea ion o new s o y di ec ions oge he in a spon aneous way, wi hou he need o s ee ing owa ds an ou -o -cha ac e goal o o pausing he diegesis. Wi h hanks o Simon James Pe i FURTHER READING: Ma kus Mon ola, Jaakko S en os & Eleano Sai a: “The A o S ee ing – B inging he Playe and he Cha ac e Back Toge he ” in Nielsen & Raas ed (Eds): The Knudepunk Companion Book (2015) / 135 AMUSEMENT PARK DESIGN // Johanna Koljonen A he opposi e ex eme o he sandbox is he amusemen pa k design, whe e mos s o y elemen s o he la p a e o ganised as uni s – me apho ically ‘ ides’ – o he playe s o expe ience. So called mods (s o y modules un by NPCs in US bo e la ps) would be examples o such ides. In amusemen pa k designs, momen s be ween such ad en u e uni s would o en be conside ed down ime, and he down ime in e ac ions be ween playe cha ac e s iewed as ha ing lesse na a i e impo ance han he in e ac ions be - ween playe cha ac e s and he wo ld. In mos No dic s yle la ps, wi h hei ocus on cha ac e emo ions and ela ionships, ha ime o o ganic cha ac e in e - ac ions is ins ead conside ed he hea o he expe ience. In ac , No dic playe s will o en complain ha an excess o plo o s o y e en s is ge ing in he way o hei ole-play. Gi en a choice only be ween he sandbox and he amusemen pa k, hey would gene ally choose he sandbox. / 136 THE BEGINNING AND THE END //Kaisa Kangas The beginning and he end o a la p dese e speci ic a en ion. Some la ps use a i ualis ic p ocess o en e ing and lea ing he eali y o he la p, o emphasise ha he playe s a e s epping in and ou o he magic ci cle. This ein o ces he alibi p o ided by he ic ion and he cha ac e s, and cla i ies he s uc u e o he la p. Such a me a i ual is pa o he o e all design o he opening and closing o he la p. This is easie i he la p has a collec i e beginning and ending. Some- imes hey come na u ally as pa o he se up. KoiKoi (No way, 2014), a i e-day la p abou a biannual hun e -ga he e es i al, s a ed wi h an ingame opening i ual and inished wi h di e en ibes pa ing ways in a a ewell i ual. Howe e , collec i e endings and beginnings do no sui e e y la p. I he design is open-ended, you migh no know whe e he playe s ake he la p, and i could make sense o le each playe s op playing when hey eel hey ha e in- ished. This is easy i he cha ac e s a e ee o lea e he la p loca ion when he e is no hing le o do (e.g. i i is se in a a e n, a a pa y o ma ke place, e c.). In a con lic -o ien ed la p, a playe migh end he la p when hei cha ac e dies. This happened o many playe s in he hi d un o Moni o Celes a (Sweden, 2013), a science ic ion la p se on a spaceship in he Ba les a Galac ica uni e se. Some la ps begin o end wi h a ansi ion phase when playe s slowly mo e in o ou o cha ac e . In End o he Line (Finland, 2015), a Wo ld o Da kness la p se in an illegal a e ha ampi es equen ed, he playe s spen he i s and las i een minu es o he la p on he dance loo , a ing hemsel es in and ou o he la p. Vihan i ku i si (Finland, 2018, Eng. Requiem o Ha ed) old he s o y o p ison camps es ablished a e he Finnish ci il wa o 1918. The cha ac e s we e p isone s a one such camp. The wo las uns, in No embe 2018, in o- duced a design whe e he gua ds walked he playe s one by one h ough a da k co ido in o he play a ea a he s a o he la p. Each playe was encou aged o use his ansi ion pe iod o e lec on hei cha ac e ’s pas and he e en s ha led o imp isonmen . One way o ma k he edge o he magic ci cle is o play a heme song as he playe s en e o lea e play. When hey lis en o he music, hey ha e a ew minu es o adjus hemsel es. E.g. Mad Abou he Boy (No way, 2010), an all emale la p whe e almos all men had died o an inexplicable disease, and Jus a Li le Lo in’ (No way, 2011), a la p abou he sp ead o HIV in he New Yo k gay scene in PART SECTION CHAPTER 3:1:6 / 137 he 1980s, employed his echnique, using he i ula soul classics as hei heme songs. The 2018 un o Häxo na på Äs ad gå d (Sweden, 2016, Eng. Wi ches o Äs ad Fa m) and Inside Hamle (Denma k, 2015) a e examples o la ps ha ha e used specially commissioned music o his pu pose; Fo bidden His o y (Poland, 2018) had commissioned a song ha was used a he end. Choose he music o suppo he hemes and one o you la p. GETTING THE PLAYERS STARTED Playe s o en eel awkwa d a he beginning o a la p, as he new social eali y has ye o s a o eel eal. A way o a oid his is o place he cha ac e s in a si ua ion wi h a social sc ip ha is amilia o he playe s (e.g. being a gues a a wedding). This way, hey can use amilia social cues as sho cu s in o being hei cha ac e s. You can also gi e you playe s some hing o eac o (e.g. sugges a con e sa i- on opic a he wo kshop, o kicks a he la p wi h a sc ip ed e en ). I is bes o use some hing ha does no u n e e y hing upside down – unless ha is wha you design equi es; G ound Ze o (Finland, 1998), a la p abou an al e na i e hi- s o y whe e he Cuban Missile C isis led o ull-scale nuclea wa , s a ed wi h he bla e o ai - aid si ens. Playe s need ime o es ablish he no mal s a e o a ai s and ge acquain ed wi h hei cha ac e s. Hala hisa (Finland, 2013, Eng. S a e o Siege), se a a uni e si y in an al e - na i e eali y whe e Finland is unde simila occupa ion as eal-wo ld Pales ine, began wi h a me a scene whe e playe s queued a a checkpoin o en e he cam- pus and he la p. To mos o he playe s, his was a new social si ua ion, bu i had amilia elemen s hey could ela e o: s anding in a line, being la e o wo k o school, in e ac ing wi h bu eauc acy. A he same ime, i es ablished wha was no mal in he ic ion. When a playe eached he checkpoin , a soldie eplaced hei ID ca d wi h a new one ha had eligious a ilia ion on i . The e we e mis akes on some ca ds (spelling e o s, w ong eligion). I ga e he cha ac e s a opic o alk abou and c ea ed low-le el con lic when hey complained o he soldie s. CLOSING IT UP Some la ps a e se o end a a p ede e mined ime. In o he s, un ime game- mas e s ci cle he play a ea ying o “ eel” when he la p has un i s cou se. The o me sui s la ps wi h a linea design, such as Pelageya: Laika (Finland 2005), a science ic ion la p abou a disas ous acciden ha led o he des uc ion o an unde sea esea ch c awle and he dea hs o mos o i s c ew. The la e i s open-ended la ps whe e s o ylines eme ge om cha ac e ac ions. Tinde box (Fin- land, 1996) was a cybe punk la p abou wo s ee gangs on he b ink o wa , and i would no ha e made sense o end i be o e he gangs had ei he ough o ag eed on peace. / 144 DOING IT FOR REAL The mos ob ious app oach in c ea ing meaning ully playable ac ion is o make playe s do hings o eal, o o design simula ion me hods ha gi e hem an idea o how i eels o do hose hings. The key he e is o hink abou how he p ocesses he cha ac e s a e in ol ed in wo k, and how some hing simila could be designed o he playe s. To make a magic i ual eel meaning ul, you need o ha e an idea abou how magic in you s o ywo ld wo ks, ei he as a social o a me aphysical p ocess. KoiKoi (No way, 2014), a i e-day la p abou a hun e -ga he e es i al, had i uals ha las ed o se e al hou s, and playe s did no ind hem dull. One o he easons was ha he designe s had done esea ch on magical p ac ices in a ious cul u es and de eloped a cohe en sys em on which he hun e -ga he e s belie ed magic was based. Fo example, masks we e an impo an elemen , and i was belie ed ha a mask con ains a spi i ha will possess whoe e wea s i . Mo eo e , a i ual was always a communal p ocess in which many people ook pa . Some imes i could p o ide alibis o in e ac ions ha migh no ha e been o he wise possible wi hin he socie al amewo k – hings a cha ac e did while wea ing a mask we e no iewed cul u ally as hei ac ions, bu as hose o he spi i who inhabi ed he mask. Rough ou lines o he main i uals had been gi en o he playe s be o ehand, and hey could use p ops like d ums, masks, and body pain . La ge i uals had leade s, ca e ully cas wi h playe s who knew how o inspi e o he s. The e a e many examples o la ps whe e playe s do hings o eal. M & M s Unsc ip ed (Sweden, 2018) was a mul i-day la p abou p oducing a eali y TV show whe e couples compe e o a mansion and a d eam wedding. In he la p, he p oduc ion eam was ac ually ilming he con es an s wi h eal came a equip- men . In he College o Wiza d y la ps (Poland, 2014), inspi ed by he Ha y Po e uni e se, eache s p epa e eal classes ha s uden s a end. In he 2017 e uns o 1942 – Noen å s ole på (No way, 2000, Eng. 1942 – Someone o T us ), a la p se in No way unde Ge man occupa ion, playe s an a whole unc ioning illage ha had e.g. a school, a chu ch, and phone lines ha we e ope a ed h ough a swi chboa d. In many o hese cases, playe s we e doing hings ha equi ed some skill. This issue can be add essed in ei he cas ing o wo kshops. When you a e choo- sing a playe o a eache , i is a good idea o pick someone who eels com o - able planning and gi ing a lec u e (and can pull i o ). Ano he al e na i e is o each you playe s he skills hey need. In M & M s Unsc ip ed, he playe s o he p oduc ion eam a i ed o he si e a day ea lie o lea n how o use came as and o he equipmen . / 145 SIMULATION La p cha ac e s o en do hings ha playe s canno do o eal, ei he o sa e y easons o because hey do no ha e he skills needed. Howe e , you can design mechanics o p ocesses o simula e hose ac ions. The key ques ions a e how you wan he simula ion o eel, and wha unc ion i will ha e in he la p. Once you ha e hose answe s, you can s a hinking abou how i will ac ually wo k. K usadis: Punainen Au inko (Finland, 2018, Eng. K usadis: Red Sun) was a space ope a la p abou an encoun e be ween wo cul u es. The playe s we e playing he c ews o wo s a ships ha would e en ually mee . A so wa e called A emis Spaceship B idge Simula o was used o ope a e hem. The sys em esembles he b idge om S a T ek: he e is a cap ain, a weapons o ice , a science o ice , a communica ion o ice , a senso ope a o , des oye pilo s, and an engine oom. The playe s could pick a des ina ion on a s ella map and na iga e hei ship owa ds i . Be o e hey a i ed, he un ime game mas e s would build he plane inside a la ge me a oom. The place could become a iendly space s a ion wi h a ba , a bazaa and an embassy, o a plane whe e he cha ac e s would ace an enemy ambush. Pe haps he mos in e es ing pa is how enginee ing and epai s we e simu- la ed. In he engine oom, he e was a sc een wi h he A emis enginee ing si- mula o . Howe e , each con ol had a physical coun e pa ha he playe s had o adjus be o e hey we e allowed o ouch he A emis con ols. The e we e le e s you had o physically pull, co ds ha you needed o connec , and a con- aine whe e you pou ed “liquid coolan ”. Some imes you would ha e o c awl in o a main enance unnel o do epai s by changing wo n-ou glow s icks in o esh ones. Acco ding o playe s, his c ea ed p essu e in space ba les, since you needed o eac as and a he same ime keep main enance ope a ions going on. The playe s on he b idge could di ec ly adjus ele an A emis con ols, since ha esembled wha hei cha ac e s we e doing. The unc ion o he b id- ge was o make decisions (whe e o go, how o eac o senso da a, wha o do in ba le, e c.) and gi e o de s. Thei play was ocused on he esponsibili y you ca y when you a e pa o a mili a y command. They go a eeling o wha i is like o make decisions ha could ha e di e consequences o he whole ship and i s c ew. On he o he hand, he unc ion o enginee ing was o keep he ship ope a- ional a all imes, and he wo k was hands on. Since i did no su ice o adjus con ols on a compu e , bu you needed o do manual asks, main enance and epai s ook some ime. As playe pe o mance de e mined how long, i c ea ed a eeling o p essu e. Mo eo e , he playe s go an idea o how i physically eels o a mechanic o pe o m main enance ope a ions. A simple example o a simula ion ha cap u es a physical eeling can be / 146 ound om Työhaas a elu (Finland, 2004, Eng. Job In e iew). I was a la p abou pe y c iminals, and he cha ac e s we e hi ed o clean up an apa men whe e a d ug deale had been mu de ed. They we e gi en a igh ime ame since he police was going o check he place. The cleaning included sawing he body in o small pieces and ca ying i ou in plas ic bags. Ob iously, he playe s could no do his o he pe son who was lying in a puddle o ake blood and p e ending o be a co pse. To simula e he p ocess, he designe s had placed some logs in he apa men . The playe s sawed he logs and ca ied he pieces ou in he bags o ge a physical eeling o wha he cha ac e s we e doing. When you a e making a la p, one ac o o decide is he le el o de ail on which di e en ac i i ies will be played. A ela ed ques ion is how much in o ma- ion should be a ailable on a gi en subjec . A good ule o humb is ha he mo e cen al some hing is o he hemes o he la p, he mo e de ailed ea men i equi es. I a cha ac e happens o be a s ock ma ke deale in a la p abou amily d ama, he playe can p obably bypass p o essional issues wi h imp o isa ion. Howe e , i he la p is se on Wall S ee , some inance simula ion mechanics will be needed. Some imes unc ionali y equi es de ail. P o eus: So aka jujen syn y (Finland, 2018, Eng. P o eus: O igin o he Wa hogs) was a poli ical sa i e abou a op-se- c e p ojec o c ea e human-pig hyb ids o mili a y pu poses. The se ing was a mili a y base whe e bioenginee s and b ain scien is s wo ked on he hyb ids whi- le PR consul an s b ains o med how o ma ke he p ojec o he o ing popula- ion. Du ing he la p, a mili a y-poli ical delega ion came o isi he base in o de o make a decision abou whe he o pu chase he hyb ids o he a my. The e was an elabo a e p ocess o he acquisi ion, and he poli icians needed epo s om a ious commi ees ha me du ing he la p. The Minis y o De ence kep abs on he budge , and he e we e de ailed p ices o di e en kinds o hyb ids and hei equipmen . Many boa d games and compu e games a e designed o simula e some hing, and some imes i can be use ul o look a hose mechanics o inspi a ion. Fo example, in esou ce managemen games, you o en need o balance be ween us- e ul a ibu es ha you canno maximise a he same ime (e.g. speed s. s eng h). A simila idea was used in P o eus when he bio-scien is s we e ying o adjus he ho monal balance o he hyb ids. The scien is s had h ee scales on which hey could ope a e: cau iousness s. cu iosi y, agg ession s. play ulness, and eac ion speed s. impulse con ol. Fi s , hey would choose a numbe be ween one and en o each scale and eed i in o a compu e . They would hen ha e o mix a se um ha would ma ch a colou gi en by he p og am. Finally, he se um would be “injec ed” in o a hyb id ( hese we e NPCs), and i s playe would ake he new ho monal calib a ion in o accoun while playing. The scales conc e ised he echnical choices o he cha ac e s, and mixing he se um ga e a eeling o he p ecise endea ou o lab wo k. / 147 FUNCTIONING AND CONSISTENT WORLDS Many o he examples discussed so a a e ela ed o he idea o c ea ing an illu- sion o a unc ional wo ld a ound he la p, a wide con ex o he playe s o in e- ac wi h and explo e. In K usadis, hey could a el wi hin a gi en sec o in space, and in 1942, he illage was a kind o minia u e wo ld in i sel . I you simula e a unc ioning wo ld, he la p will eel mo e eal o he playe s. In se ings whe e he cha ac e s a e apped inside a con ined a ea, he possibili y o in e ac wi h an ou side wo ld can c ea e a con as ha makes hem eel e en mo e isola ed. Inside Hamle (Denma k, 2015), a la p adap a ion o Shakespea e’s play, is se in an a is oc a ic 1930s Denma k on he e ge o e olu ion, and he pa icipan s play he cou o King Claudius ha is apped inside a cas le su ounded by ed ebels. The playe s can use phones o ins uc hei oops in he igh agains he e olu iona ies o o alk o hei con ac s ou side he cas le; he ou side wo ld will call back o epo on consequences o he cha ac e s’ ac ions. Hala hisa (Finland, 2013) was se in an al e na e eali y whe e Finland was unde simila occupa ion as eal-wo ld Pales ine. The cha ac e s we e s uden s and s a a a uni e si y campus ha was placed unde cu ew by he occupa ion au ho i ies. I he cha ac e s wan ed o each he ou side wo ld, playe s could call a un ime gamemas e on he phone. Du ing he la p, hey phoned e.g. news- pape s, embassies, amily membe s, poli ical con ac s, and o an ambulance. Mo eo e , he ou side wo ld eac ed o hei ac ions and con ac ed hem; epo e s wan ed in e iews, and poli ical decision make s pu p essu e on uni- e si y adminis a o s. A no ice boa d placed cen ally in he play a ea p o ided a media simula ion, wi h o ganise s and playe s w i ing news headlines, blog pos s and wee s ( e y apidly and simply, wi h pen and pape , bu o g ea in- ic ion e ec ). I you wan you s o ywo ld o appea consis en , you migh need o make decisions abou wha is happening behind he scenes and in en ic ional e en s ha will no be di ec ly isible o he playe s. In Hala hisa , he occupa ion sol- die s in e oga ed some o he cha ac e s, since in he la p’s backs o y, a soldie had ecen ly been killed. Some cha ac e s had been selec ed o in e oga ion al eady be o e he la p, bu o en he decisions on who would be nex o wha he soldie s would do we e based on diege ic e en s, such as wha o he cha ac e s had said as hey we e in e oga ed, o how much in e na ional a en ion playe cha ac e ac ions had gene a ed in he media simula ion. The un ime game- mas e s we e also a emp ing o ead he low o he la p and balance he ac ion so ha he ou come would c ea e play ha was in e es ing a a gi en momen . Bu e en when decisions we e made based on ex adiege ic ac o s, he NPC playe s needed o know why he mili a y command would make a gi en decision inside he ic ion. / 148 A e he la p, he NPC playe who had been he leade o he in e oga ions was able o gi e playe s de ailed explana ions on wha happened behind he sce- nes and why. Some imes discussions like his lead o endless philosophical deba- es abou wha is “ eal” in a la p. One iewpoin is ha in a la p he whole wo ld is ic ional, and each playe ’s in e p e a ion o he “ u h” has an equal alue. Many people also hink ha only hings ha playe s wi ness happening du ing he la p a e pa o i s eali y. In his hinking, e.g. a backs o y o explana ions gi en by designe s a e no “ eal” in he same sense as playe ac ions. A la p like College o Wiza d y (Poland, 2014) om i s ou h un edesign onwa ds has aken his iewpoin o i s logical ex eme, wi h playe s o ymaking able o o e ule s o ywo ld backg ound. A mos la ps, howe e , playe s au oma ically expec he p esen o he ic i- on o be a cohe en consequence o i s pas , and he non-playe pa s o he s o- ywo ld o ope a e in acco dance wi h some in e nal logic. In eali y, he p esen con ains many aces om he pas , hin s abou wha migh ha e been going on. I you a e c ea ing a wo ld, why no design hose aces also? In his case, unc- ionali y means ha playe s can use physical i ems and cha ac e o NPC ac ions as logical clues o ind ou wha happened in he pas . I is p obably impossible o c ea e hose aces wi hou i s gene a ing a cohe en backs o y. I is (usually) no a good idea o gi e playe s a easu e map i he e is no ac- ual easu e. The same goes o lab science, spaceship main enance, o de ec i e wo k. I he cha ac e s a e in es iga ing a missing pe son, you need o know wha happened o he (unless she wen missing du ing he la p). The e has o be so- me hing o ind ou . I migh be emp ing o jus sca e andom “clues” a ound and us ha he playe s will come up wi h a cohe en s o y o explain hem. Howe e , i you ha e no hough i ou , you clues will become like a map o an inexis en easu e. In Ghos Exp ess (Finland, 2001-2002), an occul - hemed ci y la p campaign inspi ed by he ole-playing game Kul (Sweden, 1991), playe s once explo ed he scene o a ecen mu de . The ic im’s apa men was deco a ed o e lec he pe sonali y. As she had been associa ing wi h ampi es, he bedside able was equipped wi h ja s o i on supplemen s o indica e ha she su e ed om i on de iciency caused by blood loss. Bu i was also impo an ha she had no been killed by a ampi e. As his in o ma ion needed o be a ailable o he in es iga- o s, he wounds we e o a kind a ampi e would ha e been unlikely o cause. A p ac ical way o s udy he pas in cha ac e was c ea ed o Jo a ah a ei so aisi heikkoa (Finland, 2018, Eng. So Tha he S ong Should No Ha m he Weak). This was a la p abou he judicial sys em in ancien Mesopo amia. In ha cul u e, con ac s and e dic s we e inalised by w i ing hem on clay able s. In he la p, he emple had a chi es o all he able s w i en in he own, and playe s could go he e o ga he in o ma ion abou a ious deals ha had been made in / 149 he pas . A one poin , judges we e sol ing an inhe i ance case and wan ed o know whe he he deceased had o icially adop ed a ce ain cha ac e as his son. When he o ganise s ealised he e was no able abou he adop ion in he a chi- e, hey wen he ex a mile and p oduced one du ing un ime – o main ain bo h he cohe ence o he ic ion, and he unc ionali y o i s design. IS IT PLAYABLE? Ac ions ha a e doable and ha e meaning ul na a i e consequences a e s ill no au oma ically well-designed. Many playe s alue cha ac e in e ac ions and ela- ionship play, and in many la ps hose hings a e whe e he un lies, o he engine ha d i es he s o y o wa d. E en i you’ e designed a cool and unc ional p o- cess, i does no necessa ily enable in e es ing play. W i ing a p og am code eels p e y much he same whe he you do i ingame o o game – unless you cha ac e is much wo se a coding han you a e, and hen i migh be jus bo ing. Mo eo e , i is usually some hing ha you do alone. Soldie s in enches ypically s ood gua d oo a apa o be able o alk o each o he . The e a e good easons o his, bu i does pose a playabili y challenge. Fo mos playe s, la p is a social ac i i y, and i is he in e ac ions ha make a la p. Playing a psychologis , a spaceship commande , o mechanic who ge s o cha wi h colleagues in he engine oom, can p o ide mo e in e es ing play a ound ealis ic wo k han playing a compu e p og amme will. In P o eus, labo a o y echnicians wo ked ha d a adjus ing he ho monal ba- lance o human-pig hyb ids. The hyb ids would be p esen ed o he mili a y- poli ical delega ion, and he scien is s needed o decide how o op imise he ho - mones o he demons a ion. This is an example o meaning ul wo k: he e was a wide social con ex o he p ocess, i was connec ed o he main hemes o he la p, and he e we e clea deli e ables wi h immedia e consequences o he ou come o he plo . To ensu e playabili y, he mos complica ed wo k p ocesses we e no only desc ibed in w i en ex p o ided be o e he game and ehea sed in he wo kshops, bu also p in ed ou as diege ic checklis s and p ocess diag ams a ailable in he play a ea. As you weigh playabili y agains plausibili y, emembe ha you design goal is p obably no o each how some hing is done in he eal wo ld, bu o c ea e a hema ically ele an eeling o expe ience. Pe haps you echnical p ocess can equi e cons an collabo a ion be ween small g oups o cha ac e s. Pe haps sol- die s can be s ood wo and wo o allow hem o exp ess in play how homesick, e i ied and bo ed hey a e. You can design a cohe en , unc ional na a i e sys em whe e ac ions ha e meaning o he la p’s plo , hemes and ou comes. Whe he playe s will hen ind hese ac ions meaning ul o do ul ima ely depends on hei pe sonal p e e en- / 150 ces. Some people will be e y happy inke ing wi h code, o he s would a he play a omance. One playe app ecia es cohe ence and plausibili y, while o ano- he , high d ama is mo e impo an . Some people p e e com o and o he s wan o es hei limi s in ex eme physical condi ions. I is you esponsibili y as a designe o make choices and o communica e hem clea ly o you playe s. Wha kinds o unc ionali y you la p needs depends on you design choices as a whole. FURTHER READING Ka he ine C. Jones, Sanna Koulu, and E an To ne : “Playing a Wo k” in Kangas, Loponen & Sä kijä i: La p Poli ics (2016) / 151 CREATING OR CONVEYING CULTURES // Ma in Nielsen // G e he So ie Bul e ud S and I ’s he beginning o a la p, bu he playe doesn’ eally know how o beha e. And i ’s no abou hei cha ac e , i ’s abou he no ms and beha io s su - ounding hem. “Oh, his doesn’ eel igh , I’m doing i all w ong. How was I supposed o g ee my cha ac e ’s neighbou again?” The beginning o a la p can be ne e w acking in i sel . Na iga ing a ic ional cul u e in which one’s cha ac e is supposed o ha e a li e ime o expe ience doesn’ make i any easie . Especially i i ’s a cul u e ha he playe only knows om eading abou i . Cul u es a e complex sys ems ha guide he ideas, cus oms and beha iou o a people o g oup: wha hey belie e, wha hey alue, how hey cons uc iden- i ies indi idually and in g oups – all exp essed h ough how hey go abou hei li es. In a la p, he e a e o en one o se e al diege ic cul u es ha a e impo an o how he cha ac e s in e ac . Poo communica ion o hese cul u es can lead o misunde s andings, less bold play and unin ended ep oduc ion o eal-wo ld cul u es and/o s e eo ypes. This chap e looks a how la pmake s can con ey he cul u e hey ha e designed o he playe s, o help he playe s de elop he die- ge ic cul u e hemsel es. COMMUNICATING CULTURE How do you choose which medium o use when communica ing you ision o he playe s? Fo a long ime, w i en ex was he communica ion channel o choice o mos la pmake s. Bu in he pas decade o so, using wo kshops be o e a la p o con ey in o ma ion o he playe s has become inc easingly common. Di e en media a e di e en ly sui ed o communica e cul u e, depending on hei capaci ies o pa icipa ion (how much he playe s a e in ol ed), and esolu ion ( he de ail and quali y in he communica ion abou he diege ic cul u e). W i en ex can pinpoin de ails p ecisely, bu is s ill a e y low- esolu ion way o desc ibing some hing. All eade s o he same book will d aw up di e en ideas and images. This is a beau i ul cha ac e is ic o w i en ic ion, bu no so PART SECTION CHAPTER 3:2:2 / 152 con enien when you wan se e al people o unde s and a complex sys em and how hey ha e li ed in i o a long ime. W i ing is a good way o con eying abs ac ideas, o ins ance communica- ing a cul u e’s dominan ideologies. I is less e icien a communica ing o in- s ance he nuances in in e p e a ions o such ideologies, o conc e e ac ions, like a cho eog aphy, o he sub le ways in which people in a hie a chy con ey s a us wi h hei bodies. In less op-down designs wi h mo e playe in ol emen , many la pmake s ask he playe s o co-c ea i ely design pa s o hei play expe ience. This can in- ol e mee ing up in pe son o alk, bu inc easingly o en playe s eso o online planning, ei he in w i ing o a mee ings using ideo link. While playe s designing hei cul u e oge he allows o playe pa icipa ion, i sha es some o he esolu ion p oblems wi h p e-w i en ex . People will ha e di e en in e p e a ions o cha con e sa ions, and e en mo e so he ou come o a chao ic Skype mee ing wi h oo many pa icipan s. The e will also o en be an imbalance ega ding how much ime a playe can de o e o his kind o planning, which in u n migh lead o in o ma ion gaps be ween playe s in he same g oups. Fu he mo e, unless he la pmake s a e p esen , i can be ha d o ensu e ha he inno a ions o such mee ings suppo he o e all ision o he la p – al hough p o iding he playe s wi h ins uc ions o p e-la p mee ings may be help ul in his ega d. E en so, in o mal mee ups o online planning in a playe g oup is be e han no in e ac ion a all. I is a good addi ion o w i en ma e ials, especially o small g oups o pa icipan s who need o check ha hei in e p e a ions a e simila . Using a mo e complex medium such as ideo o communica e comes wi h i s own cos s and bene i s. While ideo is much be e a con eying high- esolu ion in o ma ion like body pos u es and ges u es, i ’s ypically one-way and op-down. I can be e ec i ely used o inspi a ion o o lock down one o wo co e cul u al concep s, and hen combined wi h co-c ea i e me hods o playe in ol emen . Used on i s own, ideo will mos ly communica e how he sough a e beha iou is supposed o look. CULTURE CREATION LARP IN WORKSHOPS To achie e bo h a high esolu ion and a le el o co-c ea ion, la pmake s ha e an ob ious ool a hei disposal: la p. Role-playing exe cises as pa o a p e-la p wo kshop will allow high- esolu ion communica ion, and o he playe s o ake owne ship o e he p ocess, bo h o which will help e en ion o in o ma ion and suppo i s use in ac ual play. While ehea sal is an ob ious pa o he p epa- a ion o mos kinds o pe o mance, i is s ill no ha common as pa o la p p epa a ions. Rehea sal la ping allows playe s o ge a cohe en unde s anding o a cul u e and o calib a e hei unde s anding o i h ough play. / 153 Rehea sal la ping is playing scenes jus as one would in he la p, hen s ep- ping back o obse e and discuss hem. Using his me hod o c ea e o calib a e a diege ic cul u e, he la pmake gi es away some con ol, bu in e u n will ha e a playe g oup wi h a mo e cohe en and highe esolu ion unde s anding o he wo ld hey will play in. Fig 1. Di e en app oaches o how he la pmake s can con ey he diege ic cul u e o he playe s. The playe knows i in heo y. They’ e ead he ma e ial, a while ago. Bu hey ha e ne e p ac iced i , and cul u e is complex. They spend he i s pa o he la p being acquain ed wi h i , and only a e se e al hou s o playing do hey ha e a sense o he cul u al dynamics. By hen, he mis akes hey’ e made ha e al eady a ec ed hei cha ac e ’s posi ion in he ic ion. By implemen ing an i e a i e p ocess – playing, obse ing and e alua ing – you can ge be e , mo e playable la ps, jus like ehea sal is pa o b inging a w i en play ali e o he s ageplays. You can le he playe s c ea e he diege ic cul u e om sc a ch, o based on a p ede e mined amewo k o alues and beha io s ha i he heme and loca ion o he la p. O you can p e-de e mine qui e a lo and use he me hod o le he playe s calib a e hei unde s anding o wha you ha e c ea ed, and how o ansla e i in o playable ac ions. The basic s uc u e o all ehea sal la ping is he same in bo h cases: le he playe s y es scenes, s ep ou o play and desc ibe wha happened in he scene, and inally e alua e whe he he scene is a good ep esen a ion o how you would like he cul u e o be when playing he ac ual la p. Then epea he cycle i necessa y. Fig 2. The i e a i e p ocess o ehea sal la ping Resolu ion Video Rehea sal la ping Pa icipa ion P e-w i en ex om he la p make s Co-c ea i ely w i en o e bal planning PLAY EVALUATE DESCRIBE / 256 pan s wi h hei expe ience. The cha- ac e s used he no ebook h oughou he la p, e e ing back o wha hey had w i en ea lie . Re lec ing on hei cha ac e , and w i ing di e en op- ions o wha di ec ion o ake nex , helped pa icipan s map hei jou ney h ough he la p. I enabled hem o make choices du ing un ime and o build a nuanced cha ac e on he basic ounda ion hey had made du ing he wo kshop. Especially people new o la p com- men ed ha he no ebook mechanic was a g ea help in unde s anding hei unc ion h oughou he pe o mance piece. The i s un o he la p also augh us ha he mechanic wo ked bes when we scheduled undis u bed ime o w i ing in he no ebook. We eally nailed wha we se ou o do: o ha e a clea and simple ool used by all pa icipan s, ha me ou design challenges and enhanced hei expe i- ence signi ican ly. FURTHER READING: no dicla p.o g/wiki/Le el i e NAILED IT! / 257 Tuhannen iillon kuolema (Finland, 2018, Eng. Dea h by a Thousand Cu s) was a la p by Juhana Pe e sson (designe ) and Massi Hannula (p oduce ) abou class wa . I was in cha ge o he p e- la p wo kshop. The e we e h ee ypes o cha ac e s: he poo , he middle class, and he ich. The basic idea was ha owa ds he end o he la p, he poo would become so us a ed wi h inequali y ha hey would s a killing he ich. CHALLENGE We i s an a small es la p a Rope- con, he bigges ole-playing con en i- on in Finland. The es la p had only poo and ich cha ac e s, no middle class, and ended wi h an e en whe- e he poo se ed champagne o he ich. In he wo kshop, we played a io- us scenes om he cha ac e s’ pas s o d i e home he poin ha he ich cha- ac e s had ac ed like assholes owa ds he poo . Fo example, some o hem had hi ed a couple o poo cha ac e s o eno a e a illa and hen e used o pay hem p ope ly. We ins uc ed he playe s ha in he las scene o he la p, he poo cha ac e s would be so wound up hey would s a s abbing he ich. A e he play es , playe s complai- ned ha i had been di icul o escala e he si ua ion so ha physical iolence would eme ge. The ich el hey had no eason e en o speak o he poo since you usually igno e wai e s; and he poo el he e we en’ enough in- ic ion easons o ac iolen ly, as he ich didn’ p o oke hem. One o he playe s o he poo said s abbing he ich el o ced and a i icial, and ha hey only did i because hey had been ins uc ed o. DESIGN CHOICE As a solu ion, I sugges ed a mechanic o class p i ilege. When a ich cha ac- e holds he palm o hei hand up in a ejec ing ges u e while speaking, he poo cha ac e s canno speak, unless hey physically ouch he ich cha ac- e . Middle-class cha ac e s we e allow- ed o igno e he mechanic, bu we e old ha i would equi e a lo o psy- chological e o om hei cha ac e o do so. The idea was ha in o de o ha e hei oice hea d, a poo cha ac- CLASS PRIVILEGE AND CONFLICT ESCALATION // Kaisa Kangas / 258 e would ha e o c oss he bounda y o ouching he o he pe son (which in Finland, whe e he la p was se , is a clea ansg ession), and his would lead o escala ion. OUTCOME The mechanic was used a lo in he la p and playe s seemed o like i . I was a g ea help o less ou going playe s o allow hem o ake up space, and i did lead o scenes whe e i se ed o esca- la e he si ua ion as in ended. Howe e , mos o he ime, he playe s o poo cha ac e s seemed o ea he me- chanic as an absolu e ule ins ead o one you we e expec ed o some imes b eak by ouching he o he pe son. This mean ha he mechanic c ea ed less escala ion han I had hoped and expec ed. The p oblem could pe haps be emedied by p ac ising he mecha- nic mo e in he p e-la p wo kshop, especially by playing scenes whe e he poo pe son would ouch he ich one o in e up hem. FURTHER READING: no dicla p.o g/wiki/Tuhannen_ iil- lon_kuolema NAILED IT! / 259 Fo ou noi - hemed la p Valley o Shadow (Czech Republic, 2018) we decid- ed ha hal o he la p would be se wi hin he cha ac e s’ d eams, and ha hese sequences would use dancing as he p ima y mode o in e ac ion. We also wan ed he la p o be accessible o e e yone, meaning we needed a dance we could each om sc a ch in a week- end. Ou design challenge was inding one ha would also allow equal in-cha - ac e communica ion o e e yone, and be sui able o people o a ying abili ies. In la p we gene ally wan all play- e s o ha e an equal abili y o con ibu- e wi h hei own ideas. Howe e , mos couples’ dances ha e wo unequal oles: leade and ollowe . I one imagines a dance as a con e sa ion, many dance s yles ame he oles as he leade ‘speaking’ all he ime (p oposing mos mo es), while he ollowe mos ly lis- ens (ca ies ou mo es p oposed by he leade ). The ollowe ’s agency can be limi- ed by many p ac ical ma e s. In ango o ball oom dances, humans a e squ- ished on o o he humans e y igh ly jus o pe o m he basic connec ion, limi ing he possibili y o independen mo emen . Cha les on o boogie woo- gie equi e dance s o pe o m compli- ca ed, high-speed s ep sequences be- o e e en ge ing o c ea i i y. In mos dances we knew, he buil -in op ions o ollowe agency we e usually limi - ed o op ional s yling, pu ely aes he ic in pu pose and o be added once he ollowe has ma- s e ed e e y hing else. Na u ally, one can ‘hack’ a dance o make i mo e sui able o la ping. Bu hacking has limi s and would equi e mo e labou and mo e aluable wo k- shopping ime. We knew ou playe s would in- clude bo h a id dance s and comple- e beginne s. I he s yle was di icul o lea n and one pa ne ’s dance skill de e mined he quali y o he dance, ou la p would su e om he good dance locking pa adigm: whe e i o he dance (and la p) o wo k, people need o do di icul hings well, hen be e dance s will au oma ically g a i- a e owa ds be e dance s, e ec i ely c ea ing se e al “cas es” o playe . O he demands o ou pla o m included ha ing a lo o e sa ile op- ions o emo ional exp ession (mos dance s yles g a i a e hea ily owa ds exp essing one emo ion dominan ly, whe he i is “joy” in swing, o “bi - e swee d ama” in ango); whe e e en LARPING THE BLUES // I a Vá o á // Ka eřina Holendo á / 260 no e y physically i playe s would manage se e al songs in a ow wi hou dying; and whe e in ense physical con- ac was pu ely op -in, no he main basis o he dance. We slowly elimina ed mos o he dances we’d collec ed in ou combined decades o s udying and eaching dance. Fo una ely, ou las and mos belo ed s op on he oad o dance icked all he boxes. Blues is an Ame ican e nacula dance, s emming om he Wes e n A ican dance adi ion. I became widely popula in he USA in he Jazz Age, and oday has a passiona e global an base. Mos impo an ly, i add ess- ed mos o ou needs h ough i s inhe- en ea u es! Blues s a ed as a solo dance, only de eloping in o a coupled o m g a- dually. Subsequen ly, ollowe agency is no an a e hough o a en a i ely o e ed “as long as you don’ dis u b he lead”. Tha bo h pa ne s ha e an equal abili y o con ibu e o he dance is one o he mos cen al concep s o blues dancing. As soon as beginne s a e augh o connec in a couple and pe o m a simple unde -a m u n, hey a e augh ollowe agency. The e o e, in oducing blues as a la ping pla o m whe e playe s ha e equal oices equi- ed much less inke ing wi h he unda- men o he dance. We did no need a sepa a e wo kshop o each he playe s o mo e wi hin he dance, wi h i s i- gid leade - and ollowe -shaped spaces, and ano he one saying “now o ge wha we augh you; his is how we wo k wi h i o his la p”. We could smoo hly ans e om eaching agen- cy and con en -c ea ion wi hin he dan- ce o all dance s, o eaching agency and con en -c ea ion wi hin he la p o all la pe s. Blues also has an ex emely low en y ba ie . I you can ans e weigh om one leg o ano he while bending you knees o lowe ing you hips in a ce ain hy hm, you can blues (a bi ). Na u ally, lea ning blues well is di - icul and ime-consuming, bu s a ing is qui e easy. The connec ion is also e- la i ely loose, s a ing wi h jus holding hands, which allows e e ybody a lo o space o dance in, and signi ican ly limi s us a ion in dances wi h less skilled pa ne s. I one playe canno eally do much and he o he can, hey can mo e wi hin hei bodies and ha e un ne e heless, allowing playe s wi h di e en dance skills o in e ac eely. Thanks o ha , a e a ound ou hou s o wo kshops, a g oup anging om comple e non-dance s o people en enched in “men lead; women ol- low” s e eo ypes, spen he nigh puls- ing and g oo ing in he hy hm o blues and c ea ing oge he , ega dless o dance ole, aw skill, o gende . The emo ional ange o blues al- lowed playe s o exp ess lo e, ha e, emo se, and econcilia ion h ough dancing. The op ions i o e ed beyond he couple, including solo and g oup dancing possibili ies, le us c ea e sa e mechanics o agg ession wi hin he dance, by including g oup dance-o s, soli a y e lec ion, and dancing in g oups o h ee o ou wi h a ying connec ion. I s a ini y o slowe em- pos mean ha playe s wi h di e en bodies and di e en le els o physi- cal i ness could manage a wo kshop weekend and wo hou s o dancing in / 261 he game. And inally, we could o e he playe s many op ions o physical con ac : om none, o holding hands, o igh emb aces, and ways o na iga- e be ween hem, o di e si y o bo h exp ession and plays yle in ensi y. By he end, blues empowe ed ou playe s o pe o m a ounded s o yline, age, li , s eal pa ne s, in e ac wi h NPCs, exp ess a ange o moods, and accep ha (almos ) anyone can dan- ce wi h (almos ) anyone and eel good abou i . I led us h ough he Valley o Shadow, and we’d be quick o ecom- mend i as an excellen pa h o dance la ps, o hose eady o espec i and emb ace i in i s en i e y. FURTHER READING: no dicla p.o g/wiki/Valley_o _Shadow NAILED IT! / 262 META- TECHNIQUES // Anna Wes e ling // Ande s Hul man A me a echnique is a mechanic enabling playe - o-playe communica ion du ing un ime wi hou pausing play o alk ou o cha ac e . Me a echniques a e used in o de o c ea e a b oade expe ience. I you design a la p abou social su ace, you may wan o include some echnique o le he playe s e eal hei cha ac e s’ inne hough s and mo i a ions, while a he same ime keeping up ha social acade. I you design a la p abou people going c azy as socie y collapses, you may wan a me a echnique ha allows playe s o calib a e play in ensi y be ween each o he ; and so on. Below a e examples o h ee ypes o me a echniques: me acommunica ion inse ed in o play by one playe ; wo ds o objec s con aining o ac i a ing me a in o ma ion o he playe s; and me a scenes played by wo o mo e playe s. [Me a scenes a e he odd bi d ou on his lis , because he ac ual ole-playing o he scenes can be no mal cha ac e in e ac ion. He e he me a echnique mo e speci ically is he ini ia ion and nego ia ion o he scene. This is a heo e ical dis inc ion: in e e yday speech, me a scenes com- monly belong amongs he me a echniques. –Eds.] Depending on wha s o y you as a designe wan o enable wi h you la p, you can add, edesign, adjus , and in en new me a echniques o i he ision and hemes o you pa icula la p. No all mechanics wo k a all la ps; you need o ind he ype o ool ha wo ks o you design. INNER MONOLOGUE Me acommunica ion inse ed in o he play by one playe A cha ac e may lie, ell hal u hs, and keep sec e s. As his could be some hing only he playe knows abou , in o de o b ing he cha ac e ’s hough s in o play he me a echnique inne monologue can be used, pe mi ing a playe o e balize he cha ac e ’s hough s and eelings. The inne monologue is audible o he o he playe s, bu no o he o he cha ac e s. This can be done in a numbe o di - e en ways, bu he e needs o be a clea dis inc ion be ween when he cha ac e is speaking, and when he cha ac e ’s inne hough s a e being exp essed. Tha means an inne monologue needs o ha e a clea beginning and end. I a cha ac e is hinking abou e olu ion, o example, i ’s no uly ex- p essed in play un il he cha ac e ells ano he cha ac e , o ac s on i in an ob- ious way – bu some cha ac e s ne e would. The inne monologue me a ech- nique allows he playe s o o mula e and exp ess cha ac e hough s ex e nally, PART SECTION CHAPTER 3:4:3 / 263 wi hou hei cha ac e needing o e eal hem diege ically. This is done in pa o guide he playe owa ds a deepe unde s anding and a mo e de eloped s o y o hei own cha ac e , and in pa o he bene i o he o he playe s and e e y- one’s collec i e s o ymaking. Knowing wha a cha ac e is eally hinking e ames and changes he mean- ing o hei ac ions, c ea ing d ama ic i ony, which makes wi nessing he ac ions mo e in e es ing. When he o he playe s unde s and a cha ac e ’s inne mo i a- ion and hough s, hey can also collabo a i ely c ea e a mo e ocused, meaning- ul,and emo ional s o y a c h ough playing agains he ensions ha hey a e now awa e o . They can make a mo e in o med decision abou whe e o ake he la p nex , o choose wha heme o scene would be in e es ing o play, han i hey jus need o guess whe e he cha ac e is. Fo example, a scene can be made a lo mo e in e es ing i bo h playe s know one cha ac e sec e ly lo es he o he cha ac e . The unknowing cha ac e can play on belie ing ha she is unlo able, o on being in lo e wi h someone else, o gi e mo e emo ional impac o he scene. This me a echnique is help ul in a la p ha ocuses on he cha ac e s’ s o y and emo ional expe iences. I is especially use ul in la ps whe e cha ac e s can’ say wha hey mean: o example, in se ings wi h lo s o social con ol o opp es- sion. On he o he hand i is an in usi e me a echnique: i o ces e e yone close by o lis en o in o ma ion hei cha ac e s would no ha e. Pa icula ly i he la p is qui e big his can be p oblema ic, since playe s in a la p a e usually ocussed on hei own s o y and hei closes ela ions. I a playe has ne e me a cha ac e i can be unin e es ing o lis en o hei inne hough s. Hence he use o ech- niques ha o ce e e yone o lis en should be limi ed o smalle g oups o p e e- ably a maximum o eigh pe sons. Below a e a ew examples o wha he inne monologue me a echnique migh look like in p ac ice. DIRECTOR INSTRUCTION Some la ps ha e so called di ec o s in he la p. A di ec o is a un ime gamema- s e p esen in he la p o ac i ely enable play, and is isible o he playe s, bu no o he cha ac e s. [See Wes e ling & Hul man on Run ime Di ec o s. –Eds]. I you la p uses his ype o unc ion, a di ec o can simply ask a playe o do an inne monologue du ing a scene, and say hank you when i ’s o e . The di ec o can use an ag eed-upon ph ase like “Wha a e you hinking?” o “Please do an inne monologue” o clea ly communica e ha he me a echnique is being used. This mechanic was used a En s illa middag med amiljen (Sweden, 2007, Eng. A Nice E ening wi h he Family). Fo cla i y i was combined wi h a ges u e called gamemas e ’s ouch. The di ec o pu hei hand ligh ly on he playe o signal a me a le el in e ac ion and asked, o example, wha he cha ac e el . The playe could hen ell he di ec o wha hei cha ac e was hinking. I also inished clea ly / 264 when he di ec o said hank you and emo ed hei hand. ZONING In he oom a special a ea o posi ion is ma ked, and when someone s ands he e and speaks hey a e unde s ood o be doing an inne monologue. The downside wi h his is ha he e needs o be someone a ound who wan s o lis en, so ha he playe is no speaking o an emp y oom. This wo ks bes in spaces whe e small g oups play oge he , and when he es o he g oup is willing o lis en o an inne monologue. A SPECIAL GESTURE To s a an inne monologue you do a special ges u e o ma k ha i is a mono- logue. Fo ins ance, Mad Abou he Boy (No way, 2010) used o ming he shape o a TV sc een wi h you hands a ound you head o s a and inish you mono- logue. The downside is ha someone en e ing in he middle may ha e missed he ges u e, and so unce ain y can a ise abou whe he wha is said is audible o o he cha ac e s o no . In o he la ps, al e na i es ha e been de eloped whe e you o ins ance ouch you hea , o a speci ic objec h oughou he monologue ins ead. Fo example, in some la p i migh be elegan o ag ee ha i a playe is ouching he Bible, i means he playe is monologuing abou he cha ac e ’s soul. A SPECIAL RITUAL In some se ings he e a e ce ain i uals ha can be adop ed o he use o me a- echniques. Fo example a a dinne pa y gi ing speeches, o in Jane Aus en’s ime eading poems oge he . You can es ablish in you design ha while he cha ac e s will hea a speech o poem, he playe s will gi e an inne monologue ins ead. In he la p Joakim (Sweden, 2011) he playe signalled he s a o an inne monologue by pinging hei glass and ge ing up as hough o o hold a chee ul speech, bu eally o pe o m an inne monologue. A Fo une & Felici y (Sweden, 2017) he poe y mechanic o inne mono- logues equi ed he playe o say he i s line o a eal poem, hen he cha ac e ’s hough s o emo ions, and end wi h a line o eal poe y. The lis ene s hen ap- plauded as hough hey had jus hea d an emo ional poem ead. A i ual like his can also p o ide a con enien code wo d o inne mono- logue, wi h he ad an age ha he playe s can ask someone o ead a poem know- ing ha wha hey will eally ecei e is an inne monologue. A monologue also equi es a lis ene and ocus, which he social sc ip s a ound bo h poems and speeches o e . / 265 WORD AND OBJECTS Wo ds o objec s con aining o ac i a ing me a in o ma ion o he playe s You can in oduce keywo ds o objec s ha ha e a special meaning o he playe s bu no he cha ac e s. The cha ac e will in e ac wi h hem no mally, bu he playe can use hem o di ec hei play o s o y choices. A la p ha used objec s in his way was Deli ium (2010, Denma k), which was se in a s ylized men al asylum. One design goal o he la p was o allow he pa icipan s no o ha e o p e end o be su e ing om men al illness, bu o expe ience he us a ing and some imes e i ying social eali y o hei eali y no ma ching ha o o he s. In he se ing, any ed objec s would be ea ed by he cha ac e s as pe ec ly no mal – excep o he pe son in e ac ing wi h i . Fo example, one o he spoons a he able would be ed and ha e holes in i . The playe who ended up wi h he ed spoon would be unable o ea soup wi hou spilling, bu e e yone else would punish hem, socially o ac ually, o being messy and c ea ing p oblems. Complaining ha he spoon has holes in i will, o cou se, make he cha ac e seem e en mo e insane. In BAPHOMET (Denma k, 2015) he cha ac e s possessed by Baphome and Pan would be wea ing necklaces depic ing he dei ies. The necklaces do no diege ically exis , o ep esen neu al jewelle y i in e ac ed wi h physically. The playe s know ha o hei cha ac e , he pe son wea ing he necklace is now he mos in e es ing in he oom, and hey would do any hing o please hem. The wea e o he necklace is gi en a speci ic goal o guide hei in e ac ions wi h he o he s. In he jeep o m scena io Fyllo (Sweden, 2008, Eng. D unk) playe s will a ach cues o lashback scenes o a eal bo le om which he one o he cha ac e s will physically d ink du ing scenes se in he p esen . As he le el o he liquid eaches a scene ma ke , ha scene is played. You can also load wo ds wi h me a in o ma ion o allow pa icipan s o commu- nica e ou o cha ac e wi hou pausing play. Common uses o me a language a e magic sys ems and plays yle calib a ion. Using ce ain wo ds in a spell can desc ibe o o he playe s wha he e ec is in ended o be. In D agonbane (Sweden, 2006), he wo d “Ve i as” implied ha he sen ence ha ollowed was a spell, and ha he playe should pay a en ion, because i would include an ins uc ion abou how o eac app op ia ely. The code wo d and spell we e diege ically eal, and he ins uc ion was o be ollowed absolu ely – wi h possible wiggle oom p o ided by any unin en ional agueness on he magic use ’s side. In Inside Hamle (2015, Denma k) he hema ically app op ia e wo ds “ o - en” and “pu e” we e used in a sen ence o inc ease o dec ease in ensi y in an ongoing in e ac ion. The cha ac e ’s opinion and he plays yle ins uc ion could / 272 o he playe s expe iencing mo e physical imme sion, bu p obably also lead o mo e la p c ushes and bleed. Playe s expe ience emo ions wi h hei bodies, and he body does no unde s and ha i s s omach bu e lies and pupil dila ions a e caused by a pe son ha does no eally exis . I you don’ wan you playe s o expe ience oman ic bleed, you can enhance he eeling o alibi and dis ance. You can also make su e you playe s ha e mo e cogni i e and emo ional esou ces o cope wi h he expe ience by making su e hey a e well- es ed and elaxed. In wha kind o physical en i onmen will he la p ake place? Is he e an abundance o so , ho izon al su aces wi h a high hygienic s anda d? O is i a cold, dus y g a el pi wi h no ligh a e he sun’s gone down? How do you wan o p io i ize he playe s’ com o s e e y o he ac o , like he se ing o he pu pose o he la p? Does he lack o abundance o com o able o a ai- lable places o ha e sex in c ea e in e es ing play on a s o y le el? Wha ’s he la p’s se ing and aes he ic? I he la p is hea ical and decaden , he sex mechanic migh also need o be. I he la p’s se ing is based on some kind o innocen oman icism, whe e he mos e o ic e en would be someone looking a you om ac oss he oom, hen he sex mechanic migh also need o be a bi mo e es ic ed (unless you a e in- en ionally aiming o a con as ). I he la p is based on an al eady es ablished s o ywo ld, how is sex po ayed he e? Is i some hing ha ’s jus alluded o, o a de ailed a ai wi h physical desc ip ions? Do he playe s need a way o communica e o nego ia e be o e and a e he scene? I he la p has da ke hemes, he need o check in ou o cha ac e wi h a co-playe migh be highe han in a mo e easygoing la p. I is a good idea o es ablish how he playe s should communica e o check whe he hei co-playe is okay wi h mo ing he scene in a mo e sexual di ec ion, and how hey eel a e he scene. You can use non-in usi e consen calib a ion mechanics, o encou a- ge playe s going comple ely o game o nego ia e. [Fo mo e de ailed sugges ions abou how o each physical consen nego ia ion, see Mu sae s in he nex chap e . –Eds.] Is he communica ion be ween he cha ac e s, be o e and a e , in e e- s ing play? In a la p whe e mos cha ac e s do no speak abou hei inne li es, i migh be in e es ing o he playe s o hea cha ac e s exp ess hei eal eelings and hough s be o e and a e sex. A me a echnique, like a p e- o pos -sex mono- logue o me a scene, migh do he ick. A e he ha d pa ame e s o you design ha e been es ablished, he mos impo an ques ions need o be e isi ed: Why is i impo an o po ay sex in his la p a all, and wha is he na a i e pu pose o he sexual con en ? / 273 Is i because ha ing sex has impo an social consequences o he cha a- c e s? In ha case ocusing on he emo ions and decisions be o e, du ing, and a e sex makes sense. O is he exac na u e o he sexual ac s, o he powe dynamics o he in e ac ion, na a i ely impo an ? Then a simula ion mechanic in which de ails o he sexual ac a e somehow ep esen ed could wo k be e . I he s o y po en ially in ol es non-consensual in e ac ions o sexual iolence, how will ha be ep esen ed? EXAMPLES OF SEX SIMULATION MECHANICS One ad an age o using an al eady exis ing simula ion mechanic is ha i ’ll sa e p ecious ime in you design p ocess. A disad an age is ha as he mechanic isn’ speci ically designed o you la p, he playe s, o he en i onmen , i may no sui he pu pose. To sa e ime and sani y, you migh s ill wan o adap an al eady exis ing mechanic ins ead o designing a b and new one. In any case, a- milia izing you sel wi h some o he a ailable choices will help you hink abou he design choices in ol ed, and will gi e some idea o wha kinds o mechanics playe s migh ha e encoun e ed be o e. STORYTELLING SEX Summe Lo in’ (No way/Sweden, 2012), a ee o m scena io abou iends elling s o ies abou hookups, used s o y elling as he simula ion mechanic. A e a sce- ne whe e he sexual encoun e is alked abou , i is played ou as a lashback o explo e wha eally happened. Two people si in on o each o he , holding hands. As is common in ee o m scena ios, he o he playe s will no be po - aying cha ac e s while no in ocus, and will jus si by he o he s as an audience. One o he playe s holding hands says, om a cha ac e pe spec i e, wha hey do o he o he cha ac e . The o he playe answe s wi h how hei cha ac e eac s and wha hey do in esponse. They hen ake u ns desc ibing he sex ac un il one o hem le s go o he hands. The mechanic is ocused mo e on co-c ea ing a s o y abou sex han on expe iencing he sex physically, which may be expe ienced as easie o play. Jus desc ibing wha he cha ac e does may be easie han ac ually doing i wi h one’s body. The mechanic demands o he playe s o be qui e e bally c ea i e in on o an audience, which o some playe s migh eel qui e emba assing o di - icul . An al e na i e in you la p could be o use he same mechanic wi hou an audience, o o decide a he s a o he scene b oadly wha ’s going o happen in i . I you wan he mechanic o eel mo e imme si e, he playe s can s and/si close o each o he , o maybe e en whispe in o he o he pe son’s ea wha hei cha ac e does and eels. In Fo une & Felici y (Sweden, 2017), a Jane Aus en-inspi ed 360° la p, he sex simula ion was a simila me a echnique, bu ocused on wha he ac mean o / 274 he cha ac e s. The la p’s handbook desc ibed i as a h ee-s ep p ocess: Fo eplay – hold bo h hands, and ake u ns elling each o he wha you cha- ac e s a e hinking abou be o e he sex. Ne ous, ho ny, con used, e c. Use bo h eason and emo ion. Sex – con inue holding hands, bu lean o wa ds and ouch you igh cheek o he o he playe ’s igh cheek. Then you ake u ns saying single wo ds ha desc ibe he cha ac e ’s emo ions du ing he ac . When you eel you a e done, you can lean back. Bu keep holding hands. A e hough – while holding hands, ell he o he abou wha his will mean o you, you amily, and you u u e. Le bo h eason and emo ion play hei pa s. When done, elease hands. No hing o wha is said is hea d by he o he cha ac e . This is jus you cha ac e ’s hough s as hey ha e sex, sha ed wi h he o he playe . I you cha ac e wishes o alk o he o he cha ac e ingame, you can do so when you ha e le go o he hands. ARS AMANDI Designed o Mellan himmel och ha (Sweden, 2003, Eng. Be ween Hea en and Sea), A s Amandi is one o he bes known sex simula ion mechanics in No dic la p. The co e o he mechanic in ol es he playe s ouching each o he ’s hands, a ms, shoulde s, and pa o he neck (bu nowhe e else on he body) while wo - king wi h eye con ac , b ea hing, moans and in ensi y o ouch as app op ia e. In he o iginal la p, se in a ic ional cul u e on a dis an plane , his was how cha ac e s diege ically had sex – he ac ions ep esen ed hemsel es and we e no symbolic eplacemen s o o he ac ions. In la e use, A s Amandi has become a eplacemen mechanic. One way o adap A s Amandi is o change he limi s o he ouching, om only hands o a ms and e e y hing abo e he b eas s. To ge com o able wi h he mechanic, all playe s y i ou in a wo kshop many imes wi h a lo o di e en people. A common posi i e eac ion o he mechanic is ha i eels sa e and sexy a he same ime. A common c i ique is ha i eels wei d and uncom o able o p ac ise he mechanic wi h so many people in he wo kshop, especially wi h moans and b ea hing. Depending on how com o able he playe s a e wi h he mechanic, you migh need o one down he in ensi y du ing he wo kshop, o only y ou he mechanic in smalle g oups, and sa e he moaning and hea y b ea hing o he la p. Some playe s migh also mo e gene ally eel ha ouching each o he ’s a ms while main aining eye con ac is oo in ima e o do wi h s ange s. The mechanic is a he s aigh o wa d, i has speci ic phases, and you can s a and end i wi hou ha ing o hink abou p ops o clo hes. I you wan a mo e ealis ic ep esen a ion o p e-sex and pos -sex beha iou s, you can hink / 275 abou how o symbolize condoms, lube and he like. Ano he ques ion is how o handle clo hes – will hey s ay on, o does he po en ial shedding o clo hing se e a pu pose? In a cold/di y en i onmen one migh p io i ize com o and lea e he clo hes on: o one migh decide ha i will c ea e a sha p and imme si e con as when e e yone’s huddled in laye s o clo hes, and one sees a lash o naked a m in an in ima e scene. Na a i ely, he mechanic may be a bi con using o onlooke s. I can be ha d o see whe he a so s oke o he shoulde should sugges gen le pene a- i e sex o an in ima e ca ess. I you wan o he people o be able o eally ead he ac ions, hen A s Amandi migh no be he bes i . THE PHALLUS METHOD The Phallus Me hod, designed o Jus a Li le Lo in’, has h ee s eps: he nego ia- ion, he sex simula ion, and he monologues. The la p is abou lo e, AIDS his o y, and gay sexual cul u e in he ea ly 1980s; and he simula ion mechanic needs o be e y explici o allow o nuanced s o y elling a ound sex- ela ed con en . In he i s s ep, a playe will o e ano he playe a pink ea he as an in i a- ion o play o escala e o a sex scene. The playe has he choice o pass; i hey wan o play, hey ake he ea he and hen nego ia e he app oxima e con en and physical in ensi y o he scene wi h hei co-playe (s). Playing ou he sex in ol es using a phallus p op o symbolize sexual ac ions. The phallus is aes he ically sui able o he la p’s ocus on male gay expe ience, and is unde s ood by he playe s o be a gende -neu al symbol o asse i eness and pene a i e sex.How o speci ically use he phallus p op is open o playe s o decide, depending on hei com o le el in he speci ic si ua ion. They can o ins ance choose o ouch each o he s’ a ms wi h he phallus, o suck i , o o use i o “d y humping” ( hea e sex). The ules do ins uc he playe s o keep a leas some clo hes on, and ha any ac ual sex in ol ing geni als is no pe mi ed. A e he sex scene has been played, he playe s s and side by side, wi hou eye con ac , and hold monologues o one o a ew sen ences om hei cha ac- e ’s pe spec i e abou hei hough s and eelings abou wha has jus anspi ed. This is a me a- echnique; he monologues can be hea d by he playe s, bu no he cha ac e s. Since he mechanic is so open o in e p e a ion, you would ha e o es ablish wha ange o beha iou s is in ended and allowed in you ake on i : he e’s qui e a jump in ealism be ween ouching each o he s’ w is s wi h he phallus and deep- h oa ing he p op. Especially i you’ll be in a di y en i onmen , hink abou hygiene. How a e he phalluses supposed o be cleaned and s o ed? I you o some eason can’ ix speci ic p ops, o he playe s do no ha e one a hand, would any hing wi h a phallus shape be ine? O cou se he symbolic objec you choose does no ha e o be phallus-shaped. / 276 ARS IMPERIO Designed o he 2018 e uns o En s illa middag med amiljen (Sweden, 2007, Eng. A Nice E ening wi h he Family), A s Impe io is ocused on he la p’s hemes: powe , po ency and con ol. I combines elemen s om A s Amandi and s o y- elling sex wi h a mo e physical in e ac ion. The playe who judges hei cha ac e o be mo e submissi e will lie down; o , i he scene has an elemen o o ce, be asked by he o he playe o lie down. Ei he playe can op ou a any ime, and he la p o e ed he op ion o inding a gamemas e o play ou he scene in a mo e abs ac way in he me a oom. The playe o he mo e dominan cha ac e si s down on he o he pe son’s s omach. Then hey ouch each o he s’ hands, a ms and ace, o simula e kisses and sex, and ake u ns saying one wo d ha desc ibes wha he cha ac e is hin- king o eeling. The la p’s ma e ials s a e: This is no a compe i ion and you can spend many seconds choosing you wo ds. When he ac goes owa ds a climax hese wo ds migh be epea ed o e and o e in a mo e ecs a ic way. […] I is okay o make e y sho sen- ences o noises o complemen he wo ds i i eels igh o you. […] I you wan a hy hm and mo emen you can use you hands oge he and combi- ne his wi h epea ing he wo ds. Please do no add pel ic mo ion o o he e y sexually coded elemen s du ing he ac . You should also e ain om ouching anywhe e else han hands and ace on you pa ne . The powe dynamics may shi , wi h he dominan cha ac e ’s playe lying down, and he p e iously submissi e one choosing o ge on op. The sex is o e when he dominan pe son s ands up. A s Impe io places a lo o ocus on a physical ep esen a ion o powe and con ol, which can ha e a g ea e ec , bu will be less ele an in se ings whe e no all ela ionships a e a si e o con lic and compe i ion. The mechanic is also mean o jus wo people: so i you wan o po ay some o m o g oup sex, you migh need o hink abou how o symbolize he powe dynamics and he physical con ol o he submissi e/s. On a p ac ical le el, no e e yone is able o lie down on he loo o si on op o ano he pe son, o com o able wi h doing so. You can always adap he mechanic o a si ing o s anding posi ion whe e you use you hands o a ms o signal he physical con ol. TEACHING THE SIMULATION MECHANIC The simula ion mechanic you selec o design needs o be desc ibed be o e sig- nup on a gene al le el, a e signup in mo e de ail, and hen be p ac ised on si e o ensu e e e yone knows i , and o help coun e a sense o emba assmen o con usion while using i . One o he mos impo an hings o do be o e ying / 277 ou he mechanic is o build us . I he playe s don’ us each o he , hey won’ be com o able playing on s o ies in ol ing sex. You wo kshop will need a us -building p og ession and exe cises. And don’ ush i . S ess won’ help o soo he anxie y. P ac ising hese mechanics, wi hou he alibi o cha ac e and in a oom ull o people, is o en mo e awkwa d han playing hem in con ex , whe e he cha a- c e and he magic ci cle p o ide mo e alibi. I he mechanic is mo e imme si e and ealis ic, you migh wan o ins uc he playe s o y i ou mo e mechani- cally in wo kshop, wi hou much eeling. You can e balize he emo ions o help no malize hem: “ his will eel awkwa d, so i you hink his is a li le wei d a i s you’ e doing i igh .” In any case, bu especially i he mechanic in ol es close physical p oximi y, i ’s a good idea o emind pa icipan s ha he body migh ha e au oma ic me- chanical esponses, including e ec ions, and o no make a big deal abou i . I you a e oo emba assed o say he wo d “e ec ion” o you playe s you should selec a less physical ep esen a ion mechanic. I you choose o allow he playe s o play on sexual hemes in he la p, you ha e o be p epa ed o alk abou sexual hings wi h you playe s. Make su e you know why you ha e made you choices by e lec ing on he di e en ques ions abo e. Communica e you design clea ly o he pa icipan s, and make su e hey always know how o ake esponsibili y o hei own limi s. FURTHER READING: Cha les Bo Nielsen: “Playing in lo e” in Nielsen (ed): Once Upon a No dic La p. (2017) Mo Holka & Monica Hjo T axl, “Wha Does i Mean When Sex is Sexy?” no - dicla p.o g, (3.2. 2017) A s Amandi h p://www.a s-amandi.se/ esou ces/ he-a s-amandi-me hod/ Summe Lo in’ ( ull ex ) h ps://scena io es i al.se/a chi e/scena ios-2015/sum- me -lo in/ Jaakko S en os: “Amo ous Bodies in Play. Sexuali y in No dic Li e Ac ion Role-Playing Games.” G enz u hne , Johannes, F iesinge , Gün he & Fab y, Daniel (eds.): Sc ew The Sys em – Explo a ions o Spaces, Games and Poli ics h ough Sexuali y and Technology. A se Elek onika An hology #4. (2013) Nynne Rasmussen: “Fucking A ound”. Playg ound #7 (2012) / 278 THE LANGUAGE OF CONSENT PRACTICAL CONSENT NEGOTIATIONS FOR PHYSICAL PLAY // Susan Mu sae s Mos la ps de ine in hei design wha kind and in ensi y o physical in e ac ion be ween pa icipan s is accep able and pe mi ed. Some la ps make his a an- ge, lea ing space o plays yle calib a ion be ween indi idual pa icipan s. These nego ia ions be ween pa icipan s can happen h ough ei he in o mal s uc u es o o malized measu es o communica ion. An o en used ype o s uc u ed plays yle calib a ion is he o malized p omp , o example “How would you like o play his?” The o he pe son an- swe s, and asks he same ques ion, a e which bo h pa ies selec a le el bo h a e com o able wi h. This kind o calib a ion is called a consen nego ia ion. Knowing and choosing he igh wo ds o use when alking abou one’s phy- sical bounda ies is ins umen al o success ul consen nego ia ions. Like any kind o social skill, his one is no inhe en and mus be lea ned. Mos humans ha e e y li le p ac ice in nego ia ing bounda ies in hei daily li es. I you la p de- sign equi es he pa icipan s o nego ia e how physical in e ac ions in di e en scenes a e played, you should he e o e each hem how. Gi ing hem he ques i- ons ha need o be asked is no enough; you should also make pa icipan s con- side and p ac ice po en ial answe s o be gi en. Wo ds o use when nego ia ing consen o physical play can be oughly di i- ded in o h ee ca ego ies: • Loca ions on he body – used o indica e whe e he pa icipan wan s o be ouched (o no o be ouched). • Adjec i es and in en ions – adjec i es desc ibe he way a pa icipan wan s o be ouched (o no be ouched). This ca ego y also includes mo emen s one can make. • Si ua ions – Used o desc ibe ex e nal ci cums ances ha migh change he gi en consen . PART SECTION CHAPTER 3:4:5 / 279 Loca ions on he body Adjec i es & in en ions Si ua ions - Face - Neck - Hand - Legs - B eas /ches a ea - Below he bel - Tende - Ha sh - Rough - S oking - Sudden - No when we a e alone - Only in spaces wi h ligh - No when ce ain people a e p esen In o de o make pa icipan s awa e o he wide ange o language hey can use, i is ins umen al ha comple e examples a e gi en du ing wo kshops. This is especially ele an o wo kshops whe e la pe s who a e inexpe ienced wi h con- sen nego ia ions a e pa icipa ing, o whe e he e is a language ba ie . Wo kshop designe s o en end o use ex eme si ua ions as examples when eaching consen mechanics. Bu comple e examples would include wo ds no jus om all he abo e ca ego ies, bu also all in ensi y le els. The consen ladde can help you choose examples om a b oad ange o si ua ions as you a e designing you wo kshop. Making i a ailable o he playe s will help hem hink abou hei limi s. The ange ep esen ed on he lis is also o i al impo ance in aming wha beha iou s a e accep able and encou aged a you la p. This helps manage he pa icipan s’ expec a ions. Violence In imacy - Sc eaming/yelling wi hou ouch - G abbing/pushing - Th ea ening - Ligh slapping - S age iolence - Full con ac , low impac iolence - Violence wi h eal o ce (hi ing, pushing, e c.) - Ve bal wi hou ouch - So and gen le ouch on a ms - So and gen le ouch on ace/body - So and gen le ouch in p i a e a eas - Ha sh ouch on any body pa - Sex simula ion mechanics (e.g. A s Amandi) - Simula ed sexual ac ion (s age kissing, e c.) - Non-simula ed sexual in e ac ion (ac ual kissing, ouching, e c.) I is impo an o emembe ha any lis like his will no be exhaus i e and can- no apply o e e y pa icipan . A si ua ion which is high on you ladde migh be low o ano he indi idual. O he o he way a ound. The e a e also cul u al a ia ions. Some la p cul u es will a e eal kissing as a medium-in ensi y ac i i y, bu employ e y physical sex simula ion mechanics ha migh ha e a highe h eshold. Using a wide a ie y o examples helps o alida e he bounda ies o pa - icipan s who a e looking o lowe -in ensi y in e ac ions in ce ain si ua ions. / 280 Remind you pa icipan s ha hei limi s a e likely o be di e en wi h di e en indi iduals, and migh change day o day o hou o hou . This will help no ma- lize enego ia ion be ween he same wo playe s a di e en poin s in he la p. The use o a di e se ange o speci ic examples helps pa icipan s e alua e hei own bounda ies, as hey apply he newly-lea ned wo ds o hei pe sonal limi s. A pa icipan migh o example ne e e en ha e conside ed he ex e nal si ua ion as some hing ha could a ec hei bounda ies. Speci ic ocabula y will also help hose ini ia ing consen nego ia ions o communica e clea in en . A sha ed language aises awa eness o bounda ies in bo h indi iduals and he pa icipan communi y, and can help you ensu e ha anyone new o consen nego ia ions in la p s a s wi h a ocabula y le el close o ha o mo e expe ienced pa icipan s. / 281 PORTRAYING VIOLENCE IN LARPS // Ma ine Helene S ane ik Fo anyone who comes om a able op sys ems o bo e la p adi ion, simula- ing iolence in la p migh seem ine i able. Comba sys ems, ules, and hi poin s would be a pa o he design o almos any ole-playing game. Bu simula ing iolence is, as e e y hing else, a design choice. Some la ps migh need a complex me hod o his, some migh need a simple one, some migh no po ay any physical con lic a all. I iolence (o he h ea o i ) i s he heme, gen e, se ing, and aes he ic goals o you la p, you should i s ask you sel wha you playe s will o he wise be doing du ing play. A e hei ac ions ep esen ed ealis ically o abs ac ly? Will he body and abili ies o he playe ep esen he body and abili ies o he cha a- c e ? The answe s o hese ques ions will in o m whe he you need o add game mechanics o simula e iolence. Violence mechanics add ess wo sepa a e issues: how o de e mine he ou - come o a iolen in e ac ion (i.e. which cha ac e will win), and how he iolen- ce be ween he cha ac e s will be ep esen ed by he playe s du ing play. In he collabo a i e-s yle la ps discussed in his book, he playe s a e no in compe i ion wi h each o he e en when hei cha ac e s a e. Many No dic-s yle la ps allow he playe s in he scene o de e mine he ou come o he con lic based on wha makes he mos na a i e sense o he pa ies. O he s in ol e ligh mechanics. Once you’ e decided ha playe s will be simula ing iolence a you la p, he nex hing o hink abou is wha you wan he iolence simula ion o make he playe s eel. Wha is i ha you wan o gain om po aying iolence a you la p? And wha s yle o la p a e you making? When you design o selec a iolence mechanic, hink abou he bene i s and he d awbacks o he sys em you a e choosing. I you choose e y ligh mecha- nics in a la p wi h a e y physical s yle, you will need o pu e o in o designing and p ac ising us wi hin he playe g oup, op -ou mechanics, and plays yle calib a ion. I you go o a highe simula ion le el, ha will enable cha ac e s o do hings ha hei playe s a e no able o do o a e no com o able doing. I you go all he way o a numbe s-based sys em o con olling he ou comes o PART SECTION CHAPTER 3:4:6 / 288 o each o he o ag ee on how hey would like hei cha ac e ’s s o y o end. The e is one inal componen o make his design choice wo k lawless- ly, and ha is ha he e is a clea com- munica ion om e en be o e signup ha his will happen. Making he design choice anspa en is a e y impo an elemen o ensu e ha all pa icipan s a e onboa d wi h i , and ha how cha - ac e dea h is handled becomes pa o why pa icipan s sign up o he la p. Suspense is c ea ed om he begin- ning by no knowing wha will inally kill you cha ac e . O he la ps ha e used simila design in o he gen es, e.g. Inside Hamle (Den- ma k, 2015). He e, he Shakespea - ean agedy is os e ed by ensions be - ween he cha ac e s and, ul ima ely, hei end. Fo he go hic ho o expe- ience we wan o c ea e in Deme e , he ocus is on in e nal con lic . The in- e i abili y o dea h and he despe a- ion his esul s in c ea es he in e nal con lic and d i es he cha ac e s o hei b eaking poin . This knowledge abou he cha ac- e s’ app oaching end can be used ac- i ely by pa icipan s du ing he cou se o he la p o de elop hei own cha - ac e s o ies. Fo eshadowing ema ks o wil ul igno ance gain a deepe me- aning du ing he ea lie s ages o he la p, as all pa icipan s a e well awa e o he inal ou come. E en hough you know ha you cha ac e can- no be killed be o e he end o he la p, you also know hey mos de i- ni ely will be killed, making all hei ac ions bo h u ile and immense- ly impo an a he same ime – being as hey a e he cha ac e s’ inal choices. F om wi hin hei cha ac e s, pa - icipan s wa ch hese a es un a el: knowing ha jus like in a ho o mo ie, he e is no hing hey can do o s op i . FURTHER READING: no dicla p.o g/wiki/Deme e NAILED IT! / 289 / 290 / 291 SECTION 3:5 All expe ience design is undamen ally abou he design o phys- ical and social spaces. These always in e ac . I you wan people o dance a you pa y, i helps o u n up he music so hey can eel i in hei bodies, bu also o u n down he ligh s, which will make hem eel less awkwa d abou being wa ched. I you wan people o alk a you pa y, he mu- sic should no be as loud, and he ligh should be be e so hey can see each o he ’s aces. I also helps i people a e o ced by he shape o he space o s and o si no u he han abou a me e apa , and i hey ha e some kind o p ac ical ask o do a he same ime. This is why he bes con e sa ions a pa ies a e o en in he ki chen. La p design is expe ience design wi h he ex a laye o ic ion ansposed on o he un ime. The cha ac e s may ha e in en ed his o ies, and he cul u es o which hey belong may di e in alues and p ac ices om he playe s’. Bu he playe s a e s ill humans, in physical bodies wi h p edic able psychological eac- ions and deeply sea ed cul u al assump ions abou wha kinds o beha iou s a e possible o desi ed in di e en spaces o si ua- ions. I you design o his, i can suppo you goals; i you igno e i , i can unde mine you wo k. In he ollowing chap e , Sø en Lyng Ebbehøj, Signe Løndahl HOW TO DESIGN A PLAYABLE ENVIRONMENT / 292 He el and Jonas T ie Knudsen d a he undamen als o spa ial design o la p. J Li ollows wi h a de ailed look on how physical dis ance a ec s he social dynamics o con e sa ions. Examples illus a e he use o spa ial design o c ea e di e en s o y possi- bili ies, and emind you no o o ge o ese e some space o you sel . Finally, Anni Tol anen w i es abou how you a e al eady mak- ing sound design decisions o you la ps, and sugges s p ac ical app oaches o making hem in en ional. In he concluding ex- ample, sound becomes comple ely cen al as all ligh is emo ed om he play space. / 293 SPATIAL DESIGN FOR LARPS // Sø en Ebbehøj // Signe Løndahl He el // Jonas T ie -Knudsen Spa ial design is shaping o planning he physical space o a la p in o de o acili a e desi ed in e ac ions and beha iou among pa icipan s. La ps a e se in physical spaces. Mos la ps a e physical expe iences whe e a play- e ’s mo emen in space equals a cha ac e ’s mo emen in a ic ional wo ld. This s a emen may seem banal, bu i is one o ew cha ac e is ics ha eally makes la p s and ou om i s able op sibling. Conside ing ha he in e ac ion be ween he playe s makes he la p, su p i- singly li le la p design discou se has engaged wi h designing play spaces. Like he pain ed se o a hea e s age, many la p designe s end o use loca ions as passi e backg ounds. Bu using scenog aphy o supe icially ep esen he diege ic wo ld is a mis- sed oppo uni y. Jus like cle e cha ac e s o me a- echniques, spa ial design can play a huge ole in shaping ou expe ience. Though we a ely hink abou i , mos ha e al eady encoun e ed his in ou daily li es. Conside o ins ance how oman ic es au an s o en ha e dimmed ligh s. This c ea es a eeling o p i acy ( hough he neighbo ing couple is a me e away), which makes i easie o be in ima e. O , ake cou ooms, whe e he symme ical layou is cen ed on he judge who si s in an ele a ed posi ion. This o ces bo h plain i s and a o neys o look up a he . The space is designed o make o he s eel small and o ampli y he au ho i y o he judge. In e ms o la p o ganising, spa ial design is ela ed o disciplines like sceno- g aphy, p op design, logis ics, and cos uming. I also d aws on ields like a chi- ec u e, in e io design, and he ecen su ge in beha io al “nudging” used o shape e e y hing om ai po s o co ee shops. Spa ial design is much mo e han d essing some hing up o look igh . Fundamen ally i ca es abou unc ion: wha is he expec ed social e ec o a space? Which ypes o in e ac ion does i acili a e? How will layou X d i e he playe s owa ds in e ac ion Y? Physical and social spaces always in e ac , wi h he shape o he space a ec - ing social a o dances – wha people a e able and willing o do. This means ha you in en ional design o spaces, o he lack o i , will in e ac di ec ly wi h o he pa s o you la p’s design, and will ei he suppo o coun e ac hem. Spa ial design is a way o enhancing ce ain expe iences and nudging playe s mo e seam- PART SECTION CHAPTER 3:5:1 / 294 lessly owa ds ce ain ypes o in e ac ion. I is pa o he equa ion, bu only a ely he ull solu ion. E e yday spaces such as homes, s ee s and ai po s a e designed o p omo e many di e en ypes o beha iou and in e ac ions. Good ai po s aim o ic i- onless e iciency, li ing ooms a e designed o be cosy, and u ban spaces a e o en in en ionally hos ile o he homeless. You can lea n om he eal wo ld, bu when designing spaces o la ps i is impo an o keep in mind ha a ealis ic looking space migh no suppo he ype o in e ac ion you need. Look o unc ional simila i ies a he han isual ones. TOOLBOX The ollowing design ools will help you make su e he physical space suppo s you design goals jus as much as you cha ac e s, se ing and wo kshops do. The oolbox is di ided in o i e concep s: unc ion, dis ance, mo emen , line o sigh , and sepa a ion. FUNCTION C ea ing places o signi icance in a la p equi es p og amming he spaces wi h unc ions. I playe s a e supposed o s ay in a ce ain space, hey need some hing o do he e. Vice e sa, i playe s a e supposed o do some hing in pa icula , hey need a place o do i . Mos la ps ha e a lis o unc ions equi ed by p ac ical necessi y o by o he pa s o he la p design. This can include e e y hing om sleeping qua e s and a mess hall o places o he playe s o pe o m i uals, adi ions o o he ac i i ies. All objec s and spaces ha e ce ain a o dances – ac ions sugges ed by he de- sign o he objec . Fo example: a so ball has jus he igh shape, weigh and size o humans o h ow i . A o dances a e no uni e sal howe e , bu depend on cul u al con ex , p e ious expe ience, physical abili y, e c. Spaces oo ha e a o dances go e ned by he objec s in hem and by hei ambience, size, delinea ion, e c. A o dances a e communica ed subconsciously by which ac ions we pe cei e as possible and app op ia e, bu also o e ly, o example by signs. Designing clea unc ional spaces usually akes a bi o bo h. Conside designing a ba o you la p. Hang a sign o e he doo ha says “ba ”, and people will know wha ac ions a e possible and desi able he e. Lea e he oom wi hou chai s and glasses howe e , and playe s will p obably go elsewhe e o be e ages and le ing loose. I you y o o ce hem o be he e anyway, hey migh ake i upon hemsel es o equip he oom p ope ly, whe he o no ha makes sense o hei cha ac e s, o ebel agains he la p in o he ways. Equip he oom as a ba bu lea e ou he sign, and mos playe s will p oba- bly ac as hough hey we e in a ba (assuming ha hey can ind i ). I you do no p o ide places o he ac i i ies you wan you playe s o be / 295 doing, hey will imp o ise such places hemsel es, i a all possible. Designing speci ic spaces o suppo speci ic unc ions will ocus he la p on he ac ions mos ele an o i s hemes and you ision, and will le you guide how, whe e and when hese ac ions a e played ou . Func ion ool 1: Wha is his place? C ea e unc ional spaces by equipping hem o ac ions and in e ac ion Place objec s in each space wi h clea a o dances suppo ing he ype o ac ions and play ha he playe s a e supposed o pe o m he e. I a loca ion is sup- posed o be o lo e s o come and wa ch he sunse , p o ide a com o able bench. I you wan soldie s o hang ou somewhe e du ing hei ee ime, gi e hem com o able si ing a angemen s and p ops like a deck o ca ds, ee weigh s o le e w i ing equipmen . And i a place is mean o sec e s o be sha ed, make su e i eels p i a e, as p i acy a o ds sec ecy (whe he o no i ac ually is p i a e is ano he ques ion; see T ansi ion ool 2 below). Ano he example o his is o p og am he le el o o mali y o he in e ac- ion in a space by designing he sea ing a angemen s. Think o his as a scale om pillows on he loo ins ead o com o able lounge chai s, o a boa d oom a angemen o s aigh -backed h one-like chai s. Func ion ool 2: Ac i a ing bo ing unc ions h ough loca ion In eg a e po en ially bo ing unc ions in o he la p by placing hem nex o social ho spo s o in plain sigh o in e es ing in e ac ions Many la ps in ol e edious unc ional asks such as cooking o dishwashing. These asks end o be emo ed om a eas o social in e ac ion. O en his is done o p ac ical pu poses (such as access o a ki chen) o o diege ic pu poses, as hese unc ions o en ha e low s a us and a e he e o e hidden away in many eal and ic ional cul u es. This ends o emo e playe s – o en o low s a us cha ac e s – om he play o a ying amoun s o ime. One way o a oid his is o place hese unc ions nex o hubs o social in e ac ion, o in he mids o hem. Fo example, he dishwashing s a ion o a a e n could be placed in he middle o he ba , enabling in e ac ion be ween he dishwashe and he pa ons si ing a he ba . Ano he way o sol ing his is co-loca ing se e al unc ions. Fo example, he ki chen could ha e o he unc ions such as es ing s a ion, a place o ading umou s, o a place o send people o wo k o punishmen . Func ion ool 3: One man’s ash C ea e con lic by assigning di e en alues o he same unc ion Di e en unc ions ha e di e en alue o di e en g oups o cha ac e s. A ce- emonial g ound will be impo an o he eligious cha ac e s whose daily ou ine is illed wi h i uals, while he ma ke place is impo an o he me chan s. P og amming he same spaces wi h di e en unc ions o di e en g oups / 296 can c ea e con lic o in e es ing cul u al encoun e s be ween hem. I a oom is a common es ing a ea o one g oup o cha ac e s, and a ba o o he s, con lic will ce ainly a ise. The same e ec can be achie ed by designing mo emen . I one g oup’s na u al pa h h ough he la p in e e es wi h a place o signi icance o ano he playe g oup, i will c ea e a eeling o espassing and he eby con lic . Imagine, o ins ance, ha he local ownspeople ha e o mo e ac oss a i ing ange o occupying mili a y o ces in o de o ge o hei i ual g ound. DISTANCE The dis ance be ween wo people go e ns how hey can in e ac . Simply pu , he close we a e, he mo e emo ional we (can) ge . This e ec is wholly subconsci- ous. I is some hing we in ui i ely unde s and and ac upon, making i a g ea ool o nudging you playe s owa ds speci ic beha iou s. Imagine ha you a e walking down a s ee as you see ano he pe son ap- p oaching. A abou 75 me es you assess he pe son. You can see whe he hey a e young o old and ha e he i s no ions o bodily cha ac e is ics. Closing in o unde 50 me es, you en e ecognizing dis ance. I you know he pe son, you will see who hey a e. You can s ill ba ely in e ac . E en wa ing would be ou o he o dina y. This changes a 20 me es whe e you en e in e es dis ance. You can s a o ead c ude emo ions like ange o happiness. This is also whe e you would s a o nod, smile o o he wise acknowledge you ela ion. Wi hin 7 me es, eal con ac begins. I can be e bal, hough ha would mean awkwa d shou ing. Con e sa ion is s ill ou o he ques ion. G adually, om 7 down o 3 me es, we s a o in e ac . This is he public dis ance whe e many powe -domina ed in e ac ions akes place – he eache in on o he s uden s, he judge acing he cou oom. F om 3 o 1.5 me es we a e wi hin he common social dis ance. This is whe e he bulk o ou in e ac ions wi h s ange s play ou . Bu especially owa ds he 3 me e ma k, con e sa ions will s ill eel o mal. This b ings us o he closes dis ances. A 1.5 me es, we a e wi hin pe sonal space whe e we s a o ge a ulle senso y imp ession o he o he pe son. How hey smell, how mino acial exp essions in luence he meaning o wo ds. The inal me e is ou in ima e dis ance which is ese ed o people we ha e a close connec ion o. And his is an oddly accu a e dis ance. Ask wo people o mo e slowly owa ds each o he un il hey eel close. Mo e hem back 10 cm and ge ou he measu ing ape. Odds a e, i will say 1 me e. O cou se, people o en mo e empo a ily in o in ima e dis ance, e.g. o a hug, bu s aying wi hin ha dis ance eels e y in ima e. Ano he example o dis ances a play is looking a a house pa y. I a c owd o 10 occupy he li ing oom, hey will o en o m a ci cle wi h a diame e o a ound 3 me es. This places e e yone wi hin he public o social dis ance, bu / 297 ou side he pe sonal dis ance o almos e e yone else in he ci cle. Con e sa ions in hese se ings end o u n in o se ies o monologues in sligh ly aised oices, which a e any hing bu in ima e. Some imes he ci cle will b eak up, wi h neigh- bou s u ning owa d each o he (closing he dis ance o below 1 me e), o ming smalle in ima e spaces o quie e mo e pe sonal con e sa ion. No e ha he esea ch his is based on is om a Wes e n pe spec i e, and e en wi hin ha i a ies depending on con ex . Na u ally, you should always conside you playe s’ cul u al s a ing poin when you design. Dis ance ool 1: The magic me e Limi ing space o c ea e in ensi y, in imacy and agg ession Wi hin he in ima e 1 me e, humans in e ac emo ionally wi h he pe son in on o hem. This means ha he layou o a oom can ha e a signi ican e ec on he in ensi y o in e ac ion. By shaping ooms o passages so ha playe s mus mo e o s ay wi hin one me e o one ano he , you can inc ease ic ion be ween al ea- dy opposing cha ac e s o suppo he o ma ion o in ima e ela ions. Ha ing only na ow passages o ces playe s o nego ia e who ge s he igh o go i s , which can c ea e ension be ween hem. A way o a oiding he ci cle o monologues desc ibed abo e is a ange la g- e ooms wi h u ni u e in smalle ci cles, oom o si on he loo , e c. This will c ea e smalle , mo e in ima e spaces o pe sonal in e ac ion. Dis ance ool 2: Cu oom size in hal Enhance in ensi y by c amming you playe s close oge he No dic s yle la ps o en ocus on in ima e ela ions and in e pe sonal con lic , and designe s wan hem o be in ense. I his is you goal, c amming you play- e s oge he in small spaces – o en smalle han wha seems easonable – is gene ally a good design choice as i will ca alyse ension. As a ule o humb, make ooms abou hal as big as hey would be o ac- ually li ing in. The same goes o en s ha can be pi ched close oge he , and walkways, which can be hal as b oad. I seems simple, bu i is disp opo iona ely e ec i e. And you won’ ha e o en as la ge a loca ion. Dis ance ool 3: US s. THEM Es ablish eams by managing dis ances be ween playe g oups Many la ps build on an “us s. hem” dynamic. I his is you goal, dis ance is you iend. The close we a e, he mo e nuanced ou mu ual imp essions will be. Using his idea, you can di ide you loca ion in o sec ions ha place clea dis ance be- ween ac ions. Dis ance p e en s people om being able o ead one ano he ’s emo ions, which discou ages sympa hy. This can suppo he gene ic image o / 304 Simila ly, a la ge oom wi h a high ceiling can be made o suppo a mo e in ima e a mosphe e i he ligh sou ces hang low. The low hanging ligh will ake ocus om he ceiling abo e, hus c ea ing he illusion o a smalle oom. T ansi ion ool 2: Sec ecy o “sec ecy” Sc een spaces o in ima e play by using opaque ma e ials ha le sound a el o enhance anspa ency In o de o make people eel com o able playing in ima e scenes o sha ing se- c e s, i can be e ec i e o p o ide small spaces and block lines o sigh o sc een hem om p ying eyes. This, howe e , will usually also obs uc he low o diege ic in o ma ion be ween cha ac e s and/o na a i e inpu be ween playe s, which migh be in con lic wi h o he design goals. Using hin ma e ials ha block line o sigh bu le sound pass unhinde ed will inc ease anspa ency wi hou uining he sense o p i acy o he people in he sc eened space. Think o example how some people will ac inside camping o es i al en s when, o a momen , hey o ge ha e en hough no one can see hem, e e yone can hea hem. This is used o g ea e ec in many la ps wi h a ying kinds o symbolic sce- nog aphy, such as he And oids ilogy (Sweden, 2017-2018). In he i s o hese la ps, Do And oids D eam?, he b o hel o he Blade Runne -inspi ed ci y had ooms only sc eened by pape walls allowing e e yone nea by o hea wha was going on inside, and who was in he e. T ansi ion ool 3: Respec my au ho i y! Make powe ul cha ac e s seem dominan by gi ing hem ele a ed posi ions o in e ac om The associa ion o powe and s a us wi h physical ele a ion is so ing ained ha i can be u ilised o unde sco e he s a us o powe posi ion o some h ough li e ally pu ing hem on a pedes al. Ele a ing he h one abo e loo le el will inc ease he pe cei ed s a us o he queen in a an asy la p; aising he loo behind he ba will empowe people in se ice posi ions, such as he ba ende s, in ela ion o hei owdy cus ome s. On he o he hand, i he queen is o come o as weak, you can dec ease he pe cei ed s a us by placing he a le el heigh wi h he subjec s. Ano he e ec o pu ing people in powe posi ions on highe g ound could be o supply hem wi h a be e o e iew o he immedia e si ua ion, no only aising hei pe cei ed s a us bu ac ually p o iding he playe wi h an ad an age. Sepa a ion ool 4: The ee house Si ing a di e en heigh s han o he s p o ides dis ance o c ea e in ima e spaces o seclusion o playe s Ele a ion can be used o c ea e spaces as well as dis ance and sc eens. Think abou how people a a pa y will d op ou o he gene al con e sa ion and s a hei own when hey si down on he loo . This happens because hey a e no / 305 longe in he immedia e ield o ision o people o he wise inside hei pe sonal dis ance. People climbing a ee, a ladde o jus si ing on op o a ence will en e hei own secluded semi space. These ools we e used o g ea e ec in To em (Denma k, 2007) abou wo ibes o hun e ga he e s in a u u e s one age mee ing o a ansi ion i ual. While mos o he play ook place si ing a ound a camp i e, he playe s could climb a wooden s uc u e like sca olding ou side he ci cle a ound he i e. This would allow mo e people o ga he a ound he i e, bu also allowed he playe s o use ele a ion, dis ance and sigh lines o play wi h s a us and seclusion. FURTHER READING: S een Eile Rasmussen: Expe iencing A chi ec u e (1957) Jane Jacobs: The Dea h and Li e o G ea Ame ican Ci ies (1961) Jan Gehl: Li e Be ween Buildings (1971) / 306 GEOMETRY OF CONVERSATIONS // J Li The essen ial uni o social in e ac ion is he con e sa ion. A designe can shape he con e sa ions ha ake place in a game no only by supplying con en , bu also h ough c a ing he physical o m ha con e sa ions ake on. En i onmen and con ex a e majo ac o s in shaping social beha io . Al - hough i ’s no possible o con ol wha happens in any gi en in e ac ion, physical con e sa ion design can shape he o e all social ends in a game. Thus, he a o physical se up can go a beyond con eying con en o e- p esen ing ealism: i is also as an oppo uni y o c ea e sub le gua d ails ha enhance design in en h ough di ec ing unconscious playe beha io down pa hs o leas esis ance. HOW MANY PEOPLE PARTICIPATE IN A CONVERSATION? The a e age numbe o pa icipan s in a con e sa ion (“con e sa ion size”) will a ec he eno and sub le y o he con en ha ge s ansac ed and shaped among playe s. Smalle con e sa ion sizes lead o con en ha is mo e complex and nuan- ced, and la ge sizes lead o con en ha is mo e simpli ied and gene alized. In o he wo ds: he mo e people, he na owe he common g ound. As an example o his p inciple, conside he sophis ica ion o a eal-li e deba e be ween wo engaged indi iduals, compa ed o one wi hin a g oup, compa ed o a b oad pub- lic discou se. The ollowing a e some ules o humb o a e age con e sa ion sizes. Two People Good o d i ing empa hy and emo ion. He e you ha e a deep, high-bandwid h di ec channel connec ing bo h pa icipan s. A lo o uly new expe iences, eac- ions, and possibili ies can be bo n when a connec ion be ween wo indi iduals has space o bea ui on i s own e ms, wi hou cons an ly ha ing o nego ia e unde s anding and di ec ion wi h addi ional people. Because ideas a e ans e ed and eac ed o in single s eps ins ead o a scale, aking meaning ul ac ion is quick, bu consequences – ac ions in he la p – may no a el a e y quickly. This is g ea o ela ional games o games ha emp- hasize indi idual expe iences. PART SECTION CHAPTER 3:5:2 / 307 Th ee People Good o d i ing momen um and ac i i y. While bandwid h is s ill p e y high, he e is also a quick, dynamic di e si y o esponses o any gi en hough . A he same ime, wo k ge s done because h ee people can ocus na u ally wi h minimal dis ac ion, and consequences can sp ead quickly. This is g ea o games d i en by playe ac ion and plo , and is a good de aul size. Fou People Good o d i ing explo a ion o ideas and di e ences. I wo people p esen con as ing iewpoin s, a di e ence o in e p e a ions and esponses is immedi- a ely a ailable om he o he wo pa icipan s. Howe e , playe s a e much slowe o ac ion because bys ande apa hy becomes a ac o : i one pe son in oduces an idea and ano he pe son is mo ed o eac , ha pe son is by de aul au oma i- cally ou numbe ed by he wo o he people who a e no ac ing. This is g ea o philosophical, discu si e, and ac ion-building games whe e he ac o aising buy-in – ge ing people o ag ee wi h you – is an in ended componen o game- play. Fi e o Mo e People A e age con e sa ion sizes o i e o highe will gene ally slow a game down wi h ine ia. Indi idual momen s o scenes wi h la ge numbe s o pa icipan s will play a c ucial ole in almos e e y game. Howe e , i is a e o a game ha is no explici ly abou commi ees o need i e o mo e people pa icipa ing in mos con e sa ions. La ps a e abou pa icipa ion: scenes whe e many playe s become an audience will d ag hem down. FORMING CONVERSATION SIZE Many echniques can be used o shape a e age con e sa ion size. The mos di ec app oach is simply a li e al game ule ha egula es how many people can pa i- cipa e in a con e sa ion. a) “Only wo people can be in ol ed in a gi en con e sa ion a e 5pm. I you wan o alk o someone who is occupied in a con e sa ion, signal o hem and wai you u n.” b) “All con e sa ions mus ei he ha e no mo e han h ee people o be a pa o a scene ha in ol es e e yone,” c) “In his cul u e, men canno join an exis ing con e sa ion, hey may only app oach indi iduals.” Passi e encou agemen h ough a angemen o physical en i onmen is ano he g ea way o shape con e sa ion size. / 308 d) All sea ing is explici ly a anged in g oups o ou e) Wind-shel e ed alco es will only i wo people, o h ee poo ly ) The e is a la ge cen al a ea o e e yone o ga he , and hen a ange o smalle p i a e lounge a eas only com o able o h ee THE GEOMETRIC SHAPE OF A CONVERSATION How does he con e sa ion occupy space? Whe e a e pa icipan s in a con e - sa ion loca ed ela i e o one ano he ? The physical layou o he con e sa ion a ec s wha pa icipan s mos easily b ing o i . In e e y con e sa ion he e is a common social zone, c ea ed in he middle o all pa icipan s. In a public announcemen o i ual, he social zone migh ill he en i e oom; in a whispe ed con ession, i migh only be he size o a beach ball. The social zone is o en an une en shape, like an amoeba: i s cen e migh be loca ed close o a loude and mo e ene ge ic pe son. I migh hin nea he pe son who doesn’ speak he language well. I he play space is such ha mo e pa icipan s a e loca ed owa d one end (like an une en camp i e ing), he social zone migh skew owa d ha side. Bu i cha ac e s wi h highe s a us a e clus e- ed on he a side like in a h one oom, pe haps i will skew o ha side e en hough ewe people o he e, o pe haps i will s e ch ou in o an awkwa d long hin shape. A he same ime, each playe also has a pe sonal social bubble, he space a ound hem ha hey socially occupy. In o de o pa icipa e in an in e ac ion, people mus ex end hei own social bubbles o in e sec wi h he common social zone. (To pic u e his, imagine he ac o socially eaching ha akes place when ying o join a con e sa ion loca ed incon enien ly on he o he side o a la ge able, such as a a wedding ecep ion o a con e ence.) Social bubbles a y widely in size bo h on an indi idual basis and a cul u al basis. Mos ind i ha d o keep hei social bubbles ex ended o a p o ac ed pe iod o ime; many also ind i ha d o e ac and hold i back. He e a e some echniques o c ea ing speci ic in e ac ion dynamics using social bubbles and zone shaping: Pa icipa ion Does he shape o he social zone acili a e he pa icipa ion o some people o e o he s? Conside i he e a e speci ic cha ac e s you wish o highligh o edge ou o a gi en space, such as in he h one oom example. Is i mo e in e- es ing o be inclusi e and balanced, o o ha e some people on he inges who mus in es g ea e o in o de o be hea d? / 309 Playe Ene gy P o iles & De aul s Because i akes e o o playe s o ex end bubbles pas hei na u al size, i ’s impo an ha key in e ac ions can ake place a a ange o sizes. Fo example, a mechanic ha equi es playe s o socially p ojec ac oss he oom will be used by ewe and ewe playe s as a day wea s on. Simila ly, a game abou hiding and whispe ing should only coun on playe s o emain supp essed o an hou o so – less i hey’ e doing o he i ing hings a he same ime. O e ime as playe s ge i ed, hey will hold mo e and mo e in e ac ions in hei de aul social bubble size, ega dless o en i onmen al o na a i e cues. This means ha ei he he majo i y o play can ake place a com o able sizes, o he design mus ac o in he ac ha he unusual social zone size equi es an ongoing, sus ained e o om he playe s ha educes hei abili y o spend ene gy on o he hings – espe- cially hings ha also cos social ene gy, such as po aying an un amilia cul u e. Teno Va ia ion Di e en ypes o in e ac ions happen mo e na u ally a di e en social bubble sizes and shapes. People a e gene ally mo e com o able ha ing in ima e, close in e ac ions when hei own social bubbles a e small. P onouncemen s and pub- lic decla a ions a e mo e na u al a la ge bubble size. Nobody le s hei gua d down in a con e sa ion open o he wo ld. C ea e mo e in e ac ions o he de- si ed eno by using en i onmen al cues o encou age he co esponding bubble size. ARCHITECTURAL TOOLS FOR FORMING DEFAULT SOCIAL ZONE SHAPES En i onmen al Layou Whe e a e playe s mos likely o be physically loca ed, and how a apa a e hey? Don’ o ge ha a com o able dis ance o a la ge pe son migh be a i ing so- cial each o a small pe son and ice e sa. Check also o pos u al equi emen s – i a playe has o hold an uncom o able posi ion o access a social zone, hey a e likely o ei he gi e up o change he eno o he con e sa ion Physical Ba ie s A physical ba ie will cu h ough he middle o a social zone and make i ha - de o connec . E en a able can some imes ac as a ba ie : use his o acili a e mo e opposi ional in e ac ions, o p omo e collabo a ion by placing pa icipan s on adjacen sides. In absence o clea di ec ions o expec a ions o uni y hem, a anging people in a ing a ound a la ge, sigh -blocking cen e piece such as a bon i e can c ea e apid cul u al sca e ing as people align beha io s in clumps wi h only hose immedia ely nea hem. / 310 Tempe a u e Mos people’s social bubbles sh ink when cold and expand when ho , so an ex eme- empe a u e en i onmen will shi e e yone’s de aul bubble sizes. Cold en i onmen s will also make all social ac ions ake mo e ene gy. (This is why unning a well-p o en game in an unexpec edly cold oom can some imes izzle: dynamics ha coun on cascading social engagemen lose momen um.) Remembe ha men and women ha e on a e age a 2.5° C di e ence in p e e ed empe a u e. These a e only a ew example echniques and ules o humb o physically shaping con e sa ions o gene a e speci ic ypes o gameplay. Exac ou comes will a y by game and by cul u e. / 311 How do you c ea e he eeling o a massi e ic ional se ing in a e y small space? Tha was he ques ion we ied o answe when we i s s a ed de- signing Do And oids D eam? (Sweden, 2017) la e in 2016. We decided o c ea e a se o wildly di - e en en i onmen s, ep esen ing di - e en pa s o he ci y, bu all packed in o a single 9x14m blackbox se . We had done la ps and s udied o he la ps in he same kind o closed wa ehouse en i onmen ha we we e unning his la p in, and we had aken pa in blackbox scena ios ha c ea ed la ge spaces om no hing by simply using ape and highly abs ac ed ansi- ions be ween spaces. To go om one o he o he , you would jus s ep ou om one ape squa e and in o ano he . Bu ha had ne e el la ge. I only el abs ac ed, like a cu scene happe- ning, suddenly aking you o ano he place. Fo And oids, we wan ed people o eel as i hey we e in his massi e ci y, a me opolis o he u u e – no jus imagine i , as hey s epped o e a d awn line. The p oblem wi h ins an aneous a el o e g ea hypo he ical dis ances is ha you ne e eel as i you ha e a- eled somewhe e. You eel as i he e exis s se e al sepa a e loca ions, se e - al spaces, bu no space o ime in be - ween hem. This was pa ially sol ed by c ea- ing a physical place, cen ed in he oom, in he ea ly i e a ion. A c oss- oads which people had o pass in o de o go anywhe e else. A his c oss oads, hey had o wai o a leas a minu e be o e hey could con inue o hei de- s ina ion. Ou se designe , Ca l No d- blom, i s had he idea o c ea e a ick- shaw o some kind o anspo a ion de ice wi h a d i e , bu we se led on making i in o a bus s op, whe e you could go, si down on a ew chai s and wai . In o de o keep he eeling ha you we e a elling ac oss a big ci y, I decided ha he pa icipan s would no be able o mee o he cha ac e s he e – hey would always emain in cha a- c e , bu e e yone else would simply ep esen anonymous s ange s who we e also wai ing o he bus. We all know hem, he aguely amilia aces a ound us as we a el on public ans- po a ion. This way, a eling became a soli- a y ac i i y, one ha had you wai ing among people, no alking o engaging in you s o yline, bu simply being you cha ac e . The idea was ha you could hold monologues he e, alking abou wha you we e eeling as i nobody THE BUS STOP MECHANIC // Simon Lindman S ensson / 312 was lis ening, o as i pou ing you hea ou o a s ange . O he s could commen on he monologues, bu hey would do so as a andom s ange a he bus s op, no as hei cha ac e , jus as you could commen on hei mono- logue as a s ange in hei s o y. Ano he idea ha we had was using he bus s op as a way o in o- ducing Fa e Play – he ac o in odu- cing an elemen ha would be des ined o happen, in o he la p. We imagined ha people would be able o say hei goals ou loud a he bus s op, such as “When I ge o he apa men , I will ell hem wha I eally eel”, and use his oiced mo i a ion as a way o p o- mising hemsel es o be b a e and ca - y ou his ac ion once hey go o he nex scene. We wan ed o encou age people o ha e a momen o b ea hing oom o eally hink wha hey we e doing and why, and ac on ha . I you simply wan ed o be le alo- ne, you could op o ead a newspape . You held up you hands wi h an imagi- na y newspape and p e ended o ead i , showing ha you simply wan ed o si he e o you sel o a while. In he pos la p su ey a e Do And o- ids D eam?, he bus s op was p aised o how i c ea ed a eeling o a la ge ci y, how i sepa a ed he zones and how i made i possible o you o ge some sepa a ion be ween one scene and he nex . O he s el hey ne e wan ed o wai , o el ou side he la p while si ing he e, and mos did no use he Fa e Play mechanic. Fo he las pa o he ilogy, Whe- e And oids Die (Sweden, 2018), we decided o make he bus s op less o an abs ac space and mo e an ac ual mode o anspo a ion in he Ci y. In he new se , we buil a symbolic sub- way ca . I was a box along one o he walls, deco a ed o be eminiscen o a subway ca , wi h opes in he ceiling ha people could hold on o. The mos impac ul addi ion was he sound- ack. I c ea ed a se o ic ional s ops, each s op ep esen ing an a ea in he ci y and also he zones ep esen ed a he la p, and a loudspeake oice ha announced hese: “Nex s op, High S ee …. S opping a High S ee .” In addi ion, we decided o emo e he a- eplay aspec s and ocus mo e on he expe ience o ac ually a elling in a subway ca , wi h sc eeching ails and ime spen wai ing o you s op, while s ill keeping he mo e success ul mo- nologue mechanic. This allowed people he eeling o ac ually a eling in he ci y, wi hou ha ing o hink o i abs ac ly as anspo a ion ou side he zones. One playe desc ibed i as i hey could ha e swo n he subway ca was mo ing, despi e i being buil om s a iona y sca olding. The eedback on his de elopmen and he me hod in gene al has made us con iden ha i is an excellen ool o he oolbox in widening he possibili- ies o la ps played in symbolic o ab- s ac spaces. I allows you o expand he heo e ical a ea o play, i allows people a na u al place o monologu- es and inne e lec ion and i allows you o gi e people a sense o pu pose. The eeling o seeing people c owd a subway ca , hen p ess agains each / 313 o he as e e yone ies o ge o a he same s a ion, jus like in eal li e, is also some hing we hea ily ecommend o any designe o an u ban scena io simila o he And oids la ps. FURTHER READING: no dicla p.o g/wiki/Do_And oids_ D eam? no dicla p.o g/wiki/Whe e_And o- ids_Die NAILED IT! / 320 Pela gi in ympy ä (Finland, 2004, Eng. The Ci cle o Pela gi ) was a plo -hea y ma ia ial la p whe e cha ac e s ied o disco e each o he ’s sec e s. The enue was an old mano house wi h a high main hall, paneled wi h old wood, and an open balcony o e he hall – c ea ing c ys al clea acous ics and he oppo uni y o spy on all con e sa ions in he hall. Unsu p isingly, his sound en i onmen ended up changing he in ended in e ac ion and d ama ic pace o he la p, s e- e ing playe s owa ds silen con e sa ions and poli e small alk ins ead o a gu- men s and in igue. The space didn’ eel like a na u al se ing o add essing con lic s o ai ing dispu es. Wha happened in Pela gi in ympy ä eminds us o he Achilles’ heel o all la p design: i no ins uc ed o he wise, playe s will de aul o beha iou al pa e ns ha make sense o hem in he eal wo ld – like no sha ing sec e s in a space whe e e e yone can hea hem. The e o e i ’s no enough o hink abou which sounds sui a la p se ing and how o make hose sounds dis inc and pe cei able. We mus also hink abou how we wan playe s o in e ac wi h sounds and wi h each o he , how o suppo ha in e ac ion wi h design choices, and how o com- munica e ha design o he playe s. Le ’s go back o he an asy la p a e n. The e is a band playing. Wha a e he pa ons expec ed o do wi h his? Is i jus backg ound music o gi e he igh kind o mood? A e playe s supposed o s op alking and lis en? O jump on he ables and dance, o join in and sing? Pe haps you ha e also chosen o gi e he a e n a PA sys em o backg ound music and ambien sound e ec s, like he c ackling o a i eplace and he cha e o pa ons. Maybe du ing he la p a diege ic s o m b eaks ou , and he PA com- munica es his wi h wind, ain, and hunde . O pe haps he a e n is haun ed, and ghos ly whispe s s a slowly c eeping hei way in o he oom. How should he playe s eac o he s o m o he ghos s? Should he cha ac e s s a secu ing he windows, o y o hun down he sou ce o he sca y whispe s? The playe s know he e is no ac ual s o m ou side, o any li e al ghos s o be ound. They ha e o decide how o ac no on he basis o hei ou o cha ac- e sound pe cep ion, bu using exis ing social codes om equi alen si ua ions, hei assump ions abou gen e, and hei in e p e a ion o wha he designe s a e ying o achie e. I hey don’ know he designe s’ goals o he sound e ec s, hey may engage unexpec edly and di e en ly, c ea ing inconsis encies in gen e, playing s yle, and na a i e low. Communica ing sound design o playe s doesn’ ha e o be elabo a e o i- me-consuming. I can be as simple as a en second s a emen du ing b ie ing: “you cha ac e s can’ hea he ghos s, bu hey sense some hing is w ong.” In a mo e ambi ious design wo kshopping sound elemen s may be needed, e.g. p a- c icing he s o ywo ld’s popula d inking songs o be able o sing hem in he a e n. When he playe s know he unc ion o sound design elemen s hey encoun- e , hey can adjus hei beha io and enjoy and con ibu e o he soundscape wi hou awkwa d un ime wo ies abou how o beha e. / 321 THE MIXING DESK OF SOUND DESIGN FOR LARP The Mixing Desk o Sound Design o La p is a oolki ha can be applied o any sound- ela ed design choice in a la p. The concep is based on he design a- mewo k The Mixing Desk o La p, which was o iginally c ea ed by Ma in Nielsen and Ma in And esen o he La pw i e Summe School communi y in 2012. The sound design mixing desk is a p ac ical checklis o la p-speci ic sound design a iables. I s pu pose is o gi e la p designe s some conc e e pa ame e s h ough which o e alua e hei sound- ela ed design choices, and o unde s and challenges and possibili ies connec ed o sound design in la ps. I ’s also use ul as a ool o unde s and and p edic whe e, when, and why sound design can ail. Each ade in he mixing desk can be used o examine bo h indi idual, speci ic sounds in a la p, as well as mo e gene ic sound design goals and guidelines as pa o la p design. TECHNICAL REQUIREMENTS: ACOUSTIC VS. AMPLIFIED The i s ade o he sound design mixing desk de ines he echnical amewo k o sounds in a la p. Is he la p comple ely acous ic, using no ampli ica ion o sound equipmen ? I ampli ica ion is used, ei he o he whole la p, o o a speci ic scene o objec , wha a e i s design goals? Wha a e he upsides and THE MIXING DESK OF SOUND DESIGN FOR LARP ANNI TOLVANEN 2016 VERSION 1.0 MOOD SUBGROUP Obse ed Pa icipa o y Passi e Ac i e Non-diege ic Diege ic Symbolic 360o Ampli ied Acous ic TECHNICAL REQUIREMENTS ENVIRONMENT REPRESENTATION NARRATIVE ROLE PLAYER RESPONSE INTERACTION FRAME Unpleasan Pleasan S imula ed Placid Tense Relaxed Dange ious Sa e / 322 downsides o elying on he na u al, acous ic soundscape, e sus se ing up a PA sys em o using o he sound equipmen ? A e he e any sounds ha absolu ely need o be hea d by all playe s o he la p o unc ion, and wha a e he bes ways o ensu e ha his is physically possible? Is he si e acous ically sui able o he in ended soundscape o he la p? While some expe ise in sound design is use ul when igu ing ou ine de ails o acous ics and he use o sound gea , he oad o adequa e solu ions is mo e o en han no a ma e o es ing and common sense. I he la p o ins ance has necessa y scenes whe e many cha ac e s will be lis ening o a speech o pe - o mance, ying ou di e en spaces and posi ions will soon e eal he op imal acous ic loca ion o maximum audibili y. Ve y simple icks can imp o e he acous ics o a space. Echo can be dampe- ned wi h padded sc eens, clo h, and u ni u e, making a space mo e com o able o a big c owd o alk in. Cu scenes and speeches can be s aged on an ele a ed pa o a oom o e ain. Playe s can be ins uc ed o posi ion hemsel es in di e en ways o key scenes, and o use speci ic spaces o speci ic ac i i ies. Fo example, as sound om blackbox scenes con amina ing o he un ime spaces can be con using, s aging a blackbox o me a oom in o a mo e secluded loca ion is o en a solid design choice. Common sense and simple solu ions wo k o se ing up ampli ica ion as well. A a Halloween- hemed pa icipa o y a piece a cunning soundscape was c ea ed by li ing an old ba e y-powe ed boombox high in o a ee op. In a pi ch da k o es , wi h an au umn s o m c ea ing an imp essi e na u al soundscape a ound he pa icipan s, i was basically impossible o ack down he sou ce o he spooky, dis u bing sound e ec s played om he boombox. As an unexpe- c ed bonus he wind was ocking he boombox a ound, shoo ing he sound in andom di ec ions. The end esul sounded o he -wo ldly and magical, wi h li le echnical e o o skill equi ed o se up hese e ec s. Unde s anding he con ex and ole o indi idual sounds in you la p is he key o making sma calls on whe he o use ampli ica ion o no , and how a PA sys em o o he sound sou ces (e.g. playe s, pe o me s, o p ops ha p oduce sounds) should be posi ioned o se e hei pu pose. No e ha hese goals can be di e en o di e en scenes wi hin he same la p and loca ion. Making consci- ous design choices and es ing hei implemen a ion will lead o be e p ac ical ou comes han blindly us ing ha sound will jus o ganically wo k. / 323 ENVIRONMENT REPRESENTATION: 360° VS. SYMBOLIC A 360° la p mos commonly e e s o a pho o ealis ic, angible game expe ience, in which wha you see is wha you ge : a swo d is swo d, a ca is a ca , a igh is a igh . The opposi e o his is a la p aking place in a blackbox, o some o he pla- ce no physically esembling he ic ional se ing o he la p. P ops and ac i i ies can also be symbolic: a s ick can be a swo d, a couch a bus, ock-pape -scisso s can be a igh . In la p, sound design ep esen ing he en i onmen wo ks di e en ly. A 360° isual en i onmen doesn’ necessa ily p oduce a 360° audio en i onmen ; and o en his ade se ing will a y wi hin he same la p. Fo example, e en in he mos pho o ealis ic Wes e n la p i ’s a e o shoo wi h eal guns. A ealis ic mockup powe gene a o , cons uc ed as pa o a science ic ion se , likely do- esn’ sound like a eal gene a o as i doesn’ wo k like one. I ’s o en easie o c ea e au hen ic, 360° soundscapes in a p o essionally equipped blackbox han, say, a his o ical cas le o an old nuclea bunke . Take a medie al illage se ing: ew la ps ha e ho ses, pigs, sheep, and chicken unning a ound and making noises, smi hs bea ing ho i on, and people doing he a ie y o cho es ha con ibu e o he soundscape o an au hen ic medie al en i on- men . Meanwhile, e-c ea ing his soundscape wi h a p o essional PA sys em in a blackbox is a i ial ask. When hinking abou he ep esen a ion o sound en i onmen s, i ’s impo - an o conside wha is ele an o he playe s’ expe ience o hei en i onmen . A silen powe gene a o may be an adequa e p op as a andom objec in he backg ound, bu i se e al cha ac e s spend ele an chunks o ime main aining ha gene a o , i s silence may unde line ha wha hey a e doing is no in ac eal, and has no ac ual impac on he gene a o as a unc ional objec . Implemen ing ealis ic, in e es ing, esponsi e, and su p ising sounds in spe- ci ic spaces and e en s is a powe ul ool ha can enhance playe s’ expe iences o he na a i e. As a pa o scenog aphy, well-designed sounds communica e unc ionali y and plausibili y, making he en i onmen eel mo e eal. On he o he hand, i ’s inaccu a e o p esume ha he mo e au hen ic sound e ec s a e, he be e he ou comes hey p oduce. A ealis ic diege ic i e ala m may c ea e a lo o con usion – o become a sa e y haza d. Poin ing a gun a someone and yelling “bang” o hei ace may eel mo e in ima e and h ea ening han hea ing a muddy sound e ec om a small loudspeake on he o he side o he oom. Keeping he audio olume un ealis ically low in a nigh club means playe s don’ need o lea e he space o hei cha ac e s o be able o alk. A symbolic soundscape can some imes c ea e a mo e a mosphe ic backg- ound o a la p o a speci ic scene han a ealis ic one would. A Baphome (Den- ma k, 2018) a haun ing playlis o backg ound music was used h oughou he / 324 game. As he la p p og essed, he olume o he music was slowly aised om almos silen o qui e loud. The e ol ing, symbolic soundscape made he 360° physical en i onmen mo e imme si e – i added a ou h dimension o sceno- g aphy by ma king, among o he hings, passage o ime, shi in moods, and he inc easing in ensi y o cha ac e in e ac ions. NARRATIVE ROLE: DIEGETIC VS. NON-DIEGETIC (VS. SUPRADIEGETIC) Fo a sound o make sense in he con ex o a la p, playe s ha e o be able o pa - se whe he he sound belongs in he la p’s na a i e o no . An in-cha ac e con- e sa ion, o he sound o a ealis ic igh scene, a e in mos cases diege ic – hey belong inside he ic ion and cha ac e s a e able o hea hem. A sa ewo d, o he sound o an ai plane lying o e a medie al illage, a e non-diege ic – some hing he cha ac e s don’ hea e en i he playe s do. In la ps i ’s o en p esumed ha he dis inc ion be ween diege ic and non-die- ge ic sounds is sel -e iden and doesn’ equi e u he explana ion. In p ac ice, i ’s mo e complica ed. The e o e, ha ing clea bounda ies be ween diege ic and non-diege ic sounds, including me acommunica ion be ween playe s, helps e e yone dis inguish be ween ingame and o game in e ac ion be e . This is especially impo an wi h la p me a- echniques and ules ha ely on non-diege ic sound cues and dialogue: e.g. sa ewo ds, cu scene and ac b eak signals, and ou o cha ac e nego ia ion du ing un ime. I he e’s ambigui y in whe he hese sounds a e diege ic o non-diege ic, he echniques s op wo king, which can make he la p con using and less sa e. Be ween diege ic and non-diege ic sound he e is a hi d ca ego y, sup adiege- ic sound. This e m, bo owed om ilm sound design analysis, e e s o cases when he na a i e ole o a sound is ambiguous by design. BAPHOMET’s sound ack is a good example o sup adiege ic sound. The backg ound music used in he la p was no diege ic, as i was no hea d by he cha ac e s – bu i was ne e heless mean o ha e an impac on playe mood and hus cha ac e beha io . Some playe s ended up humming along wi h he music in cha ac e , and his humming was, p esumably, audible o o he cha ac e s. Di - e en songs had a no able impac on he pi ch and empo o diege ic i ualis ic chan ing done by he cha ac e s – an impo an pa o he la p’s design and cha ac e in e ac ions. A Eu opa (No way, 2001), hidden loudspeake s a he e ugee ecep ion cen- e would play wa sounds, which we e no diege ically p esen in he eal ime, bu ep esen ed eal memo ies and PTSD-induced lashbacks o he asylum se- eke cha ac e s. Playe s we e ins uc ed o play on hem o he deg ee ha made sense a each momen . In e ec , he na a i e ole o hese sounds was implici ly de ined by playe s, depending on whe he hey wan ed o play on hei cha ac- e s’ memo ies, and wha ole hey wan ed o assign o he sound e ec s in hose scenes. / 325 In mos la ps diege ic, non-diege ic, and sup adiege ic sounds can be p esen simul aneously. The key o success ully na iga ing be ween he ca ego ies is o unde s and hem in he con ex o he la p in ques ion, and o clea ly communi- ca e he ole o di e en sounds o playe s. PLAYER RESPONSE: ACTIVE VS. PASSIVE While pa sing be ween diege ic and non-diege ic sounds helps us unde s and which sounds belong o he na a i e o he la p and which don’ , his is sepa a e om how playe s should eac and espond o ei he ype o sound. Du ing un ime, he majo i y o diege ic sounds in i e ac i e esponse: in cha ac e dialogue, o sound e ec s wi hin he la p’s na a i e (e.g. a phone inging, a bomb exploding, a adio ansmi ing a news eel) a e he e o ell pa o a s o y and c ea e in e ac ion be ween cha ac e s. The majo i y o non-diege ic sounds a e dis ega ded – unless hey commu- nica e ele an in o ma ion o he playe who hea s hem. An ou -o -cha ac e nego ia ion be o e a swo d igh is passi ely o e looked by playe s who walk pas by acciden , bu equi es ac i e pa icipa ion om playe s engaged in i . A sa ewo d o a i e ala m a e non-diege ic sounds ha equi e an ac i e esponse om all playe s wi hin ea sho . Some diege ic sounds a e symbolic and equi e playe s o i s in e p e hem co ec ly o choose hei esponse. I gunsho s a e symbolically ep esen ed by a playe yelling “bang bang”, he sound o imagined gun i e would be diege ic, bu he sound o someone yelling is non-diege ic. Thus, playe esponse o he eal wo ld sound (yelling) is, in e ec , passi e, bu hei eac ion o he na a i e sound (gun i e) is likely ac i e. The mo e di e en ypes o sound e ec s and sound-based me a- echniques he e a e in use, he mo e impo an i is o ha e clea ins uc ions on de aul playe esponse. This is especially impo an wi h sup adiege ic sounds. A Inside Hamle du ing he las ac s o he 2015 uns, a soundscape o io ing was mixed in wi h he la p’s backg ound music. In he la p’s na a i e a ebel a my was in- deed app oaching Cas le Elsino e – bu i was unclea i playe s we e supposed o ac i ely eac o he io soundscape in cha ac e (“Look, he ang y mob is jus ou side he ga es!”) o i he sound e ec s we e he e o p o ide a symbolic eeling o h ea and p essu e. Wi hou p io ins uc ions, some playe s ended up eac ing o he io ing whe e o he s igno ed i , c ea ing a disc epancy in he o e all mood and na a i e low. / 326 INTERACTION FRAME: PARTICIPATORY VS. OBSERVED Wha makes la p sound design dis inc and excep ional om mos o he o ms o sound design is i s pa icipa o y na u e. Playe con ibu ions o he soundsca- pes o la ps a e con inuous and pe asi e. Howe e , he amewo k o he le el and mode o pa icipa ion is no always in ui i ely clea . In ou e e yday li es we a e socially condi ioned o ecognize and dis inguish be ween si ua ions whe e we a e expec ed o lis en o sounds, e sus ac i ely pa icipa ing in p oducing hem. Expec a ions can shi quickly wi hin he same con ex : in a conce we a e i s and o emos in he ole o obse e s and li- s ene s, bu a ce ain poin s expec ed o show ou suppo and pa icipa ion by applauding, chee ing, whis ling, s omping, shou ing, o dancing. I ’s impo an o no e ha jus he ame “conce ” does no ell us wha he expec ed le el o o m o pa icipa ion is; igu ing i ou equi es deepe unde s anding o he cul u al con ex and social cues. In la ps, we a ely ge his cul u al con ex and socializa ion o ee. Wha is he in e ac ion ame o Skaldic s o y elling in a Viking camp? Fo a e ue a ae cou ? A p aye ci cle among o c wa io s? La p is all abou explo ing di e en in e ac ion ames, and e y o en one o he mos ele an ways o pa icipa- ing in o a la p scene is p oducing sound: speaking, shou ing, eci ing, clapping, humming, coughing – he lis o bo h e bal and non- e bal ways o make noise is endless. I is he e o e o u mos impo ance o la p designe s o hink abou sound design om he poin o iew o in e ac ion. When do we wan ou playe s o obse e, and when do we wan hem o pa icipa e? I he e a e s aged scenes, pe o mances, o i uals in a la p, can playe s eac o hem eely as hei cha ac- e s? I so, wha ’s he diege ically app op ia e in e ac ion ame? I he cha ac e s would know when o applaud, shou , o hum, he playe s need o know his, oo. A cha ac e may also choose o go agains he diege ic in e ac ion ame (e.g. in- e up ano he cha ac e ’s speech, o e use o sing along in a i ual) – unless he playe is speci ically asked o pa icipa e wi hin a ce ain amewo k. Some scenes may equi e playe s o obse e hem wi hou in e up ion, no ma e how hei cha ac e s would no mally eac , and in ha case elling he playe s his explici ly in ad ance is good p ac ice. Many scenes in la p ely on playe s c ea ing sounds oge he . A Hala Hisa (Finland, 2013, Eng. S a e o Siege) a lo o na a i e weigh was pu on s uden and ac i is demons a ions agains an opp essi e mili a y powe . The designe s wan ed speci ic scenes o be loud, chao ic, and agg essi e, and decided o wo ks- hop ha in ad ance, as many No dic la pe s don’ ha e an exis ing in e ac ion ame o an agonis ic io ing in demons a ions. Two in e es ing hings happe- ned. Fi s , wo kshops helped playe s calib a e he modes o pa icipa ion (be- / 327 ha ing agg essi ely, shou ing slogans and booing) designe s wan ed o cap u e. Playe s didn’ ha e o imp o ise hei ac ions, o guess how o ce ully hey could and should escala e owa ds con lic . This made i easie o hem o s ee speci- ic scenes owa ds he designe s’ ision. Second, wo kshops encou aged he o e all mood o un elen ing opposi ion by he unde dog and ga e playe s agency o build on i . Ins ead o jus agg es- si ely demons a ing agains he soldie s, playe s o ganically decided o some i- mes exp ess cha ac e esis ance by singing, o mo e accu a ely quie ly humming, he Finlandia hymn, a amilia composi ion pe ec ly cap u ing he na ionalis ic heme a Hala Hisa ’s co e. Unde s anding he designe s’ ision o he in e ac- ion ame a ound poli ical esis ance enabled he playe s o come up wi h hei own app op ia e con en and collec i ely implemen an elegan piece o sound design in o he la p. MOOD SUBGROUPS While he o he mixing desk ade s add ess he implemen a ion and unc ion o sounds in la ps, mood ade s can be used as a amewo k o hink abou he ac ual con en o sounds and soundscapes. The moods picked o he ade s a e based on music psychology, and desc ibe di e en eac i e s a es ha sounds e oke in us. These moods a e: • Pleasan / Unpleasan • Placid / S imula ing • Relaxed / Tense • Sa e / Dange ous I ’s wo h no ing ha hese moods do no consis en ly ma ch he basic human emo ions (e.g. happiness, sadness, ea , o ange ), bu lea e oom o all o hem. As di e en playe s and hei cha ac e s can be in di e en emo ional s a es in di e en scenes, i ’s p ac ical o hink abou moods h ough hei eac i e and in e ac i e ep esen a ions, a he han hei emo ional cha ge. In o he wo ds, i is mo e cons uc i e o hink abou a scene as “unpleasan , placid, and ense” han “sad”. Mood ade s gi e an al e na i e s a ing poin o hinking abou sound de- sign in speci ic la p scenes. While he g ea es hi s o he e a a e an ob ious choice o a 1980s disco, wi h mood ade s we can push he sound design u he . A disco is usually a pleasan and s imula ing en i onmen – bu is i eally in his la p, o hese cha ac e s? Is pa ying in his disco elaxed o ense? Do he cha a- c e s eel sa e, o is he en i onmen dange ous? The answe s can be di e en o di e en cha ac e s, bu hinking abou hese moods can help a sound designe o DJ o pick he kind o music, and possibly ex a sound e ec s, ha suppo / 328 he in ended mood. Moods also wo k as excellen guidelines o inding sui able sound e ec s and ambien soundscapes o ma ch a la p’s scenog aphy and empo al mood shi s. I a pa icula en i onmen o phase in a la p is supposed o be unpleasan , s imula- ing, and sligh ly dange ous, one can hink o eal wo ld en i onmen s o mo ie scenes ha e oke simila moods. Analyzing he soundscape o hose se ings (wha can be hea d, why do hose sounds boos ce ain moods in ha con ex ) can gi e a lo o insigh on sound design o la p. / 329 Val e (Finland, 2011-2013, Eng. The Waking) was a la p inspi ed by Ped o Calde ón de la Ba ca’s well known play, Li e Is a D eam (1629–1635), as well as many d eamlike na a i es, books, w i e s’ memo ies, ilm gen es, and dys opian scena ios. The la p’s cha - ac e s we e o en based on Ca l Jung’s symbolic d eam p inciples. Ou design eam – Tuomas Hakka ainen, An i Kanne , Ka i Lassila and Pe i Leino- nen – we e all expe ienced gamema- s e s in bo h la p and able op. The i s yea o Val e was p o- duced in coope a ion wi h The Al a Aal o Founda ion, which was in e e- s ed o ind ou whe he i would be possible, h ough he lens o la p, o pe cei e one’s home ci y di e en ly. The a chi ec u e and ci yscape we e impo an s a ing poin s o he cam- paign, and o e he yea s also de el- oped o seek ou a ious in e es ing indoo s se ings. Val e was played in enues such as p i a e apa men s, ga ages, a beach, a g a eya d, a man- sion, o ice buildings, a galle ies, he o es , and he Al a Aal o Museum. To connec o he campaign’s heme o d eams we decided, on wo sepa a e occasions, o use da kness as design elemen in a scene. The i s was played in he unnels o Suomenlinna Sea Fo ess; he o he one Ii is, a cen- e owned by he Fin nish Fe de a ion o he Vi sual ly Im pai ed, in Helsinki. The i s a emp ailed, om he poin o iew o he design eam as well as some o he playe s. The second a - emp succeeded signi ican ly be e , mainly because he un ime gamema- s e s on loca ion we e bo h isually impai ed. They we e able o ac in he da kness, an icipa e he playe s’ needs, and help hem e icien ly du ing he scene. Fo he i s da kness scene, a Suo- menlinna Sea Fo ess, he idea was o anspo he playe s by p i a e boa o he island, whe e he cha ac e s we e supposed o e ie e impo an in o - ma ion om one o he da k unnels, he eby oiling he plans o he Gods con olling eali y. Ea lie ha day, he unnel had been opened by some o he playe s on a scuba di ing mission o u n an unde wa e le e . The ans- po a ion by boa was success ul, bu we hadn’ hough ho oughly enough abou whe e o pa k he boa . A pas- sing c uise ship caused se e e damage on he boa , and a b oken humb o he un ime gamemas e , who ied o p e en he boa om c ashing in o he pie in he c uise ’s wake. The playe s didn’ a e ha well ei he . The unnel was we , muddy and e y da k. The ile we had p e iously DARKNESS AS SCENOGRAPHY // Tuomas Hakka ainen // Ka i Elisabe Lassila / 336 O cou se, i is no enough ha he in o ma ion con en ma ches – deli e y and packaging also need o be uni o m. This means ha p ops and physical in- o ma ion sou ces abou he ou side wo ld ha a e a ailable o he pa icipan s in he la p (such as le e s, maps o he ele an wo ld a eas, and o he p ops) should seem o o igina e om he same wo ld. All o hese con ibu e o a cohe- en wo ld iew, and a eeling o inhabi ing a sha ed, eal enough wo ld. The ac ions o he playe s need o ma e ; wha hey do mus ha e an impac on he wo ld. This c ea es a eeling o causali y. When he pa icipan s ake an ac ion o gi e an o de , i should mean some hing o o he wo lds – and possibly come back o haun hem la e du ing he la p. By ensu ing he causal ela ion be ween pa icipan ac ions and gamemas e eac ions, you can c ea e he eeling o a wo ld ha communica es wi h i sel be o e he eac ions a e el by he pa icipan s. Some examples o his could include: • A le e a i es wi h he esul s o an in es iga ion ha he pa icipan s ha e ini ia ed in a p e ious in e ac ion. • A gamemas e calls back and po ays an upse indi idual, be a ing he pa icipan cha ac e o some hing hey said in ano he con e sa ion. • Consequences om one in e ac ion being e u ned o o he pa icipan s as umou s o hea say. • Domino e ec s whe e one hing leads o ano he e en happening, coo dina ed be ween un ime gamemas e s. Finally, he e needs o be connec ion. The e should always be a sense o meaning o in e ac ing wi h he ou side wo ld. In o de o a wo ld o eel meaning ul, i needs o be loaded wi h emo ion. The ou side wo ld connec ions can e e ence hings in he cha ac e backg ounds. Le e s o phone calls can come om om iends and amily; hings hey hough we e sa e could be placed in jeopa dy. These kind o connec ions a e only possible i he pa icipan s ha e been gi en a eeling o ealness and he p e ious wo aspec s ha e been ul illed. When a wo ld is cohe en and he ac ions o he pa icipan s ha e conse- quences, he playe s will s a eeling in es ed and connec ed o he ou side wo ld. Examples o connec ion be ween a cha ac e and an ou e connec ion could be: • An emo ional con e sa ion wi h an old lo e o e he phone. • A eleg am calling a auma ized cha ac e o mili a y se ice. • A news epo e calling o ask sensi i e ques ions abou wha is happen- ing in he la p. • U gen in o ma ion om a iend abou a bomb aid h ea ening he cha ac e s. [Document text truncated for crawler view.]