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
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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)

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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
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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
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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 ?
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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)

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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)
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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.
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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-
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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.

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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-
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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
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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

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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 -
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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/
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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
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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.
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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.)
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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-

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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)
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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

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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.
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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.
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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.

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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
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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.
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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

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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)
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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.
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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
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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

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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)
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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
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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
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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
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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 .
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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.
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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)

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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 .
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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
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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
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/ 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.

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